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THE NUCLEAR FAMILY 1969

 

PEOPLE OF THE ORACLE.

THANK YOU FOR YOUR CONTRIBUTIONS.

WITH RESPECT TO THE QUESTIONS RAISED, YOUR INTEREST IS MUCH APPRECIATED.

HERE AM I, ALIVE AND WELL, WORKING IN THE STARSHIP.

HEARKEN! A MYSTERIOUS VOICE IN THE NIGHT, I DELIGHT IN THE LIGHT IN THE LIGHT I DELIGHT.

D FOR DAVE IS THE SOLE MOTIVATING CREATIVE FORCE RESPONSIBLE FOR EXTERIORIZING AND MAINTAINING THE 973-EH-NAMUH--973 SITE IN IT'S ENTIRETY.AND POTENTIATES THE GREAT WORK DAY IN AND DAY OUT.

IMPORTANT TO UNDERSAND THAT EVERYTHING PRESENT ON THE SITE HAS BEEN GENERATED FOR AND ON BEHALF OF THE LIVING CREATOR CONSCIOUSNESS, VIA THAT SAME CALLING.

THE MAJORITY OF SYMBOLS, ANIMATIONS, AND TECHNICAL KNOW HOW COMMISIONED TO ORDER, LOCALLY FROM FRIENDS AND OTHER INTERESTED CONTACTS. ALL COSTS INCURRED BORN BY ME.

NEVERTHELESS, THIS WORK HAS RECEIVED IMMEASURABLE HELP FROM COUNTLESS SOURCES IN BOTH CONTENT, AND PRESENTATION OF MATERIAL

REGARDING THE EVER PRESENT TABLES, ALL WITHOUT EXCEPTION HAVE BEEN CREATED BY HAND IN THE FOLLOWING WAY. FIRSTLY, WRITTEN OUT BY ME MYSELF AND I, IN HUNDREDS OF NOTEBOOKS, ALONG WITH ANY OTHER RELEVANT INFORMATION, FROM WHATEVER SOURCE OBTAINED. THEN PAINSTAKINGLY TRANSFERRED INTO THE FORMAT NECESSARY TO PRESENT THEM AS SEEN ON THE INTERNET.

REGARDING THE COLOURED TEXT IN RED AND GOLD PATTERNS, THESE WERE MY RESPONSIBILITY. IN THE MAIN, THE GOLD DESIGNATED PATTERNS OF LETTERS BEING MARKED, SO THAT WHEN LETTERS ARE TRANSPOSED INTO NUMBER, AND INDIVIDUALLY ADDED TOGETHER WHEN MARKED IN GOLD DESIGNATE THE NUMBER 9 NINE 9

THE SITE IS MASSIVE IN CONTENT, AND YET, I AM CONSTANTLY INUNDATED WITH INFORMATION FROM THE OTHER SIDE OF THE OTHER SIDE IN CONSTANT FLOW, SO NOT ONLY NEW MATERIAL AWAITS ITS TIME, BUT ALSO MASSES OF INFORMATION ALREADY AWAKENED DEMANDING THEIR MOMENT. MUCH OF IT YEARS OLD.

FOR SOME TIME I WAS ABLE TO EMPLOY A LOCAL WOMAN FRIEND, DEAR WENDY HANSON,WHO WAS A GREAT HELP IN TRANSCRIBING MANY OF THE NOTE BOOKS AND OTHER MATERIAL ONTO THE SITE. SADLY THAT CAME TO AN END SOME YEARS AGO ON WENDYS DEATH.

A GREAT MANY NOTEBOOKS NOW LYING DORMANT, WITH EVERY TABLE RELIANT ON SELF HELP. I HAVE MADE ENQUIRIES IN THE PAST AS TO CREATING A PROGRAMME THAT WOULD FACILITATE THE LETTER INTO NUMBER TRANSPOSITION INTO TABLES AUTOMATICALLY. HOWEVER AFTER SEVERAL PROMISING RESPONSES, SOME OF WHICH EMANATED FROM ORACLE MEMBERS. NOTHING MATERIALISED. AS A CONSEQUENCE MY LIFE SENTENCE OF HARD LABOUR CONTINUES.

ALONGSIDE THIS, EVERYDAY IS SPENT WORKING ON OTHER GIFTS OF THE INNER MINDS I, THAT HAVE TO BE RECORDED AS AND WHEN.

I AM NOW AGED 85, AND NEVER AM I NOT ON CALL TO THE GREAT WORK.

IN 2010, MY DEAR FRIEND AND COUSIN ANDREW THE ESTEEMED REDBECKARRIVED BACK IN WAKEFIELD FROM HIS VARIOUS TRAVELS., HE , WHO HAS A GREAT INTEREST IN THE WORK AND WHO HAS MADE SUCH AN IMPORTANT CONTRIBUTION TO THE FUNCTIONING OF THE ORACLE FORUM. HE WHO FROM TIME TO TIME BLESSEDLY, AND KINDLY FACILITATING SUGGESTIONS AND POSTS I THINK APPROPRIATE TO BRING TO PUBLIC NOTICE. TIME WISE HIS HELP IS ABSOLUTELY INVALUABLE IN MY DAY TO DAY WORKING DAY.

AS NOTED PREVIOUSLY THE ILLUSTREOUS REDBECK ALSO KEEPS A WEATHER EYE ON THE ORACLE AND HIS GREAT AFFINITY AND WISE WHEREWITHAL ARE OF IMMENSE VALUE TO THE TASK IN HAND. OF WHICH EVERY MEMBER OF THE ORACLE FORUM BEARS RESPONSIBILITY.

IN THE EARLY 2000'S, ANOTHER LOCAL FRIEND ROB BELL TECHNICAL WIZARD, SENT FROM THE OTHER SIDE OF THE OTHER SIDE MADE HIMSELF AVAILABLE

AS A PRACTICAL RESOURCE OF IMMENSE EXPERTISE, ALWAYS READY TO HELP OUT WITH ANY COMPUTER OR SOFTWARE PROBLEMS THAT MAY ARISE.

YOU WILL KNOW THE OLD ADAGE, SO MUCH TO DO, SO LITTLE TIME.

THE TIME THAT IS COMING NOW IS.

THE HOURS OF HORUS HAS ARRIVED.

GLOBAL WARNING
GLOBAL WARMING.

THIS WORK IS THE R IIN EVOLUTION REVOLUTION, THE R IN ELEVATION REVELATION. IT IS THE PROVING OF GOD MIND, UNIVERSAL MIND, THE COSMIC CONCIOUSNESS OF LIFE AND OF THE HUMAN MIND.

RISE UP AND BE COUNTED DEAR PEOPLE.

IN A VERY REAL SENSE THIS IS NOT MY WORK IT IS THE WORK OF THE ALL AND SUNDRY OF PLANET EARTH.

LET THE GO DO GOOD GOD BE WITH YOU SAY I.

FROM DAVID DENISON. HEREIN THE I'M DENISON DIMENSION.

FURTHER INFORMATION.

THE SITE HAS BEEN WEAVING ITS WEB ON THE INTERNET SINCE THE YEAR 2000, ORIGINALLY THE EARLY HOSTING WAS SET UP BY THE SON OF TEACHER RICHARD SUTCLIFFE, WHO WAS ONE OF MY BROTHER MICHAEL'S CHESS PLAYING FRIENDS FROM WAKEFFIELD CHESS CLUB.

OTHER RESOURCES APPEARED AS IF BY MAGIC WILL INTENDED. RIGHT AT THE BIRTHING OF THE SITE, ANOTHER FRIEND FROM THE PUBLIC HOUSE FRATERNITY NAMED HOWARD A GIFTED TECHNICNICIAN AND ARTIST WHO HELPED ME FOR SOME MONTHS IN MY IGNORANCE OF TECHNICAL MATTERS TO PRESENT THE SITE IN ITS EARLY FORMAT AND COLOURS.

AGAIN, IN RESPONSE TO MY ORIGINAL IMAGE, 3 COLOURED DICE IMAGES, WERE EVOKED BY DAN WATKINS, AT NO COST, WHO ADDED BEAUTY AND POWER TO THE ONES NOW ON DISPLAY

2 MORE IMAGES OF DICE WERE COMMISSIONED FROM AN INTERESTED PARTY CALLED BLAKEY, AND FURTHER TO THIS, YET ANOTHER FRIEND ALSO A PAINTER MIKE BALL GAVE LIFE UNTO THE LETTERS AND IMAGE ANIMATIONS CONCEIVED. SOME OF HIS ARTISTIC WORK IS PRESENTED ON THE LETTER O, IN THE SITE GRAND GALLERY

THE 973WHITE-RABBITZ973 SISTER SITE, WAS SET UP LATER, AT NO COST BY MY GOOD FRIEND, JAMES WARDELL.

HURRAH FOR RAH.

THE REAL UNFOLDING IN WRITTEN FORM BEGAN REVEALING ITSELF IN 1995, THE ACTUAL BIRTHING MUCH EARLIER, AS IF BY MAGIC WILL INTENDED.

PRIOR TO THIS, WITHIN THIS CREATIVE ORDEAL CAME THE DYING OF THE DEATH, THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF.

I STARTED PAINTING IN 1963, UNBEKNOWN TO ME, I WAS PAINTING IMAGES FOR THE INTERNET BEFORE THERE WAS AN INTERNET

1958, NATIONA SERVICE, JOINED THE RAF FOR 3 YEARS.

1963 BEGAN 27 YEARS IN THE PRISON SERVICE

2 YEARS AS A DISCIPLINE OFFICER AND THE REST AS A MEDIC IN VARIOUS ESTABLISHMENTS, SPENDING SEVERAL YEARS TEACHING AT THE PRISON OFFICERS TRAINING SCHOOL WAKEFEIELD.

IN CLOSING,

DEAR FRIENDS, OMENS, COUNTRY MEN AND WOMEN.

YES! DAVE D IS STILL TREADING THE BOARDS.

 

 

 

THE STARSHIP

A Quick Tour of Mr D’s Starship (youtube.com)

 

 

 

THE JOURNEY MAN 1977

 

 

 

THE JOURNEY WOMAN 1977

 

 

 

 

11
THE ADVENT
-
-
-
3
THE
33
15
6
6
ADVENT
66
21
3
9
THE ADVENT
99
36
9
-
-
9+9
3+6
-
2
THE ADVENT
9
9
9

 

WISE WISDOM LOST AT SEA DROWNED IN A SEE OF KNOWLEDGE

 

 

 

 

...

 

 

 

AFRICAN NIGHTMARE SPECTRE OF FAMINE 1975

 

 

 

THE JOURNEYWOMAN 1977

 

 

 

THE JOURNEY MAN 1971

 

 

 

EHT NAMUH 1977

 

 

 

SCULPTURE OF VIBRATIONS 1971

 

 

 

FIRST CONTACT 1980

 

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."

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

2
IS
28
10
1
9
UNIVERSAL
121
40
4
4
MIND
40
22
4
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

9
UNIVERSAL
121
40
4
4
MIND
40
22
4
2
IS
28
10
1
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

E
=
5
-
2
EX
11
2
2
U
=
3
-
6
UMBRIS
82
28
1
E
=
5
-
2
ET
25
7
7
I
=
9
-
10
IMAGINIBUS
104
50
5
I
=
9
-
2
IN
23
14
5
V
=
4
-
9
VERITATEM
113
41
5
-
-
35
-
31
First Total
358
142
25
-
-
3+5
-
3+1
Add to Reduce
3+5+8
1+4+2
2+5
-
-
8
-
4
Second Total
16
7
7
-
-
-
-
-
Reduce to Deduce
1+6
-
-
-
-
8
-
4
Essence of Number
7
7
7

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
S
=
1
-
7
SHADOWS
89
26
8
A
=
1
-
3
AND
19
10
1
P
=
7
-
9
PHANTASMS
111
30
3
I
=
9
-
4
INTO
58
22
4
T
=
2
-
5
TRUTH
87
24
6
-
-
32
-
33
Add to Reduce
441
135
27
-
-
3+2
-
3+3
Reduce to Deduce
4+4+1
1+3+5
2+7
-
-
5
-
6
Essence of Number
9
9
9

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
18
First Total
189
90
18
1+8
Add to Reduce
1+8+9
9+0
1+8
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

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.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

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.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
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 - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320 or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"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 NOW RISING IS THE LIGHT

 

 

I
=
9
-
1
I
9
9
9
-
-
S
=
1
-
3
SEE
29
11
2
-
2
I
=
9
-
2
IT
29
11
2
-
2
A
=
1
-
3
ALL
25
7
7
-
7
N
=
5
-
3
NOW
52
16
7
-
7
S
=
1
-
4
SAID
33
15
6
-
6
T
=
2
-
3
THE
33
15
6
-
6
B
=
2
-
5
BLIND
41
23
5
-
-
M
=
4
-
3
MAN
28
10
1
-
-
-
-
34
4
27
First
279
117
45
4
30
-
-
3+4
-
2+7
Add
2+7+9
1+1+7
4+5
-
3+0
-
-
7
-
9
Second
18
9
9
-
3
-
-
-
-
-
Reduce
1+8
-
-
-
-
-
-
7
-
9
Essence
9
9
9
-
3

 

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
First Total
616
238
49
-
-
4+1
-
5+3
Add to Reduce
6+1+6
2+3+8
4+9
-
-
5
-
8
Second Total
13
13
13
-
-
-
-
-
Reduce to Deduce
1+3
1+3
1+3
-
-
5
-
8
Essence of Number
4
4
4

 

 

T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
T
=
2
-
4
THAT
49
13
4
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
C
=
3
-
14
COMPREHENSIBLE
144
72
9
T
=
2
-
2
TO
35
8
8
A
=
1
-
3
ANY
40
13
4
T
=
2
-
15
TECHNOLOGICALLY
161
71
8
A
=
1
-
2
ADVANCED
54
27
9
S
=
1
-
7
SOCIETY
96
33
6
I
=
9
-
2
IN
23
14
5
A
=
1
-
3
ANY
40
13
4
E
=
5
-
5
EPOCH
47
29
2
-
-
47
4
81
First Total
931
400
85
-
-
4+7
-
8+1
Add to Reduce
9+3+1
4+0+0
8+5
-
-
11
-
9
Second Total
13
4
13
-
-
1+5
-
-
Reduce to Deduce
1+3
-
1+3
-
-
2
-
9
Essence of Number
4
4
4

 

 

S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
First Total
598
238
58
-
-
4+9
-
5+7
Add to Reduce
5+9+8
2+3+8
5+8
-
-
13
-
12
Second Total
22
13
13
-
-
1+3
-
1+2
Reduce to Deduce
2+2
1+3
1+3
-
-
3
-
3
Essence of Number
4
4
4

 

 

A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
First Total
299
110
20
-
-
1+9
-
2+8
Add to Reduce
2+9+9
1+1+0
2+0
-
-
10
-
10
Second Total
20
2
2
-
-
1+0
-
1+0
Reduce to Deduce
2+0
-
-
-
-
1
-
1
Essence of Number
2
2
2

 

MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
-
616
238
49
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
C
=
3
-
4
THAT
144
72
9
T
=
2
-
5
WOULD
35
8
8
A
=
1
-
2
BE
40
13
4
T
=
2
-
14
COMPREHENSIBLE
161
71
8
A
=
1
-
2
TO
54
27
9
S
=
1
-
3
ANY
96
33
6
I
=
9
-
15
TECHNOLOGICALLY
23
14
5
A
=
1
-
2
ADVANCED
40
13
4
E
=
5
-
7
SOCIETY
48
29
2
T
=
2
-
2
IN
49
13
4
W
=
5
-
3
ANY
75
21
3
B
=
2
-
5
EPOCH
7
7
7
-
-
47
4
81
-
931
400
85
-
-
-
-
-
-
-
-
-
S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
-
598
238
58
-
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
-
299
110
20
-
-
-
-
-
-
-
-
-
-
-
156
-
219
First Total
2444
986
212
-
-
1+5+6
-
2+1+9
Add to Reduce
2+4+4+4
9+8+6
2+1+2
-
-
12
-
12
Second Total
14
23
5
-
-
1+2
-
1+2
Reduce to Deduce
1+4
2+3
-
-
-
3
-
3
Essence of Number
5
5
5

 

MATHEMATICS A LANGUAGE OF LETTER AND NUMBER

 

A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
6
LETTER
80
26
8
A
=
1
-
3
AND
19
10
1
N
=
5
-
6
NUMBER
73
28
1
S
-
19
4
26
First Total
261
108
18
-
-
1+9
-
2+6
Add to Reduce
2+6+1
1+0+8
1+8
-
-
10
-
8
Second Total
9
9
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
1
-
8
Essence of Number
9
9
9

 

 

11
THE ADVENT
-
-
-
3
THE
33
15
6
6
ADVENT
66
21
3
9
THE ADVENT
99
36
9
-
-
9+9
3+6
-
9
THE ADVENT
9
9
9

 

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
=
9
=
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

3
THE
33
15
6
7
ENGLISH
74
38
2
8
LANGUAGE
68
32
5
18
175
85
13
1+8
1+7+5
8+5
1+3
9
13
13
4
8
THIRTEEN
99
45
9

 

 

7
ENGLISH
74
38
2
8
LANGUAGE
68
32
5
15
First Total
142
79
7
1+5
Add to Reduce
1+4+2
7+9
-
6
Second Total
7
16
7
-
Reduce to Deduce
-
1+6
-
6
Essence of Number
7
7
7

 

 

T
=
2
-
3
THE
33
15
6
E
=
5
-
7
ENGLISH
74
47
2
A
=
1
-
8
ALPHABET
65
29
2
-
-
8
4
18
First Total
172
91
10
-
-
1+0
-
1+8
Add to Reduce
1+7+2
9+1
1+0
-
-
1
-
9
Second Total
10
10
1
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
1
-
9
Essence of Number
1
1
5

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
E
=
5
-
7
ENGLISH
74
47
2
-
-
-
-
-
-
-
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
4
-
6
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
-
-
15
-
3
-
33
15
15
-
-
-
-
12
-
18
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
4
5
6
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
4
-
6
7
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
4
-
6
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
4
-
6
-
-
9
S
=
1
9
1
S
19
10
1
-
1
-
-
4
-
6
-
-
-
H
=
8
10
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
-
-
38
-
7
-
74
47
38
-
-
-
-
28
-
42
-
-
-
A
=
1
11
1
A
1
1
1
-
1
-
-
4
-
6
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
4
-
6
-
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
4
-
6
7
-
-
H
=
8
14
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
A
=
1
15
1
A
1
1
1
-
1
-
-
4
-
6
-
-
-
B
=
2
16
1
B
2
2
2
-
-
2
-
4
-
6
-
-
-
E
=
5
17
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
4
-
6
-
-
-
29
-
8
-
65
29
29
-
-
-
-
32
-
48
-
-
-
-
-
-
-
-
-
-
-
-
-
3
6
6
4
20
6
14
24
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
2+0
-
1+4
2+4
-
E
=
5
-
7
ENGLISH
74
47
2
-
3
6
6
4
2
6
5
6
9
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
3
6
6
4
2
6
5
6
9
-
-
1+0
-
1+8
Add to Reduce
1+7+2
9+1
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Second Total
10
10
1
-
3
6
6
4
2
6
5
6
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Essence of Number
1
1
5
-
3
6
6
4
2
6
5
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
E
=
5
-
7
ENGLISH
74
47
2
-
-
-
-
-
-
-
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
4
-
6
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
4
5
6
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
4
-
6
7
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
4
-
6
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
4
-
6
-
-
9
S
=
1
9
1
S
19
10
1
-
1
-
-
4
-
6
-
-
-
H
=
8
10
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
A
=
1
11
1
A
1
1
1
-
1
-
-
4
-
6
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
4
-
6
-
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
4
-
6
7
-
-
H
=
8
14
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
A
=
1
15
1
A
1
1
1
-
1
-
-
4
-
6
-
-
-
B
=
2
16
1
B
2
2
2
-
-
2
-
4
-
6
-
-
-
E
=
5
17
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
4
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
3
6
6
4
20
6
14
24
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
2+0
-
1+4
2+4
-
E
=
5
-
7
ENGLISH
74
47
2
-
3
6
6
4
2
6
5
6
9
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
3
6
6
4
2
6
5
6
9
-
-
1+0
-
1+8
Add to Reduce
1+7+2
9+1
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Second Total
10
10
1
-
3
6
6
4
2
6
5
6
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Essence of Number
1
1
5
-
3
6
6
4
2
6
5
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
E
=
5
-
7
ENGLISH
74
47
2
-
-
-
-
-
-
-
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
9
1
S
19
10
1
-
1
-
-
4
-
6
-
-
-
A
=
1
11
1
A
1
1
1
-
1
-
-
4
-
6
-
-
-
A
=
1
15
1
A
1
1
1
-
1
-
-
4
-
6
-
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
4
-
6
-
-
-
B
=
2
16
1
B
2
2
2
-
-
2
-
4
-
6
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
4
-
6
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
4
-
6
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
4
-
6
-
-
-
E
=
5
3
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
4
5
6
-
-
-
E
=
5
17
1
E
5
5
5
-
-
-
-
4
5
6
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
4
-
6
7
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
4
-
6
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
H
=
8
10
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
H
=
8
14
1
H
8
8
8
-
-
-
-
4
-
6
-
8
-
I
=
9
8
1
I
9
9
9
-
-
-
-
4
-
6
-
-
9
-
-
-
-
-
-
-
-
-
-
3
6
6
4
20
6
14
24
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
2+0
-
1+4
2+4
-
E
=
5
-
7
ENGLISH
74
47
2
-
3
6
6
4
2
6
5
6
9
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
3
6
6
4
2
6
5
6
9
-
-
1+0
-
1+8
Add to Reduce
1+7+2
9+1
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Second Total
10
10
1
-
3
6
6
4
2
6
5
6
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Essence of Number
1
1
5
-
3
6
6
4
2
6
5
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
5
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
E
=
5
-
7
ENGLISH
74
47
2
-
-
-
-
-
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
5
7
8
9
S
=
1
9
1
S
19
10
1
-
1
-
-
-
-
-
-
A
=
1
11
1
A
1
1
1
-
1
-
-
-
-
-
-
A
=
1
15
1
A
1
1
1
-
1
-
-
-
-
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
-
B
=
2
16
1
B
2
2
2
-
-
2
-
-
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
-
-
-
-
E
=
5
3
1
E
5
5
5
-
-
-
-
5
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
5
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
5
-
-
-
E
=
5
17
1
E
5
5
5
-
-
-
-
5
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
7
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
-
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
8
-
H
=
8
10
1
H
8
8
8
-
-
-
-
-
-
8
-
H
=
8
14
1
H
8
8
8
-
-
-
-
-
-
8
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
3
6
6
20
14
24
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
2+0
1+4
2+4
-
E
=
5
-
7
ENGLISH
74
47
2
-
3
6
6
2
5
6
9
A
=
1
-
8
ALPHABET
65
29
2
-
-
-
-
-
-
-
-
-
-
8
4
18
First Total
172
91
10
-
3
6
6
2
5
6
9
-
-
1+0
-
1+8
Add to Reduce
1+7+2
9+1
1+0
-
-
-
-
-
-
-
-
-
-
1
-
9
Second Total
10
10
1
-
3
6
6
2
5
6
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
1
-
9
Essence of Number
1
1
5
-
3
6
6
2
5
6
9

 

 

S
=
1
-
6
SOPHIA
-
-
-
-
-
-
-
-
S+O+P+H
58
22
4
-
-
-
-
-
I
9
9
9
-
-
-
-
-
A
1
1
1
S
=
1
-
6
SOPHIA
68
32
14
-
-
-
-
-
-
6+8
3+2
1+4
S
=
1
-
6
SOPHIA
14
5
5
-
-
-
-
-
-
1+4
-
-
S
=
1
-
6
SOPHIA
5
5
5

 

 

-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
1
6
-
8
9
-
+
=
24
2+4
=
6
=
6
-
-
19
15
-
8
9
-
+
=
51
5+1
=
6
=
6
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
-
-
7
-
-
1
+
=
8
-
=
8
=
8
-
-
-
-
16
-
-
1
+
=
17
1+7
=
17
1+7
8
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
19
15
16
8
9
1
+
=
68
6+8
=
14
1+4
5
-
-
1
6
7
8
9
1
+
=
32
3+2
=
5
-
5
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
--
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
14
20
S
O
P
H
I
A
-
-
31
-
-
6
-
32
1+4
2+0
-
-
-
-
9
-
-
-
3+1
-
-
-
-
3+2
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5
-
-
1
6
7
8
9
1
-
-
-
-
-
-
-
-
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5

 

 

-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
1
6
-
8
9
-
+
=
24
2+4
=
6
=
6
-
-
19
15
-
8
9
-
+
=
51
5+1
=
6
=
6
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
-
-
7
-
-
1
+
=
8
-
=
8
=
8
-
-
-
-
16
-
-
1
+
=
17
1+7
=
17
1+7
8
-
20
S
O
P
H
I
A
-
-
-
-
-
--
-
-
-
-
19
15
16
8
9
1
+
=
68
6+8
=
14
1+4
5
-
-
1
6
7
8
9
1
+
=
32
3+2
=
5
-
5
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
14
20
S
O
P
H
I
A
-
-
31
-
-
6
-
32
1+4
2+0
-
-
-
-
9
-
-
-
3+1
-
-
-
-
3+2
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5
-
-
1
6
7
8
9
1
-
-
-
-
-
-
-
-
5
2
S
O
P
H
I
A
-
-
4
-
-
6
-
5

 

 

A
=
1
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
A
=
1
-
4
ATUM
55
10
10
-
-
-
-
-
-
5+5
1+0
1+0
A
=
1
-
4
ATUM
10
1
1
-
-
-
-
-
-
1+0
-
-
A
=
1
-
4
ATUM
1
1
1

 

 

-
6
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
-
1
2
3
4
+
=
10
1+0
=
1
-
1
-
6
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
-
1
2
3
4
+
=
10
1+0
=
1
-
1
-
6
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
-
1
2
3
4
+
=
10
1+0
=
1
-
1
-
6
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
9
-
-
-
-
-
-
-
9
NINE
9
-
-
-
35
6
A
T
U
M
-
-
10
-
-
4
-
10
3+5
-
1
2
3
4
-
-
1+0
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1+0
8
6
A
T
U
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-
1
-
-
4
-
2

 

 

THE HERMETICA

THE LOST WISDOM OF THE PHARAOHS

Timothy Freke & Peter Gandy

To the Memory of Giordano Bruno 1548 - 1600

Mundus Nihil Pulcherrimum

The World is a Beautiful Nothing

Page 23

"Although we have used the familiar term 'God' in the explanatory notes which accompany each chapter, we have avoided this term in the text itself. Instead we have used 'Atum - one of the ancient Egyptian names for the Supreme One God."

