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THE NUCLEAR FAMILY 1969
THE MAGICALALPHABET
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Thomas Mann. 1875 - 1955 "I tell them that if they will occupy themselves with the study of
Vedic Astrology and Numerology, ROHIT KR RAO www.rohitkrrao.com/numerology.html The history of numbers is as old as the recorded history of man. Numerology was in use in ancient Greece, Rome, Egypt, China and India and is to be found in ... What are the Numbers? The most familiar form of numbers are natural numbers 0, 1, 2, 3, 4 5, 6, 7, 8, 9.
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."
Page 250 "THERE IS NO ATTEMPT MADE 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 THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS" .... THE LIGHT IS RISING NOW RISING IS THE LIGHT
THE JOURNEY MAN 1977
THE JOURNEY MAN 1977
THE JOURNEY WOMAN 1978
THE JOURNEY WOMAN 1978 RN
SCULPTURE OF VIBRATIONS 1971
BIRTH OF THE HORUS
EHT NAMUH 1973
BY AND BY A BABY HAPPENED BY. 1973
NELSON MANDELA 1973
GLENN WILTSHIRE 1972
BALD HEADED BLIND MAN 1975
SISTERS IN WORSHIP 1976
YOU LOOK LIKE ME AND I LIKE YOU 1975
BEHOLD THE MAN IS1973
THE WEDDING 1974
SANS AMOUR SANS MAMAN SANS EVERYTHING 1975
EHT NAMUH 1977
THE STARING MAN 1973
SEND IN THE CLOWNS 1977
METAMORPHOSIS 1974
BIRTH OF AN IDEA 1975
GLENN WILTSHIRE 1976
RACIAL MEMORY 1975
AFRICAN NIGHTMARE SPECTRE OF FAMINE 1975
THE SHAPE OF THINGS TO COME 1972
MAN EATING HIS OWN EYES 1972
LA GRANDE PUPPUTEER 1978
THE BACCHUS 1974
VIETNAMESE MADONNA 1970
ASIAN EXODUS 1973
SPANDAY 1975
THE SUN BOAT OF RA. THE YEAR DOT
ADVENT ARCHIVE ADVENT
973-Eht-Namuh-973.com The Oracle Forum - Search
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
BrittanicExistentialism - Philosophy, Humanism, Existentialists | Britannica Arthur Koestler (born Sept. 5, 1905, Budapest, Hungary — was a Hungarian-born British novelist, journalist, and critic, best known for his novel Darkness at Noon (1940). Koestler took stock of his early life in the memoirs Arrow in the Blue (1952) and The Invisible Writing (1954). His later works were concerned with science, creativity, and mysticism. The Act of Creation (1964), perhaps the best-known book of his scientific and philosophical period, attempts to explain the processes underlying creativity in science and art. Other works of this period include The Lotus and the Robot (1960), an examination of Eastern mysticism; The Ghost in the Machine (1967), which discusses the effect of evolution on the structure of the human brain; and The Thirteenth Tribe (1976), a controversial study of the origins of the Jewish people. Bricks to Babel, a collection of his writings with new commentary by the author, appeared in 1981. Wikipedia Along the way he had lunch with Thomas Mann, got drunk with Dylan Thomas, made friends with George Orwell, flirted with Mary McCarthy and lived in Cyril Connolly 's London flat. In 1940 …
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wordpress.com April 20, 2012 · He also expressed his admiration for the early novels of Thomas Mann, and how much spiritual and intellectual comfort they gave hihim while imprisoned. Even before returning …Arthur Koestler, Thomas Mann, and Arthur Schopenhauer’s Essay … Global web icon Later life, 1956–1975 In early 1960, on his way back from a conference in San Francisco, Koestler interrupted his journey at the University of Michigan, Ann Arbor, where some experimental research was going on with hallucinogens. He tried psilocybin and had a "bad trip". Later, when he arrived at Harvard to see Timothy Leary, he experimented with more drugs, but was not enthusiastic about that experience either.[59] In November 1960, he was elected to a Fellowship of The Royal Society of Literature. In 1962, along with his agent, A D Peters and the editor of The Observer, David Astor, Koestler set up a scheme to encourage prison inmates to engage in arts activities and to reward their efforts. Koestler Arts supports over 7,000 entrants from UK prisons each year and awards prizes in fifty different artforms. In September each year, Koestler Arts run an exhibition at London's Southbank Centre. In the 1960s, writer Arthur Koestler (1905 –1983) decided to set up an annual scheme to award ‘creative work in the fields of literature, the arts or sciences by those physically confined’. There was almost no precedent for work by prisoners being judged and rewarded by prominent experts from outside the prison system, but the idea was welcomed by Home Secretary RA Butler as ‘an imaginative and exciting way to stimulate as far as possible, and in as many cases as possible, the mind and spirit of the prisoner.’ A steering committee was set up, chaired by Koestler’s literary agent AD Peters, and including the editor of The Observer David Astor. Koestler was reluctant to have the scheme named after him, but the committee insisted. When the first round of Koestler Awards took place in 1962, there were about 200 entries and the best visual winners were exhibited in the gallery at Foyle’s Bookshop. Koestler Arts exhibitions have continued since then and now include shows around the UK. The scheme expanded rapidly. Koestler initially paid for the prize money himself, but more funding was soon needed from other sources, and in 1969 the awards were formalised into a charitable trust. When Koestler died, he left £10,000 to the charity. On 1 May 2019 the Koestler Trust adopted a new working name, Koestler Arts, and a new strapline: ‘Unlock the talent inside’. We launched a new logo and branding designed by Playne Design. The charity’s registered name remains ‘the Koestler Trust’.
Arthur Koestler wife Cynthia Linda and Dave D at the Koestler Awards October 1977
David Denison and Linda with renowned author Arthur Koestler and his wife Cynthia, at the 1977 "Koestler Awards- London
Art UK
https://artuk.org › discover › artists › denison-david-b-... https://journals.sagepub.com › doi
Global web icon Level 1 Open Awards (RQF) Certificate in Skills for Further Learning and Employment. ... - … Videos of The Koestler Awards "David Denison" Prison Officer Award bing.com › videos
Koestler's book The Act of Creation was published in May 1964. In November he undertook a lecture tour of various universities in California. In 1965 he married Cynthia in New York;[60] they moved to California, where he participated in a series of seminars at the Center for Advanced Study in the Behavioral Sciences at Stanford University. Koestler spent most of 1966 and the early months of 1967 working on The Ghost in the Machine. In his article "Return Trip to Nirvana", published in 1967 in the Sunday Telegraph, Koestler wrote about the drug culture and his own experiences with hallucinogens. The article also challenged the conclusion about mescaline experience in Aldous Huxley's The Doors of Perception. In April 1968 Koestler was awarded the Sonning Prize "for [his] outstanding contribution to European culture". The Ghost in the Machine was published in August of same year and in the autumn he received an honorary doctorate from Queen's University, Kingston, Canada. In the later part of November the Koestlers flew to Australia for a number of television appearances and press interviews. The first half of the 1970s saw the publication of four more books by Koestler: The Case of the Midwife Toad (1971), The Roots of Coincidence and The Call-Girls (both 1972), and The Heel of Achilles: Essays 1968–1973 (1974). In the 1972 New Year Honours he was appointed a Commander of the Order of the British Empire (CBE).[61] Global web icon The Journal of a Prisoner of the Fascists in the Spanish Civil War'. Dialogue with Death is Koestler’s riveting account of the fall of Málaga to rebel forces, his surreal arrest, and his three months facing death from a prison cell. Despite the harrowing circumstances, Koestler manages to convey the stress of uncertainty, fear, and deprivation of human contact with the keen eye of a reporter. With a new Introduction by Louis Menand Global web icon Global web icon Final years, 1976–1983 Koestler and Cynthia killed themselves on the evening of 1 March 1983 at their London home, 8 Montpelier Square, with overdoses of the barbiturate Tuinal taken with alcohol.[72] Their bodies were discovered on the morning of 3 March, by which time they had been dead for 36 hours.[73][74] Koestler had stated more than once that he was afraid, not of being dead, but of the process of dying.[75] His suicide was not unexpected among his close friends. Shortly before his suicide his doctor had discovered a swelling in the groin which indicated a metastasis of the cancer.[76][77][78] Koestler's suicide note read:[79] To whom it may concern. The purpose of this note is to make it unmistakably clear that I intend to commit suicide by taking an overdose of drugs without the knowledge or aid of any other person. The drugs have been legally obtained and hoarded over a considerable period. Trying to commit suicide is a gamble the outcome of which will be known to the gambler only if the attempt fails, but not if it succeeds. Should this attempt fail and I survive it in a physically or mentally impaired state, in which I can no longer control what is done to me, or communicate my wishes, I hereby request that I be allowed to die in my own home and not be resuscitated or kept alive by artificial means. I further request that my wife, or a physician, or any friend present, should invoke habeas corpus against any attempt to remove me forcibly from my house to hospital. My reasons for deciding to put an end to my life are simple and compelling: Parkinson's disease and the slow-killing variety of leukaemia (CCI). I kept the latter a secret even from intimate friends to save them distress. After a more or less steady physical decline over the last years, the process has now reached an acute state with added complications which make it advisable to seek self-deliverance now, before I become incapable of making the necessary arrangements. I wish my friends to know that I am leaving their company in a peaceful frame of mind, with some timid hopes for a de-personalised after-life beyond due confines of space, time and matter and beyond the limits of our comprehension. This "oceanic feeling" has often sustained me at difficult moments, and does so now, while I am writing this. What makes it nevertheless hard to take this final step is the reflection of the pain it is bound to inflict on my surviving friends, above all my wife Cynthia. It is to her that I owe the relative peace and happiness that I enjoyed in the last period of my life – and never before.
