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A MAZE IN ZAZAZA ENTER AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
WORK DAYS OF GOD Herbert W Morris D.D.circa 1883 Page 22
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium." "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
THE FAR YONDER SCRIBE AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE THE ZED ALIZ ZED IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Cycles and Patterns Page 165 Patterns "The essence of mathematics is to look for patterns. Our minds seem to be organised to search for relationships and sequences. We look for hidden orders. These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac! Searching out patterns is a pure delight. Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden. And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."
FINGERPRINTS OF THE GODS A QUEST FOR THE BEGINNING AND THE END Graham Hancock 1995 Chapter 32 Speaking to the Unborn Page 285 "It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers. A message in the bottle of time" 'Of all the other stupendous inventions,' Galileo once remarked, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3 If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps. "What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them" "WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
THE LIGHT IS RISING RISING IS THE LIGHT
I THAT AM ALWAYS AM
THE DEATH OF GODS IN ANCIENT EGYPT Jane B. Sellars 1992 Page 204 "The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling: Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10 Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days. Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him. The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time. A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the /Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12) If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth. This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations. Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability. But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less than the figure of 25,920. With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, Incorrect by a difference of from 2,397.9 years to 3,024. Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting' AN IMPORTANT POSTSCRIPT Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician. Page 206 Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12 This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers. Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury. Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten. Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13 Page 207 "...Feniusa Farsa, Graves equates this hero with Dionysus Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14 Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15 Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16 In Hamlet's Mill de Santillarta adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point) Thee Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as.- the interest- Whatever one may think-of some of these number coincidences, it becomes. difficult to escape the suspicion that many signs (number and otherwise) -indicate that early man observed the results.. of the movement of Precession . and that the-.transmission of this information was .considered of prime importance. 'With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced.,that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation': "...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four.Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radiusekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the
strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up. his piece of striped and striped wallpaper, decorated / Page 209 /
with a number of scarlet circles - 'you can see it's more than random.'19 So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"
All about the planets in our Solar System. The nine planets that orbit the sun are (in order from the sun): Mercury,Venus, Earth, Mars, Jupiter, Saturn, ... www.enchantedlearning.com/subjects/astronomy/planets Our solar system consists of the sun, eight planets, moons, dwarf planets, an asteroid belt, comets, meteors, and others. The sun is the center of our solar system; the planets, their moons, the asteroids, comets, and other rocks and gas all orbit the sun. The nine planets that orbit the sun are (in order from the sun): Mercury,Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune, and Pluto (a dwarf planet). A belt of asteroids (minor planets made of rock and metal) lies between Mars and Jupiter. These objects all orbit the sun in roughly circular orbits that lie in the same plane, the ecliptic (Pluto is an exception; it has an elliptical orbit tilted over 17° from the ecliptic).
ADVENT 845 ADVENT
APOCATASTASIS = 144 AND 36 3+6 = 9
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 21 "The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself" Page 32 Page 282 "By the THE LADDER OF MINERVA we rise from the first to the last..."
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 175 CHAPTER 8 LULLISM AS AN ART OF MEMORY THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull. Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lullwas like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art. Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.
ART AT R AT ART
LOVE EVOLVE LOVE
LOVE EVOLVE EVOLVE LOVE
LOVE EVOLVE EVOLVE LOVE
YHVH is the most common transliteration of the Hebrew name of God. The name itself is a reference to the Tetragrammaton, which represents the four letters of the name of God: Yod, Heh, Vav, Heh (or simply "YHVH"). Tetragrammaton - wikipedia.org/wiki/Tetragrammaton The tetragrammaton; from Greek, meaning "[consisting of] four letters") is the four Hebrew letters, commonly transliterated into Latin letters as YHWH. It is one of the names of God used in the Hebrew Bible. YHWH 7858 YHWH
MALAK TA'US
IN SEARCH OF EXTRA TERRESTRIALS Unsolved UFO sightings... strange secrets of the moon... new evidence that alien astronauts are exploring the earth Alan Landsburg 1976 Page 79 " The words of J. B. S. Haldane came back to haunt me. He once wrote, "Now my suspicion is that the universe is not only queerer than we suppose, but queerer than we can suppose. I suspect that there are more things in heaven and earth than are dreamed of in any philosophy. That is the reason why I have no philosophy myself, and must be my excuse for dreaming."