 

Page 45

The Being of Atum

"Atum is Primal Mind."

Page 45

The Being of Atum

Give me your whole awareness, and concentrate your thoughts, for Knowledge of Atum's Being requires deep insight, which comes only as a gift of grace.

It is like a plunging torrent of water whose swiftness outstrips any man who strives to follow it, leaving behind not only the hearer, but even the teacher himself.

To conceive of Atum is difficult.

To define him is impossible.

The imperfect and impermanent cannot easily apprehend the eternally perfected.

Atum is whole and conconstant.

In himself he is motionless, yet he is self-moving.

He is immaculate, incorruptible and ever-lasting.

He is the Supreme Absolute Reality. He is filled with ideas which are imperceptible to the senses, and with all-embracing Knowledge.

Atum is Primal Mind.

Page 46

He is too great to be called by the name 'Atum'. He is hidden, yet obvious everywhere.

His Being is known through thought alone, yet we see his form before our eyes.

He is bodiless, yet embodied in everything. There is nothing which he is not. He has no name, because all names are his name. He is the unity in all things, so we must know him by all names and call everything 'Atum'.

He is the root and source of all. Everything has a source, except this source itself, which springs from nothing.

Atum is complete like the number one, which remains itself whether multiplied or divided, and yet generates all numbers.

Atum is the Whole which contains everything. He is One, not two.

He is All, not many.

The All is not many separate things, but the Oneness that subsumes the parts.

The All and the One are identical.

You think that things are many when you view them as separate, but when you see they all hang on the One, /Page 47/ and flow from the One, you will realise they are united­linked together, and connected by a chain of Being from the highest to the lowest, all subject to the will of Atum.

The Cosmos is one as the sun is one, the moon is one and the Earth is one.

Do you think there are many Gods? That's absurd - God is one.

Atum alone is the Creator of all that is immortal, and all that is mutable.

If that seems incredible, just consider yourself. You see, speak, hear, touch, taste, walk, think and breathe.

It is not a different you who does these various things, but one being who does them all.

To understand how Atum makes all things, consider a farmer sowing seeds; here wheat - there barley,
now planting a vine - then an apple tree.

Just as the same man plants all these seeds, so Atum sows immortality in heaven and change on Earth.

Throughout the Cosmos he disseminates Life and movement­the two great elements that comprise Atum and his creation, and so everything that is.

Page 48

Atum is called 'Father' because he begets all things, and, from his example, the wise hold begetting children the most sacred pursuit of human life. Atum works with Nature, within the laws of Necessity, causing extinction and renewal, constantly creating creation to display his wisdom.

Yet, the things that the eye can see are mere phantoms and illusions.

Only those things invisible to the eye are real. Above all are the ideas of Beauty and Goodness.

Just as the eye cannot see the Being of Atum, so it cannot see these great ideas.

They are attributes of Atum alone, and are inseparable from him.

They are so perfectly without blemish that Atum himself is in love with them.

There is nothing which Atum lacks, so nothing that he desires.

There is nothing that Atum can lose, so nothing can cause him grief. Atum is everything.

Atum makes everything, and everything is a part of Atum.

Atum, therefore, makes himself.

This is Atum's glory - he is all-creative, and this creating is his very Being.

It is impossible for him ever to stop creating­for Atum can never cease to be.

Page 49

Atum is everywhere.

Mind cannot be enclosed, because everything exists within Mind.

Nothing is so quick and powerful.

Just look at your own experience. Imagine yourself in any foreign land, and quick as your intention you will be there!

Think of the ocean - and there you are.

You have not moved as things move, but you have travelled, nevertheless.

Fly up into the heavens - you won't need wings!

Nothing can obstruct you - not the burning heat of the sun, or the swirling planets.

Pass on to the limits of creation. Do you want to break out beyond the boundaries of the Cosmos?

For your mind, even that is possible.

Can you sense what power you possess? If you can do all this, then what about your Creator?

Try and understand that Atum is Mind.

This is how he contains the Cosmos. All things are thoughts which the Creator thinks."

 

 

A
=
1
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
A
=
1
-
4
ATUM
55
10
10
-
-
-
-
-
-
5+5
1+0
1+0
A
=
1
-
4
ATUM
10
1
1
-
-
-
-
-
-
1+0
-
-
A
=
1
-
4
ATUM
1
1
1

 

 

 

 

A
=
1
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
A
=
1
-
4
ATUM
55
10
10
-
-
-
-
-
-
5+5
1+0
1+0
A
=
1
-
4
ATUM
10
1
1
-
-
-
-
-
-
1+0
-
-
A
=
1
-
4
ATUM
1
1
1

 

 

-
6
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M
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-
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-
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20
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13
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4
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1+0
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1
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-
6
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6
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2
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-
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3
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3
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-
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-
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4
5
-
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-
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5
FIVE
5
-
-
-
6
-
-
-
-
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SIX
6
-
-
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7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
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8
EIGHT
8
-
-
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9
-
-
-
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9
NINE
9
-
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35
6
A
T
U
M
-
-
10
-
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4
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-
1
2
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4
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1+0
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6
A
T
U
M
-
-
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6
A
T
U
M
-
-
-
-
-
--
-
-
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1
20
21
13
+
=
55
5+5
=
10
1+0
1
-
1
2
3
4
+
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1+0
=
1
=
1
6
A
T
U
M
-
-
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A
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1
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1
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A
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2
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-
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3
-
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3
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1
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3
-
-
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4
-
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6
A
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U
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-
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10
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10
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1
2
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4
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A
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U
M
-
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-
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2

 

 

ATUM QUANTUM ATOM

QUANTUM

QUNATUM

ATUM

 

GOOGLE SEARCH AM 25/11/2011

ATUM.

About 4,780,000 results (0.23 seconds)

 

 

6
A
T
U
M
-
-
-
-
-
--
-
-
`-
1
20
21
13
+
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55
5+5
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-
1
2
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4
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1
6
A
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1
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1
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A
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3
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A
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ATUM RA
-
-
-
-
-
-
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
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20
2
2
-
-
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U
21
3
3
-
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13
4
4
R
=
9
-
2
RA
-
-
-
A
R
10
-
-
R
18
9
9
-
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1+0
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A
1
1
1
A
=
1
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6
ATUM RA
74
20
20
-
-
-
-
-
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7+4
2+0
2+0
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1
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ATUM RA
11
2
2
-
-
-
-
-
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1+1
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=
1
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6
ATUM RA
2
2
2

 

 

-
6
A
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R
A
-
-
-
-
-
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-
-
-
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1
20
21
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1
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74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
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6
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A
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-
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20
21
13
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74
7+4
=
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1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
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2
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6
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A
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-
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20
21
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1+1
2
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2
3
4
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9
1
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-
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-
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5
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6
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7
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7
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8
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-
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26
6
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-
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6
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10
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6
A
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-
R
A
-
-
-
-
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--
-
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1
20
21
13
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18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
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-
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-
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--
-
-
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1
20
21
13
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1
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74
7+4
=
11
1+1
2
-
1
2
3
4
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9
1
+
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20
2+0
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6
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--
-
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20
21
13
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74
7+4
=
11
1+1
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-
1
2
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9
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20
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=
2
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6
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-
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-
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-
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6
A
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19
-
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6
-
20
-
-
-
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9
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6
A
T
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M
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A
-
-
10
-
-
6
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2
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1
2
3
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1
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6
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A
-
-
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6
A
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U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
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=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-
-
-
-
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--
-
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1
20
21
13
18
1
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=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
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2
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6
A
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R
A
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-
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--
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1
20
21
13
18
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=
74
7+4
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11
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2
-
1
2
3
4
9
1
+
=
20
2+0
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2
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6
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-
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1
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2
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2
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x
1
=
2
-
-
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3
-
-
-
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3
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x
1
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3
-
-
-
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4
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4
occurs
x
1
=
4
-
-
-
-
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9
-
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9
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x
1
=
9
6
A
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U
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R
A
-
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19
-
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6
-
20
-
-
-
-
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6
A
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-
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10
-
-
6
-
2
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1
2
3
4
9
1
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-
1+0
-
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6
A
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R
A
-
-
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-
-
6
-
2

 

 

A
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A
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R
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A
1
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1
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18
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13
21
20
1
1
2
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4
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9
1
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T
A
1
-
-
-
-
-
1
-
1
-
-
-
-
-
1
-
2
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
3
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
A
T
U
M
-
R
A
-
A
R
-
M
U
T
A

 

 

-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
-
4
-
-
-
-
-
4
-
-
-
-
-
3
-
-
-
-
-
-
-
3
-
-
-
2
-
-
-
-
-
-
-
-
-
2
-
1
-
-
-
-
1
-
1
-
-
-
-
1
A
T
U
M
R
A
-
A
R
M
U
T
A
1
20
21
13
18
1
-
1
18
13
21
20
1
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A

 

 

-
-
-
4
-
4
-
-
-
-
-
3
-
-
-
3
-
-
-
2
-
-
-
-
-
2
-
1
-
-
-
-
-
-
-
1
A
T
U
M
-
M
U
T
A
1
20
21
13
-
13
21
20
1
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A

 

 

6
A
T
U
M
-
R
A
-
-
-
-
-
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
6
A
T
U
M
-
R
A
-
-
19
-
-
6
-
20
-
-
-
-
-
-
9
-
-
-
2+0
-
-
-
-
2+0
6
A
T
U
M
-
R
A
-
-
2
-
-
6
-
2
-
1
2
3
4
-
9
1
-
-
-
-
-
-
-
-
6
A
T
U
M
-
R
A
-
-
1
-
-
6
-
2

 

 

6
A
T
U
M
R
A
-
-
-
-
-
-
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
6
A
T
U
M
R
A
-
-
19
-
-
6
-
20
-
-
-
-
-
9
-
-
-
2+0
-
-
-
-
2+0
6
A
T
U
M
R
A
-
-
2
-
-
6
-
2
-
1
2
3
4
9
1
-
-
-
-
-
-
-
-
6
A
T
U
M
R
A
-
-
1
-
-
6
-
2

 

 

R
=
9
-
6
RE ATUM
-
-
-
-
-
-
-
2
RE
-
-
-
-
-
-
-
-
R
18
9
9
-
-
-
-
-
E
5
5
5
A
=
1
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
R
A
10
-
-
U
21
3
3
-
-
1+0
-
-
M
13
4
4
R
A
1
-
6
RE ATUM
60
24
24
-
-
-
-
-
-
6+0
2+4
2+4
R
A
1
-
6
RE ATUM
6
6
6
-
-
-
-
-
-
1+1
-
-
R
A
1
-
6
RE ATUM
6
6
6

 

 

-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
-
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
-
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
21
6
R
E
-
A
T
U
M
-
-
14
-
-
6
-
24
2+1
-
9
5
-
1
2
3
4
-
-
1+4
-
-
-
-
2+4
3
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6
-
-
9
5
-
1
2
3
4
-
-
-
-
-
-
-
-
3
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6

 

 

6
R
E
-
A
T
U
M
-
-
-
-
-
-
-
-
`-
18
-
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
-
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-
-
-
-
-
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-
-
-
-
-
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
6
R
E
-
A
T
U
M
-
-
14
-
-
6
-
24
-
9
5
-
1
2
3
4
-
-
1+4
-
-
-
-
2+4
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6
-
9
5
-
1
2
3
4
-
-
-
-
-
-
-
-
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6

 

 

C
=
3
-
7
CREATUM
-
-
-
-
-
-
-
-
C
3
3
3
-
-
-
-
-
R
18
9
9
-
-
-
-
-
E
5
5
5
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
C
=
3
-
7
CREATUM
90
27
27
-
-
-
-
-
-
9+0
2+7
2+7
C
=
3
-
7
CREATUM
9
9
9

 

 

-
7
C
R
E
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
3
9
5
1
20
21
13
+
=
90
9+0
=
9
=
9
-
-
3
18
5
1
2
3
4
+
=
27
2+7
=
9
=
9
-
7
C
R
E
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
3
9
5
1
20
21
13
+
=
90
9+0
=
9
=
9
-
-
3
18
5
1
2
3
4
+
=
27
2+7
=
9
=
9
-
7
C
R
E
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
3
18
5
1
20
21
13
+
=
90
9+0
=
9
=
9
-
-
3
9
5
1
2
3
4
+
=
27
2+7
=
9
=
9
-
7
C
R
E
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
3
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
21
7
C
R
E
A
T
U
M
-
-
24
-
-
7
-
27
2+1
-
-
9
-
-
-
-
-
-
-
2+4
-
-
-
-
2+7
3
7
C
R
E
A
T
U
M
-
-
6
-
-
7
-
9
-
-
3
9
5
1
2
3
4
-
-
-
-
-
-
-
-
3
7
C
R
E
A
T
U
M
-
-
6
-
-
7
-
9

 

 

7
C
R
E
A
T
U
M
-
-
-
-
-
--
-
-
`-
3
9
5
1
20
21
13
+
=
90
9+0
=
9
=
9
-
3
18
5
1
2
3
4
+
=
27
2+7
=
9
=
9
7
C
R
E
A
T
U
M
-
-
-
-
-
--
-
-
`-
3
9
5
1
20
21
13
+
=
90
9+0
=
9
=
9
-
3
18
5
1
2
3
4
+
=
27
2+7
=
9
=
9
7
C
R
E
A
T
U
M
-
-
-
-
-
--
-
-
`-
3
18
5
1
20
21
13
+
=
90
9+0
=
9
=
9
-
3
9
5
1
2
3
4
+
=
27
2+7
=
9
=
9
7
C
R
E
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
3
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
7
C
R
E
A
T
U
M
-
-
24
-
-
7
-
27
-
-
9
-
-
-
-
-
-
-
2+4
-
-
-
-
2+7
7
C
R
E
A
T
U
M
-
-
6
-
-
7
-
9
-
3
9
5
1
2
3
4
-
-
-
-
-
-
-
-
7
C
R
E
A
T
U
M
-
-
6
-
-
7
-
9

 

THE BLINDNESS BEYOND DREAMING

 

C
=
3
-
10
CONGENITAL
100
46
1
B
=
2
-
9
BLINDNESS
98
35
8
-
-
5
4
19
First Total
198
81
9
-
-
-
-
1+0
Add to Reduce
1+8+1
8+1
-
-
-
5
-
1
Second Total
9
9
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
7
-
3
THE
33
15
6
B
=
2
-
9
BLINDNESS
98
35
8
B
=
7
-
6
BEYOND
65
29
2
O
=
6
-
8
DREAMING
71
44
8
-
-
22
4
26
First Total
267
123
24
-
-
2+2
-
2+6
Add to Reduce
2+6+7
1+2+3
2+4
-
-
4
-
8
Second Total
15
6
6
-
-
-
-
-
Reduce to Deduce
1+5
-
-
-
-
4
-
8
Essence of Number
6
6
6

 

IN

THE COUNTRY OF THE MIND THE

ONE

I'D

MAN IS KING

 

 

C
=
3
-
10
CONGENITAL
100
46
1
B
=
2
-
9
BLINDNESS
98
35
8
-
-
5
4
19
First Total
198
81
9
-
-
-
-
1+0
Add to Reduce
1+8+1
8+1
-
-
-
5
-
1
Second Total
9
9
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
B
=
2
-
9
BLINDNESS
98
35
8
B
=
2
-
6
BEYOND
65
29
2
G
=
7
-
3
GOD
26
17
8
D
=
4
-
8
DREAMING
71
44
8
-
-
17
4
29
First Total
293
140
32
-
-
1+7
-
2+9
Add to Reduce
2+9+3
1+4+0
3+2
-
-
8
-
11
Second Total
14
5
5
-
-
-
-
1+1
Reduce to Deduce
1+4
-
-
-
-
8
-
2
Essence of Number
5
5
5

 

 

I
=
6
-
4
ISIS
56
20
2
L
=
6
-
5
LIGHT
56
29
2
W
=
8
-
5
WHITE
65
29
2
L
=
3
-
7
LUCIFER
74
38
2
F
=
3
-
4
FIRE
38
29
2

 

WHITE WITH E WITH WHITE

 

-
-
-
-
-
WHITE
-
-
-
W
=
5
-
4
WITH
60
24
6
E
=
5
-
1
E
5
5
5
-
-
4
4
5
WHITE
65
29
11
-
-
-
-
-
-
6+5
2+9
1+1
-
-
-
-
5
WHITE
11
11
2
-
-
-
-
-
-
1+1
1+1
-
-
-
-
-
5
WHITE
2
2
2

 

BLACK B LACK OF LIGHT B

 

 

I

ME

LIVING

MAGNETISM

POSITIVE + NEGATIVE

ISISIS MAAT IS IS MAAT ISISIS

I AM THAT EYE THAT EYE THAT AM I

I AM DROWNING ALWAYS DROWNING AM I

HAIL THE JEWEL AT THE CENTRE OF THE LOTUS

1818 ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ 8181

ONE EIGHT THREE SIX 1836 ISISIS 6381 SIX THREE EIGHT ONE

X X X 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 X X X 9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 X X X

ABCDEFGHIJKLMNOPQRSTUVWXYZ 9 9 9 ZYXWVUTSRQPONMLKJIHGFEDCBA

ISISIS LOVE LOVE ISISIS ISISIS LIGHT 999 LOVE 999 LIGHT SISISI SISISI LOVE LOVE ISISIS

 

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
8
-
-
6
-
6
5
-
-
-
-
6
-
-
8
-
-
-
-
-
6
-
-
-
-
9
-
-
-
1
9
6
-
1
-
-
-
5
-
-
9
-
8
-
-
5
9
5
-
112
26
-
-
15
-
15
14
-
-
-
-
15
-
-
8
-
-
-
-
-
15
-
-
-
-
9
-
-
-
19
9
24
-
19
-
-
-
14
-
-
9
-
8
-
-
14
9
14
-
256
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
5
9
-
-
-
-
5
-
2
5
-
-
2
-
9
5
5
-
6
-
3
9
-
6
-
4
5
-
-
-
-
-
-
5
4
5
-
-
5
-
7
-
2
-
-
-
-
5
113
-
5
18
-
-
-
-
5
-
20
23
-
-
20
-
18
5
5
-
6
-
21
18
-
6
-
22
5
-
-
-
-
-
-
5
22
5
-
-
5
-
7
-
20
-
-
-
-
5
266
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
26
5
18
15
-
15
14
5
-
20
23
15
-
20
8
18
5
5
-
6
15
21
18
-
6
9
22
5
-
19
9
24
-
19
5
22
5
14
-
5
9
7
8
20
-
14
9
14
5
522
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
225
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
5
5
-
-
-
-
5
5
-
-
-
6
-
6
-
-
-
-
--
6
-
-
-
-
-
-
-
6
6
-
-
-
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
-
9
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
45
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
5
5
-
-
-
-
5
4+5
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
-
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9

 

 

1
occurs
x
2
=
2
=
2
2
occurs
x
3
=
6
=
6
3
occurs
x
1
=
3
=
3
4
occurs
x
2
=
8
=
8
5
occurs
x
14
=
70
7+0
7
6
occurs
x
7
=
42
4+2
6
7
occurs
x
1
=
7
=
7
8
occurs
x
3
=
24
2+4
6
9
occurs
x
7
=
63
6+3
9
45
-
-
40
-
225
-
54
4+5
-
-
4+0
-
2+2+5
-
5+4
9
-
-
4
-
9
-
9

 

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

 

 

DAILY MAIL

Thursday, February 7,2008

By Laura Clark

Education Correspondent

"I think therefore I'm five"

PHILOSOPHY CLASSES FOR YOUNGSTERS

 

 

O
=
6
3
ONE
34
16
7
T
=
2
3
TWO
58
13
4
T
=
2
5
THREE
56
29
2
F
=
6
4
FOUR
60
24
6
F
+
6
4
FIVE
42
24
6
S
=
1
3
SIX
52
16
7
S
=
1
5
SEVEN
65
20
2
E
=
5
5
EIGHT
49
31
4
N
=
5
4
NINE
42
24
6
-
-
39
36
-
458
197
44
-
-
3+9
3+6
-
4+5+8
1+9+7
4+4
-
-
12
9
-
17
17
8
-
-
1+2
-
-
-
-
-
-
-
3
9
-
8
8
8

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Page 32

5


To Sorcerers and Magicians number FIVEis the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.