Arthur Koestler (1905 - 1983) - Genealogy - Geni.com Sep 16, 2024 · The note was dated June 1982. Below it appeared the following: Since the above was written in June 1982, my wife decided that after thirty-four years of working together she … Global web icon The lives of Arthur Koestler (1905-1983) and Thomas Mann (1875-1955) intersected briefly in the summer of 1937 in Switzerland.
Arthur Koestler, Thomas Mann, and Arthur Schopenhauer’s Essay “On Death”: The Psychology of a Very Brief Encounter* Look! For if you did, you’d see -Sophocles, Oedipus Tyrranus lines 173-177(trans. Ahl, 2008) The lives of Arthur Koestler (1905-1983) and Thomas Mann (1875-1955) intersected briefly in the summer of 1937 in Switzerland. Earlier that year Koestler had been released from a Spanish prison where he awaited a death sentence for his known communist party affiliation and his work as a journalist for the British anti-Fascist News Chronicle. It was during that “death row” episode (see Koestler’s first account in his Dialogue with Death, 1937; 1961) that he reflected on the mathematical perfection of Prime Numbers (see on this MacAdam 2009). He also expressed his admiration for the early novels of Thomas Mann, and how much spiritual and intellectual comfort they gave him while imprisoned. Even before returning to London, he wrote to Mann. The most detailed account of this appears in the second volume of Koestler’s autobiography, The Invisible Writing (1954; 1969):
During the first three weeks of solitary confinement, before I was allowed books from the prison library, my only intellectual nourishment had been the remembrance of books read in the past. In the course of these memory exercises, a certain passage from Buddenbrooks came back to me and gave me much spiritual comfort–so much so that at times when I felt particularly dejected, I would have recourse to that scene as it were a pain-soothing pill. The content of the passage, as I remembered it, was this. Consul Thomas Buddenbrook, though only in his late forties, knows that he is about to die. He was never given to any religious or metaphysical speculation, but now he falls under the spell of a book [Arthur Schopenhaurer’s essay On Death, and its Relation to the Indestructibility of our Essential Selves, which appears in Vol. 2 (a supplement to Book 4) of The World as Will and Representation] which for years has stood unread in his library, and in which he finds explained that death is nothing final, merely a transition to another, impersonal form of existence in the All-One…
Dear Sir: Your letter arrived on May [23rd]. On the afternoon of that day I was sitting in my garden in Kuessnacht. I had read Schopenhauer’s essay [originally published in 1844 in the second volume of The World as Will] in 1897 or 1898, while I was writing Buddenbrooks, and I had never read it again as I did not want to weaken its original strong impact on me. On that afternoon, however, I felt a sudden impulse to re-read the essay after nearly forty years. I went indoors to my library to fetch the volume. At that moment the postman rang and brought me your letter ... (Koestler, 1969: 452-453).[Yours, etc. Thomas Mann]
SYNCHRONICITY 182 - 74 - 11 - 2 SYNCHRONICITY
LIBRARY ANGEL LIBRARY 85-40-4 LIBRARY ANGEL 39-21-3 ANGEL LIBRARY ANGEL = 124-61-7 = ANGEL LIBRARY
SYNCHRONICITY 182 - 74 - 11 - 2 SYNCHRONICITY
SERENDIPITY THE HAPPY ART OF CHANCE
In Koestler’s much later work, The Roots of Coincidence (1973), he again pays tribute to Schopenhauer through a long quotation from The World as Will. This includes Schopenhauer’s verbal image of “mapping” coincident events:
Coincidence is the simultaneous occurrence of causally unconnected events … If we visualize each causal chain progressing in time as a meridian on the globe, then we may represent simultaneous events by the parallel circles of latitude…” That both kinds of connection exist simultaneously, and the self-same event, although a link in two totally different chains, nevertheless falls into place, so that the fate of one individual invariably fits the fate of the other … this is something that surpasses our powers of comprehension, and can only be conceived as possible by virtue of the most wonderful pre-established harmony ... (Koestler, 1973: 107-108–italics mine).
Thus coincidence, for Schopenhauer, is the random “intersection” of persons and/or events on lines of longitude and latitude at a moment in time. With that as the context, and with an earlier reference to Schopenhauer’s influence on Freud and Jung, Koestler then summarizes his own thoughts on coincidence:
The classical theories of ESP proposed by Carington, Tyrrell, Hardy and others were variations on the same theme–a “psychic ether” or group-mind or collective unconscious, serving as a subterranean
pool which individual minds can tap, and through which they can communicate. The dominant concept is Unity in Diversity–all is One and One is all. It echoes through the writings of Christian mystics, and is the keynote in Buddhism and Taoism. It provides the parallels of latitude on Schopenhauer’s globe, and ties coincidence in the universal scheme of things. According to Jung, all divinatory practices, from looking at tea-leaves to the complicated oracular methods of the I-Ching, are based on the idea that random events are minor mysteries which can be read as pointers towards the one central mystery (Koestler, 1973: 108–on Carl Jung see the Nota Bene below). At that point, perhaps, Koestler has come full circle: he has combined the randomness of a coincident universe with the randomness of Prime Numbers–a mystery of unexplained perfection.
Arthur Koestler, Thomas Mann, and Arthur Schopenhauer’s Essay “On Death”: The Psychology of a Very Brief Encounter* Look! For if you did, you’d see -Sophocles, Oedipus Tyrranus lines 173-177(trans. Ahl, 2008) The lives of Arthur Koestler (1905-1983) and Thomas Mann (1875-1955) intersected briefly in the summer of 1937 in Switzerland. Earlier that year Koestler had been released from a Spanish prison where he awaited a death sentence for his known communist party affiliation and his work as a journalist for the British anti-Fascist News Chronicle. It was during that “death row” episode (see Koestler’s first account in his Dialogue with Death, 1937; 1961) that he reflected on the mathematical perfection of Prime Numbers (see on this MacAdam 2009). He also expressed his admiration for the early novels of Thomas Mann, and how much spiritual and intellectual comfort they gave him while imprisoned. Even before returning to London, he wrote to Mann. The most detailed account of this appears in the second volume of Koestler’s autobiography, The Invisible Writing (1954; 1969):
During the first three weeks of solitary confinement, before I was allowed books from the prison library, my only intellectual nourishment had been the remembrance of books read in the past. In the course of these memory exercises, a certain passage from Buddenbrooks came back to me and gave me much spiritual comfort–so much so that at times when I felt particularly dejected, I would have recourse to that scene as it were a pain-soothing pill. The content of the passage, as I remembered it, was this. Consul Thomas Buddenbrook, though only in his late forties, knows that he is about to die. He was never given to any religious or metaphysical speculation, but now he falls under the spell of a book [Arthur Schopenhaurer’s essay On Death, and its Relation to the Indestructibility of our Essential Selves, which appears in Vol. 2 (a supplement to Book 4) of The World as Will and Representation] which for years has stood unread in his library, and in which he finds explained that death is nothing final, merely a transition to another, impersonal form of existence in the All-One…
Dear Sir: Your letter arrived on May [23rd]. On the afternoon of that day I was sitting in my garden in Kuessnacht. I had read Schopenhauer’s essay [originally published in 1844 in the second volume of The World as Will] in 1897 or 1898, while I was writing Buddenbrooks, and I had never read it again as I did not want to weaken its original strong impact on me. On that afternoon, however, I felt a sudden impulse to re-read the essay after nearly forty years. I went indoors to my library to fetch the volume. At that moment the postman rang and brought me your letter ... (Koestler, 1969: 452-453).[Yours, etc. Thomas Mann]
Koestler’s letter to Mann, however, does still exist, and it allows us to correct a few dates and to grasp the sense of elation that Koestler felt shortly after his last-minute reprieve from the prison firing squad in Seville. That letter is reproduced in Christian Buckard’s Arthur Koestler: Ein Extremes Leben (2004). Strictu sensu this is not a biography of Koestler, but Buckard devoted three pages (140-143) to the Koestler-Mann episode described above. Koestler’s letter to Mann is in Mann’s archive. Buckard reproduced most of it (Koestler wrote it on 15 May) except (apparently) the greeting and an explicit reference to “On Death” (141-142). Buckard reproduces Mann’s diary entry recording his reception of Koestler’s letter on 23 May 1937 (142). I am grateful to Prof. Michael Scammell of Columbia University for bringing Buckard’s volume to my attention.