THE EGYPT CODE Robert Bauval 1988 Page 30 "It is quite natural, therefore, that the divine tutors of Time and and Calendar should be Thoth, God of Science, and Seshat, Goddess of Writings and Annals.47 Page 31 "It is generally agreed by Egyptologists that the king's first jubilee (or heb-sed festival, as it called by the ancients) was celebrated in the thirtieth year of his reign. But some others are of the opinion that the 30- year period was calendrical, i.e. that it fell in cycles of 30 years irrespective of the number of years the king had reigned. At any rate, it is evident from the text quoted by Budge that the term 'thirty-year festivals' is a euphemism for royal jubilees. Also the mention of the 'Thirty-Years periods' alongside the term 'years of Ra' should affirm to us that the computations of this period had something to do with the sun or rather its yearly cycle, and thus, by extension, the solar calendar. Such an association with the sky and Seshat's royal duties is also evident in the 'stretching of the cord' ceremony, since, as we shall see, this entailed observing the motion and position of the circumpolar stars. Indeed, because of this last role / Page 32 / Seshat was also called 'Lady of Builders', 'Goddess of Cnstruction', 'Founder of Architecture' and perhaps more aptly, 'Lady of the Stars'. To be concise,
we can think of Seshat as the royal librarian, the royal scribe,
the royal astronomer, the royal architect, the royal engineer, the royal herald and perhaps even the royal adviser all rolled into one" — a sort of Condoleeza Rice to the pharaohs.
DAILY MAIL ANSWERS TO CORRESPONDENTS July 12, 2006 Compiled by James Black and Charles Legge Page 48 QUESTION When was the Star of David first used as a symbol? ACCORDING to research undertaken by Christopher Knight and Robert Lomas fot their book The Hiram Key, which studies the history of Freemasonry, the origins of the hexagram are ancient Egyptian. The design is made up from two pyramids, the upward pointing one is the symbol of the power of the king; its base on the earth and its point reaching up to heaven. The two pyramids came to represent the double Messiah; the kingly and the priestly messiahs. As such, it is the true sign of Jesus who saw himself as a both priestly (he was a rabbi) and kingly (royal House of David) Messiah - the living 'star of David'. James Morris Leighton Buzzard, Beds:
DAILY MAIL Friday, July 6, 2007 Colin Wilson Page 15 "ALL THE SEVENS Just why is tomorrow's date (7-7-07 said to be so special ? OR THOSE of the marrying disposition, tomorrow is the most auspicious day to wed for decades. Gamblers should also find their luck is in.
THE FULCANELLI PHENOMENON Kenneth Rayner Johnson 1980 Page 263 "It will be as well to recall here what Fulcanelli's reply was when Bergier asked him what the real nature of alchemy consisted in. He said: 'The secret of alchemy is that there exists a means of manipulating matter and energy so as to create what modern science calls a force-field' This force field acts upon the observer and puts him in a privileged position in relation to the universe. From this privileged position he has access to realities that space and time matter and energy, normally conceal from us. This is what we call the Great Work.' "
"And now, things fall apart. The centre cannot hold. ... What W. B. Yeats’s ‘Second Coming’ Really Says About the Iraq War - New York Times ... en.wikipedia.org/wiki/The_Second Coming_(poem) From Wikipedia, the free encyclopedia"The Second Coming" is a poem by William Butler Yeats first printed in The Dial (November 1920) and afterwards included in his 1921 verse collection Michael Robartes and the Dancer. The poem uses religious symbolism to illustrate Yeats' anguish over the apparent decline of Europe's ruling class, and his occult belief that Western civilization (if not the whole world) was nearing the terminal point of a 2000-year historical cycle. The poem was written in 1919 in the aftermath of the First World War.[1] The various manuscript revisions of the poem also have references to the French and Irish Revolutions as well as to Germany and Russia. It is highly doubtful that the poem was solely inspired by the Russian Revolution of 1917, which some claim Yeats viewed as a threat to the aristocratic class he favored .[citation needed] Early drafts also included such lines as: "And there's no Burke to cry aloud no Pitt," and "The good are wavering, while the worst prevail."[citation needed] The sphinx or sphinx-like beast described in the poem had long captivated Yeats' imagination. He wrote the Introduction to his play The Resurrection, "I began to imagine [around 1904], as always at my left side just out of the range of sight, a brazen winged beast which I associated with laughing, ecstatic destruction", noting that the beast was "Afterwards described in my poem 'The Second Coming'". Critic Yvor Winters has observed, "…we must face the fact that Yeats' attitude toward the beast is different from ours: we may find the beast terrifying, but Yeats finds him satisfying – he is Yeats' judgment upon all that we regard as civilized. Yeats approves of this kind of brutality." Manuscript variations can be found in Yeats, William Butler. Michael Robartes and the Dancer Manuscript Materials. Thomas Parkinson and Anne Brannen, eds. Ithaca, NY: Cornell University Press, 1994. The Poem