 

 

THE

BALANCING

ONE TWO THREE FOUR

FIVE

NINE EIGHT SEVEN SIX

 

 

O
=
15
ONE
3
-
34
16
7
-
1
T
=
20
TWO
3
-
58
13
4
-
2
T
=
20
THREE
5
-
56
29
2
-
3
F
=
6
FOUR
4
-
60
24
6
-
4
-
-
61
Add
15
-
208
82
19
-
10
-
-
6+1
Reduce
-
-
2+0+8
8+2
1+9
-
1+0
-
-
7
Reduce
6
-
10
10
10
-
1
-
-
-
Deduce
-
-
1+0
1+0
1+0
-
-
-
-
7
Essence
6
-
1
1
1
-
1

 

 

N
=
14
NINE
4
-
42
24
6
-
9
E
=
5
EIGHT
5
-
49
31
4
-
8
S
=
19
SEVEN
5
-
65
20
2
-
7
S
=
19
SIX
3
-
52
16
7
-
6
-
-
57
Add
17
-
208
91
19
-
30
-
-
5+7
Reduce
1+7
-
2+0+8
9+1
1+9
-
3+0
-
-
12
Reduce
8
-
10
10
10
-
3
-
-
1+2
Deduce
-
-
1+0
1+0
1+0
-
-
-
-
3
Essence
8
-
1
1
1
-
3

 

 

4
FIVE
42
24
6

 

1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

15
ONE TWO THREE FOUR
208
82
1
4
FIVE
42
24
6
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

3
ONE
34
16
7
-
3
SIX
52
16
7
3
TWO
58
13
4
-
5
SEVEN
65
20
2
5
THREE
56
29
2
-
5
EIGHT
49
31
4
4
FOUR
60
24
6
-
4
NINE
42
24
6
15
Add
208
82
19
-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
-
1+7
Reduce
2+0+8
9+1
1+9
6
Reduce
10
10
10
-
8
Reduce
10
10
10
-
Deduce
1+0
1+0
1+0
-
-
Deduce
1+0
1+0
1+0
6
Essence
1
1
1
-
8
Essence
1
1
1

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

5

FIVE

5

ONE + TWO + THREE + FOUR = 208 = SIX + SEVEN + EIGHT + NINE

5

FIVE

5

NINE + EIGHT + SEVEN + SIX = 1 = FOUR + THREE + TWO + ONE

5

FIVE

5

 

 

MAGICIANS OF THE GODS

Graham Hancock 2016

Page 425

Chapter 19

The Next Lost Civilization?

Page 425

More than two thousand flood myths that have come down to us from the remote past are eerily consistent on many points, and on one in particular: the cataclysm was not a random accident, we are told; we brought it upon ourselves by our own behaviour.

Our arrogance and our cruelty towards one another, our noise and strife and the wickedness of our hearts, angered the gods. We ceased to nurture spirit. We ceased to love and tend the earth and no longer regarded the universe with reverent awe and wonder. Dazzled by our own success, we forgot how to carry our prosperity with moderation.

So it was, Plato tells us, with the once generous and good citizens of Atlantis, who in former times possessed 'a certain greatness of mind, and treated the vagaries of fortune and one another with wisdom and forbearance', but who became swollen with overweening pride in their own achievements and fell into crass materialism, greed and violence:

To the perceptive eye the depth of their degeneration was clear enough, but to those whose judgement of true happiness is defective they seemed, in their pursuit of unbridled ambition and power, to be at the height of their fame and fortune.'

If ever a society could be said to meet all the mythological criteria of the next lost civilization - a society that ticks all the boxes - is it not obvious that it is our own? Our pollution and neglect of the majestic garden of the earth, our rape of its resources, our abuse of the oceans and the rainforests, our fear, hatred and suspicion of one another multiplied by a hundred bitter regional and sectarian conflicts, our /Page 426/ consistent track record of standing by and doing nothing while millions suffer, our ignorant, narrow-minded racism, our exclusivist religions, our forgetfulness that we are all brothers and sisters, our bellicose chauvinism, the dreadful cruelties that we indulge in, in the name of nation, or faith, or simple greed, our obsessive, competitive, ego-driven production and consumption of material goods and the growing conviction of many, fuelled by the triumphs of materialist science, that matter is all there is - that there is no such thing as spirit, that we are just accidents of chemistry and biology - all these things, and many more, in mythological terms at least, do not look good for us.

Meanwhile, we have made ourselves the possessors of a technology so advanced that it seems almost like magic, even while we use it constantly in our daily lives. Computer science, the internet, aviation, television, telecommunications, space exploration, genetic engineering, nuclear weapons, nanotechnology, transplant surgery . . . The list goes on and on, yet very few of us are able to understand how more than a tiny fraction of it works, and as it proliferates the human spirit withers and we engage in 'all manner of reckless crimes, wars and robberies and frauds, and all things hostile to the nature of the soul :2

Suppose for a moment that a cataclysm besets us, a cataclysm so vast that our complex, networked, highly specialised technological civilization collapses - collapses utterly beyond any hope of redemption. If such a scenario were to unfold it is likely that the meekest and most marginalised of the peoples who inhabit our world today - the hunter-gatherers of the Amazon jungle and the Kalahari desert, for example, who are used to making do with very little and whose survival skills are exemplary - would be the very ones most likely to make it through and therefore carry on the story of humanity in post-cataclysmic times.

How would their descendants remember us a thousand or ten thousand years from now? How, for example, might something that we regard as routine, like our ability to receive 24-hour rolling television news and hear sound and view images from all parts of the world, and even from outer space, be recollected in myth and tradition? Might it not be said wonderingly of us, as it was of 'the Forefathers' recalled in the Popol Vuh, the sacred book of the ancient Quiche Maya:

Page 427

They were endowed with intelligence; they saw and instantly they could see far, they succeeded in seeing, they succeeded in knowing all that there is in the world. When they looked, instantly they saw all around them, and they contemplated in turn the arch of heaven and the round face of the earth. The things hidden in the distance they saw all without first having to move; at once they saw the world, and so, too, from where they were, they saw it. Great was their wisdom; their sight reached to the forests, the lakes, the seas, the mountains and the valleys.3

Yet, in common with so many other memories that seem to hark back to an advanced lost civilization of prehistoric antiquity, we learn that in due course the 'Forefathers' became arrogant and proud and overstepped their bounds so that the gods asked: 'Must they perchance be the equals of ourselves, their Makers? Let us check a little their desires, because it is not well what we see.'4 Punishment swiftly followed:

The Heart of Heaven blew mist into their eyes, which clouded their sight as when a mirror is breathed on. Their eyes were covered and they could see only what was close, only that was clear to them. In this way all the wisdom and all the knowledge of [the Forefathers] were destroyed.3

It is interesting to note the mechanisms used by the gods to keep our ancestors in their place, as described in the Popol Vuh:

A flood was brought about by the Heart of Heaven . . . A heavy resin fell from the sky . . . The face of the earth was darkened and a black rain began to fall by day and by night . . .6 The faces of the sun and the moon were covered . .7 There was much hail, black rain and mist and indescribable cold . . .8
All these phenomena very accurately reflect the complex nature of the cataclysm that afflicted the earth 12,800 years ago at the beginning of the Younger Dryas cold epoch when, as we saw from the mass of evidence presented in Part II, many scientists are now certain that the earth . . ." ?????????

 

 

-
ALL IS NUMBER
-
-
-
3
ALL
25
7
7
2
IS
28
10
1
6
NUMBER
73
28
1
11
ALL IS NUMBER
126
45
9
1+1
-
1+2+6
4+5
-
2
ALL IS NUMBER
9
9
9

 

 

THE CITY OF REVELATION

John Michell 1972

Gnostic Numbers 

Page 118

"Exactly how they came by their science of numbers is not certain, but they appear to have made the discovery that the numerical code of the Hebrew cabala and those of other mystical systems throughout the world were all degenerate versions of the same once universal system of knowledge that returns within the reach of human perception at certain intervals in time. As the revealed books of the Old Testament were written in a code to be interpreted by reference to number, so were the revelations of the gnostic prophets expressed in words and phrases formed on a system of proportion, which gave life and power to the Christian myth, while allowing initiates to gain a further understanding of the balance of forces that produce the world of phenomena."  

Page 121 / How it was ever supposed that the Hebrew alphabet of twenty- two letters, together with various geometrical symbols might serve to represent the entire moving pattern of the universe is not now easy to understand; but, since all ancient philosophy, religion, magic, the arts and sciences were based on the concept of a correspondence between numbers and cosmic law, it is impossible to appreciate the history of the past without some actual experience of the fundamental truth behind this approach to cosmology. Plato gives a remarkable account in Cratylos of the origin of language and letters. The philosopher is asked whether there is any particular significance in names, for surely they are simply a matter of convention and one is more or less as good as another. After all, foreigners call things by different names and appear to manage just as well as the Greeks in this respect. The answer given is that despite appearances the matter is by no means so simple. Words are the tools of expression, and the making of these, as of any other tools, is the task of a skilled craftsman, in this case the lawgiver. Language has grown corrupt over the ages, and names have deviated from their original perfect forms, which are those used by the gods. But all names were originally formed on certain principles, through knowledge of which it is possible to discover the archetypal meaning of words in current use. 'So perhaps the man who knows about names considers their value and is not confused if some letter is added, transposed or subtracted, or even if the force of the name is expressed in quite different letters.' This is Plato's clearest reference to the mystical science of the cabala, in which letters, words and whole phrases may be substituted for others of the same numerical value. The force of a name is to be found in its number, and can be expressed through any combination of letters, provided the sum of the letters amounts to the appropriate number by gematria.

 

1
I
9
9
9
3
SAY
45
9
9
7
DECODER
54
36
9
6
DECODE
36
27
9
4
CODE
27
18
9
-
-
-
-
-
-
-
-
-
-
5
CODED
31
22
4
5
CODES
46
19
1

 

 

-
CODE
--
-
-
2
C+O
18
9
9
2
D+E
9
9
9
-
DECODE
--
-
-
2
D+E
9
9
9
2
C+O
18
9
9
2
D+E
9
9
9
-
DECODER
--
-
-
2
D+E
9
9
9
2
C+O
18
9
9
2
D+E
9
9
9
1
R
18
9
9

 

CODE DE CODE

C+O D+E D+E C+O D+E

9+9+9+9+9

C+O D+E D+E C+O D+E

CODE DE CODE

 

10
CODE DE CODE
67
13
4
6
C+O
18
9
9
4
D+E
9
9
9
4
D+E
9
9
9
6
C+O
18
9
9
4
D+E
9
9
9
10
CODE DE CODE
63
36
36
1+0
-
6+3
3+6
3+6
1
CODE DE CODE
9
9
9

 

 

8
QUO VADIS
108
36
9
6
VOX POP
108
36
9
11
SORROW
108
36
9
8
INSTINCT
108
36
9
11
DESCENDANTS
108
36
9
8
STARTING
108
36
9
9
NARRATIVE
108
36
9
9
SEQUENCES
108
36
9
9
TANTALIZE
108
36
9
9
COMPLETES
108
36
9
9
AMBIGUOUS
108
36
9
7
JOURNEY
108
36
9

 

 

4
GODS
45
18
9
6
SPIRIT
91
37
1
4
ISIS
89
35
8
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
4
7
KRISHNA
80
35
3
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

 

4
GODS
=
9
45
18
9
6
SPIRIT
=
S9999
91
37
1
4
ISIS
=
9S9S
89
35
8
6
OSIRIS
=
OS999S
89
35
8
6
VISHNU
=
999U
93
30
3
5
SHIVA
=
99VA
59
59
4
7
KRISHNA
=
K999NA
80
35
3
7
SHRISTI
=
999ST9
102
39
3
5
RISHI
=
9999
63
36
9
4
ISHI
=
999
45
27
9
6
CHRIST
=
C999T
77
32
5

 

 

GNOSIS GODS SON IS

 

LETTERS AND NUMBERS AND NUMBERS AND LETTERS

 

4
GODS
=
9
45
18
9
6
SPIRIT
=
S9999
91
37
1
4
ISIS
=
9S9S
89
35
8
6
OSIRIS
=
OS999S
89
35
8
6
VISHNU
=
999U
93
30
3
5
SHIVA
=
99VA
59
59
4
7
KRISHNA
=
K999NA
80
35
3
7
SHRISTI
=
999ST9
102
39
3
5
RISHI
=
9999
63
36
9
4
ISHI
=
999
45
27
9
6
CHRIST
=
C999T
77
32
5
6
SAPTARSHI
=
9TA999
77
32
5

 


T
=
2
4
3
THE
33
15
6
C
=
3
-
8
CHRISTOS
111
39
3
4
=
5
4
11
Add to Reduce
144
54
9
-
=
-
-
1+1
Reduce to Deduce
1+6+2
9+0
-
-
=
5
-
2
Essence of Number
9
9
9

 

 

C HeRe IS The RISH

 

4
CHRIST
-
-
-
-
C
3
3
3
-
RISH
54
27
9
-
T
20
2
2
6
CHRIST
77
32
14
-
-
7+7
3+2
1+4
6
CHRIST
14
5
5

 


4
ISIS
56
20
2
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
5
7
KRISHNA
80
35
8
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

ISIS OSIRIS VISHNU SHIVA SHRI KRISHNA SHRISTI RISHI ISHI CHRIST

SING A SONG OF NINES OF NINES A SONG SING

 

-
SHRISTI
-
-
-
2
SH
27
18
9
1
R
18
9
9
1
I
9
9
9
2
ST
39
12
3
1
I
9
9
9
7
SHRISTI
102
32
14
-
-
7+7
3+2
1+4
7
SHRISTI
14
5
5

 

 

GOD IS PERFCECT

 

12
G
O
D
I
S
P
E
R
F
E
C
T
n
-
-
-
-
--
-
--
-
7
15
4
9
19
16
5
18
6
5
3
20
+
=
127
1+2+7
=
10
1+0
1
-
7
6
4
9
1
7
5
9
6
5
3
2
+
=
64
6+4
=
10
1+0
1
12
G
O
D
I
S
P
E
R
F
E
C
T
-
-
-
-
-
-
-
-
-
G
-
-
-
-
-
-
-
-
-
-
T
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
2
+
=
-
7+2
=
9
9
-
-
O
-
-
-
-
-
-
-
-
C
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
3
-
+
=
-
6+3
=
9
-
9
-
-
-
D
-
-
-
-
-
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
5
-
-
+
=
-
4+5
=
9
=
9
-
-
-
-
I
-
-
-
-
F
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
6
+
=
-
9+6
=
15
1+5
6
-
-
-
-
-
S
-
-
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
9
-
-
-
-
+
=
-
1+9
=
10
1+0
1
-
-
-
-
-
P
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
5
-
-
-
-
-
+
=
=
7+5
=
12
1+2
3

 

SIGNALS WHAT SIGNALS

 

 

7
SIGNALS
81
27
9
4
WHAT
52
16
7
7
SIGNALS
81
27
9

 

 

-
SIGNALS
-
-
-
1
S
19
10
1
1
I
9
9
9
1
G
7
7
7
3
NAL
27
9
9
1
S
19
10
1
7
SIGNALS
81
45
27
-
--
8+1
4+5
2+7
7
SIGNALS
9
9
9

 

HALO 8136 HALO

AHLO 1836 AHLO

 

E
=
5
-
8
EIGHTEEN
73
46
1
A
=
1
-
9
THIRTYSIX
152
53
8
-
-
9
4
17
First Total
225
99
9
-
-
-
-
1+7
Add to Reduce
2+2+5
9+9
-
Q
-
9
-
8
Second Total
9
18
9
-
-
-
-
1+7
Reduce to Deduce
-
1+8
-
Q
-
9
-
8
Essence of Number
9
9
9

 

A QUOTE = 183625 = QUOTE A

 

Quo Vadis. I fled by night and in the grey of dawn met on the lonely way a man I knew but could not name. He said “Good morning”, I the same ...
rtnl.org.uk/now_and_then/html/242.html

 

Quo Vadis
I fled by night and in the grey
of dawn met on the lonely way
a man I knew but could not name.
He said “Good morning”, I the same
and asked if he was going far.
He said “As far as Golgotha.”
And then I knew and the cock crew.

 

Quo vadis is a Latin phrase meaning "Where are you going?" It is used as a proverbial phrase from the Bible (John 13:36, 16:5). ...

en.wikipedia.org/wiki/Quo_Vadis -

 

 

-
QUO VADIS
-
-
-
1
Q
17
8
8
2
UO
36
9
9
3
VAD
27
9
9
1
I
9
9
9
1
S
19
1
1
8
QUO VADIS
108
36
36
-
-
1+0+8
3+6
3+6
8
QUO VADIS
9
9
9

 

 

-
QUO VADIS
-
-
-
3
QUO
17
8
8
5
VADIS
27
9
9
8
QUO VADIS
108
36
36
-
-
1+0+8
3+6
3+6
8
QUO VADIS
9
9
9

 

 

8
QUO VADIS
108
36
9

 

7
WHITHER
91
46
1
5
GOEST
66
21
3
4
THOU
64
19
1
16
-
221
86
5
1+6
-
2+2+1
8+6
-
7
-
5
14
5
-
-
-
1+4
-
7
-
5
5
5

 

 

SALUTATIONS

PEOPLES OF PLANET EARTH

THOUGHTS OF LOVE THOUGHTS OF PEACE THOUGHTS OF LIGHT

UNTO

ALL SENTIENT BEINGS THROUGHOUT THE UNIVERSE OF GODS UNIVERSAL MIND

 

 

O
=
6
-
1
O
15
6
6
D
=
4
-
5
DEATH
38
20
2
W
=
5
-
5
WHERE
59
32
5
I
=
9
-
2
IS
28
10
1
T
=
2
-
3
THY
53
17
8
S
=
1
-
5
STING
69
24
6
-
-
27
-
21
First Total
262
109
28
-
-
2+7
-
2+1
Add to Reduce
2+6+2
1+0+9
2+8
Q
-
9
-
3
Second Total
10
10
10
-
-
-
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
9
5
3
Essence of Number
1
1
1

 

 

O
=
6
-
1
O
15
6
6
G
=
7
-
5
GRAVE
53
26
8
W
=
5
-
5
WHERE
59
32
5
I
=
9
-
2
IS
28
10
1
T
=
2
-
3
THY
53
17
8
V
=
4
-
7
VICTORY
112
40
4
-
-
33
4
23
Add to Reduce
320
131
32
-
-
3+3
-
2+3
Reduce to Deduce
3+2+0
1+3+1
3+2
-
-
6
-
5
Essence of Number
5
5
5

 

 

Bhagavad-Gita, iv, 5.

SRI KRISHNA’S REMEMBERING

‘Many lives, Arjuna, you and I have lived, I remember them all, but thou dost not.’

 

 

Brahma

If the red slayer think he slays,

Or if the slain think he is slain

They know not well the subtle ways

I keep and pass and turn again.

R.W.Emerson

 

Bhagavad-Gita

Text 19

" ya enam vetti hantaram

yas cainam manyate hatam

ubhau tau na vijanito

nayam hanti na hanyate"

Bhagavad-Gita

As it is.

A. C. Bhaktivedanta Swami Prabhupada

Translation Chapter 2 Page 99/100

"Neither he who thinks the living entity the slayer nor he who thinks it slain is in knowledge, for the self slays not nor is slain."

 

 

‘who is the slayer and who is the victim. Speak’,

Sophocles

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.' "
" 'When a man awakes he can die; when he dies he can be born' "

 

THE TIBETAN BOOK OF THE DEAD

OR

The After-Death Experiences on the Bardo Plane, according to Lama Kazi Dawa-Samdup's English Rendering

Compiled and edited by

W.Y Evans-Wentz 1960

SRI KRISHNA'S REMEMBERING

"MANY LIVES, ARJUNA, YOU AND I HAVE LIVED, I REMEMBER THEM ALL, BUT THOU DOST NOT"

Bhagavad-Gita, iv, 5.

Page 222 (Addenda)


IV. THE GURU AND SHISHYA (OR CHELA) AND INITIATIONS


"Very frequently the Bardo Thodol directs the dying or the deceased to concentrate mentally upon, or to visualize, his tutelary deity or else hisspiritual guru, and, at other times, to recollect the teachings conveyed to him by his human guru, more especially at the time of the mystic initiation. Yogis and Tantrics ordinarily comment upon such ritualistic directions by saying that there exist three lines of gurus to whom reverence and worship are to be paid. The first and highest is purely superhuman, called in Sanskrit divyaugha, meaning . heavenly (or "divine ") line'; the second is of the most highly developed human beings, possessed of supernormal / Page 223 / or siddhic powers, and hence called siddhaugha; the third is of ordinary religious teachers and hence called manavaugha, 'human line'.1
Women as well as men, if qualified, may be gurus. The shihsya is, as a rule, put on probation for one year before receiving the first initiation. If at the end of that time he proves to be an unworthy receptacle for the higher teachings, he is rejected. Otherwise, he is taken in hand by the guru and carefully prepared for psychical development. A shihsya when on probation is merely commanded to perform such and such exercises as are deemed suitable to his or her particular needs. Then, when the probation ends, the shihsya is told by the guru the why of the exercises, and the final results which are certain to come from the exercises when successfully carried out. Ordinarily, once a guru is chosen, the shihsya has no right to disobey the guru, or to take another guru until it is proven that the first guru can guide the shihsya no further. If the shihsya develops rapidly, because of good karma, and arrives at a stage of development equal to that of the guru, the guru, if unable to guide the shihsya  further, will probably himself direct theshihsya to a more advanced guru.
For initiating a shihsya, the guru must first prepare himself, usually during a course of special ritual exercises occupying several days, whereby the guru, by 'invoking the gift-waves of the divine line of gurus, sets up direct communication with the spiritual plane on which the divine gurus exist. If the human guru be possessed of siddhic powers, this communion is believed to be as real as wireless or telepathic communication between two human beings on the earth-plane.
The actual initiation, which follows, consists of giving to the shishya the secret mantra, or Word of Power, whereby at-one-ment is brought about between the shihsya, as the new member of the secret brotherhood, and the Supreme Guru / Page 224 / 
who stands to all gurus and shishyas under him as the Divine Father. The vital-force, or vital-airs (prana-vayu), serve as a psycho-physical link uniting the human with the divine; and the vital-force, having been centred in the Seventh Psychic-Centre, or Thousand-petalled Lotus, by exercise of the awakened Serpent-Power, through that Centre, as through a wireless receiving station, are received the spiritual gift-waves of the Supreme guru. Thus is the divine grace received into the human organism and made to glow, as electricity is made to glow when conducted to the vacuum of an electric bulb; and the true initiation is thereby conferred and the shishya Illuminated.
In the occult language of the Indian and Tibetan Mysteries, the communication sits enthroned in the peri carp of the Thousand-petalled Lotus. Thither, by the power of the Serpent Power of the awakened Goddess Kundalini, the shishya, guided by the human guru, is led, and bows down at the feet of the Divine Father, and receives the blessing and the bene-diction. The Veil of Maya has been lifted, and the Clear Light shines into the heart of the shishya unobstructedly. As one Lamp is lit by the Flame of another Lamp, so the Divine Power is communicated from the Divine Father, the communication, to the newly-born one, the human shishya.
The secret mantra conferred at the initiation, like the Egyptian Word of Power, is the Password necessary for a conscious passing from the embodied state into the disembodied state. If the initiate is sufficiently developed spiritually before the time comes for the giving up of the gross physical body at death, and can at the moment of quitting the earth-plane remember the mystic mantra, or Word of Power, the change will take place without loss of consciousness; nor will the shishya of full development suffer any break "in the continuity of consciousness from incarnation to incarnation."