Koestler then goes on (in The Invisible Writing) to relate how his interview with Mann later that year (en route to an assignment to the Balkans for the News Chronicle) turned into a social disaster for which Koestler took a large share of the blame: “This was no doubt partly due to my paralysing timidity [there is an amusing reference in this recollection to the socially inept malapropisms of Frau Stöhr in The Magic Mountain] and gaucherie in the master’s presence; on the other hand Mann did nothing to put me at ease” (Koestler, 1969: 453-454). That allusion to Mann’s uneasiness regarding the media (even, in Koestler’s case, a German-speaking journalist) is hardly unique. In later years Mann was on several occasions impelled to write letters to the editors of journals (particularly the USA based Time magazine) to “explain” or “correct” certain statements he had made in the course of interviews. It may be instructive to note the parallel career of Mann’s cultural if not spiritual near-contemporary, German composer Walter Braunfels (1882-1950)–see a report on the revival of his 1920 opera Die Vögel (based on Aristophanes’ still relevant satiric comedy The Birds) in Tomassini (2009). What is worth noting here is Koestler’s ambivalent appraisal of Mann, someone he admired for the early novels (especially Buddenbrooks, noted above) and non-fiction but found fault with for his seemingly waffling attitude to German political developments before and after 1933, as well as his (Mann’s) later literary output during his prolonged political and cultural exile. This is nearly if not exactly the critique made of Koestler’s own oeuvre during his peregrinations (initially prompted by WW II) to the U.K., to Israel, to the U.S.A, to France, and eventually and permanently back to the UK (on that diaspora theme see Cesarani, 1998). Since Mann was still alive when this volume of Koestler’s autobiography was published [1954] it may be worth reproducing excerpts from his assessment of Mann’s influence on German (and European) literature of the 20th century. I do not know if Mann might have read this critique of his own career before his death in 1955, and none of the biographies of Mann which I’ve consulted offer any insight: Since that unhappy meeting, [i.e. between 1937- c.1953] I have re-read a substantial part of Thomas Mann’s early work. Much of it has lost its original impact on me, but it has retained its grandeur and subtlety, its poetic irony, its universal sweep and range. Most of his later work I find mannered to the point where it becomes unreadable. But Buddenbrooks and The Magic Mountain, the stories and essays (excluding the political essays), and indeed the major part of his work up to and including the last volume of Joseph [published in 1943; the fourth volume of a tetralogy] remain as a monument of the early twentieth century, and Germany’s most important single contribution to its [twentieth century?] culture. Thus personal disappointment did not diminish my admiration and gratitude for Mann’s work. It did seem to provide, however, an explanation for a certain aspect of Mann’s art which has always puzzled me: I mean the absence of human kindness. There has perhaps never been a great novelist so completely lacking the Dostoievskian touch of sympathy for the poor and humble. In Mann’s universe, charity is replaced by irony which is sometimes charitable, sometimes not; his attitude to his characters, even at its most sympathetic, has a mark of Olympian condescension … The only exception to this is Mann’s treatment of children and dogs; perhaps because here condescension, the gesture of bending down, is implicit in the situation. The title of his only story about dogs is, revealingly: Herr und Hund. which does not prevent it, however, from being a masterpiece (Koestler, 1954, republished 1969: 455-456).Koestler then moves on to criticism of Mann in political/ideological terms, an assessment not always noted by Mann biographers who didn’t live through the convoluted era of c. 1930-l945 or who do not see Koestler from the perspective of a committed communist who eventually lost faith and promoted leftist violence as the correct response to fascism (on this see Bance, 2002: 116). It is worth noting that Mann himself expressed such sentiments, although in a very muted way. In his diary entry for 2 March, 1954 Mann wrote that he hoped someone would assassinate U.S. Senator Joseph McCarthy and end the anti-communist witch hunt (which included an FBI file on Mann after he visited East Germany on several occasions) begun by that demagogue in 1949 (Reed, 2002:15). Koestler’s summary of Mann’s literary influence concludes with these thoughts:The result [of Mann’s philosophy through his publications] is a humanism without the cement of affection for the individual human brick, a grandiose, but unsound edifice which was never proof against the nasty gales and currents of the times. This may explain a series of episodes in Mann’s public career which were exploited by his opponents and embarrassed his admirers–such as his support of Prussian imperialism in the first World War; his hesitant and belated break with the Nazis; his silent endorsement of the new despotism in Eastern Germany [after 1949], and his acceptance of the Goethe Prize [also in 1949] from a régime which banned and burned the books of his compatriots and fellow-authors … … They do not affect Mann’s greatness as an artist, but they have defeated his claim to the cultural leadership of the German nation. It is impossible to be angry with Picasso for believing that Stalin was the greatest benefactor of mankind, for one feels that his error is the result of a naïve and warmhearted passion. But it is not so easy to forgive the moral faux pas of the ironically dispassionate Olympian (Koestler, 1969: 456). There is a distinct psychological dimension to the brief encounter of Koestler and Mann. It may be due in part to the fact that Schopenhauer’s nearly two-century long reputation rests as much on his psychological insights as it does on his philosophical or spiritual convictions. Puzzling to me is Koestler’s lack of comment on Mann’s extraordinary novel Death in Venice (1912) and its haunting depiction of the acceptance of death as a consequence of obsessional desire. In the classical world the Greek concept of Tychê and the Roman concept of Fatum (loosely translated as “Luck” and “Destiny” respectively) were compared and contrasted (especially by the Stoics) to determine if possible which played a greater role in human affairs. Perhaps the best illustration of that disturbing, dramatic, psychological tension is the very different treatment of the “two faces” of Oedipus Tyrannus/Rex in Greek (Sophocles) and Roman (Seneca) stage tragedy–on this see most recently Ahl (2008). Koestler and Mann also appreciated that same dynamic “fate” and/or “fortune” tension in the human psyche, but for them expressed more directly by Schopenhauer than by Sophocles. It is to Koestler’s credit that he could subject Mann to equal portions of criticism and praise. Certainly he appreciated, as did Mann, the role of coincidence not just in general, but as an active aspect of how they met each other. SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME In Koestler’s much later work, The Roots of Coincidence (1973), he again pays tribute to Schopenhauer through a long quotation from The World as Will. This includes Schopenhauer’s verbal image of “mapping” coincident events:
Coincidence is the simultaneous occurrence of causally unconnected events … If we visualize each causal chain progressing in time as a meridian on the globe, then we may represent simultaneous events by the parallel circles of latitude…” That both kinds of connection exist simultaneously, and the self-same event, although a link in two totally different chains, nevertheless falls into place, so that the fate of one individual invariably fits the fate of the other … this is something that surpasses our powers of comprehension, and can only be conceived as possible by virtue of the most wonderful pre-established harmony ... (Koestler, 1973: 107-108–italics mine).