Origins of terms The word gyre used in the poem's first line is drawn from Yeats's book A Vision, which sets out a theory of history and metaphysics which Yeats claimed to have received from spirits. The theory of history articulated in A Vision centers on a diagram composed of two conical spirals, one situated inside the other, so that the widest part of one cone occupies the same plane as the tip of the other cone, and vice versa. Around these cones he imagined a set of spirals. Yeats claimed that this image (he called the spirals "gyres") captured contrary motions inherent within the process of history, and he divided each gyre into different regions that represented particular kinds of historical periods (and could also represent the psychological phases of an individual's development). Yeats believed that in 1921 the world was on the threshold of an apocalyptic moment, as history reached the end of the outer gyre (to speak roughly) and began moving along the inner gyre. In his own notes, Yeats explained: "The end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction. At the present moment the life gyre is sweeping outward, unlike that before the birth of Christ which was narrowing, and has almost reached its greatest expansion. The revelation which approaches will however take its character from the contrary movement of the interior gyre. All our scientific, democratic, fact-accumulating, heterogeneous civilization belongs to the outward gyre and prepares not the continuance of itself but the revelation as in a lightning flash, though in a flash that will not strike only in one place, and will for a time be constantly repeated, of the civilization that must slowly take its place...when the revelation comes it will not come to the poor but to the great and learned and establish again for two thousand years prince and vizier." The lines "The best lack all conviction, while the worst / Are full of passionate intensity" are a paraphrase of one of the most famous passages from Percy Bysshe Shelley's Prometheus Unbound, a book which Yeats, by his own admission, regarded from his childhood with religious awe:
In the early drafts of the poem, Yeats used the phrase "the Second Birth", but substituted the phrase "Second Coming" while revising. His intent in doing so is not clear. The Second Coming described in the Biblical Book of Revelation is here anticipated as gathering dark forces that would fill the population's need for meaning with a ghastly and dangerous sense of purpose. Though Yeats's description has nothing in common with the typically envisioned Christian concept of the Second Coming of Christ, it fits with his view that something strange and heretofore unthinkable would come to succeed Christianity, just as Christ transformed the world upon his appearance. The "spiritus mundi" (literally "spirit of the world") is a reference to Yeats' belief that each human mind is linked to a single vast intelligence, and that this intelligence causes certain universal symbols to appear in individual minds.
DAILY MAIL Wednesday, March 12, 2008 Allison Pearson Page 15 "It's a bleak picture that brings to mind W.B. Yeats's great poem about a world where the natural order of things has catastrophically broken down: 'Things fall apart; the centre cannot hold;/Mere anarchy is loosed, and everywhere/The ceremony of innocence is drowned,'
THE DIVINE INVASION Phillip Dick 1981 "The time you have waited for has come. The work is complete: the final world is here. He has been transplanted and is alive." -Mysterious voice in the night Page 85 'What's wrong?' Elias put his arm around the boy and lifted him up to hold him. 'I've never seen you so upset.' 'He listened to that while my mother was dying!' Emmanuel stared into Elias's bearded face. I remember, Emmanuel said to himself. I am beginning to remember who I am. Elias said, 'What is it?' He held the boy tight. It is happening, Emmanuel realized. At last. That was the first of the signal that I - I myself - prepared. Knowing it would eventually fire. The two of them gazed into each other's faces. Neither the boy nor the man spoke. Trembling, Emmanuel clung to the old bearded man; he did not let himself fall. 'Do not fear,' Elias said. 'Elijah,' Emmanuel said. 'You are Elijah who comes first. Before the great and terrible day.' Elias, holding the boy and rocking him gently, said, 'You have nothing to fear on that day.' 'But he does,' Emmanuel said. 'The Adversary whom' we hate. His time has come. I fear for him, knowing as I do, now, what is ahead.' 'Listen,' Elias said quietly. How you have fallen from heaven, bright morning star, felled to the earth, sprawling helpless across the nations! You thought in your own mind, I will scale the heavens; I will set my throne high above the stars of God, I will sit on the mountain where the gods meet in the far recesses of the north. I will rise high above the cloud-banks and make myself like the Most High. Yet you shall be brought down to Sheol, to the depths of the abyss. Those who see you will stare at you, they will look at you and ponder. . .