 

 

7
SHISHYA
-
-
-
2
S+H
27
18
9
1
I
9
9
9
2
S+H
27
18
9
2
Y+A
26
8
8
7
SHISHYA
89
53
35
-
-
8+9
5+3
3+5
7
SHISHYA
17
8
8
-
-
1+7
-
-
7
SHISHYA
8
8
3

Guru–shishya tradition - Wikipedia
Guru–shishya_tradition

The guru–shishya tradition, or parampara ("lineage"), denotes a succession of teachers and disciples in traditional Indian culture and religions such as Hinduism, Jainism, Sikhism and Buddhism (Tibetan and Zen tradition).
?Historical background · ?Common characteristics ... · ?Guru–shishya relationship ...

 

What is Shishya? - Definition from Yogapedia

shishya

Shishya is the concept of a spiritual guide or teacher enlightening a disciple through oral teachings. This is a common idea in religions such as Buddhism and Hinduism

 

 

RE SUN GOD SUN RE

RE LIGHT ON LIGHT RE

 

R
=
9
-
9
RELIGIONS
108
54
9
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
W
=
5
-
5
WORLD
72
27
9
-
-
22
-
19
Add to Reduce
234
108
27
-
-
2+2
-
1+9
First Total
2+3+4
1+0+8
2+7
-
-
4
-
10
Reduce to Deduce
9
9
9
-
-
-
-
1+0
Second Total
-
-
-
-
-
4
-
1
Essence of Number
5
9
9

 

RELIGIONS RE RELIGIONS

 

-
-
-
-
-
RELIGIONS
-
-
-
R
=
9
-
1
R
18
9
9
E
=
5
-
1
E
5
5
5
L
=
3
-
1
L
12
3
3
I
=
9
-
1
I
9
9
9
G
=
7
-
1
G
7
7
7
I
=
9
-
1
I
9
9
9
O
=
6
-
1
O
15
6
6
N
=
5
-
1
N
14
5
5
S
=
1
-
1
S
19
10
1
-
-
9
-
9
RELIGIONS
108
63
54
-
-
2+7
-
-
-
1+0+8
6+3
5+4
-
-
9
-
9
RELIGIONS
9
9
9
-
-
-
-
-
-
-
-
-
-
-
9
-
9
RELIGIONS
5
9
9

 

GODS RE LIGHT IS ON

 

 

R
=
9
-
9
RELIGIONS
108
54
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
R
=
9
-
3
RE'S
42
15
6
I
=
9
-
1
I
9
9
9
L
=
3
-
5
LIGHT
56
29
2
O
=
6
-
2
ON
29
11
2
-
-
27
-
11
Add to Reduce
234
108
27
-
-
2+7
-
1+1
First Total
2+3+4
1+0+8
2+7
-
-
9
-
2
Reduce to Deduce
9
9
9
-
-
-
-
-
Second Total
-
-
-
-
-
9
-
2
Essence of Number
5
9
9

 

RELIGION RE LIGHT IS ON RELIGION

RELIGION 95 LIGHT IS ON RELIGION

RELIGION RE LIGHT IS ON RELIGION

 

S
=
1
-
3
SUN
18
9
9
G
=
7
-
3
GODS
45
18
9
-
-
-
-
-
-
-
-
-
R
=
9
-
2
RA
19
10
1
R
=
9
-
2
RE
23
14
5
-
-
-
-
-
-
-
-
-
R
=
9
-
4
RARE
42
24
6
R
=
9
-
1
R
18
9
9

 

 

O
=
6
-
-
OSIRIS
-
-
-
-
-
-
-
1
O
15
6
6
-
-
-
-
1
IS
28
19
1
-
-
-
-
1
R
18
9
9
-
-
-
-
2
1S
19
19
1
O
=
6
Q
6
OSIRIS
89
53
26
-
-
-
-
-
-
8+9
5+3
2+6
O
=
6
-
6
OSIRIS
17
8
8
-
-
-
-
-
-
1+7
-
-
O
=
6
-
6
OSIRIS
8
8
8

 

 

-
CHRIST
-
-
-
-
C
3
3
3
-
RISH
54
27
9
-
T
20
2
2
6
CHRIST
77
32
14
-
-
7+7
3+2
1+4
6
CHRIST
14
5
5

 

 

"There are 333 prophecies all performed in one person, Jesus Christ."

MORE THAN A CARPENTER by Josh McDowell - Secular Web

infidels.org/library/modern/gaunilo2/more.html‎

The Fool feels that he must look elsewhere for any possible truth about this man that McDowell says is 'More Than a Carpenter.'

Review of More Than a Carpenter by Josh McDowell

reviewed "In Behalf of the Fool" (1980)


The Fool recently had the pleasure of hearing Josh McDowell entertain a packed house, mainly of college students, on the topic of "Maximum Sex." The audience was snuggled together on the rug of a college cafeteria and listened attentively as he did a mildly suggestive stand-up night club type comic routine--interspersed with God talk and gentle admonitions about sex, both minimum and maximum.

Earlier in the day, the Fool had heard McDowell talk in the Free Speech area on the same campus. The main point of the earlier talk seemed to be the statistical improbability of Jesus not being God. McDowell said, "There are 333 prophecies all performed in one person, Jesus Christ." The Fool kept wondering what would happen mathematically if just one of the alleged prophecies turned out to be false.

 

 

WALKING ON GLASS

Iain Banks. 1985

Page 3
TU 28. pm. 3:33.
He stood on the steps for a second, smiling at the figures on the face of the watch. Three three three. A good omen. Today was a day things would come together, a day events would coalesce. It was bright outside, even after the painted lightness of the marble-flaked corridor. The air was warm, slightly ...

 

 

-
-
-
-
6
THREES
-
-
-
T
=
2
-
1
T
20
2
2
H
=
8
-
1
H
8
8
8
R
=
9
-
1
R
18
9
9
E
=
5
-
1
E
5
5
5
E
=
5
-
1
E
5
5
5
S
=
1
-
1
S
19
10
1
-
-
30
4
6
THREES
75
39
30
-
-
3+0
-
-
-
7+5
3+9
3+3
-
-
3
-
6
THREES
12
12
3
-
-
-
-
-
-
1+2
1+2
-
-
-
3
-
6
THREES
3
3
3

 

THREES = 3 = THREES

THREE = 2 = THREE

 

 

T
=
2
-
3
THE
33
15
6
E
=
5
-
3
END
23
14
5
O
=
6
-
2
OF
21
12
3
D
=
4
-
4
DAYS
49
22
4
-
-
17
4
12
Add to Reduce
126
63
18
-
-
1+7
-
1+2
Reduce to Deduce
1+2+6
5+4
1+8
-
-
8
-
3
Essence of Number
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
E
=
5
-
3
END
23
14
5
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
-
-
17
-
12
Add to Reduce
126
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
3
-
-
-
-
-
9
H
=
8
2
1
H
8
8
8
-
-
-
3
-
-
-
-
8
9
E
=
5
3
1
E
5
5
5
-
-
-
3
-
5
-
-
-
9
-
-
15
-
3
-
33
15
15
-
-
-
9
-
-
-
-
-
27
E
=
5
4
1
E
5
5
5
-
-
-
3
-
5
-
-
-
9
N
=
5
5
1
N
14
5
5
-
-
-
3
-
5
-
-
-
9
D
=
4
6
1
D
4
4
4
-
-
-
3
4
-
-
-
-
9
-
-
14
-
3
-
23
14
14
-
-
-
9
-
-
-
-
-
27
O
=
6
7
1
O
15
6
6
-
-
-
3
-
-
6
-
-
9
F
=
6
8
1
F
6
6
6
-
-
-
3
-
-
6
-
-
9
-
-
12
-
2
-
21
12
12
-
-
-
6
-
-
-
-
-
18
D
=
4
9
1
D
4
4
4
-
-
-
3
4
-
-
-
-
9
A
=
1
10
1
A
1
1
1
-
1
-
3
-
-
-
-
-
9
Y
=
7
11
1
Y
25
7
7
-
-
-
3
-
-
-
7
-
9
S
=
1
12
1
S
19
10
1
-
1
-
3
-
-
-
-
-
9
-
-
13
-
4
-
49
22
13
-
-
-
12
-
-
-
-
-
36
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
2
2
3
8
15
12
7
8
9
E
=
5
-
3
END
23
14
5
-
-
-
-
-
1+5
1+2
-
-
-
O
=
6
-
2
OF
21
12
3
-
2
2
3
8
6
3
7
8
9
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
-
-
17
4
12
Add to Reduce
126
63
18
-
2
2
3
8
6
3
7
8
9
-
-
1+7
-
1+2
Reduce to Deduce
1+2+6
6+3
1+8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
9
9
9
-
2
2
3
8
6
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
E
=
5
-
3
END
23
14
5
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
-
-
17
-
12
Add to Reduce
126
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
3
-
-
-
-
-
9
H
=
8
2
1
H
8
8
8
-
-
-
3
-
-
-
-
8
9
E
=
5
3
1
E
5
5
5
-
-
-
3
-
5
-
-
-
9
E
=
5
4
1
E
5
5
5
-
-
-
3
-
5
-
-
-
9
N
=
5
5
1
N
14
5
5
-
-
-
3
-
5
-
-
-
9
D
=
4
6
1
D
4
4
4
-
-
-
3
4
-
-
-
-
9
O
=
6
7
1
O
15
6
6
-
-
-
3
-
-
6
-
-
9
F
=
6
8
1
F
6
6
6
-
-
-
3
-
-
6
-
-
9
D
=
4
9
1
D
4
4
4
-
-
-
3
4
-
-
-
-
9
A
=
1
10
1
A
1
1
1
-
1
-
3
-
-
-
-
-
9
Y
=
7
11
1
Y
25
7
7
-
-
-
3
-
-
-
7
-
9
S
=
1
12
1
S
19
10
1
-
1
-
3
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
2
2
3
8
15
12
7
8
9
E
=
5
-
3
END
23
14
5
-
-
-
-
-
1+5
1+2
-
-
-
O
=
6
-
2
OF
21
12
3
-
2
2
3
8
6
3
7
8
9
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
-
-
17
4
12
Add to Reduce
126
63
18
-
2
2
3
8
6
3
7
8
9
-
-
1+7
-
1+2
Reduce to Deduce
1+2+6
6+3
1+8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
9
9
9
-
2
2
3
8
6
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
E
=
5
-
3
END
23
14
5
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
-
-
17
-
12
Add to Reduce
126
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
10
1
A
1
1
1
-
1
-
3
-
-
-
-
-
9
S
=
1
12
1
S
19
10
1
-
1
-
3
-
-
-
-
-
9
T
=
2
1
1
T
20
2
2
-
-
2
3
-
-
-
-
-
9
D
=
4
6
1
D
4
4
4
-
-
-
3
4
-
-
-
-
9
D
=
4
9
1
D
4
4
4
-
-
-
3
4
-
-
-
-
9
E
=
5
3
1
E
5
5
5
-
-
-
3
-
5
-
-
-
9
E
=
5
4
1
E
5
5
5
-
-
-
3
-
5
-
-
-
9
N
=
5
5
1
N
14
5
5
-
-
-
3
-
5
-
-
-
9
O
=
6
7
1
O
15
6
6
-
-
-
3
-
-
6
-
-
9
F
=
6
8
1
F
6
6
6
-
-
-
3
-
-
6
-
-
9
Y
=
7
11
1
Y
25
7
7
-
-
-
3
-
-
-
7
-
9
H
=
8
2
1
H
8
8
8
-
-
-
3
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
2
2
3
8
15
12
7
8
9
E
=
5
-
3
END
23
14
5
-
-
-
-
-
1+5
1+2
-
-
-
O
=
6
-
2
OF
21
12
3
-
2
2
3
8
6
3
7
8
9
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
-
-
17
4
12
Add to Reduce
126
63
18
-
2
2
3
8
6
3
7
8
9
-
-
1+7
-
1+2
Reduce to Deduce
1+2+6
6+3
1+8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
9
9
9
-
2
2
3
8
6
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
4
5
6
7
8
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
E
=
5
-
3
END
23
14
5
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
17
-
12
Add to Reduce
126
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
4
5
6
7
8
A
=
1
10
1
A
1
1
1
-
1
-
-
-
-
-
-
S
=
1
12
1
S
19
10
1
-
1
-
-
-
-
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
-
D
=
4
6
1
D
4
4
4
-
-
-
4
-
-
-
-
D
=
4
9
1
D
4
4
4
-
-
-
4
-
-
-
-
E
=
5
3
1
E
5
5
5
-
-
-
-
5
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
5
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
5
-
-
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
6
-
-
F
=
6
8
1
F
6
6
6
-
-
-
-
-
6
-
-
Y
=
7
11
1
Y
25
7
7
-
-
-
-
-
-
7
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
2
2
8
15
12
7
8
E
=
5
-
3
END
23
14
5
-
-
-
-
1+5
1+2
-
-
O
=
6
-
2
OF
21
12
3
-
2
2
8
6
3
7
8
D
=
4
-
4
DAYS
49
22
4
-
-
-
-
-
-
-
-
-
-
17
4
12
Add to Reduce
126
63
18
-
2
2
8
6
3
7
8
-
-
1+7
-
1+2
Reduce to Deduce
1+2+6
6+3
1+8
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
9
9
9
-
2
2
8
6
3
7
8

 

 

 MORE THAN A CARPENTER

Josh Mc Dowell 1977

Page 58 (number omitted)

Chapter

 9

"Will the Real Messiah Please Stand up"

 

 

7
MESSIAH
-
-
-
-
M+E
18
9
9
-
S+S
38
20
2
-
I
9
9
9
-
A+H
9
9
9
7
MESSIAH
74
47
29
-
-
7+4
4+7
2+9
7
MESSIAH
11
11
11
-
-
1+1
1+1
1+1
7
MESSIAH
2
2
2

 

I

INCA = 9531 = INCA

INCARNATION TO INCARNATION

 

 

Word Records > Longest Words This is the longest word in the first edition of the Oxford English Dictionary. Interestingly the most common letter in English, E, does not appear in this ...
www.fun-with-words.com/word_longest.html -

 

What is the most common letter? | Answerbag What is the most common letter? the bills they keep sending me. ... Im Alec. The most common letters in the English language are, in order, ETAOINSHRDLU. ...
www.answerbag.com/q_view/111800 -

 

Herbert S. Zim, in his classic introductory cryptography text "Codes and Secret Writing", gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKXJQ Z", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC".[1]

"ETAON RISHD LFCMU GYPWB VKXJQ Z"

 

 

SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
2
SO
34
16
7
-
-
-
-
-
-
-
7
-
-
R
=
9
2
4
READ
28
19
1
-
1
-
-
-
-
-
-
-
-
M
=
4
3
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
4
4
ONCE
37
19
1
-
1
-
-
-
-
-
-
-
-
A
=
1
5
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
R
=
9
6
4
READ
28
19
1
-
1
-
-
-
-
-
-
-
-
M
=
4
7
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
T
=
2
8
5
TWICE
60
24
6
-
-
-
-
-
-
6
-
-
-
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
R
=
9
10
4
READ
28
19
1
-
1
-
-
-
-
-
-
-
-
M
=
4
11
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
12
4
ONCE
37
19
1
-
1
-
-
-
-
-
-
-
-
A
=
1
13
5
AGAIN
32
23
5
-
-
-
-
-
5
-
-
-
-
I
=
9
14
3
ITS
48
12
3
-
-
-
3
-
-
-
-
-
-
B
=
2
15
4
BEEN
26
17
8
-
-
-
-
-
-
-
-
8
-
A
=
1
16
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
17
4
LONG
48
21
3
-
-
-
3
-
-
-
-
-
-
L
=
3
18
4
LONG
48
21
3
-
-
-
3
-
-
-
-
-
-
T
=
2
19
4
TIME
47
20
2
-
-
2
-
-
-
-
-
-
-
-
-
77
-
64
First Total
594
297
72
-
8
2
9
4
5
6
7
8
27
-
-
7+7
-
6+4
Add to Reduce
5+9+4
2+9+7
7+2
-
-
-
-
-
-
-
-
-
2+7
-
-
14
-
10
Second Total
18
18
9
-
8
2
9
4
5
6
7
8
9
-
-
1+4
-
1+0
Reduce to Deduce
1+8
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
9
9
9
-
8
2
9
4
5
6
7
8
9

 

SAPTARSHI A STARSHIP SAPTARSHI

SAPTARSHI A PAST RISHI SAPTARSHI

 

 

WISDOM OF THE EAST

by Hari Prasad Shastri 1948

Page 8

"There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'

 

http://en.wikipedia.org/wiki/Rishi

RISHI

ETYMOLOGY

The word's etymology is unknown. It has an Avestan cognate ərəšiš (Yasna 31.5) "an ecstatic" (see also Yurodivy, Vates). Monier-Williams tentatively suggests derivation from drś "to see"(1) and he also compares Old Irish arsan, "a sage, a man old in wisdom". Manfred Mayrhofer in his Etymological Dictionary prefers a connection to either (omitted) "pour, flow" (PIE) *h1ers), or to ras "yell".

In the Vedas, the word denotes a singer of sacred hymns, an inspired poet or sage, or any person who alone or with others invokes the deities in rhythmical speech or song of a sacred character. In particular, it refers to the authors of the hymns of the Rigveda, e.g. Kutsa, Atri, Rebha, Agastya,Kushika, Vasishtha, Vyashva. Later generations regarded the Rishis as patriarchal sages or saints, occupying the same position in India history as the heroes and patriarchs of other countries, constituting a peculiar class of beings in the early mythical system, as distinct from Asuras, Devas and mere mortal men.

Seven Rishis (the Saptarshi) are often mentioned in the Brahmanas and later works as typical representatives of the character and spirit of the pre-historic or mythical period; in Shatapatha Brahmana 14.5.2.6, their names are Gautama, Bharadvaja, Vishvamitra, Jamadagni, Vasishtha, Kashyapa, and Atri. In Mahabharata 12, on the other hand, Marici, Atri, Angiras, Pulaha, Kratu, Pulastya and Vasishtha. In addition to the Saptarshi, there are other classifications of sages. In descending order of precedence, they are Brahmarshi, Maharshi, Rajarshi.

In Vedic astronomy, the Saptarsh form the constellation of Ursa Major (e. g. RV 10.82.2; AV. 60.40.1. Metaphorically the Saptarsh may stand for the seven senses or the seven vital airs of the body.

"Seven Rishis (the Saptarsh) are often mentioned in the Brahmanas"

"In Vedic astronomy, the Saptarsh form the constellation of Ursa Major"

"Saptarsh may stand for the seven senses or the seven vital airs of the body"

 

SAPTARSHI A STARSHIP SAPTARSHI

SAPTARSHI A PAST RISH SAPTARSHI

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
PAST
56
11
2
4
RISH
54
27
9
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

 

-
SAPTARSHI
-
-
-
3
S+A+P
36
18
9
2
T+A
21
3
3
4
R+S+H+I
27
18
9
9
SAPTARSHI
111
39
21
-
-
1+1+1
3+9
2+1
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3
-
-
-
-
-
-
-
-
-
-
9
SAPTARSHI
111
39
3
9
A STARSHIP
111
39
3

 

 

 

GREETINGS O NAMUH

 

 

-
-THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY
-
THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE
-
AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED-
-
THE MESSAGE OF CREATION IS CLEAR EACH LETTER
-
OF
-
THE
-
ALPHABET
-
IS
-
GIVEN
-
A
-
NUMERICAL
-
VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS
-
REARRANGING THEM IN ENDLESS CONFIGURATIONS
-
THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
-

 

 

THE 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 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 Santillana 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)

The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18

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 have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

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 radius ekla 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 stripped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

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"

 

CITY OF REVELATION

John Michell

1972

Page 109

"At the root of our traditional units of measurement is the ancient, mystical science of numbers, to which Plato makes an obscure reference towards the end of Epinomis, here quoted from Lamb's translation.

The most important and first (study) is of numbers in themselves: not of those which are corporeal, but of the whole origin of the odd and the even and the greatness of their influence on the nature of reality. When he has learnt these things, there comes next what they call by the very ridiculous name of geometry, when it proves to be a manifest likening of numbers not like one another by nature in respect of the province of planes; and this will be clearly seen by him who is able to understand it to be a marvel, not of human but of divine origin. And then, after that, the numbers thrice increased and like to the solid nature, and those again which have been made unlike, he likens by another art, namely that which its adepts call stereometry.'

The text is probably corrupt, the expressions are unfamiliar and it is hard to follow Plato's meaning. But the reference, both here and in another passage in Laws, is to some method of relating different classes of phenomena to one numerical system, by which the adept may come to understand the unifying principle in nature. Of this knowledge Plato declares that it is the greatest of all blessings both to him who possessed it and to his community, but if it can not be acquired, the best substitute is simple faith in God since, on the / Page 110 / word of an initiate, matters are far better arranged than we can possibly conceive. He continues,'Every diagram and system of number and every combination of harmony and the agreement of the revolution of the stars must be made manifest as one in all to him who learns in the proper way, and will be made manifest if a man learns aright by keeping his eyes on unity; for it will be manifest to us as we reflect, that there is one bond naturally uniting all these things.'

The number 666 in metrology

The number which above all others acts as a bond between the various units of measurement is the perfect number of Chaldean mathematics, 666. For example, 666 feet = 150 cubits + 150 MY while 666 square feet = 90 square MY. Also 6660 square yards = 902 square MY and 66,600 square feet = 1502 square cubits. The Babylonians had a decimal system, but they also reckoned in units of 6, 60 and 600 and a curious survival of this system is found in the letters which the Romans used as numerals, for the sum of I, V, X, L, C and D is 666. "

 

A

MAZE

IN

ZAZAZA ENTER AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

MAKING OF EHT-NAMUH
by BeN1 View the latest post
21 Sep 2024 20:45

hey namuhs,

sometimes I'd really like to know how all this content is created and how much hour works total went into creating the core of this website, which we know is permanently updated.

for example who typed all this txts,
how much stuff is copied and how much is added.

also what I totally find impressive I have to say,
the way all text is colored,
if there isn't some program, which does help formatting all this it looks like it does have taken a whole lot of time to do that.

SEEKERS OF TRUTH.

As in whats it all about Alpha.

BeN1

Thank you for another of your wunderkind posts from across the Waters.

I'd really like to know how all this content is created and how much hour works total went into creating the core of this website, which we know is permanently updated.

As near as dammit said he, I started creating the paintings and visual manifestations shown on the site in 1963, such work possessed me untl around 1995. As I see it, daft as it seems, my work at this time was created for the internet before there was an internet, unbeknown to me at the time and very much the birthing precursor to the written work.

I had a number of exhibitions during this time, some images passing into private and public sector collections.

I always read a great deal, non-fiction and otherwise. around that time I began to notice certain seemingly coincidental phenomena between letters and numbers What Plato called the gift of Stereometry! "The likening of unlike things" I began writing about these seeming anomalies that very same year.

From that time onwards, the mid nineties, to this very day I carried notebook and pen, and was always at the ready to catch these gifts of creative mind. I have hundreds of notebooks scattered about a house now become a starship wherein I work. Notebooks full to the brim with information, many not yet presented on the site. all of which unfolded the developing vision. Subsequently, the insights awoke before the ready steady eyes of the minds eye realisation that there were secret patterns became available, simply by transition of the letters making up the language of words into number, revealed via their respective positions in the English Language, Alphabet A = 1 to Z=26. Always adding together the double digit letters emanating from the letter J=10 becomes1+0 =1 and so on right up to Z=26 2+6=8. Each double digit letters dissolving into its own single digit power number. At the same time the juxtapositions of realities phenomena became more and more apparent

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Note well, that at that time I had no interest or knowledge of any numerical system A virgin mind kept intact unto its awakening sense of purpose prior to the insights visited upon him by the same creator energy that manifested forth the painted images of other creative work. And know this, my own spiritual path whereby these insights bequeathed each other into existence was not only paved with good intentions, but a path strewn metaphorically speaking with broken glass to this bare footed pilgrim.