Thus coincidence, for Schopenhauer, is the random “intersection” of persons and/or events on lines of longitude and latitude at a moment in time. With that as the context, and with an earlier reference to Schopenhauer’s influence on Freud and Jung, Koestler then summarizes his own thoughts on coincidence:
The classical theories of ESP proposed by Carington, Tyrrell, Hardy and others were variations on the same theme–a “psychic ether” or group-mind or collective unconscious, serving as a subterranean
pool which individual minds can tap, and through which they can communicate. The dominant concept is Unity in Diversity–all is One and One is all. It echoes through the writings of Christian mystics, and is the keynote in Buddhism and Taoism. It provides the parallels of latitude on Schopenhauer’s globe, and ties coincidence in the universal scheme of things. According to Jung, all divinatory practices, from looking at tea-leaves to the complicated oracular methods of the I-Ching, are based on the idea that random events are minor mysteries which can be read as pointers towards the one central mystery (Koestler, 1973: 108–on Carl Jung see the Nota Bene below). At that point, perhaps, Koestler has come full circle: he has combined the randomness of a coincident universe with the randomness of Prime Numbers–a mystery of unexplained perfection. Additional Notes: While this article was in press Michael Scammell’s definitive biography Koestler: The Literary and Political Odyssey of a Twentieth-Century Skeptic was published in December 2009 by Random House in the USA and by Faber & Faber in the UK. In it he not only refers to the Koestler-Mann interview in the summer of 1937 but translates most of the text of Koestler’s letter to Mann that Buckard (2004: 141-142) reproduced from among Mann’s archived correspondence. At the end of it Koestler summarized his reasons for writing to Mann at such a critical point in his (Koestler’s) career: Ich glaube, ich habe es Ihnen zu danken dass ich noch am Leben bin; zumindest, dass ich noch bei Verstand bin … Ich hätte es früher niemals für möglich gehalten, dass Kunst eine derartigen, drastischen Einfluss auf das Leben gewinnen kann (Buckard, 2004: 141). To put it baldly, I believe I have you to thank for the fact that I’m still alive, or, at least, that I still have my wits about me … I would never have thought it possible that art could exercise such a drastic influence on my life (Scammell, 2009: 142). As a coda I might add that Mann’s letter to Koestler may still exist. Many of Koestler’s typescript books and private papers were taken from his Paris apartment during raids by the anti-communist French police, the Deuxième Bureau, between the outbreak of WW II in September 1939 and the Nazi occupation of France the following spring. Koestler always believed that these losses were irretrievable. But in e-mail correspondence with Michael Scammell I learned that he saw some of this material in what had been the former KGB archives in Moscow during a visit there in 1994.The Nazis took to Berlin what they seized in Paris, and in turn the Soviets took the Nazi archives to Moscow after they occupied Berlin in the spring of 1945. Scammell was particularly eager to discover if the German original typescript of Darkness at Noon (translation by Daphne Hardy, published in 1941) was among Koestler’s effects, but found instead three original German typescripts of The Gladiators (translation by Edith Simon, published in 1939). Not realizing that all other copies of the German original of The Gladiators had either been lost or discarded, Scammell did not try to obtain a microfilm or photocopy. He did note that Koestler’s working title for the novel had been Der Sklavenkrieg (The Slave War–see Scammell, 2009: 164 and note #1) not, as I and others had assumed, Die Gladiatoren (see Burkard, 2004: 162). Scammell failed to find a copy of the German original of Darkness at Noon, a portion of which Koestler somehow recovered in the U.K. after WW II. Mann’s handwritten letter in reply to Koestler’s lengthy and philosophical missive of May, 1937 may be within the Koestler files in Moscow or in Paris if those files were repatriated to France since the fall of the Soviet Empire. Certainly Mann did not make a copy of it before posting the original to Koestler or it would be among the extensive correspondence collection in the Thomas Mann archive. I have tried to make contact with the Directorate of the Russian Federation State Military Archive regarding Koestler’s typescripts and personal papers, but so far to no avail. Prof. Scammell shared the above information with me via e-mails between late 2008 and mid-2009 (see Scammell, 1998 esp. p. 28 for his visit to the Moscow KGB and Comintern archives where he discovered a copy each of Koestler’s two letters of resignation from the German Communist Party).The irony is that after WW II both novels were back-translated into German, The Gladiators from the translation done by Edith Simon, and Darkness at Noon from the translation done by Daphne Hardy (who had fled from German-occupied Paris with Koestler in early 1940). My thanks to Prof. Scammell for his gracious assistance in this and several other matters during the preparation of this article. Grateful thanks also to Brent Shaw of Princeton University for making Buckard’s volume available and for patiently allowing me to expound on the subject of this essay in person over several lunches, and via e-mail correspondence. THE MAGIC MOUNTAIN
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 MOUNTING MISGIVINGS Page 147 Quoted in full Penguin Edition "other he mentally summoned up various people, the thought of whom might serve him as some sort of mental support.
BEHRENS 7 LETTERS CASTORP 7 LETTERS JOACHIM 7 LETTERS MARUSJA 7 LETTERS Page 147 containing seven lettered names of characters Page 147 Penguin edition 1979 contains 43 lines Joachim containing 7 letters x 10 Joachim's x1
HEBDOMAD = 52 = HEBDOMAD HEBDOMAD = 34 = HEBDOMAD HEBDOMAD = 7 = HEBDOMAD HEBDOMAD IS A TERM THAT REFERS TO A GROUP OF SEVEN
HEBDOMAD = 52 = HEBDOMAD HEBDOMAD = 34 = HEBDOMAD HEBDOMAD = 7 = HEBDOMAD
305 + 1 = 306 THE APOSTROPHE'S JOACHIM'S ? SEARCH 973- CASTORP ROOM 34 Microsoft Bing 08-12 am 25/03/2025 About 34,900 results Global web icon They were in natural colour, long, broad, and delightfully soft, and were to be sent at once to the Internationa Sanitorium Berg-hof, Room 34: Hans Castorp looked forward to using them that very afternoon..." ROOM = 61-25-7 34 3+4 = 7 THIRTY FOUR THIRTYFOUR = 160-61-7 = THIRTYFOUR 3+4 = 7
THE MAGIC MOUNTAIN Thomas Mann 1875 1955
The Magic Mountain by Thomas Mann Nov 5, 2024 · Joachim accompanied Hans Castorp to room 34, where they found that the limping concierge had properly delivered the new guest’s luggage; and they chatted for another fifteen minutes while Hans Castorp unpacked his … THIRTYFOUR = 160-61-7 = THIRTYFOUR 3+4 = 7 THE MAGIC MOUNTAIN
The International Sanatorium Berghof, a fictional sanatorium in the Swiss Alps
NOTA BENA The Magic Mountain by Thomas Mann Penguin Edition NAMES IN YELLOW MARKING 7 LETTRS The Magic Mountain Study Guide | Literature Guide Global web icon Kafka, tuberculosis & “Magic Mountain” | The New …
ELLY BRAND http://www.mysteriousplanchette.com/His ... tory1.html
THE MAGIC MOUNTAIN
THE MAGIC MOUNTAIN Thomas Mann 1875 1955 Page 711 "These were the moments when the "Seven-Sleeper," not knowing what had happened, was slowly stirring himself in the grass, before he sat up, rubbed his eyes - yes, let us carry the figure to the end, in order to do justice to the movement of our hero's mind: he drew up his legs, stood up, looked about him. He saw himself released, freed from enchantment -not of his own motion; he was fain to confess, but by the operation of exterior powers' of whose activities his own liberation was a minor incident Indeed! Yet though his tiny destiny fainted to nothing in the face of the general, was there not some hint of a personal mercy and grace for him, a manifestation of divine goodness and justice? Would Life receive again her erring and " delicate " child-not by a cheap and easy slipping back to her arms, but sternly, solemnly, penentially - perhaps not even among the living, but only with three salvoes fired over the grave of him a sinner? Thus might he return. He sank on his knees, raising face and hands to a heaven that howsoever dark and sulphurous was no longer the gloomy grotto of his state of sin."
A 19th-century German votive painting of the Seven Sleepers. The writing says Bittet für uns Ihr hl. sieben Schläfer.