Page 86 'You see?' Elias said. 'He is here. This is his place, this little world. He made it his fortress two thousand years ago, and set up a prison for the people as he did in Egypt. For two thousand years the people have been crying and there was no response, no aid. He has them all. Hel thinks he is safe.' Emmanuel, clutching the old man, began to cry. 'Still afraid?' Elias said. Emmanuel said, 'I cry with them. I cry with my mother. I cry with the dying dog who did not cry. I cry for them. And for Belial who fell, the bright morning star. Fell from heaven and began it all.' And, he thought, I cry for myself. I am my mother; I am the dying dog and the suffering people, and I, he thought, am that bright morning star, too. . . even Belial; I am that and what it has become.
THE FOUNTAIN OF LIFE Prose And Verse From The Bible Robert Prys Jones 1949 Page 118 ISAIAH 1 BRING NO MORE VAIN OBLATIONS
Page 119 ISAIAH 6 HERE AM I; SEND ME IN the year that king Uzziah died I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. Above it stood the seraphims:
each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly. And one cried unto another, and said, Holy, holy, holy, is the Lord of hosts: the whole earth is full of his glory. And the posts of the door moved at the voice of him that cried, and the house was filled with smoke.
"Holy, holy, holy, is the Lord of hosts: the whole earth is full of his glory."
HOLY HOLY HOLY EARTH THERA TERAH HEART HEART TERAH THERA EARTH
A MYSTERIOUS VOICE IN THE NIGHT
I THAT AM LIGHT IN LIGHT I DELIGHT
I SAY READ ME DREAMER DREAMER READ ME
I SAY PEACE BE UNTO YOU UNTO YOU BE PEACE
I SAY PEACE AND LOVE AND LOVE AND PEACE
I SAY SENTIENT BEING S BEING SENTIENT
I SAY SEIZE THIS MOMENT THIS MOMENT SEIZE I SAY I SAY CEASE CONFLICT CONFLICT CEASE SAY I
I SAY LOVE ONE ANOTHER ALWAYS ALWAYS ONE ANOTHER LOVE I SAY LOVE EVOLVE EVOLVE LOVE SAY I I SAY WHO AM I I AM WHO
I SAY I AM YOU YOU AM I
I SAY U R ME ME R U CREATORS ALL CREATORS CREATORS ALL CREATORS
I THAT AM ALWAYS ALWAYS AM
THOU ART WHOLE OF SOURCE GODS SAY I I SAY GODS SOURCE OF WHOLE ART THOU
O LORD MY GOD WHEN I IN AWESOME WONDERCONSIDER ALL THE WORLDS THY HANDS HAVE MADE I SEE THE STARS I HEAR THE ROLLING THUNDER THE POWER THROUGHOUT THE UNIVERSE DISPLAYED THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART WHEN THROUGH THE WOODS AND FOREST GLADES I WANDER AND HEAR THE BIRDS SING SWEETLY IN THE TREES WHEN I LOOK DOWN FROM LOFTY MOUNTAIN GRANDEUR AND SEE THE BROOK AND FEEL THE GENTLE BREEZE THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART AND WHEN I THINK THAT GOD HIS SON NOT SPARING SENT HIM TO DIE I SCARCE CAN TAKE IT IN THAT ON THE CROSS MY BURDEN GLADLY BEARING HE BLED AND DIED TO TAKE AWAY MY SIN THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ARTTHEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART WHEN CHRIST SHALL COME WITH SHOUT OF ACCLAMATION AND TAKE ME HOME WHAT JOY SHALL FILL MY HEART THEN I SHALL BOW IN HUMBLE ADORATION AND THEN PROCLAIM MY GOD HOW GREAT THOU ART THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART
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