Herein therein the continuing spiritual journey of the one, this one. Religious studies! as many as presented themselves to the inner minds eye. The early practice of Chritianity Yoga, studying Buddhism, Islam, writings on the esoteric magic of the inner minds eye. All this and so much more, usually in tandem with the this and that of so many other creative minds from the all and sundry of Planet Earth. Pilgrimages of a sort to India and other countries, always following the directive of his inner calling. a A pilgrimage to Uluru (Ayers Rock in Australia and other areas of the spinning globe, the whirling world.

Be under no illusion as far as this seeker of truth is concerned, he had to descend to the very depths, physically and mentally before birthing the great renewal, he had to metaphorically speaking die the the death in several ways before the light eternal possessed him.

THIS IS THE SCENE OF THE SEEN UNSEEN, THE UNSEEN SEEN OF THE SCENE UNSEEN, THIS IS THE SEEN.

CRUCIFIED ACROSS A CROSS, ACROSS A CROSS CRUCIFIED.

"UNLESS A HUMAN BE BORN AGAIN THEY CANNOT ENTER THE KINGDOM OF EVEN"

HUMAN BEING,

YOU MAN BE IN GOD

.FEMALE OR MALE

Regarding the work on the site, around 1995 I started writing in the notebookswhat I thought were important insights that had issued forth from the great mothers mouth at the coming forth by day process. From that time onwards I wrote down anything that demanded I do so, and still am.

The site was first posted very early in the life of the internet. I bought a computer, but unable to use it, I had one of my brother Michaels friends from the local chess club in Wakefield, Richard, a very computer literatea local lad find a host and set up a very basic site. Technically I had no skills in that neck of the woods, although eventually I developed certain computer skills sufficiently to do the basic input on the sight of the site. However for some years another friend Wendy Hanson, bless her, transcribed my notebooks into simple sraight forward documentation. the tables were all done by hand initially by Wendy who came to the house rain or shine and worked for four hours typing the work up. Sadly after some years our Wendy passed away. At that time inevitably I began to put up the material which as ever arrived as much a suprise to me as to others.

Eventually I was able to develop the messages as I needed to. There were a couple of people from the local pub who ably turned ideas I had for animations that had presented themselves unto my inner minds eye into gif files etcetera. and so the creative power grew.

All the tables I created by hand. wrote them up in any number of notebooks, these were then transferred via an old Dreamweaver program into tables by D4Dave who by now, after Wendy's passing was transcribing all the written work and other material every day, year in year out up onto the site. Relevant text written freehand or scanned from books and copied into the site.

There were no automatic technical means available to produce tables automatically, just an old dreamweaver set up wherein every letter or image animation etcetera had to be inserted by hand. I had to colour the letters into certain patterns myself, every one by hand. How so! the days I missed working on the site were very few and far between. I am now 85 and counting. Low and behold the sands of time are still passing through the hour glass.

The site is not in any way a commercial one, all expenses incurred due to helpers, and hosting costs born by D4 Dave

In the early life of the 973-eht-namuh-973 site, there were no doubts in my mind I was guided to meet certain people. One such a one of these I became friends with was a highly technically talented local man, Rob Bell the sites techno wizard, he has been with me from around 2005 through thick and thin and steered me technically through areas of expertise I didn't possess. any technical problem only needed a phone call. Thank you Rob.

In the year 2010, again guided by the greater creator forces that dream the great dream, my esteemed cousin Andrew returned home from his many journeys into the wherewithal, recently mainly spent in the middle east.He who is known as Redbeck, who became the Oracle Forum overseer in everyway, he a writer and journalist of high repute and gifted for the role in which he was now cast. Many of you will be familiar with his own individual posts and his joint contributions made with myself to the Oracle. Forum. A veritable godsend, Thank you Redbeck.

So here we are making the unseen seen. The living creative consciousness of immortal life.

And a grateful thank you to the all and sundry of the membership of the 973 Oracle Forum for your amazing contributions, please keep up the good work.

Thank you BeN1 for giving me the means to an end..

Dave D here as in "I'm Denison from the I'm Denison Dimension"

 

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."

 

HOLY BIBLE

Scofield References

Page 1117 A.D. 30.

Jesus answered and said unto him, Verily, verily,
I say unto thee, Except a man be born again,
He cannot see the kingdom of God.
St John Chapter 3 verse 3
3     +     3     3     x     3
6        x        9
54
5 + 4
9

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878-1947

Page 217

'A man may be born, but in order to be born he must first die, and in order to die he must first awake.'
" 'When a man awakes he can die; when he dies he can be born'"

 

THE DEATH OF FOREVER

A NEW FUTURE FOR HUMAN CONSCIOUSNESS

1991

Page 266

"We should create new rites of passage to celebrate the phases of the human life cycle, rituals for birth, for the transit into adolescence, and above all, for dying.
Of these, the need for a ritual of dying is the most urgent. I know of no greater testament to the failure of our civilisation than the fact that so many people die alone, abandoned like discards on society's junk heap. Dying must again be united with a sense of the sacred, for it is here, if anywhere, that the psyche outgrows its human limitation. The most important message of this book is that consciousness cannot be extinguished by death, for consciousness transcends time. We should learn to approach death with gratitude, seeing it for what it is, the final elimination of ego, the end of the fallacies of time and self.
In the end it can all be said so simply.
Time and self are outgrown husks which consciousness will one day discard, just as a butterfly abandons its chrysalis to fly towards the sun.

 

IN THE END IT CAN ALL BE SAID SO SIMPLY TIME AND SELF

ARE OUTGROWN HUSKS WHICH CONSCIOUSNESS WILL ONE DAY DISCARD

JUST AS A BUTTERFLY ABANDONS ITS CHRYSALIS TO FLY TOWARDS THE SUN

 

THE LION PATH

YOU CAN TAKE IT WITH YOU

A Manual of the Short Path to Regeneration for our times

by

Musaios

Page 33

It is time to examine the regenerative process - the way out of our limited state of body and awareness - a state that was thought of in this doctrine as "larval" to that which would ensue, just as the effectively one - dimensional or linear caterpillar has the hidden ability to spin a self - made cocoon - tomb and then turn into a pupal case, with future wings already outlined on it - a stage that can again metamorphose into the winged imago or mature form that emerges from the shell of the tomb - egg of the cocoon and flies aloft into the sky.

 

THE LION PATH

YOU CAN TAKE IT WITH YOU

A Manual of the Short Path to Regeneration for our times

by

Musaios

Page 137

"A winged and wondrous child

will whirl a whole world into being . . .

That child alone shall fly the abyss

and reach the Second Sun. . . ."

 

MIND MATTER MIND

REACTIVE CREATIVE REACTIVE

CREATION REACTION CREATION

REAL REALITY REVEALED

THE

MEANING

OF

LIFE

THE PROVING OF GODS

IMMORTAL

CREATOR

SPIRIT

OF

UNIVERSAL MIND

OF

COSMIC

CONSCIOUSNESS

THAT THAT THAT

LIFE

IS

THE UNIVERSAL LIFE FORCE

THAT IS QUALITATIVELY THE SAME

IN EVERY.UNIQUE EMANATION OF LIVING FORM

REGARDLESS

CIRCUMSCRIBED ONLY BY THE LIMITATIONS

IMPOSED UPON ITS LIVING FORM

WITHIN WHICH AN

INDVIDUAL LIFE ITSELF IS BIRTHED INTO BEING

LIFE THE CREATIVE METAMORPHOSIS

HEARKEN THE LIVING CREATIVITY SEEN IN NATURE

WHEREIN THEREIN CAN BE OBSERVED WITHIN

THE HERE AND NOW OF PLANET EARTH,

THE EVOCATION INTO LIFE

OF A TOTAL COLLECTIVE CREATIVE INTELLIGENCE

SHOWN IN ALL ITS GLORY

EXPRESSING THE SAME INGENIOUS PROBLEM SOLVING

INSTINCTS

NECESSARY FOR ITS SURVIVAL

IN SINGULAR OR MULTIVARIOUS FORMS

WHICH

IS APPARENT IN ALL LIVING CREATURES INCLUDING

THAT OF SELF SACRIFICE

AS AND WHEN SUCH MOMENT ARRIVES

THIS COLLECTIVE CREATIVE INTELLIGENCE

PERMEATES

HERE THERE AND EVERYWHERE

HOWEVER MADE MANIFEST

SPRINGING

FORTH AS SO CALLED PRIMITIVE LIFE FORMS

OR

AS MORE COMPLEX LIFE AS

EXPRESSED

IN HUMANKIND OR ANY OTHER KIND OF KIND

ALL ACTIVATED AND MOTIVATED

BY THAT SUPREME LIFE

BEQUEATHING

INTELLIGENT CREATIVE CONSCIOUSNESS

THE UNIVERSAL LIFE FORCE

THAT IS QUALITATIVELY THE SAME

IN EVERY UNIQUE EMANATION OF LIFE ETERNAL.

CIRCUMSCRIBED ONLY BY THE LIMITATIONS

IMPOSED UPON ITS LIVING FORM

WITHIN WHICH

INDIVIDUAL LIFE ITSELF IS BIRTHED INTO BEING

A

COMMON INTELLIGENT CREATIVE METAMORPHOSIS

AS

WONDERFUL AND MESMERISING

IN EACH AND EVERY WAY

AS IS ANY OTHER VARIETIES ALL BEYOND COMPARE,

A UNIVERSAL CREATOR CONSCIOUSNESS

MAGNIFICENTLY

SPREAD THROUGHOUT CREATION ITSELF

REGARDLESS OF OCCASION

INSPIRED

FROM OUT THE IN

OF ITS IMMORTAL LIVING CREATIVE POWER

THE LIFE FULFILLING SPIRIT BIRTHING ITSELF

WITHIN

THE

UNFOLDING CYCLE OF AN ENDLESS LIVING FOREVER

LIFE THE CREATIVE METAMORPHOSIS

THE UNIVERSAL LIFE FORCE THAT IS QUALITATIVELY

THE

SAME IN EVERY UNIQUE EMANATION OF LIVING FORM

REGARDLESS AND CIRCUMSCRIBED

ONLY

BY

THE LIMITATIONS IMPOSED UPON ITS LIVING FORM

WITHIN WHICH SUCH AN INDIVIDUAL LIFE ITSELF

IS BIRTHED INTO BEING

THE

COSMIC

CONSCIOUSNESS

 

A THIMBLE OF WATER

AN EGG CUP OF A JUG OF, A POOL OF

A RIVER OF A SEA OF, A UNIVERSE OF

WATER WATER EVERYWHERE

AND NOT A DROP TO THINK

?

LIFE THE CREATIVE METAMORPHOSIS

 

 

 

EHT NAMUH 1973

 

A

MAZE

IN

ZAZAZA ENTERS AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

 

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

THE CITY OF REVELATION

John Michell 1972

Gnostic Numbers 

Page 118

"Exactly how they came by their science of numbers is not certain, but they appear to have made the discovery that the numerical code of the Hebrew cabala and those of other mystical systems throughout the world were all degenerate versions of the same once universal system of knowledge that returns within the reach of human perception at certain intervals in time. As the revealed books of the Old Testament were written in a code to be interpreted by reference to number, so were the revelations of the gnostic prophets expressed in words and phrases formed on a system of proportion, which gave life and power to the Christian myth, while allowing initiates to gain a further understanding of the balance of forces that produce the world of phenomena."  

Page 121 / How it was ever supposed that the Hebrew alphabet of twenty- two letters, together with various geometrical symbols might serve to represent the entire moving pattern of the universe is not now easy to understand; but, since all ancient philosophy, religion, magic, the arts and sciences were based on the concept of a correspondence between numbers and cosmic law, it is impossible to appreciate the history of the past without some actual experience of the fundamental truth behind this approach to cosmology. Plato gives a remarkable account in Cratylos of the origin of language and letters. The philosopher is asked whether there is any particular significance in names, for surely they are simply a matter of convention and one is more or less as good as another. After all, foreigners call things by different names and appear to manage just as well as the Greeks in this respect. The answer given is that despite appearances the matter is by no means so simple. Words are the tools of expression, and the making of these, as of any other tools, is the task of a skilled craftsman, in this case the lawgiver. Language has grown corrupt over the ages, and names have deviated from their original perfect forms, which are those used by the gods. But all names were originally formed on certain principles, through knowledge of which it is possible to discover the archetypal meaning of words in current use. 'So perhaps the man who knows about names considers their value and is not confused if some letter is added, transposed or subtracted, or even if the force of the name is expressed in quite different letters.' This is Plato's clearest reference to the mystical science of the cabala, in which letters, words and whole phrases may be substituted for others of the same numerical value. The force of a name is to be found in its number, and can be expressed through any combination of letters, provided the sum of the letters amounts to the appropriate number by gematria.

 

THE MAGIC ALPHABET

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
-
7
-
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
-
7
-
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
-
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
-
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
-
9
-
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
-
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
-
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
-
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

-
SAPTARSHI
-
-
-
2
S+A
20
11
2
2
P+T
36
9
9
1
A
1
1
1
1
R
18
9
9
2
SH
27
18
9
1
I
9
9
9
9
SAPTARSHI
111
57
39
-
-
1+1+1
5+7
3+9
9
SAPTARSHI
3
12
12
-
-
-
1+2
1+2
9
A STARSHIP
3
3
3

 

 

-
A STARSHIP
-
-
-
1
A
1
1
1
3
S+T+A
40
13
4
1
R
18
9
9
2
SH
27
18
9
1
I
9
9
9
1
P
16
7
7
9
A STARSHIP
111
57
39
-
-
1+1+1
5+7
3+9
9
A STARSHIP
3
12
12
-
-
-
1+2
1+2
9
SAPTARSHI
3
3
3

 

SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
STAR
58
13
4
4
SHIP
52
25
7
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

 

9
SAPTARSHI
111
39
12
-
-
-
-
-
-
-
-
-
-
3
THE
33
15
6
4
STAR
58
13
4
4
SHIP
52
25
7
2
IS
19
10
1
13
Add to Reduce
162
63
18
1+3
Reduce to Deduce
1+6+2
6+3
1+8
4
Essence of Number
9
9
9

 

SAPTARSHI A STARSHIP SAPTARSHI

SAPTARSHI A PAST RISHI SAPTARSHI

 

SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI

 

SAPTARISHI

 

Saptarishi
From Wikipedia, the free encyclopedia

Matsya (fish) rescues the Saptarishi and Manu from the great Deluge

The Saptarishi (seven great yogis) (from Sanskrit:(saptarshi), a Sanskrit dvigu meaning "seven sages") are the seven rishis in ancient India, who are extolled at many places in the Vedas and Jivan literature. The Vedic Samhitas never enumerate these rishis by name, though later Vedic texts such as the Brahmanas and Upanisads do so. They are regarded in the Vedas as the patriarchs of the Vedic religion.

The earliest list of the Seven Rishis is given by Jaiminiya Brahmana 2.218-221: Agastya, Atri, Bhardwaja, Gautam, Jamadagni, Vashistha and Vishvamitra followed by Brihadaranyaka Upanisad 2.2.6 with a slightly different list: Gautama and Bharadvaja, Vishvamitra and Jamadagni, Vashistha and Kashyapa and Atri, Bhrigu. The late Gopatha Brahmana 1.2.8 has Vashistha, Vishvamitra, Jamadagni, Gautama, Bharadvaja, Gungu, Agastya, Bhrigu and Kashyapa.

In post-Vedic texts, different lists appear; some of these rishis were recognized as the 'mind-born sons' (Sanskrit: ??? ?????, manasputra) of Brahma, the representation of the Supreme Being as Creator. Other representations are Mahesh or Shiva as the Destroyer and Vishnu as the Preserver. Since these seven rishis were also among the primary seven rishis, who were considered to be the ancestors of the Gotras of Brahmins, the birth of these rishis was mythicized.

In ancient Indian astronomy, the constellation of the Big Dipper (Ursa Major) is called saptarishi, with the seven stars representing seven rishis, namely "Vashistha", "Marichi", "Pulastya", "Pulaha", "Atri", "Angiras" and "Kratu". There is another star slightly visible within it, known as "Arundhati". Arundhati is the wife of Vashistha. Vashishtha and Arundhati together form the Mizar double.[1]

Stars of Saptarishi (Ursa Major) with their Indian astronomical names

As per legend, the seven Rishis in the next Manvantara will be Diptimat, Galava, Parashurama, Kripa, Drauni or Ashwatthama, Vyasa and Rishyasringa.

 

-
SAPTARISHI
-
-
-
1
S
19
10
1
1
A
1
1
1
1
P
16
7
7
1
T
20
2
2
1
A
1
1
1
1
R
18
9
9
1
I
9
9
9
1
S
19
10
1
1
H
8
8
8
1
I
9
9
9
10
SAPTARISHI
120
66
48
1+0
-
1+2+0
6+6
4+8
1
SAPTARISHI
3
12
12
-
-
-
1+2
1+2
1
SAPTARISHI
3
3
3

 

 

-
SAPTARISHI
-
-
-
1
S
19
10
1
1
A
1
1
1
1
A
1
1
1
1
S
19
10
1
1
T
20
2
2
1
P
16
7
7
1
H
8
8
8
1
R
18
9
9
1
I
9
9
9
1
I
9
9
9
10
SAPTARISHI
120
66
48
1+0
-
1+2+0
6+6
4+8
1
SAPTARISHI
3
12
12
-
-
-
1+2
1+2
1
SAPTARISHI
3
3
3

 

 

-
SAPTARISHI
-
-
-
2
S+A
20
11
2
2
P+T
36
9
9
1
A
1
1
1
1
R
18
9
9
1
I
9
9
9
2
SH
27
18
9
1
I
9
9
9
10
SAPTARISHI
120
66
48
1+0
-
1+1+1
6+6
4+8
1
SAPTARISHI
3
12
12
-
-
-
1+2
1+2
1
SAPTARISHI
3
3
3

 

SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME

 

THIS IS THE SEEN OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

T
=
2
-
4
THIS
56
20
2
I
=
9
-
2
IS
28
19
1
T
=
2
-
3
THE
33
15
6
S
=
1
-
4
SEEN
43
25
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SCENE
46
28
1
U
=
3
-
6
UNSEEN
78
33
6
-
-
26
-
29
First Total
338
167
32
-
-
2+6
-
2+9
Add to Reduce
3+3+8
1+6+7
3+2
-
-
8
-
12
Second Total
14
14
5
-
-
-
-
1+2
Reduce to Deduce
1+4
1+4
-
-
-
8
-
3
Essence of Number
5
5
5

 

THIS IS THE SEEN OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

T
=
2
-
4
THIS
56
29
2
I
=
9
-
2
IS
28
19
1
T
=
2
-
3
THE
33
15
6
S
=
1
-
4
SEEN
43
25
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SCENE
46
28
1
U
=
3
-
6
UNSEEN
78
33
6
T
=
2
-
3
THE
33
15
6
U
=
3
-
6
UNSEEN
78
33
6
S
=
1
-
4
SEEN
43
25
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SCENE
46
28
1
U
=
3
-
6
UNSEEN
78
33
6
T
=
2
-
4
THIS
56
29
2
I
=
9
-
2
IS
28
19
1
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SCENE
46
28
1
-
-
58
-
72
First Total
833
428
77
-
-
5+8
-
7+2
Add to Reduce
8+3+3
4+2+8
7+7
-
-
13
-
9
Second Total
14
14
5
-
-
1+3
-
-
Reduce to Deduce
1+4
1+4
-
-
-
4
-
9
Essence of Number
5
5
5

 

SAPTARISHI

Saptarishi
From Wikipedia, the free encyclopedia

Matsya (fish) rescues the Saptarishi and Manu from the great Deluge

The Saptarishi (seven great yogis) (from Sanskrit:(saptarshi), a Sanskrit dvigu meaning "seven sages") are the seven rishis in ancient India, who are extolled at many places in the Vedas and Jivan literature. The Vedic Samhitas never enumerate these rishis by name, though later Vedic texts such as the Brahmanas and Upanisads do so. They are regarded in the Vedas as the patriarchs of the Vedic religion.

 

CHRIST = 77 = CHRIST

CHRIST = 41 = CHRIST

CHRIST = 5 = CHRIST

CHRIST C RISH T CHRIST

C RISH THE RISH C

SEE THE RISH SEE

 

-
RISH
-
-
-
1
R
18
9
9
1
I
9
9
9
2
S+H
27
18
9
4
RISH
54
36
27
-
-
5+4
3+6
2+7
4
RISH
9
9
9

 

Rish Name Meaning, Origin, Personality Traits and Horoscopehttps://angelsname.com › boy › rish › meaning-origin-...
Based on numerology value 9, Rish is Kind, Wise, Experienced, Spiritual, Sacrificial, Compassionate, Accepting, Humanitarian, Aware. Rish is original and ...

Rish | Definition of Rish at Definifyhttps://www.definify.com › word › rish
Rish. ,. Noun. A rush (the plant). [Obs.] Chaucer. Definition 2022. Rish. Rish. See also: rish ... Pronoun. rish. 3rd person singular of rish.

 

-
RISH
-
-
-
1
R
18
9
9
1
I
9
9
9
1
S
19
10
1
1
H
8
8
8
4
RISH
54
36
27
-
-
5+4
3+6
2+7
4
RISH
9
9
9

 

http://www.funscience.in/study-zone/Physics/Universe/StarConstellations.php#sthash.tebFfNXy.dpbs

STAR CONSTELLATIONS

Constellations are small groups of stars which appear in sky in specific shapes. There are about 88 constellations known to us. The names of these constellations have been derived from the names of animals or objects to which they appear to resemble. Some of the important and easily recognizable constellations are:

Ursa Constellation or Great Bear Constellation

The great bear constellation is also called ursa major, big bear and saptarishi (in Hindi). This constellation consists of seven stars making up a pattern resembling with a big bear. This constellation can be seen easily in the north sky in the month of July.
With the help of great bear constellation, the position of pole star can be easily located. Pole star is also called Dhruv tara in Hindi. It is situated immediately above the north pole of the earth. Pole star remains stationary at its position, and all the other stars appear to revolve around the pole star from east to west direction. To locate the position of pole star with the help of great bear constellation, imagine a line between the star 1 and star 2. Now, extend this imaginary line in north direction. This extended imaginary line always leads to the pole star.