Page 10 https://simonpare.net › blog › seven-is-the-magic-number Feedback IN THE QUOTE USED ABOVE CLAWDIA IS MISSPELT AND SHOULD READ CLAVDIA
INFORMATION CONCERNING THE FREQUENT USE OF 7 SEVEN SEVENS NOTED IN THOMAS MANNS NOVEL THE MAGIC MOUNTAIN WAS ALSO IDENTIFIED MANY YEARS AGO WITHIN THIS WEB SITE 973-eht-namuh-973.com Registered 2000 - 08 - 14
How many times is seven mentioned in the bible
ADVENT ARCHIVE ADVENT
THE MAGIC MOUNTAINPost by hope » 17 Dec 2018 10:19 THE MAGIC MOUNTAIN THE MAGIC MOUNTAIN - 973-Eht-Namuh-973.com The Oracle Forum
99 NAMES OF GOD GOD OF NAMES 99 THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART
Followed by 444 - 973-Eht-Namuh-973.com The Oracle Forum MIND BORN SONS, THOSE PATENT PATIENT PATENTED PATTERN MAKERS MIND=4 BORN=4 SONS=4 THOSE=4 PATENT=4 PATIENT=4 PATENTED=4 PATTERN=4 MAKERS=4
REAL REALITY REVEALED I SAY I SAY I SAY HAVE I MENTIONED GODS DIVINE THOUGHT HAVE I MENTIONED THAT 9 9 9 9 9 9 9 9 9 9 9 9 4
REAL REALITY REVEALED
REAL REALITY REVEALED HAVE I MENTIONED GODS DIVINE THOUGHT HAVE I MENTIONED THAT
THE MAGIC MOUNTAIN A Novel by Thomas Mann
THE MAGIC MOUNTAIN Thomas Mann 1875-1955 Page 417 "I preach mathematics." "I tell them: that if they will occupy themselves with the study of mathematics they will find in it the best remedy against the lusts of the flesh. Lawyer Paravant was a bad case; he took my advice, he is now busy squaring the circle, and gets great relief. But most of them are too witless and lazy, God help them!"
PARADISE THE GARDEN OF EDEN PARADE EYES IN THE GARDEN OF NEED
SOLOMON SOL MOON
JERUSALEM JESUSALEM
JERU S ALEM JESU S ALEM
JERU-SALEM JESU-MALE JERU-SALEM
JERUSALEM JESUSALEM
JERU S ALEM JESU S ALEM
JERU-SALEM JESU-MALE JERU-SALEM
JERUSALEM JESUS MALE MALE JESUS JERUSALEM JERUSALEM JESUS MALE MALE JESUS JERUSALEM JESUS MALE JERUSALEM MALE JESUS JESUS MALE JERUSALEM MALE JESUS JESUS MALE JERUSALEM MALE JESUS JESUSMALE JERUSALEM JERUSALEM MALEJESUS
THE HOLY FAMILY
RE THE HOLY FAMILY
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? 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:..." Page 255 " In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context is understood, we have also to consider the amazing profusion of funerary texts that have come down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must follow. We recall a remark made by Giorgio de Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual story-tellers.6 In other words as long as a myth continues to be told true, it will also continue to transmit any higher message that may be concealed within its structure - even if neither the teller nor the hearer understands that message."
THE MAGIC MOUNTAIN
LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER
THE CITIZEN WAKEFIELD City of Wakefield Metropolitan District Council Issue 26 July/August 2006 THE PAPER FOR THE DISTRICT'S RESIDENTS Page 11 "WOW What's On in Wakefield District" "DIARY OF FORTHCOMING EVENTS"
RE LIGI ON LIGHT ON RE RE ON LIGHT RE LIGI ON
LOVE EVOLVE LOVE 9 9 9 9 9 9 9 9 LOVE EVOLVE LOVE
SERENDIPITY
Serendipity The Happy Art of Chance
Tony Penrose prior to visiting Farley Farm 1982
Roland Penrose, Linda and Dave D at Farley Farm August 1982
Sunday Times colour magazine July 1977
Roland Penrose Introduction DAVID DENISON In the darkest reaches of prehistoric caverns the hunter living in a world of fear and starvation found the refuge he needed for concentration and communication with his gods in paintings which were both realistic and symbolic. The cavern which has helped in the incubation of the work of David Denison has no more than an imaginary resemblance to the subterranean cathedrals of Altimira and Lascaux but even so his voluntary enclosure in the walls of Prisons has provic'eå him with the isolation necessary to the development of his fantasy. The terrors that have surrounded him for years are not the menacing howlings of famished wild beasts but rather the sullen angry voices of men hungry for their liberty. Denison has found unexpectedly in his choice of surroundincs, usually considered as hopelessly inappropriate for an artist, his own ladder of escape of which each rung is formed by the tension created by the crime and punishment that has been the cause of the assemblage of his companions. He sees in each one of them the ambiguities of Ivaman nature, the duality of existenoe no good 'Without evil, no evil without good - and being an Artist of sensibility and talent he is able to present to us images that portray the transmutations that occur before our eyes incessantly, visual proofs of the instability of the inner man. Denison paints with the conviction of an artist such as the Douenier Rousseaux, who has found his own way without the often dubious tutoring of art schools. His sense Of academic stendards in colour, form and composition has been cultivated through his own intelligence and hig burning desire to understand and follow in the path of the treat painters of imagery. Images to him are symbols that can convey hisdeepest thought and passion, inspired by the acute sympathy he has for those less fortunate around him. Painting with skill and meticulous precision he often chooses to condense and unite incongruous images into conglomerate beings. Each detail has its own character and is at the same time part of a larger entity which often is in turn an integral part of a dominating presence, each part being inseparably integrated into the painting as a whole. To enjoy Denison's work you should, having studied the picture as a whole, examine each detail to understand how its identity can change instantly, how perspectives take strange turns and architecture which at one moment is monumental may suddenly become a human face. This multiple imagery to me is much more than an amusing and ingenious display of talent. It exposes the ambiguities of life and the lack of certainty with which we can speak of reality. 'That Denison found stimulous in surrealism there is no doubt but with all the tempta— tions there can be to accept parrot-like a brilliant trend in art he has kept his individuality intact. This may be due partly to the thorough and sensi.tive way in which he has developed his own style and partly because of the isolation in which he has worked persistently but which in recent years has become miraculously alleviated by the presence and involvement of Linda, by whom he is now accompanied in his search to reveal to us the mysteries Of life, its miseries and its delights.
THE LIGHT IS RISING NOW RISING IS THE LIGHT
Fame for a Wakefield prison office is predicted by eminent figures in the art world. GEOFFREY WINTER talks to David Denison, above, whose surrrealist paintings are said to bear a touch of genius. ESCAPE INTO SURREALISM David Denison left a Wakefield secondary modern school at 15, served a three year apprenticeship as a gasfitter, joined the airforce for another 3 years, emerged without qualifications and joined the prison service 17 years ago. His earlier efforts when laid up with an ankle injury.sustained in the gym at RAF Cardington, were pencil drawings copied from photographs of Brigitte Bardot.and other movie stars. Without any formal art training he has come a long way since then. Already critics are linking his job as a prison officer with his talent as a painter His story will be a gift to future historians. He started painting imaginatively soon after entering the prison service at Wakefield Jail, and eight years later when posted to Pollington Borstal, the Governor (Mr Wood) saw and admired his work and sent him on two A level art courses and a teacherv training course all of which he passed. Around that time Denison's paintings were noticed by Sir Roland Penrose, then President of the Institute of Contemporary Art and an expert on Surreal art. He now has six of Denison's paintings in his private collection. Sir Roland has written the preface to the catalogue for the Denison exhibition at Bradfords Cartwright Gallery in May and June. He says "Denison paints with the conviction of an artist such as the Douanier Rousseau. who has found his own way without the sometimes dubious tutoring of art schools. "The cavern which has helped in the incubation of the work of David Denison has the imaginary resemblance to the subterranean cathedrals of Almitra and Lascaux but even so his voluntary enclosure in the walls of HM prisons has provided him with the isolation necessary to the development of his fantasy. "The terrors that have surrounds him for years are not the menacing howlings of famished wild beasts but rather the sullen angry voices of men hungry for their liberty. "Denison has found unexpectedly in his choice of surroundings usually considered as hopelessly inappropriate for an artist his own ladder of escape of which each rung is formed by the tension of the crime and punishment that has been the cause of the assemblage of his companions. In 1977, Lawrence Gowing, Slade Professor of Fine Art, paid this glowing tribute in an article on Denison: "He has learned an astonishing skill of a highly personal kind. He is a natural surrealist - a breed that is commnoner in England than in more rational countries, but is very rare even here. At 37, this remarkable painter is still little known, but Sir Roland Penrose reports that when Max Ernst (one of the world's foremost surrealist artists) came to England, it was Denison that he wanted to hear about." With that kind of unstinting praise from two of the most distinguished and knowledgeable men in the art world. It was suprising to find David Denison living in a home office-owned house on a prim little estate peopled by prison officers and their families on the outskirts of Wakefield. When he is not taking first aid classes and playing energetic games to keep in trim (As a prison officer you have to keep fit. He is painting for several hours most nights. Around the walls of his front room hang photographs of a few of his paintings. The original of one his "The Wandering Jew" valued at a £1,000 was aquired by the Elephant Trust (set up ( by the sale of the late Max Ernst celebrated picture (The Elephant Celebes), and hangs in the Brighton Museum and Art Gallery. Denison propped a screen on top of the gas fire and pulled the curtains and projected a source of coloured slides of his work, they were riviting, with the mesmerising quality that a stoat uses on a rabbit. At first sight, each image seems tortuous and tortured and has the sickening impact of a decaying corpse stumbled upon. The artist stepped from behind the projector and eagerly pointed out the subtleties which the cursory viewer would miss:... "Look see that . . . Under that eye is another face formed partly by that eye. . . do you see the deleanation of the nose. . . And there the figure of a baby has emerged. He would I imagine adopt a similar technique for teaching anatomy to his prison officer first aid pupils. but not perhaps with such marked enthusiaism. Double images trebled and quadrupled, splitting away from the whole and taking individual shape like spilled quicksilver. The pictures teemed with life, some of which the artist has created entirely unconsciously. The colour studies and a canvas on which he is now working ( a figure with a skull like head infested with baby rats) at once facinated disturbed and came near to horrifying. It is this disquieting characteristic about Denisons work which will prevent it from ever becoming popular. Not that you would expect to find any surrealist painting replacing the Tretchikoff above a fireplace, but a Denison is more nightmarish than most. His paintings have been compared with those of Francis Bacon and Dali. They reminded me of Bacon and Ronald Searle's cartoons, but certainly not of Dali. Denison is mining a rich seam of his own Would he ever leave the prison service and turn professional. He says he has reservations about boat burning and could never endager domestic responsibilities. One might expect that more recent and weightier testimonials from eminent art connoisseurs would have submerged Denisons memory of the first person to realise the importance of his work and encouraging him in it. But he has not forgotten his debt to Arthur Kitchen until his retirement, exhibition officer to Bradford Metropolitan Council where Mr Kitchen himself was exhibiting organiser for the Manor House Gallery Ilkley he gave an exhibition of Denison early work some 12 years ago. Mr Kitchen recalls "He was painting large heads but suddenly he began painting with a marvellous technique of absolute precision. That sudden jump amazed me, it has taken me twenty odd years to develop a little draughtmanship yet David Denison achieved it almost overnight. He has a touch of genius. I hope his inspiration wherever it comes from, will continue.
Hello hello hello! Dave Denison <davedenizen9@gmail.com> Dear Steve and DIv, thank you very much for your wonderfully evocative description and images of Farley farm and meeting Tony Penrose. It brought back colourful memories for me. Goodnight and Godbless Steve and Div.
From me to you guess who. Dave Denison <davedenizen9@gmail.com> to steven Steve and Davina please accept my apologies for my late reply. MICHAEL DENISON - 973-Eht-Namuh-973.com The Oracle Forum ADVENT WAKEFIELD htm (973-eht-namuh-973.com) DENIS MICHAEL DENISON Born 18th July 1937 Died July 5th 2024 REST IN PEACE MICHAEL DENISON - 973-Eht-Namuh-973.com The Oracle Forum In loving memory of Michael Denison much beloved of his family, dear brother to David and John, born 18th June 1937, Michael who after a short illness died in Pinderfields Hospital, Wakefield on 5th of July 2024. Rest in Peace. I hope you received my condolences card. Davina and I were very fond of Michael, a lovely kind man, and a great loss.
Re Lee Miller, I met her for the first time at Roland's house in South Kensington, and later several times at Farley Farm when I went to see Penrose. I also stayed on occasion with Tony Penrose, their son. Rene invited Danny to France. They became friends. Then lo and behold Rene and his 2 daughters came to England, to stay with Danny in Blackpool, where we all met up. Quote from an article by Ada Wilson. In terms of attention to detail and mastery of the traditional mediums though, he’s on a par with anyone you might care to name. In an excitable piece in the Sunday Times in June 1977, the art critic and Slade professor Lawrence Gowing came closest to capturing the essence of Dave’s work. "His imagination has a sardonic poetry of its own," he said. "His Study of a Head, for example, builds spectacles and dentures into the structure of the skull. Each eye-socket contains minutely glittering machinery like a watch. Denison is great on eyes. In another picture, a bushy insect likeness of himself sits down to make a meal of a pair of eyeballs. "A reflective painter will often discern something cannibal in the way an artist consumes his experience and himself, but here, the arched eyebrows and the clownlike red nose have the look of a Prime Minister of Mirth. The hilarity resides in the fantastic human mix - the very combination of ebullience and decrepitude that you can recognise in any pension queue. It is the living flesh of our time, shabbily facetious and libidinous, but decayed and dependent on spare parts. "In a year or two," Gowing concludes, "Denison will be famous and we shall wonder how we managed to neglect him." Another critic, John Hewitt, went further. "I believe this Wakefield prison officer and self-taught painter is probably the most brilliant artist produced in Yorkshire since David Hockney," he said. Amazein at www.973-eht-namuh-973.com From: The Star <thestar@thepolizzicollection.com>
THE NUCLEAR FAMNILY 1969
MOTHER AND BABY 1970
THE ANARCHISTS KITCHEN 1977
THE LAST SUPPER 1977
I THAT AM THE HE AS IN SHE THAT IS THEE
DAILY MAIL Wednesday, April 25, 2007 Front Page "THE NEW EARTH" "Does the discovery of a planet just like ours mean there IS life out there ?" Page 12/13 "FOUND; THE NEW EARTH" Michael Hanlon Science Editor Page 12 "A newly discovered planet is the most stunning evidence that life - just like us - might be out there" Page 13 "The Search for Extraterrestrial Intelligence Institute uses radio telescopes to try to pick up messages sent by alien civilisations." "Quite what would happen happen if we did receive a signal is unclear."
WHEN YOU WISH UPON A STAR
D 4 DAVID MAY 21, 1939
I AM DAVID Anne Holm 1963 Translated from the Danish by L. W. Kingsland Page 99 "........David........." "........David........." "........David........." "........David........." "........David........." "........David........."
CABINET OFFICE Civil Service PensionsForm P60 End Of Year Certificate Received 27, April 2007 D Denison 9 Windsor Road CAPITA HARTSHEAD "Paymaster (1836) Ltd no longer pays your pension and has passed all its records to Capita"
THE TIBETAN BOOK OF THE DEAD Or The After Death Experience on the Bardo Plane, according to Lama Kazi Dawa-Samdup's English Rendering Compiled and edited Edited by W. Y. Evans-Wentz 1960 Facing Preface To The Paperback Edition 'Thou shalt understand that it is a science most profitable, and passing all other sciences, for to learn to die. For a man to know that he shall die, that is common to all men; as much as there is no man that may ever live or he hath hope or trust thereof; but thou shalt find full few that have this calling to learn to die. . . . I shall give thee the mystery of this doctrine; the which shall profit thee greatly to the beginning of ghostly health, and to a stable fundament of all virtues. '- OrologiumSapientiae. 'Against his will he dieth that hath not learned to die. Learn to die and thou shalt learn to live, for there shall none learn to live that hath not learned to die.'-Toure of all Toures: and Teacheth a Man for to Die. The Book of the Craft of Dying (Comper's Edition). 'Whatever is here, that is there; what is there, the same is here. He who seeth here as different, meeteth death after death. Facing Preface to the Second Edition BONDAGE TO REBIRTH "As a man's desire is, so is his destiny. For as his desire is, so is his will; and as his will is, so is his deed; and as his deed is, so is his reward, whether good or bad. Brihadaranyaka Upanishad FREEDOM FROM REBIRTH 'He who lacketh discrimination, whose mind is unsteady and whose heart is impure, never reacheth the goal, but is born again and again. But he who hath discrimination, whose mind is steady and whose heart is pure, reacheth the goal, and having reached it is born no more.' Katha U panishad. Page xi SRI KRISHNA'S REMEMBERING 'Many lives Arjuna, you and I have lived. I remember them all but thou dost not.' Bhagavad Gita, iv, 5., iv, 5. Page xx "......... Denison........."