SAPTARISHI

 

 

-
SHAPESHIFTERS
-
-
-
5
SHAPE
49
22
4
8
SHIFTERS
104
41
5
13
SHAPESHIFTERS
153
63
9
1+3
-
1+5+3
6+3
-
4
SHAPESHIFTERS-
9
9
9

 

1
I
9
9
9
2
IS
28
19
1
4
ISIS
56
20
2
6
OSIRIS
89
35
8
4
IRIS
55
28
1
6
SIRIUS
95
32
5
6
SOTHIS
90
27
9
-
-
-
-
-
-
-
-
-
-
4
ISHI
45
27
9
5
RISHI
63
36
9
5
IRISH
63
36
9

 

 

THE

CHRISTOS

SEE HERE IS THE CHRISTOS

SO C HERE IS THE CHRIST

SO SEE HERE IS THE RISH

SO C HERE IS THE RISH

SO C HERE IS THE 999

RE IS IS RE

95 IS IS 95

 

CHRIST C RISH T CHRIST

 

OSIRIS 619991 OSIRIS

IRIS ISIS ISIS IRIS

KRISHNA 2991851 KRISHNA

RISH N KA KA N RISH

RISH 5 KA KA 5 RISH

 

-
RISHI
-
-
-
1
R
18
9
9
1
I
9
9
9
2
S+H
27
18
9
1
I
9
9
9
5
RISHI
63
45
27
-
-
6+3
4+5
2+7
5
RISHI
9
9
9

 

SPIRIT I TRIPS I SPIRIT

 

Maharishi - definition of maharishi by The Free Dictionary

www.thefreedictionary.com/maharishi

Define maharishi. maharishisynonyms, maharishi pronunciation, maharishi translation, English dictionary definition of maharishi. n. pl. ma·ha·ri·shis Hinduism 1.

maharishi

Also found in: Encyclopedia, Wikipedia.

ma·ha·ri·shi
(mä′hə-rē′shē, mə-här′ə-shē)
n. pl. ma·ha·ri·shis Hinduism
1. A teacher of mysticism and spiritual knowledge.

2. Used as a title for such a person.

[Sanskrit mahārṣiḥ : mahā-, great; see meg- in Indo-European roots + ṛṣiḥ, seer, sage, saint; see ers- in Indo-European roots.]

American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2011 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

maharishi
(ˌmɑːhɑːˈriːʃɪ; məˈhɑːriːʃɪ)
n
1. (Hinduism) Hinduism a Hindu teacher of religious and mystical knowledge

[from Hindi, from mahā great + rishi sage, saint]

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003

ma•ha•ri•shi
(mɑ həˈri ʃi, məˈhɑr ə-)

n., pl. -shis.
a Hindu religious sage.

[< Skt, =maha- great + -rṣi, comb. form of ṛṣi saint]

Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved

maharishi

A Hindi word meaning great sage, used to mean a teacher of spiritual knowledge.

 

 

maharishi: meaning and definitions - Dictionary - Infoplease
dictionary.infoplease.com/maharishi

maharishi: Definition and Pronunciation.
ma•ha•ri•shi

Pronunciation: (mä-hu-rē'shē, mu-här'u-), [key]
—n. Hinduism.
1. a teacher of spiritual and mystical knowledge; religious sage: often used as an honorary title.
2. any of the seven great mythological seers of the Vedic and post-Vedic writings: identified with the seven stars of Ursa Major.

 

M
=
4
-
-
MA HA RI SHI
-
-
-
-
-
-
-
2
M+A
14
5
5
-
-
-
-
2
H+A
9
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
1
I
9
9
9
-
-
-
-
2
S+H
27
18
9
-
-
-
-
1
I
9
9
9
M
=
4
-
9
MA HA RI SHI
86
59
50
-
-
-
-
-
-
8+6
5+9
5+0
M
=
4
-
9
MA HA RI SHI
14
14
5
-
-
-
-
-
-
1+4
1+4
-
M
=
4
-
9
MA HA RI SHI
5
5
5

 

 

BELOVED ISIS QUEEN OF THE NIGHT COME WEAVE THY WEB WITH RAPID LIGHT

 

 

THE LOST LANGUAGE OF SYMBOLISM

Harold Bayley 1912

Page 278

""According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."

 

6
ISH-ISH
72
36
9
4
ISHI
45
36
9

 

Page 278

"ONE-EYE, TWO-EYES, THREE-EYES"

"According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH,

 

 

THE HOLY BIBLE

Scofield References

Hosea Chapter 2

Page 922/923

16

And it shall be at that day, saith the LORD, that thou shalt call me Ishi; and shalt call me no more Baali.

 

AND IT SHALL BE AT THAT DAY SAITH THE LORD THAT THOU SHALT CALL ME

ISHI

 

4
ISHI
45
36
9
3
999
27
27
9
4
ISHI
45
36
9

 

 

THE WHITE GODDESS

Robert Graves 1948

Page 337

Chapter Eighteen

THE BULL FOOTED GOD

"Isis is an onomatopoeic Asiatic word, Ish-ish, meaning 'she who weeps', because the Moon was held to scatter dew and because Isis, the pre-Christian original of the Mater Dolrosa, mourned for Osiris when Set killed him."

ISH ISH = 99 99 = ISH ISH

 

 

THE WHITE GODDESS

Robert Graves 1948

Page 149

Chapter Nine

GWIONS HERESY

"The Essene initiates, according to Josephus, were sworn to keep secret the names of the powers who ruled their universe under God. Were these powers the letters of the Boibel-Loth which together, composed the life and death story of their demi-god Moses? 'David' may seem to belong to a later context than the others, but it is found as a royal title in a sixteenth century B.C inscription; and the Pentateuch was not composed until long /Page 150/ after King David's day Moreover, David for the Essenes was the name of the promised messiah."

 

 

HOLY BIBLE

Scofield References

C 1 V 16

THE ACTS OF THE APOSTLES

Page 1148 (Part quoted)

"MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED

WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"

 

 

BHAGAVAD GITA

ARUJNA KRISHNA VISHNU SHIVA BRAHMA

 

 

I

ME

I SAY ISIS SAY I

I SAY OSIRIS SAY I

I SAY CHRIST SAY I

I SAY KRISHNA SAY I

I SAY RISHI ISHI ISHI RISHI SAY I

I SAY VISHNU SHIVA SHIVA VISHNU SAY I

ARISES THAT SUN SETS THAT SUN SETS THAT SUN ARISES THAT SUN

OSIRIS THAT SON SETS THAT SON SETS THAT SON OSIRIS THAT SON

 

 

BELOVED ISIS QUEEN OF THE NIGHT COME WEAVE THY WEB WITH RAPID LIGHT

 

 

WISDOM OF THE EAST

by Hari Prasad Shastri 1948

Page 8

"There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'

Let us honor the unity of Divine Spirit
that pervades all realms of existance:
the earth, the atmosphere and the heavens.

May That most brilliant Divine Light
protect us, sustain us
and illuminate our consciousness

that we might realize
our inherent goodness,
our inborn divinity
and our unity with All That Is.

 

 

The Gayatri Mantra Om Bhur Bhuvaha Swaha
OM BHUR BHUVAHA SWAHA OM TAT SAVITUR VARENYAM BHARGHO DEVASYA DHIMAHI DHIYO YONAHA PRACHODAYAT * The Gayatri Mantra is revered by both Buddhists and Hindus ...
www.gayatrimantra.net/

* OM BHUR, OM BHUVAHA, OM SWAHA, OM MAHAHA, OM JANAHA, OM TAPAHA, OM SATYAM, OM TAT SAVITUR VARENYAM BHARGHO DEVASYA DHIMAHI DHIYO YONAHA PRACHODAYAT *

The Entire Mantra says, "I invoke the Earth Plane, The Astral Plane, The Celestial Plane, The Plane of Spiritual Balance, The Plane of Human Spiritual Knowledge, The Plane of Spiritual Austerites, and The Plane of Ultimate Truth. Oh, great Spiritual Light which is the brilliance of all Divinity, we meditate upon You. Please illumine our minds."

By chanting this mantra, Divine spiritual light and power is infused in each of the seven chakras and connects them to the Spiritual Realms. The last part infuses our minds, hearts and souls with the power of the spiritual light that created the Universe.

 

WORDS OF POWER OF WORDS

 

 

 

S
=
1
-
3
SUN
54
9
9
E
=
5
-
5
EARTH
52
25
7
M
=
4
-
4
MOON
57
21
3
-
-
10
-
12
First Total
163
55
19
-
-
1+0
-
1+2
Add to Reduce
1+6+3
5+5
1+9
-
-
1
-
3
Second Total
10
10
10
-
-
-
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
1
-
3
Essence of Number
1
1
1

 

 

3
SUN
54
18
9
5
EARTH
52
25
7
4
MOON
57
21
3
12
First Total
163
64
19
1+2
Add to Reduce
1+6+3
6+4
1+9
3
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
3
Essence of Number
1
1
1

 

 

-
-
-
-
-
SUN EARTH MOON
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
3
SUN
54
9
9
-
1
2
-
-
-
-
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
1
2
-
-
-
-
-
-
-
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
55
19
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
18
-
3
-
54
18
9
-
-
-
-
-
-
-
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
R
=
9
6
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
-
-
25
-
5
-
52
25
25
-
-
-
-
-
-
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
11
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
N
=
5
12
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
21
-
4
-
57
21
21
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
SUN EARTH MOON
-
-
-
-
2
2
3
4
15
12
7
8
9
S
=
1
-
3
SUN
54
18
9
-
-
-
-
-
1+5
1+2
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
2
2
3
4
6
3
7
8
9
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
64
19
-
2
2
3
4
6
3
7
8
9
-
-
1+0
-
1+2
-
1+6+3
6+4
1+9
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
10
10
10
-
2
2
3
4
6
3
7
8
9
-
-
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
1
1
1
-
2
2
3
4
6
3
7
8
9

 

 

-
-
-
-
-
SUN EARTH MOON
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
3
SUN
54
9
9
-
1
2
-
-
-
-
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
1
2
-
-
-
-
-
-
-
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
55
19
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
7
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
-
7
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
R
=
9
6
1
R
18
9
9
-
-
-
-
-
-
-
7
-
9
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
7
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
O
=
6
11
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
N
=
5
12
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
SUN EARTH MOON
-
-
-
-
2
2
3
4
15
12
7
8
9
S
=
1
-
3
SUN
54
18
9
-
-
-
-
-
1+5
1+2
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
2
2
3
4
6
3
7
8
9
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
64
19
-
2
2
3
4
6
3
7
8
9
-
-
1+0
-
1+2
-
1+6+3
6+4
1+9
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
10
10
10
-
2
2
3
4
6
3
7
8
9
-
-
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
1
1
1
-
2
2
3
4
6
3
7
8
9

 

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
SUN EARTH MOON
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
3
SUN
54
9
9
-
1
2
-
-
-
-
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
1
2
-
-
-
-
-
-
-
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
55
19
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
7
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
-
7
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
7
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
N
=
5
12
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
O
=
6
11
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
R
=
9
6
1
R
18
9
9
-
-
-
-
-
-
-
7
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
SUN EARTH MOON
-
-
-
-
2
2
3
4
15
12
7
8
9
S
=
1
-
3
SUN
54
18
9
-
-
-
-
-
1+5
1+2
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
2
2
3
4
6
3
7
8
9
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
64
19
-
2
2
3
4
6
3
7
8
9
-
-
1+0
-
1+2
-
1+6+3
6+4
1+9
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
10
10
10
-
2
2
3
4
6
3
7
8
9
-
-
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
1
1
1
-
2
2
3
4
6
3
7
8
9

 

THE SO EVEN SEVEN

THE MISSING NUMBER

 

-
-
-
-
-
SUN EARTH MOON
-
-
-
-
1
2
3
4
5
6
8
9
S
=
1
-
3
SUN
54
9
9
-
1
2
-
-
-
-
-
-
E
=
5
-
5
EARTH
52
25
7
-
1
2
-
-
-
-
-
-
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
55
19
-
1
2
3
4
5
6
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
A
=
1
5
1
A
1
1
1
-
1
-
-
-
-
-
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
-
-
N
=
5
12
1
N
14
5
5
-
-
-
-
-
5
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
O
=
6
11
1
O
15
6
6
-
-
-
-
-
-
6
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
8
-
R
=
9
6
1
R
18
9
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
SUN EARTH MOON
-
-
-
-
2
2
3
4
15
12
8
9
S
=
1
-
3
SUN
54
18
9
-
-
-
-
-
1+5
1+2
-
-
E
=
5
-
5
EARTH
52
25
7
-
2
2
3
4
6
3
8
9
M
=
4
-
4
MOON
57
21
3
-
-
-
-
-
-
-
-
-
-
-
10
-
12
SUN EARTH MOON
163
64
19
-
2
2
3
4
6
3
8
9
-
-
1+0
-
1+2
-
1+6+3
6+4
1+9
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
10
10
10
-
2
2
3
4
6
3
8
9
-
-
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
1
-
3
SUN EARTH MOON
1
1
1
-
2
2
3
4
6
3
8
9

 

 

T
=
2
-
3
THE
33
15
6
G
=
7
-
3
GOD
26
17
8
M
=
4
-
4
MIND
40
22
4
-
-
13
-
10
First Total
99
54
18
-
-
1+3
-
1+0
Add to Reduce
9+9
5+4
1+8
-
-
4
-
1
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
4
-
1
Essence of Number
9
9
9

 

 

JUST SIX NUMBERS

The Deep Forces that Shape the Universe

Martin Rees

1
999

OUR COSMIC HABITAT 1 PLANETS STARS AND LIFE

A COMMON CULTURE WITH ALIENS

Page 21

"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "

Page 21 / 22

"...A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelligence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons.A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"

Page 21

"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "

 

 



" the number 1,836 would have the same connotations"
"A remarkable use of the number 3168 occurs"

 

YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO

 

I

ME

SALUTATIONS

PEOPLES OF PLANET EARTH

THOUGHTS OF LOVE THOUGHTS OF PEACE THOUGHTS OF LIGHT

UNTO

ALL SENTIENT BEINGS THROUGHOUT THE UNIVERSE OF GODS UNIVERSAL MIND

 

 

 

THE SCULPTURE OF VIBRATIONS 1971

 

 

 

E = 5 = E

N = 14 = 1+4 = 5 = 1+4 = 14 = N

W = 23 2+3 = 5 = 2+3 23 = W

 

LOOK AT THE FIVES

+

THE FIVES

+

THE FIVES

+

=

356 = 140 = 50

=

5

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

LOOKATTHE FIVES THE FIVES THE FIVES

 

L
=
3
-
4
LOOK
53
17
8
A
=
1
-
2
AT
21
3
3
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FIVES
61
25
7
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FIVES
61
25
7
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FIVES
61
25
7
-
-
-
-
-
-
-
-
-
-
-
28
-
30
First Total
356
140
50
-
-
2+8
-
3+1
Add to Reduce
3+5+6
1+4+2
5+0
-
-
10
-
4
Second Total
14
5
5
-
-
1+0
-
-
Reduce to Deduce
1+4
-
-
-
-
1
-
4
Essence of Number
5
5
5

 

How many 5s in the word

Technology

=

5

 

T
=
2
-
10
TECHNOLOGY
-
-
-
-
-
-
-
2
T+C
23
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
2
H+O
23
14
5
-
-
-
-
1
N
14
5
5
-
-
-
-
2
L+O
27
9
9
-
-
-
-
2
G+Y
32
14
5
T
=
2
-
10
TECHNOLOGY
-
-
-
-
-
-
-
1+0
-
-
-
-
T
=
2
-
1
-TECHNOLOGY
124
52
7
-
-
-
-
-
-
1+2+4
5+2
-
T
=
2
-
1
-TECHNOLOGY
7
7
7

 

" The word "energy" was first used in the scientific sense of mechanical or electrical energy in the 1800s.

ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING

ENERG+Y ENERGIES ENERGISE ENERGISES ENERGISE+D ENERGISING

 

ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING

555RGY 555RGI5S 555RGIS5 555RGIS5S 555RGIS5D 555RGISI5G

ENERGY ENERGIES ENERGISE ENERGISES ENERGISED ENERGISING

 

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

....

A
B
C
D
E
F
G
H
I
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
J
K
L
M
N
O
P
Q
R
10
11
12
13
14
15
16
17
18
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
S
T
U
V
W
X
Y
Z
I
19
20
21
22
23
24
25
26
9
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
ME
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
I
ME
I
ME
I
ME
I
ME
I
9
18
9
18
9
18
9
18
9
=
1+8
=
1+8
=
1+8
=
1+8
=
=
9
=
9
=
9
=
9
=
I
ME
I
ME
I
ME
I
ME
1
9
9
9
9
9
9
9
9
9
I
ME
I
ME
I
ME
I
ME
1

 

 

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

THE MAGIC MOUNTAIN
Thomas Mann.  
1875 - 1955

Quote

"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."

 

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"

 

NUMBER
9
The Search for the Sigma Code      
Cecil Balmond

Page 5

"One…two…three….My eye went over the figures. Suddenly I saw something. There were hidden patterns; the old man's story about secret num-bers came back to me and I became curious. I started to look into these simple ideas and the more I searched the more fascinated I became. Something was indeed going on underneath the surface of arithmetic and what appeared as a unique calculation to the outside  

/ Page 6  /  

world was something quite different when viewed from below. Looked at another way, six and six was not necessarily twelve but something much more exciting - the number 3, of a secret code…"

Page 5

"…The thing to do is to follow the path until all the clues are in place and let your mind run free. It is only then that you find what the young master saw: the fixed points in the wind."
     "…it is in this spirit I dedicate the journey to you. Follow the clues, build up the jigsaw piece by piece and make your own investigations; become part of the search.
      Go back in time and let the free spirit in you enter. Talk to it, play ask the strangest questions.
      Start to count again in the simplest of ways,

      one, two, three, four…up to nine.                          

Page 45

"From ancient times number nine was seen as a full complement;
it was the cup of special promise that brimmed over" 

 

"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"

 

DNA AND DNA DNA AND DNA DNA AND DNA

DNA AND DNA DNA AND DNA DNA AND DNA

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

....

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
-
7
-
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
-
7
-
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
-
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
-
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
-
9
-
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
-
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
-
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
-
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 351 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 126 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 9 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

 

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 351 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 126 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 9 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
9
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
57
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+7
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
12
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+2
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

EVOLVE LOVE EVOLVE

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

2
IS
28
10
1
9
UNIVERSAL
121
40
4
4
MIND
40
22
4
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

9
UNIVERSAL
121
40
4
4
MIND
40
22
4
2
IS
28
10
1
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

E
=
5
-
2
EX
11
2
2
U
=
3
-
6
UMBRIS
82
28
1
E
=
5
-
2
ET
25
7
7
I
=
9
-
10
IMAGINIBUS
104
50
5
I
=
9
-
2
IN
23
14
5
V
=
4
-
9
VERITATEM
113
41
5
-
-
35
-
31
First Total
358
142
25
-
-
3+5
-
3+1
Add to Reduce
3+5+8
1+4+2
2+5
-
-
8
-
4
Second Total
16
7
7
-
-
-
-
-
Reduce to Deduce
1+6
-
-
-
-
8
-
4
Essence of Number
7
7
7

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
S
=
1
-
7
SHADOWS
89
26
8
A
=
1
-
3
AND
82
28
1
P
=
7
-
9
PHANTASMS
111
30
3
I
=
9
-
4
INTO
58
22
4
T
=
2
-
5
TRUTH
87
24
6
-
-
32
-
33
Add to Reduce
441
135
27
-
-
3+2
-
3+3
Reduce to Deduce
4+4+1
1+3+5
2+7
-
-
5
-
6
Essence of Number
9
9
9

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
18
First Total
189
90
18
1+8
Add to Reduce
1+8+9
9+0
1+8
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

THE

RA IN BOW

LIGHT

 

-
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
7
RAINBOW
82
37
1
5
LIGHT
56
29
2
15
THE RAINBOW LIGHT
171
81
9
1+5
-
1+7+1
8+1
-
6
THE RAINBOW LIGHT
9
9
9

 

I

ME YOU ME

CREATORS GODS CREATORS

THOU ART THAT THAT ART THOU

GOD SPIRIT ART THOU THOU ART GOD SPIRIT

MIND MATTER SPIRIT GOD SPIRIT MATTER MIND

THOU ART UNIVERSAL MIND GODS UNIVERSAL MIND ART THOU

 

INRI 9599 INRI

"INRI" is an abbreviation for the Latin "Iesus Nazarenus, Rex Iudaeorum" ("Jesus the Nazarene, King of the Jews"), posted on the cross by order of the Roman procurator, Pontius Pilate.

I N R I

=

9 5 9 9

 

THE

R

IN

EVOLUTION

REVOLUTION

 

-
-
-
-
-
THE R IN EVOLUTION REVOLUTION
-
-
-
T
=
2
-
3
THE
33
15
6
R
=
9
-
1
R
18
9
9
I
=
9
-
2
IN
23
14
5
E
=
5
-
9
EVOLUTION
133
43
7
E
=
5
-
10
REVOLUTION
151
52
7
S
-
25
-
25
THE R IN EVOLUTION REVOLUTION
358
133
34
-
-
2+5
-
2+5
-`
3+5+8
1+3+3
3+4
S
-
7
-
7
THE R IN EVOLUTION REVOLUTION
16
7
7
-
-
-
-
-
-`
1+6
S
-
S
-
7
-
7
THE R IN EVOLUTION REVOLUTION
7
7
7

 

THE

R

IN

ELEVATION

REVELATION

 

-
-
-
-
-
THE R IN ELEVATION REVELATION
-
-
-
T
=
2
-
3
THE
33
15
6
R
=
9
-
1
R
18
9
9
I
=
9
-
2
IN
23
14
5
E
=
5
-
9
ELEVATION
103
40
4
R
=
9
-
10
REVELATION
121
58
4
S
-
34
-
25
THE R IN ELEVATION REVELATION
298
136
28
-
-
3+4
-
2+5
-`
2+9+8
1+3+6
2+8
S
-
7
-
7
THE R IN ELEVATION REVELATION
19
10
10
-
-
-
-
-
-`
1+9
1+0
1+0
S
-
7
-
7
THE R IN ELEVATION REVELATION
10
1
1

 

RELEVATION

9535412965

RELEVATION

 

REVELATION

9545312965

REVELATION

 

 

ENGINE

LOOK AT THE 5'S THE 5'S THE 5'S

ENGINE

55GI55

ENGINE

 

 

ENGINEERING

LOOK AT THE 5'S THE 5'S THE 5'S

55GI555RI5G

ENGINEERING

 

ENGINEERED

LOOK AT THE 5'S THE 5'S THE 5'S

55GI555R5D

ENGINEERED

 

5
POWER
77
32
5
7
JUSTICE
87
24
6
4
LOVE
54
18
9
3
LAW
36
9
9
9
JUDGEMENT
99
36
9

 

 

5
CHAOS
46
19
1
7
ENTROPY
113
41
5

 

 

7
ENTROPY
113
41
5
5
ORDER
60
33
6
12
-
-
-
11
1+2
-
-
-
1+1
3
-
-
-
2

 

 

10
CREATIVITY
132
51
6
3
ITY
54
18
9

 

 

11
DESTRUCTION
148
49
4
8
DISORDER
92
47
2

 

 

10
EQUILIBRIUM
136
64
1
7
BALANCE
38
20
2
8
EQUALITY
110
38
2

 

 

10
VIRGIN MARY
136
64
1
11
EQUILIBRIUM
136
64
1

 

 

5
ORDER
60
33
6
8
DISORDER
92
47
2
13
-
152
80
8
1+3
-
1+5+2
8+0
-
4
-
8
8
8

 

 

8
DENDERAH
59
41
5
6
ZODIAC
58
31
4
14
-
117
72
9
1+4
-
1+1+7
7+2
-
5
-
9
9
9

 

 

3
RAM
32
14
5
5
ARIES
52
25
7
8
-
84
39
12
-
-
8+4
3+9
1+2
-
-
12
12
3
-
-
1+2
1+2
-
8
-
3
3
3

 

 

6
PISCES
71
26
8
4
FISH
42
24
6

 

 

6
FISHES
61
25
7

 

 

-
PRIMA MATERIA
-
-
-
5
PRIMA
57
30
3
7
MATERIA
67
31
4
12
PRIMA MATERIA
124
61
7
1+2
-
1+2+4
6+1
-
3
PRIMA MATERIA
7
7
7