INCARNATION THE DEAD RETURN Daniel Easterman 1998 Page 99 "........David........." Page 3 "The old man's name was Dennison"
NEW TESTAMENT Pocket Testament League A gift from Mr A.Bird at a chance meeting on Wakefield's New Bridge Front cover is self signed Name "David Denison Aged 10 years" Back cover name and date inscribed by Mr A. Bird (Dennison is a misspelling) FOR GOD so loved the world that He gave His only begotten Son, that DAVID DENNISON who believeth in Him should not perish but have everlasting life. 10 - 5 - 50
THE PATH OF PTAH THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF
I ME YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART WITH ME
AND GOD FORMED HUMMANKIND OF THE DUST OF THE UNIVERSE AND BREATHED INTO THEIR NOSTRILS THE BREATH OF LIFE AND HUMANS BECAME LIVING SOULS 973AZAZAZAZAZAZAZAZAZZAZAZAZAZAZAZAZAZA973 ISISISISISISISISISISISIS919919919919ISISISISISISISISISISISIS 999181818181818181818AZAZAZAZAZAZAZAZAZAZAZ818181818181818181999 122333444455555666666777777788888888999999999888888887777777666666555554444333221 999999999AUMMANIPADMEHUMAUMMANIPADMEHUMAUMMANIPADMEHUM999999999 PERFECT DIVINE LOVE PUREST LIVING LIGHT THAT LIGHT LIVING PUREST LOVE DIVINE PERFECT
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
PROMISE THEE US PROMETHEUS
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER 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
Prometheus- Wikipedia, the free encyclopedia In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ... Prometheus From Wikipedia, the free encyclopedia This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation). In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2] The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules). In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4] In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818)
HEARKEN YE SAID A MYSTERIOUS VOICE IN THE NIGHT HEREIN A MESSAGE FROM THE OTHER SIDE OF THE OTHER SIDE LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
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 BALANCING ONE TWO THREE FOUR FIVE NINE EIGHT SEVEN SIX
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Page 32 5
THE BALANCING ONE TWO THREE FOUR FIVE NINE EIGHT SEVEN SIX 666 999
ALWAYS BALANCING IS THAT FIVE THAT FIVE IS BALANCING ALWAYS
ONE + TWO + THREE + FOUR = 208. 2+0+8 = 10 1+0 = 1 FIVE 5 FIVE THE BALANCING FIVE 5 FIVE SIX + SEVEN + EIGHT + NINE = 208. 2+0+8 = 10 1+0 = 1 1234 5 6789
ONE + TWO + THREE + FOUR = 208. 2+0+8 = 10 1+0 = 1 FIVE 5 FIVE SIX + SEVEN + EIGHT + NINE = 208. 2+0+8 = 10 1+0 = 1
MEASURE FOR MEASURE THE BALANCING V
V 5 1234 BALANCE 6789 5 V
V 5 ONE TWO THRE FOUR = 1 BALANCE 1 = SIX SEVEN EIGHT NINE 5 V
1234 5 6789 THE FULCRUM OF THE BALANCES IN THE NINE NUMBERS IS NUMBER 5
THE FULCRUM OF THE BALANCES IN THE 9 WORDS 1 = ONE TWO THREE FOUR (5FIVE5) SIX SEVEN EIGHT NINE = 1 IS FIVE IS
CIRCLE IS 50 IS IS 5 FIVE 5 IS
CIRCLE 50 CIRCLE CIRCLE 32 CIRCLE CIRCLE 5 CIRCLE
NUMBER = 534259 = 1 = 534259NUMBER NUMBER = 234559 NUMBER NUMBER = 534259 = 1 = 534259NUMBER
NUMBERS = 5342591 = 1 = 5342591NUMBERS NUMBERS = 1234559 = NUMBER NUMBERS = 5342591 = 1 = 5342591NUMBERS
Vedic Astrology and Numerology, ROHIT KR RAO www.rohitkrrao.com/numerology.html The history of numbers is as old as the recorded history of man. Numerology was in use in ancient Greece, Rome, Egypt, China and India and is to be found in ... What are the Numbers? The most familiar form of numbers are natural numbers 0, 1, 2, 3, 4 5, 6, 7, 8, 9. The numbers 1 to 9 can be called as unit numbers and the numbers from 10 onwards (up to 99) can be called as double-digit numbers which denotes the fusion of two numbers however these can still be reduced to unit numbers, eg; 24 (2+4=6) is reduced to 6. Then, there are Master Numbers such as 11, 22, 33, 44 and so on which are never reduced to a unit number as they carry their own intensified vibration and potency. Every number expresses its qualities in the form of strengths and challenges. Therefore, no number is good or bad, lucky or unlucky and auspicious or inauspicious as each and every number is equally necessary and important, and each gives strength to the next one and takes what it needs from the one before. Numbers have two aspects viz; exoteric or external and esoteric or inner. In a nut shell, every number possesses its own unique quality and power. Our ancient seers believed that numbers symbolize divinity and however our mathematicians believed that study of numbers can possibly reveal the principles of creation and laws of time & space. Numbers can be seen as fundamental in art, poetry, architecture, music, and so on. “The World is built upon the power of Numbers” ...Pythagoras – 6th century BC. What is Numerology? top The word Numerology comes from the Latin word "Numerus," which means number, and the Greek word "Logos," which means word, thought, and expression. Numerology, based upon the sacred science of numbers, is an advanced offshoot of the melodious rhythm of the mathematical precision that controls all creation. It influences every aspect of our life unconsciously or consciously whether we are aware of this or not. Numerology is the science and philosophy of numbers (1 to 9) where each numbers has its own strength, potential and challenge. The whole idea behind this is to know the hidden expression contained in these numbers so as to understand their relationship and progression in our numerology chart. This can help us in knowing the difficulties we may have experienced in the past or under present circumstances and then working towards doing some inner work in our life for bringing harmony, peace and joy. What is the origin and history of Numerology? The history of numbers is as old as the recorded history of man. Numerology was in use in ancient Greece, Rome, Egypt, China and India and is to be found in the ancient books of wisdom, such as the Hebrew Kabala. Most commonly used system for Numerology were developed by the Chaldeans, the Hindus, the Mayans, the Hebrews (Kabala), the Chinese (Book of Changes), and the work of Pythagoras, to name a few. The basic intent behind these systems originally was to understand the relationship between man and his god. 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 knowledge was passed down by word of mouth and a few manuscripts. The academic teaching rested on a foundation of Mathematics, Music and Astronomy. Much of Pythagoras' background in Egyptian philosophy and religion was based upon Number and Kabalistic principle. He postulated that the triangle was particularly important, as it was the first complete shape, and constituted a blueprint. Thus form is preceded by a blueprint, and each stage of this process is measured through numbers, hence nothing exists without numbers. Study.com https://stu pythagorean theorem 3 4 5 The 3 - 4 - 5 triangle rule states when the ratio 3 - 4 - 5is present as the side lengths of a triangle, the triangle is a right triangle. The 3 - 4 - 5 triangle satisfies the Pythagorean Theorem which states that the sum of the squares of the two smaller sides in a right triangle equals the square of the longest side.2 Jun 2022
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." Did Pythagoras Study Philosophy in Egypt? Tales of Times Forgotten Did Pythagoras study in Egypt? Notes on Pythagoras ( ??T?G???S ) California State University San Marcos https://public.csusm.edu › aitken_html › extranotes Pythagoras took the advice of Thales to heart and traveled to Egypt. He left as a young man, and spent a long time in Egypt (perhaps decades)... Pythagoras took the advice of Thales to heart and traveled to Egypt. He left as a young man, and spent a long time in Egypt (perhaps decades) learning the mathematics and ancient religious mysteries of the Egyptians. Later he was in Phoenicia (Syria) and Babylon where he also learned much about mathematics and religion. (Babylon was ruled by the Persians at the time, and Pythagoras was especially interested in the teachings of the Magi, the name for Persian priests in the Zoroastrian religion.