 

 

10
INDIVIDUAL
105
51
6

 

 

11
MISSISSIPPI
157
58
4

 

 

6
SPIRIT
91
37
1
5
LEVEL
56
20
2

 

 

2
EL
17
8
8
5
ELECT
45
18
9
8
ELECTRIC
75
39
3
10
ELECTORATE
104
41
5
11
ELECTRICITY
129
57
3

 

 

9
ELECTRONS
111
39
3
7
PHOTONS
107
35
8
9
NEUTRINOS
135
45
9
7
PROTONS
117
36
9

 

 

11
ELECTRICITY
129
57
3
8
ELECTRIC
75
39
3
4
CITY
57
21
3

 

 

8
ELECTRIC
75
39
3
5
POWER
77
32
5

 

 

9
ELECTRONS
111
39
3
11
ELECTRIFIES
111
57
3
11
ELECTRIFIED
96
60
6
8
ELECTRIC
75
39
3
7
ELECTRO
78
33
6
8
ELECTRON
92
38
2
5
ELECT
45
18
9

 

 

6
ARRIVE
73
37
1
6
DEPART
64
28
1

 

 

6
ARRIVE
-
-
-
-
A
1
1
1
-
R
18
9
9
-
R
18
9
9
-
I
9
9
9
-
V+E
27
9
9
6
ARRIVE
-
-
-

 

 

8
MERKABAH
-
-
-
-
M+E
18
9
9
-
R
18
9
9
-
K+A+B
14
5
5
-
A+H
9
9
9
8
MERKABAH
59
32
32
-
-
5+9
3+2
3+2
-
-
14
5
5
-
-
1+4
-
-
8
MERKABAH
5
5
5

 

 

5
WATER
67
22
4
4
FLOW
56
20
2
6
LIQUID
72
36
9
7
VISCOUS
108
27
9
5
FLUID
52
25
7

 

 

5
SOLAR
65
20
2
6
FLARES
61
25
7
11
-
126
45
9
1+1
-
1+2+6
4+5
-
2
-
9
9
9

 

 

8
ABORTION
-
-
-
-
A+B+O
18
9
9
-
R
18
9
9
-
T
20
2
2
-
I
9
9
9
-
O+N
29
11
2
8
ABORTION
94
40
31
-
-
9+4
4+0
3+1
-
-
13
4
4
-
-
1+3
-
-
8
ABORTION
4
4
4

 

 

1
I
9
9
9
5
SIGHT
54
27
9

 

 

3
EYE
35
17
8
5
SIGHT
54
27
9

 

 

4
WORD
60
24
6
5
SWORD
79
25
7
5
SWEAR
66
21
6
2
OR
33
15
6
3
DIE
18
18
9

 

 

3
FAT
27
9
9
4
THIN
51
24
6

 

 

1
I
9
9
9
4
NAME
33
15
6
3
YOU
61
16
7
5
HUMAN
57
21
3

 

 

5
PLATO
64
19
1
4
PLAY
54
18
9
2
TO
35
8
8

 

 

3
THE
33
15
6
4
NAME
33
15
6

 

 

6
MATTER
77
23
5
4
ANTI
44
17
8
10
-
121
40
13
1+0
-
1+2+1
4+0
1+3
1
-
4
4
4

 

 

10
ANTI-MATTER
121
40
4
6
MATTER
77
23
5
16
-
198
63
9
1+6
-
1+9+8
6+3
-
-
-
18
9
9
-
-
1+8
-
-
7
-
9
9
9

 

 

8
MAGNETIC
72
36
1
8
MERIDIAN
73
46
1

 

 

4
DOVE
46
19
1
4
LOVE
54
18
9
8
-
100
37
10
-
-
1+0+0
3+7
1+0
-
-
1
10
1
-
-
-
1+0
-
8
-
1
1
1

 

 

8
MERIDIAN
-
-
-
-
M+E
18
9
9
-
R
18
9
9
-
I
9
9
9
-
D
4
4
4
-
I
9
9
9
-
A+N
15
6
6
8
MERIDIAN
73
46
46
-
-
7+3
4+6
4+6
-
-
10
10
10
-
-
1+0
1+0
1+0
8
MERIDIAN
1
1
1

 

 

8
MERIDIAN
-
-
-
-
M+E+R+I
18
9
9
-
D
4
4
4
-
I
9
9
9
-
A+N
15
6
6
8
MERIDIAN
73
28
28
-
-
7+3
2+8
2+8
-
-
10
10
10
-
-
1+0
1+0
1+0
8
MERIDIAN
1
1
1

 

 

8
MERIDIAN
-
-
-
-
M+E
18
9
9
-
R
18
9
9
-
I
9
9
9
-
D+I+A+N
28
19
1
8
MERIDIAN
73
46
28
-
-
7+3
4+6
2+8
-
-
10
10
10
-
-
1+0
1+0
1+0
8
MERIDIAN
1
1
1

 

 

3
GEO
27
18
9

 

 

8
PHYSICAL
-
-
-
-
P+H+Y+S
68
23
5
-
I
9
9
9
-
C+A+L
16
7
7
8
PHYSICAL
93
39
21
-
-
9+3
3+9
2+1
-
-
12
12
3
-
-
1+2
1+2
-
8
PHYSICAL
3
3
3

 

 

7
NEW + MOON
99
36
9
6
ORACLE
54
27
9
13
Add to Reduce
153
63
18
1+3
Reduce to Deduce
1+5+3
6+3
1+8
4
Essence of number
9
9
9
-
-
-
-
-
-
-
-
-
-
10
LOVE + EVOLVE
135
45
9

 

 

7
OLD MOON
88
34
7

 

 

3
NEW
42
15
6
4
MOON
57
21
3
7
Add to Reduce
99
36
9
-
Reduce to Deduce
9+9
3+6
-
-
-
18
9
9
-
-
1+8
-
-
7
Essence of number
9
9
9

 

 

4
FULL
51
15
6
4
MOON
57
21
3
8
Add to Reduce
108
36
9
-
Reduce to Deduce
1+0+8
3+6
-
7
Essence of number
9
9
9

 

 

10
V
I
R
G
I
N
-
M
A
R
Y
--
-
-
-
-
-
-
-
-
-
22
9
18
7
9
14
-
13
1
18
25
+
=
136
1+3+6
=
10
1+0
=
1
-
4
9
9
7
9
5
-
4
1
9
7
+
=
64
6+4
=
10
1+0
=
1
-
-
-
-
-
-
-
-
-
1
-
-
+
=
1
-
-
1
-
-
-
-
4
-
-
-
-
-
-
4
-
-
-
+
=
8
-
-
8
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
+
=
5
-
-
5
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
+
=
14
1+4
=
5
-
-
-
-
-
9
9
-
9
-
-
-
-
9
-
+
=
36
3+6
=
9
-
-
-
10
V
I
R
G
I
N
-
M
A
R
Y
--
-
-
-
-
-
-
-
-

 

 

1
occurs
x
1
=
1
-
-
1
4
occurs
x
2
=
8
-
-
8
5
occurs
x
1
=
5
-
-
5
7
occurs
x
2
=
14
1+4
=
5
9
occurs
x
4
=
36
3+6
=
9

 

 

5
MUSIC
-
-
-
-
M+U+S
53
8
8
-
I
9
9
9
-
C
3
3
3
5
MUSIC
65
20
20
-
-
6+5
2+0
2+0
-
-
11
2
2
-
-
1+1
-
-
5
MUSIC
2
2
2

 

 

5
MUSIC
-
-
-
-
M
13
4
4
-
U+S
40
4
4
-
I
9
9
9
-
C
3
3
3
5
MUSIC
65
20
20
-
-
6+5
2+0
2+0
-
-
11
2
2
-
-
1+1
-
-
5
MUSIC
2
2
2

 

 

V
=
22
=
4
-
6
VIRGIN
79
43
7
O
=
15
=
6
-
6
ORIGIN
72
45
9

 

 

3
AYE
31
13
4
3
EYE
35
17
8
1
I
9
9
9

 

 

11
CALCULATION
-
-
-
-
-
-
-
C
3
3
3
-
-
3
-
A
1
1
1
-
1
-
-
L
12
3
3
-
-
3
-
C
3
3
3
-
-
3
-
U
21
3
3
-
-
3
-
L
12
3
3
-
-
3
-
A+T
21
3
3
-
-
3
-
I
9
9
9
-
-
-
-
O+N
29
11
2
-
2
-
11
CALCULATION
111
39
30
-
3
18
1+1
-
1+1+1
3+9
3+0
-
-
1+8
2
CALCULATION
3
12
3
-
3
9
-
-
-
1+2
-
-
-
-
2
CALCULATION
3
3
3
-
3
9

 

 

12
CALCULATIONS
130
40
4
8
CALCULUS
92
20
2

 

 

8
CALCULUS
-
-
-
-
-
-
-
C
3
3
3
-
-
3
-
A
1
1
1
-
1
-
-
L
12
3
3
-
-
3
-
C
3
3
3
-
-
3
-
U
21
3
3
-
-
3
-
L
12
3
3
-
-
3
-
U
21
3
3
-
-
3
-
S
19
10
10
-
1
8
CALCULUS
92
29
29
-
2
18
-
-
9+2
2+9
2+9
-
-
1+8
8
CALCULUS
11
11
11
-
2
9
-
-
1+1
1+1
1+1
-
-
-
8
CALCULUS
2
2
2
-
2
9

 

LOOK AT THE THREES LOOK AT THE THREES LOOK AT THE THREES THE THREES THE THREES

 

O
=
6
-
-
THREES
-
-
-
-
-
-
-
1
T
20
2
-
-
-
-
-
1
H
8
8
8
-
-
-
-
1
R
18
9
9
-
-
-
-
1
E
5
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
2
S
19
10
1
O
=
6
Q
6
THREES
75
39
30
-
-
-
-
-
-
7+4
3+9
3+0
O
=
6
Q
6
THREES
12
12
3
-
-
-
-
-
-
1+2
1+2
-
O
=
6
Q
6
THREES
3
3
3

 

LOOK AT THE THREES LOOK AT THE THREES LOOK AT THE THREES THE THREES THE THREES

 

8
CALCULUS
-
-
-
8
-
-
-
C
3
3
3
-
-
3
-
A
1
1
1
-
1
-
-
L
12
3
3
-
-
3
-
C
3
3
3
-
-
3
-
U
21
3
3
-
-
3
-
L
12
3
3
-
-
3
-
U
21
3
3
-
-
3
-
S
19
10
10
-
1
-
8
CALCULUS
92
29
29
-
2
18
-
-
9+2
2+9
2+9
-
-
1+8
8
CALCULUS
11
11
11
-
2
9
-
-
1+1
1+1
1+1
-
-
-
8
CALCULUS
2
2
2
-
2
9

 

 

T
=
2
-
3
THE
31
15
6
R
=
9
-
7
REALITY
90
36
9
W
=
5
-
6
WITHIN
83
38
2
T
=
2
-
3
THE
33
15
6
P
=
7
-
7
PATTERN
94
31
4
-
-
25
Q
26
Add to Reduce
333
135
27
-
-
2+5
-
2+6
Reduce to Deduce
3+3+3
1+3+5
2+7
-
-
7
-
8
Essence of Number
9
9
9

 

LOOK AT THE THREES LOOK AT THE THREES LOOK AT THE THREES THE THREES THE THREES

 

S
=
1
5
SEDNA
43
16
7
A
=
1
5
ANDES
43
16
7
C
=
3
5
CUZCO
68
23
5
I
=
9
4
INCA
27
18
9
I
=
9
5
INCAS
46
19
1

 

 

S
=
1
6
SHAMAN
56
20
2
S
=
1
7
SHAMANS
75
21
3

 

 

IN

MEMORIAM

"SUFFER LITTLE CHILDREN TO COME UNTO ME"

 

-
-
-
-
-
-
-
-
LLULLAILLACO

-

-
-
L
3
-
-
-
-
L
1
L

12

3
3
L
3
-
-
-
-
L
1
L

12

3
3
U
3
-
-
-
-
U
1
U

21

3
3
L
3
-
-
-
-
L
1
L

12

3
3
L
3
-
-
-
-
L
1
L

12

3
3
-
-
A
-
-
-
A
1
A

1

1
1
-
-
-
I
-
-
I
1
I

9

9
9
L
3
-
-
-
-
L
1
L

12

3
3
L
3
-
-
-
-
L
1
L

12

3
3
-
-
A
-
-
-
A
1
A

1

1
1
C
3
-
-
-
-
C
1
C

3

3
3
-
-
-
-
O
-
O
1
O

15

6
6
-
24
-
-
-
-
-
12
LLULLAILLACO

122

41

41
-
2+4
-
-
-
-
-
1+2
-
1+2+2
4+1
4+1
-
6
-
-
-
-
-
3
LLULLAILLACO

5

5

5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
3
LLULLAILLACO

5

5

5

 

Children of Llullaillaco, sacrificed by the Incas 500 years ago.

It is believed the Children of Llullaillaco, as they have come to be known, were sacrificed during a ceremony thanking the Inca gods for the annual corn ... www.democraticunderground.com/discuss/ duboard.

http://news.bbc.co.uk/1/hi/world/americas/6983300.stm

Mummified Inca maiden wows crowds

"A mummy of an Inca girl, described as "perfect" by the archaeologists who found her in 1999, has gone on display for the first time in Argentina .

Hundreds of people crowded into a museum in the north-western city of Salta to see "la Doncella", the Maiden.

The remains of the girl, who was 15 when she died, were found in an icy pit on top of a volcano in the Andes, along with a younger boy and girl. Researchers believe they were sacrificed by the Incas 500 years ago. The three were discovered at a height of 6,700m (22,000ft) on Mount Llullaillaco, a volcano in north-west Argentina on the border with Chile. At the time, the archaeologist leading the team, Dr Johan Reinhard, said they appeared "the best preserved of any mummy I've seen". It is believed the Children of Llullaillaco, as they have come to be known, were sacrificed during a ceremony thanking the Inca gods for the annual corn harvest.

'Great mistake'

The mummy of la Doncella is on display in a chamber that is filled with cold air that recreates the sub-freezing conditions in which she was found. Visitors told Argentina media they were impressed at the mummy's state of conservation. "I'm amazed," one woman said. "You just expect her at any moment to get up and start talking." But the exhibition has angered several indigenous groups who campaigned to stop the mummy from going on display.

Miguel Suarez from the Calchaquies valley tribes in and around Salta told the Associated Press news agency that the exhibit was "a great mistake", adding that he hoped visitors would show respect for the dead."

 

 

-
LLULLAILLACO

-

-
-
3
L+L+U

45

9
9
2
L+L+A

25

7
7
1
I

9

9
9
3
L+L+A

25

7
7
2
C+O

18

9
9
12
LLULLAILLACO

122

41

41
1+2
-
1+2+2
4+1
4+1
3
LLULLAILLACO

5

5

5
-
-
-
-
-
3
LLULLAILLACO

5

5

5

 

 

-
-
-
-
-
-
-
-
LLULLAILLACO

-

-
-
L
3
-
-
-
-
L
1
L

12

3
3
L
3
-
-
-
-
L
1
L

12

3
3
U
3
-
-
-
-
U
1
U

21

3
3
L
3
-
-
-
-
L
1
L

12

3
3
L
3
-
-
-
-
L
1
L

12

3
3
-
-
A
-
-
-
A
1
A

1

1
1
-
-
-
I
-
-
I
1
I

9

9
9
L
3
-
-
-
-
L
1
L

12

3
3
L
3
-
-
-
-
L
1
L

12

3
3
-
-
A
-
-
-
A
1
A

1

1
1
C
3
-
-
-
-
C
1
C

3

3
3
-
-
-
-
O
-
O
1
O

15

6
6
-
24
-
-
-
-
-
12
LLULLAILLACO

122

41

41
-
2+4
-
-
-
-
-
1+2
-
1+2+2
4+1
4+1
-
6
-
-
-
-
-
3
LLULLAILLACO

5

5

5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
3
LLULLAILLACO

5

5

5

 

The remains of the girl, who was 15 when she died, were found in an icy pit on top of a volcano in the Andes, along with a younger boy and girl. Researchers believe they were sacrificed by the Incas 500 years ago. The three were discovered at a height of 6,700m (22,000ft) on Mount Llullaillaco, a volcano in north-west Argentina on the border with Chile.

The three were discovered

 

-
-
-
-
-
LLULLAILLACO

-

-
-
-
-
L
L
3
-
1
L

12

3
3
-
3
L
L
3
-
1
L

12

3
3
-
3
U
U
3
-
1
U

21

3
3
-
3
L
L
3
-
1
L

12

3
3
-
3
L
L
3
-
1
L

12

3
3
-
3
A
-
-
-
1
A

1

1
1
-
-
I
-
-
-
1
I

9

9
9
-
-
L
L
3
-
1
L

12

3
3
-
3
L
L
3
-
1
L

12

3
3
-
3
A
-
-
-
1
A

1

1
1
-
-
C
C
3
-
1
C

3

3
3
-
3
O
-
-
-
1
O

15

6
6
-
-
-
-
24
-
12
LLULLAILLACO

122

41

41
-

41
-
-
2+4
-
1+2
-
1+2+2
4+1
4+1
-
4+1
-
-
6
-
3
LLULLAILLACO

5

5

5
-

5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
3
LLULLAILLACO

5

5

5
-

5

 

"THE WORD FIRST USED FOR MAN IS LULLU"

"THE WORD FIRST USED FOR MAN IS 33333"

"THE WORD FIRST USED FOR MAN IS LULLU"

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

I hereby name it Babylon, home of the great gods.

The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.
Then he decides to create man, to serve the gods with offerings, so that they can be at leisure. The word used for man is lullu , meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found guilty of the war between the gods, his blood is used to create mankind. Here, it is unclear if Marduk or Ea creates mankind. Later in the text, Ea is specified as the creator of man. Finally, the gods praise Marduk, and give him fifty names that represent different aspects of his powers and sovereignty.
The text ends with instructions on how it should be passed on from generation to generation, and the command to worship Marduk, king of the gods.

 

ENUMA ELISH
The Babylonian Creation Myth

"The word used for man is lullu"

LULLU 33333 LULLU

"The word used for man is lullu"

 

-
-
-
-
-
LULLU
-
-
-
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
L
3
L
-
1
L
12
3
3
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
-
15
-
-
6
LULLU
78
15
15
-
1+5
-
-
-
-
7+8
1+5
1+5
-
6
-
-
6
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
-
6
-
-
6
LULLU
6
6
6

 

 

-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
1
-
-
--
-
-
--
-
-
1
ONE
1
-
-
-
-
-
2
-
-
--
-
-
--
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
4
-
-
--
-
-
--
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
--
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
--
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
--
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
--
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
-
--
-
-
9
NINE
9
-
-
-
-
-
42
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
4+2
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

 

5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
The word used for man is lullu, meaning a first, primitive man.The same word is used about the savage Enkidu in the Gilgamesh epic ...

 

-
-
-
-
-
LULLU
-
-
-
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
L
3
L
-
1
L
12
3
3
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
-
15
-
-
6
LULLU
78
15
15
-
1+5
-
-
-
-
7+8
1+5
1+5
-
6
-
-
6
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
-
6
-
-
6
LULLU
6
6
6

 

 

B
=
2
-
-
BABYLONIA
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
B+Y
27
9
9
-
-
-
-
1
L
12
3
3
-
-
-
-
4
O+N+I+A
39
21
3
B
=
2
Q
9
BABYLONIA
81
36
18
-
-
-
-
-
-
8+1
2+3
1+8
B
=
2
Q
9
BABYLONIA
9
9
9

 

THE

LULLABY

 

-
LULLABY
-
-
-
1
L
12
3
3
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
1
A+B
3
3
3
1
Y
25
7
7
7
LULLABY
85
22
22
-
-
8+5
2+2
2+2
7
LULLABY
13
4
4
-
-
1+3
-
-
7
LULLABY
4
4
4

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LULL
57
12
3
B
=
2
-
6
BEFORE
51
33
6
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
STORM
85
22
4
-
-
10
-
21
First Total
259
97
25
-
-
1+0
-
2+1
Add to Reduce
2+5+9
9+7
2+5
-
-
1
-
3
Second Total
16
16
7
-
-
-
-
-
Reduce to Deduce
1+6
1+6
-
-
-
1
-
3
Essence of Number
7
7
7

 

THREE = 2 = THREE

 

8
CALCULUS
-
-
-
-
-
-
-
C
3
3
3
-
-
3
-
A
1
1
1
-
1
-
-
L
12
3
3
-
-
3
-
C
3
3
3
-
-
3
-
U
21
3
3
-
-
3
-
L
12
3
3
-
-
3
-
U
21
3
3
-
-
3
-
S
19
10
10
-
1
-
8
CALCULUS
92
29
29
-
2
18
-
-
9+2
2+9
2+9
-
-
1+8
8
CALCULUS
11
11
11
-
2
9
-
-
1+1
1+1
1+1
-
-
-
8
CALCULUS
2
2
2
-
2
9

 

THREES = 3 = THREES

 

Tho' much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Ulysses

www.victorianweb.org/authors/tennyson/ulyssestext.html

 

T
=
2
3
THE
33
15
6
R
=
9
7
RAINBOW
82
28
1
A
=
1
4
ARCH
30
21
3
O
=
6
2
OF
21
12
3
T
=
2
3
THE
33
15
6
C
=
3
8
COVENANT
94
31
4
-
-
23
27
First Total
293
122
23
-
-
2+3
2+7
Add to Reduce
2+9+3
1+2+2
2+3
Q
-
5
9
Second Total
14
5
5
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
5
9
Essence of Number
5
5
5

 

 

-
REDEMPTIVE
-
-
-
1
R
18
9
9
2
E+D
9
9
9
2
E+M
18
9
9
2
P+T
36
9
9
1
I
9
9
9
2
V+E
27
9
9
10
REDEMPTIVE
117
54
54
1+0
  
1+1+7
5+4
5+4
1
REDEMPTIVE
9
9
9

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.' "
" 'When a man awakes he can die; when he dies he can be born' "

 

A MAN MAY BE BORN BUT IN ORDER TO BE BORN HE MUST FIRST DIE AND IN ORDER TO DIE

HE MUST FIRST AWAKE WHEN A MAN AWAKES HE CAN DIE WHEN HE DIES HE CAN BE BORN

 

A
=
1
-
1
A
1
1
1
M
=
4
-
3
MAN
28
10
1
M
=
4
-
3
MAY
39
12
3
B
=
2
-
2
BE
7
7
7
B
=
2
-
4
BORN
49
22
4
B
=
2
-
3
BUT
43
7
7
I
=
9
-
2
IN
23
14
5
O
=
6
-
5
ORDER
60
33
6
T
=
2
-
2
TO
35
8
8
B
=
2
-
2
BE
7
7
7
B
=
2
-
4
BORN
49
22
4
H
=
8
-
2
HE
13
13
4
M
=
4
-
4
MUST
73
10
1
F
=
6
-
5
FIRST
72
27
9
D
=
4
-
3
DIE
18
18
9
A
=
1
-
3
AND
19
10
1
I
=
9
-
2
IN
23
14
5
O
=
6
-
5
ORDER
60
33
6
T
=
2
-
2
TO
35
8
8
D
=
4
-
3
DIE
18
18
9
H
=
8
-
2
HE
13
13
4
M
=
4
-
4
MUST
73
10
1
F
=
6
-
5
FIRST
72
27
9
A
=
1
-
5
AWAKE
41
14
5
W
=
5
-
4
WHEN
50
23
5
A
=
1
-
1
A
1
1
1
M
=
4
-
3
MAN
28
10
1
A
=
1
-
6
AWAKES
60
15
6
H
=
8
-
2
HE
13
13
4
C
=
3
-
3
CAN
18
9
9
D
=
4
-
3
DIE
18
18
9
W
=
5
-
4
WHEN
50
23
5
H
=
8
-
2
HE
13
13
4
D
=
4
-
4
DIES
37
19
1
H
=
8
-
2
HE
13
13
4
C
=
3
-
3
CAN
18
9
9
B
=
2
-
2
BE
7
7
7
B
=
2
-
4
BORN
49
22
4
-
-
157
4
119
First Total
1246
544
87
-
-
1+5+7
-
1+1+9
Add to Reduce
1+2+4+6
5+4+4
1+9+3
Q
-
13
-
11
Second Total
13
13
13
-
-
1+3
-
1+1
Reduce to Deduce
1+3
1+3
1+3
-
-
4
-
2
Essence of Number
4
4
4