R U READING ME ? ONCE MORE AGAIN https://stu pythagorean theorem 3 4 5 The 3 - 4 - 5 triangle rule states when the ratio 3 - 4 - 5is present as the side lengths of a triangle, the triangle is a right triangle. The 3 - 4 - 5 triangle satisfies the Pythagorean Theorem which states that the sum of the squares of the two smaller sides in a right triangle equals the square of the longest side.2 Jun 2022 P=7 Y=7 T=2 H=8 A=1 G=7 O= 6 R=9 A =1 S=1 PYTHAGORAS THE MISSING NUMBERS IN THE NAME PYTHAGORAS ? 3 - 4 - 5 PYTHAGORAS THE MISSING NUMBERS IN THE NAME PYTHAGORAS ? 3 - 4 - 5
PYTHAGORAS THE MISSING NUMBERS IN THE NAME PYTHAGORAS ? 3 - 4 - 5
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."
THE NAME PYTHAGORAS 7728176911 PYTHAGORAS THE MISSING NUMBERS 3 4 5 THE NAME EUCLID 533394 EUCLID THE EVER PRESENT NUMBERS 3 4 5 - 9
CITY OF REVELATION John Michell 1972 Page 77 CHAPTER SEVEN 3168, The Perimeter of the Temple "If the numbers of the sacred principles, mentioned by St John in connection with the New Jerusalem, are obtained from the Greek text by the cabalistic method of gematria, it is found that they correspond to the dimensions of the city, set out in Fig 16. (Figure omitted) For example, the perimeter of a hexagon contained within the circle representing the earth, 7920 feet in diameter, measures 2376 feet, and 2376 is the number of (Greek text omitted), the twelve apostles of the Lamb (Revelation 21.14). 2376 x 2 feet is equal to 1746 MY, and 1745 = (Greek text omitted), the twelve apostles. The names of the apostles are said to be in the twelve foundations of the wall of the city. The wall is the circle of diameter 7920 feet and 14,400 cubits in circumference, and the foundations are the twelve corners of the double hexagon inscribed within it, fonowing the customary pattern of an astrological chart. The position of the twelve apostles in the scheme is thus clearly defined. Page 78 The perimeter of the temple is 3168, Lord Jesus Christ, when the temple is measured by the foot, the most sacred unit of ancient metrology. In terms of the megalithic yard (2.72 feet), however, the perimeter measures 1164, because 3168 feet = 1164 MY. Yet this makes no difference to the symbolic interpretation by gematria, for 1164 is the number of another name of Christ, (Greek text omitted) Son of God. As a geodetic or earth-measuring number, 3168 also demonstrates the antiquity and sacred origin of British metrology, for 31,680 ft. = 6 miles. 31,680 furlongs = 3960 miles = radius of the earth. 31,680 miles = perimeter of square containing the terrestrial sphere. 31,680 miles = circumference of circle drawn on the combined diameters of the earth and moon (10,080 miles) Other cosmological correspondences of 3168 are given on page 109. The Stonehenge sarsen circle with circumference of 316.8 feet 3168 in Plato's city
5040 = 1 x 2 x 3 x 4 x 5x 6 x 7 39,916,800 = 1 x 2 x 3 x 4 x 5x 6 x 7 x 8 x 9 x.10 x 11 5040, the radius of the circular city, is the product of the numbers1 - 7; 7920, the side of the square city, is the product of numbers 8 - 11. In each case the perimeter of the city is 31,680. In Plato's Republic is the famous, cryptic reference to the 'marriage number', which should be consulted by the guardians of the state in all matters relating to the seasonal union of male and female. There appear to be two numbers involved, adding up to a third, but the riddle is so obscure that no firm solution has been reached despite the vast literature on the subject. For various reasons the number 12,960,000 or 36002 is most commonly proposed, and this would seem appropriate, for 12,960 = 5040 + 7920. 12,960 therefore represents the union of square and circle, symbol of the sacred marriage, and the gematria is also appropriate, for 1296 = (Greek text omitted) Mary mother of Jesus. FIGURE 24 (Figure omitted) Plato's city divided into 5040 rings, Perimeter = 31,680, Areas: A + a = B + b = C + c = 31,680.
INCLUDE EUCLID INCLUDE
EUS USE USE EUS ODYSSEUS PERSEUS ZEUS THESEUS ORPHEUS PROMETHEUS EUS USE USE EUS 5+3+1 3+5+1 3+5+1 5+3+1
PERSEUS PURSUES
Need help with a greek word ww.usingenglish.com › ... › Pronunciation and Phonetics 1 post - 1 author - 21 Dec 2009 Hi I'm preparing a presentation over the winter break. My topic is "Eugenics" the origin of this word comes from the Greeks which is eus (good ... Hi
I'm preparing a presentation over the winter break. "Well Born" I just wanted to know if anyone knew how to pronounce each of these italicized/bolded words.
English Word Origins: PART THREE www.class.uidaho.edu/luschnig/EWO/part_three.htm 3rd-1st declension: -us, -eia, -u; -Çn, -ousa, -on. Rules for making Greek words conform to Latin orthographical and morphological conventions [i.e. rules of ...
Thera - 2.3 The Exodus explained www.riaanbooysen.com/thera?start=3 The Greek word for 'chariot' is harma ('arma'), and the Greek word eus simply means good. Harmaeus (Hermeus / Armais) therefore means something like "The ... Question for classically-educated forum members [Archive] - JREF Forum forums.randi.org › ... › General Topics › History, Literature, and the Arts 20 posts - 12 authors - 12 Aug 2003
Prometheus - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Prometheus Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his ... The ancients believed that the name Prometheus derived from the Greek pro (before) + manthano (learn) and the agent suffix -eus, thus meaning "Forethinker". Plato contrasts Prometheus with his dull-witted brother Epimetheus , "Afterthinker".
PERSEUS PURSUES
THE MAGIC MOUNTAIN Thomas Mann 1875-1955 Page 466 "Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."
DIEING THE DEATH THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF
THE TRUE CRUCIFIXION ON THE CROSS THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF
THE LIGHT IS RISING NOW RISING IS THE LIGHT
MAGIC IS AS MAGIC DOES MESSAGE READS TO THE ALL AND SUNDRY OF PLANET EARTH RA IN BOW GOOD WISHES LOVING THE LIGHT AND YOU R OF THE LIGHT DAVE D HEREIN THE I'M DENISON DIMENSION
PHOTO FAST EDDIE IN BOONS PUB WAKEFIELD YEARS AGO
I'M DENISON FROM THE I'M DENISON DIMENSION 1965 ITS ONLY OF LATE AS I SIT HERE ALONE AND REFLECT ON THE PASSAGE OF TIME THAT I FEEL THE AGING OF FLESH ON THE BONE THE GREYING OF HAIR AS A SIGN OF A DAY THAT IS LONG AND NOW NEARLY O'ER OF A NIGHT JUST ABOUT TO BEGIN OF THE WORKING IN MAN OF GODS HOLY LAW AND A TIME FOR THE PAYING OF SIN
WILL FOOT NE'R AGAIN SQUELSH SOFT ON WET GRASS NOR TEETH ON RIPE APPLE TO BITE SHALL I NEVER AGAIN DRINK BEER FROM A GLASS WENDING SLOW ON MY WAY FEELING TIGHT. AND WHAT OF THE FRIENDS TO LEAVE BEHIND THE ONES I'VE MET ON THE WAY I WONDER WELL DO YOU THINK THEY'LL MIND DO YOU THINK THEY'LL HAVE OUGHT TO SAY
NOW FEAR BESETS THIS ONCE PROUD HEART AND ICE IN THE MARROW I FEEL AT LAST SO IT SEEMS THE TIME COMES TO PART TIRED SOUL FROM THIS BODY TO STEAL
https://www.youtube.com/watch?v=p2KTbNWL1Ag
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