 

RA THE SUN GOD

RE THE SUN GOD

RARE

HEART = R + HEAT = HEART

HEAR THE BEAT

 

HEART =EARTH=TERAH = THERA

 

THE POWER OF WORDS

THE SWORD OF WORDS

 

ALGORITHM

137699284

ALGORITHM

REARRANGED IN NUMERICAL ORDER ATLMOGHRI

ATLMOGHRI

123467899

LOOK AT THE 5'S LOOK AT THE 5'S LOOK AT THE MISSING 5'S

ATLM 5 OGHRI

THE 5'S AND 9'S HAVE IT

1234 5 67899

 

REVOLUTION

THE R IN EVOLUTION REVOLUTION

THE R IN ELEVATION RELEVATION

REVELATION

 

SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
2
SO
34
16
7
-
-
-
-
-
-
-
7
-
-
R
=
9
2
4
READ
28
19
1
-
1
-
-
-
-
-
-
-
-
M
=
4
3
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
4
4
ONCE
37
19
1
-
1
-
-
-
-
-
-
-
-
A
=
1
5
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
R
=
9
6
4
READ
28
19
1
-
1
-
-
-
-
-
-
-
-
M
=
4
7
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
T
=
2
8
5
TWICE
60
24
6
-
-
-
-
-
-
6
-
-
-
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
R
=
9
10
4
READ
28
19
1
-
1
-
-
-
-
-
-
-
-
M
=
4
11
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
12
4
ONCE
37
19
1
-
1
-
-
-
-
-
-
-
-
A
=
1
13
5
AGAIN
32
23
5
-
-
-
-
-
5
-
-
-
-
I
=
9
14
3
ITS
48
12
3
-
-
-
3
-
-
-
-
-
-
B
=
2
15
4
BEEN
26
17
8
-
-
-
-
-
-
-
-
8
-
A
=
1
16
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
17
4
LONG
48
21
3
-
-
-
3
-
-
-
-
-
-
L
=
3
18
4
LONG
48
21
3
-
-
-
3
-
-
-
-
-
-
T
=
2
19
4
TIME
47
20
2
-
-
2
-
-
-
-
-
-
-
-
-
77
-
64
First Total
594
297
72
-
8
2
9
4
5
6
7
8
27
-
-
7+7
-
6+4
Add to Reduce
5+9+4
2+9+7
7+2
-
-
-
-
-
-
-
-
-
2+7
-
-
14
-
10
Second Total
18
18
9
-
8
2
9
4
5
6
7
8
9
-
-
1+4
-
1+0
Reduce to Deduce
1+8
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
9
9
9
-
8
2
9
4
5
6
7
8
9

 

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

LOOK AT THE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES S

THE 5FIVES THE 5FIVES THE 5FIVES

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

1 2 3 4 5 6 7 8 9 10 11 12 13 1+4 15 16 17 18 19 20 21 22 2+3 24 25 26

 

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

TEN ELEVEN TWELVE THIRTEEN FOURTEEN

FIFTEEN SIXTEEN SEVENTEEN EIGHTEEN

NINETEEN TWENTY TWENTYONE TWENTYTWO

TWENTYTHREE FOUR TWENTYFIVE TWENTYSIX

 

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

Z5RO O55 T5O THR55 FOUR FIV5 SIX S5V55 5IGHT 5I55

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

TEN ELEVEN TWELVE THIRTEEN FOURTEEN FIFTEEN SIXTEEN SEVETEEN EIGHTEEN

TEN ELEVEN TWELVE THIRTEEN FOURTEEN

FIFTEEN SIXTEEN SEVENTEEN EIGHTEEN

TEN ELEVEN TWELVE THIRTEEN FOURTEEN FIFTEEN SIXTEEN SEVETEEN EIGHTEEN

T55 5L5V55T55LV5 THIRT555 FOURT555 FIFT555

SIXT555S5V55T555 EIGHT555

TEN ELEVEN TWELVE THIRTEEN FOURTEEN FIFTEEN SIXTEEN SEVETEEN EIGHTEEN

 

NINETEEN TWENTY TWENTYONE TWENTYTWO TWENTYTHREE

TWENTYFOUR TWENTYFIVE TWENTYSIX

NINETEEN TWENTY TWENTYONE TWENTYTWO

TWENTYTHREE TWENTYFOUR TWENTYFIVE TWENTYSIX

NINETEEN TWENTY TWENTYONE TWENTYTWO TWENTYTHREE

 

NINETEEN TWENTY TWENTYONE TWENTYTWO TWENTYTHREE

5I55T555 T555TY T555TYO55 T555 TYT5O T555TYTHR55

TWENTYFOUR TWENTYFIVE TWENTYSIX

T555TYFOUR T555TYFIV5 T555TYSIX

NINETEEN TWENTY TWENTYONE TWENTYTWO TWENTY THREE

TWENTYFOUR TWENTYFIVE TWENTYSIX

 

LOOK AT THE 5FIVES LOOK AT THE 5FIVESLOOK AT THE 5FIVES

LOOK AT THE BLEEDING 5FIVES

 

MIND MATTER MIND

REACTIVE CREATIVE REACTIVE

CREATION REACTION CREATION

REAL REALITY REVEALED

THE

MEANING

OF

LIFE

THE PROVING OF GODS

IMMORTAL

CREATOR

SPIRIT

THE

UNIVERSAL MIND

OF

COSMIC CONSCIOUSNESS

THAT THAT THAT

LIFE

IS

THE UNIVERSAL LIFE FORCE THAT IS QUALITATIVELY THE SAME IN EVERY...... UNIQUE EMANATION OF LIVING FORM REGARDLESS, AND CIRCUMSCRIBED ONLY BY THE LIMITATIONS IMPOSED UPON ITS LIVING FORM WITHIN WHICH ANINDVIDUAL LIFE ITSELF IS BIRTHED INTO BEING

LIFE THE CREATIVE METAMORPHOSIS

HEARKEN THE LIVING CREATIVITY SEEN IN NATURE, WHEREIN THEREIN CAN BE OBSERVED WITHIN THE HERE AND NOW OF PLANET EARTH, THE EVOCATION INTO LIFE OF A TOTAL COLLECTIVE CREATIVE INTELLIGENCE SHOWN IN ALL ITS GLORY TO BE EXPRESSING THE SAME INGENIOUS PROBLEM SOLVINGINSTINCTS NECESSARY FOR ITS SURVIVAL IN SINGULAR OR MULTIVARIOUS FORMS, AND WHICH IS APPARENT IN ALL LIVING CREATURES INCLUDING THAT OF SELF SACRIFICE AS AND WHEN SUCH MOMENT ARRIVES. THIS COLLECTIVE CREATIVE INTELLIGENCE PERMEATES HERE THERE AND EVERYWHERE,HOWEVER MADE MANIFEST SPRINGING FORTH AS SO CALLED PRIMITIVE LIFE FORMS, OR AS MORE COMPLEX LIFE, EXPRESSED IN HUMANKIND OR ANY OTHER KIND OF KIND, ALL ACTIVATED AND MOTIVATED BY THAT SUPREME LIFE BEQUEATHING INTELLIGENT CREATIVE CONSCIOUSNESS, THE UNIVERSAL LIFE FORCE THAT IS QUALITATIVELY THE SAME IN EVERY UNIQUE EMANATION OF LIFE ETERNAL.

CIRCUMSCRIBED ONLY BY THE LIMITATIONS IMPOSED UPON ITS LIVING FORM WITHIN WHICH INDIVIDUAL LIFE ITSELF IS BIRTHED INTO BEING. A COMMON INTELLIGENT CREATIVE METAMORPHOSIS AS WONDERFUL AND MESMERISING IIN EACH AND EVERY WAY, AS IS ANY OTHER VARIETIES ALL BEYOND COMPARE,

A UNIVERSAL CREATOR CONSCIOUSNESS MAGNIFICENTLY SPREAD THROUGHOUT CREATION ITSELF, REGARDLESS OF OCCASION. INSPIRED FROM OUT THE IN OF ITS IMMORTAL LIVING CREATIVE POWER. THE LIFE FULFILLING SPIRIT BIRTHING ITSELF WITHIN THE UNFOLDING CYCLE OF AN ENDLESS LIVING FOREVER.

LIFE THE CREATIVE METAMORPHOSIS

THE UNIVERSAL LIFE FORCE THAT IS QUALITATIVELY THE SAME IN EVERY UNIQUE EMANATION OF LIVING FORM REGARDLESS, AND CIRCUMSCRIBED ONLY BY THE LIMITATIONS IMPOSED UPON ITS LIVING FORM WITHIN WHICH SUCH AN INDIVIDUAL LIFE ITSELF IS BIRTHED INTO BEING

 

EINSTEIN VERSUS ?????????

A THIMBLE OF WATER, AN EGG CUP OF, A JUG OF, A POOL OF,

A RIVER OF, A SEA OF, A UNIVERSE OF.

WATER WATER EVERYWHERE AND NOT A DROP TO THINK

?

LIFE THE CREATIVE METAMORPHOSIS

 

-
THE DOG STAR
-
-
-
3
THE
33
15
6
3
DOG
26
17
8
4
STAR
58
13
4
10
THE DOG STAR
117
45
18
1+0
-
1+1+7
4+5
1+8
1
THE DOG STAR
9
9
9

 

 

-
THE GOD STAR
-
-
-
3
THE
33
15
6
3
GOD
26
17
8
4
STAR
58
13
4
10
THE GOD STAR
117
45
18
1+0
-
1+1+7
4+5
1+8
1
THE GOD STAR
9
9
9

 

 

-
THE STAR GOD
-
-
-
3
THE
33
15
6
4
STAR
58
13
4
3
GOD
26
17
8
10
THE STAR GOD
117
45
18
1+0
-
1+1+7
4+5
1+8
1
THE STAR GOD
9
9
9

 

 

-
I HAVE COME
-
-
-
1
I
9
9
9
4
HAVE
36
18
9
4
COME
36
18
9
9
I HAVE COME
81
45
27
-
-
8+1
4+5
2+7
9
I HAVE COME
9
9
9

 

 

-
I HAVE COME
-
-
-
1
I
9
9
9
2
HA
9
9
9
2
VE
27
9
9
2
CO
18
9
9
2
ME
18
9
9
9
I HAVE COME
81
45
45
-
-
8+1
4+5
4+5
9
I HAVE COME
9
9
9

 

 

-
CHILD DIVINE
-
-
-
6
DIVINE
63
36
9
5
CHILD
36
27
9
11
DIVINE CHILD
99
63
18
1+1
-
9+9
6+3
1+8
2
CHILD DIVINE
18
9
9
-
-
1+8
-
-
2
DIVINE CHILD
9
9
9

 

BIRTH OF THE HORUS

 

AND

GOD

FORMED

HUMANKIND 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

 

RAINBOW ALPHABET RAINBOW

 

 

 

THE SUPERGODS

Maurice M Cotterell

1997

Page110

And I saw another angel ascending from the East, having the seal of the living God: and he cried with a loud voice to the four angels, to whom it was given to hurt the Earth and the sea, saying 'Hurt not the Earth, nei-ther the sea, nor the trees, till we have sealed the servants of our God in their foreheads: And I saw the number of them which were sealed; and there were sealed an hundred and forty, and four thousand of all the tribes of the childrel} of Israel. (Rev VII 3,4)
It goes on, 'And it was commanded them that they should not hurt the grass of the Earth, neither any green thing, neither any tree, but only those men which have not the seal of God on their foreheads...' (Rev IX, 4).
Look again at The Physical Death of Lord Pacal, Scene 4 (Fig 49 below). Look again at his forehead, and count the number sealed: 144,000.
Like all composites, the picture is made up of two halves which are 'reflected' either side of the centre line of the drawing. It is therefore not possible to show the number 144,000 from left to right and again (the mirror image) from right to left. To overcome this, 1440 is written from left to right. The mirror image of 1440 can be seen from right to left. The missing two zeros (in Mayan notation, an oval embellished with three lines) are shown above this number.
It seems that the man in the tomb at Palenque had much in common with the other Supergods - Jesus, Krishna and Buddha - and that he brought the same message and the same super-knowledge which has powerfully influenced the intellectual ascent of man since time began."

 

 

 

Co9nc9dence

Quote


Post by ONE » 09 Oct 2024 20:11

 

COINCIDENCE

HEADS I WIN TAILS YOU LOSE

noun

1 a remarkable concurrence of events or circumstances without apparent causal connection:

"it was a coincidence that she was wearing a jersey like Laura's" · "they met by coincidence"

2 the fact of corresponding in nature or in time of occurrence:

"the coincidence of interest between the mining companies and certain politicians"

physics

3 the presence of ionizing particles or other objects in two or more detectors simultaneously, or of two or more signals simultaneously in a circuit.

 

4
NINE
42
24
6
6
NINETY
87
33
6
4
NINE
42
24
6
14
-
171
81
18
1+4
-
1+7+1
8+1
1+8
5
-
9
9
9

 

973

SEE THE SIGHT OF THE SITE

SERENDIPITY = 9 = SERENDIPITY

CHANCE = 7 = CHANCE

COINCIDENCE = 3 = COINCIDENCE

 

11
SERENDIPITY
144
63
9
6
CHANCE
34
25
7
11
COINCIDENCE
84
57
3
28
First Total
262
145
19
2+8
Add to Reduce
2+6+2
1+4+5
1+9
10
Second Total
10
10
10
1+0
Reduce to Deduce
1+0
1+0
1+0
1
Essence of Number
1
1
1

 

 

-
-
-
11
COINCIDENCE
-
-
-
C
=
3
1
C
3
3
3
O
=
6
1
O
15
6
6
I
=
9
1
I
9
9
9
N
=
5
1
N
14
5
5
C
=
3
1
C
3
3
3
I
=
9
1
I
9
9
9
D
=
4
1
D
4
4
4
E
=
5
1
E
5
5
5
N
=
5
1
N
14
5
5
C
=
3
1
C
3
3
3
E
=
5
1
E
5
5
5
-
-
57
11
COINCIDENCE
84
57
57
-
-
5+7
1+1
-
8+4
5+7
5+7
Q
-
12
2
COINCIDENCE
12
12
12
-
-
1+2
-
-
1+2
1+2
1+2
-
-
3
2
COINCIDENCE
3
3
3

 

 

J
=
1
6
JOSEPH
73
37
1
J
=
1
5
JESUS
74
29
2
M
=
4
4
MARY
57
21
3

 

The number seven is the most prominent number throughout the whole Bible. The word

“seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times.

 

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
-
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

 

562 times
According to 2 sources

The number seven is the most prominent number throughout the whole Bible. The word “seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times. The book of the Bible that uses the word “seven” most frequently is Revelation, where it appears 55 times.
The Special Meaning of Sev…
revelationlogic.com
7 – represents perfection, and is the sign of God, divine worship, completions, obedience, and rest. The “prince” of Bible numbers, it is used 562 times, including its derivatives (e.g., seventh, sevens). (See Genesis 2:1–4, Psalm 119:164, and Exodus 20:8–11 for just a few of the examples.)

 

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
-
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

 

JOSEPH = 6 LETTERS THE NUMERICAL VALUE OF JOSEPH = 1 AND 1+6 = 7

JESUS = 5 LETTERS THE NUMERICAL VALUE OF JESUS = 2 AND 2+5 = 7

MARY = 4 LETTERS THE NUMERICAL VALUE OF MARY = 3 AND 4+3 = 7

LOOK AT THE 7SEVENS LOOK AT THE 7SEVENS LOOK AT THE 7SEVENS THE 7SEVENS THE 7SEVENS

7SEVEN7

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
-
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

7SEVEN7

 

6
JOSEPH
73
37
1
11
JESUS CHRIST
151
70
7
4
MARY
57
21
3
21
-
281
128
11
1+1
-
2+8+1
1+2+8
1+1
3
-
11
11
2
-
-
1+1
1+1
-
3
-
2
2
2

 

SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME

 

J
=
1
-
6
JOSEPH
73
28
1
C
=
3
-
6
CHRIST
77
41
5
M
=
4
-
4
MARY
57
21
3
-
-
8
-
16
-
207
90
9
-
-
-
-
1+6
-
2+0+7
9+0
-
-
-
-
-
7
-
9
9
9

 

SOLOMON = SOL MOON = SOLOMON

 

7
SOLOMON
103
31
4
-
-
-
-
-
-
-
-
-
-
7
SOL-MOON
-
-
-
3
SOL
46
10
1
4
MOON
57
21
3
7
SOL-MOON
103
31
4
-
-
1+0+3
3+1
-
7
SOL-MOON
4
4
4

 

SOL-OMON SOL-MOON SOL-OMON

 

7
SOLOMON
103
40
4
9
JERUSALEM
104
32
5
16
Add to Reduce
207
72
9
1+6
Reduce to Deduce
2+0+7
7+2
-
7
Essence of Number
9
9
9

 

 

-
JERUSALEM
-
-
-
2
JERUS
73
19
1
4
ALEM
31
13
4
9
JERUSALEM
104
32
32
-
-
1+0+4
3+2
-
9
JERUSALEM
5
5
9

 

-
JERUSALEM
-
-
-
2
JE
15
6
6
1
R
18
9
9
4
USAL
53
8
8
2
EM
18
9
9
9
JERUSALEM
104
32
32
-
-
1+0+4
3+2
3+2
9
JERUSALEM
5
5
5

 

 

 

9
JERUSALEM
-
-
-
-
R
18
9
9
-
S
19
10
1
9
JESUSMALE
-
-
-

 

 

9
JERUS-ALEM
-
-
-
-
R
18
9
9
-
S
19
10
1
9
JESUS-MALE
-
-
-

 

JERU S ALEM

JESU S ALEM

 

-
JERUSALEM
-
-
-
-
-
-
-
-
-
-
-
-
-
4
JERU
54
18
9
4
JESU
55
10
1
8
First Total
109
28
10
-
Add to Reduce
1+0+9
2+8
1+0
8
Second Total
10
10
1
-
Reduce to Deduce
1+0
1+0
-
8
Essence of Number
1
1
1

 

JERU-SALEM JESU-MALE JERU-SALEM

 

-
JERUSALEM
-
-
-
-
-
-
-
-
-
-
-
-
-
5
SALEM
50
14
5
5
MALES
50
14
5
10
First Total
100
28
10
1+0
Add to Reduce
1+0+0
2+8
1+0
1
Second Total
10
10
1
-
Reduce to Deduce
1+0
1+0
-
1
Essence of Number
1
1
-
-
-
-
-
-
-
-
-
-
-
10
ISIS OSIRIS
1
1
1

 

 

-
JERUSALEM
-
-
-
-
-
-
-
-
-
-
-
-
-
4
ALEM
31
13
4
4
MALE
31
13
4
8
Add to Reduce
62
26
8
-
Reduce to Deduce
6+2
2+6
-
8
Essence of Number
8
8
8

 

JERUSALEM JE RU MALES JERUSALEM

JESU MALE R R MALE JESU

JERUSALEM JE RU MALES JERUSALEM

 

-
JERUSALEM
-
-
-
1
J
10
1
1
4
SURE
63
18
9
4
MALE
31
13
4
9
JERUSALEM
104
32
14
-
-
1+0+4
3+2
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
5
S+A+L+E+M
50
14
5
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
5
M+A+L+E+S
50
14
5
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
2
M+E
18
9
9
3
A+L+S
50
14
5
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
-
JERU
104
41
5
4
J+E+R+U
54
18
9
4
J+E+S+U
55
19
1
-
JESU
104
41
5
9
JERUSALEM
104
41
14

 

 

5
JERUSALEM
104
41
5
14
JERU
104
41
14
4
J+E+R+U
54
18
9
5
R
18
18
9
14
S
19
10
1
4
J+E+S+U
55
19
1
5
JESU
104
41
14
9
JERUSALEM
104
41
14

 

 

9
JERUSALEM
104
41
5
5
JESUS
74
29
2
14
Add to Reduce
178
70
7
1+4
Reduce to Deduce
1+7+8
8+1
-
5
Essence of Number
7
7
7

 

 

9
JERUS+ALEM
104
41
5
9
JESUS+MALE
105
24
6
18
First Total
209
65
11
1+8
Add to Reduce
2+0+9
6+5
1+1
9
Second Total
11
11
2
1+8
Reduce to Deduce
1+1
1+1
-
9
Essence of Number
2
2
2

 

 

9
JERUSALEM
104
41
5
4
J+E+S+U
55
19
1
1
R
18
18
9
4
M+A+L+E
31
13
4
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+S+U
55
10
1
2
E+L
17
8
8
1
R
18
18
9
2
A+M
14
5
5
9
JERUSALEM
104
41
23
-
-
1+0+4
4+1
2+3
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
1
S
19
10
1
5
A+L
13
4
4
2
E+M
18
9
9
9
JERUSALEM
104
41
23
-
-
1+0+4
4+1
2+3
9
JERUSALEM
5
5
5

 

 

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

 

 

9
JERUS-ALEM
-
-
-
-
R
18
9
9
-
S
19
10
1
9
JESUS-MALE
-
-
-

 

 

9
JERUS-ALEM
104
41
5
-
R
18
9
9
-
S
19
10
1
9
JESUS-MALE
105
42
6

 

 

9
JERUS-ALEM
104
41
5
9
JESUS-MALE
105
42
6

 

SOLOMON = SOL MOON = SOLOMON

ew Advent
https://www.newadvent.org › cathen

The greatness of the Seven — the Moon, Mercury, Venus, Mars, the Sun, Jupiter, and Saturn — the sacred Hebdomad, symbolized for millenniums by the staged towers ...Sol in British English
1. the Roman god personifying the sun. Greek counterpart: Helios. 2. a poetic word for the sun.

From Wikipedia, the free encyclopedia
This article is about the Roman sun god. For the Norse sun goddess, see Sol (Norse mythology). For the Sun, see Sun. For the Martian unit of time, see Mars sol.
Sol
God of the Sun

Sol is the personification of the Sun and a god in ancient Roman religion. It was long thought that Rome actually had two different, consecutive sun gods: The first, Sol Indiges (Latin: the deified sun), was thought to have been unimportant, disappearing altogether at an early period. Only in the late Roman Empire, scholars argued, did the solar cult re-appear with the arrival in Rome of the Syrian Sol Invictus (Latin: the unconquered sun), perhaps under the influence of the Mithraic mysteries.[1] Publications from the mid-1990s have challenged the notion of two different sun gods in Rome, pointing to the abundant evidence for the continuity of the cult of Sol, and the lack of any clear differentiation –

Sol on a disk Abode Sky Planet Sun Symbol Chariot, solar disk Day Sunday (dies Solis)
Genealogy Siblings Luna, Aurora Equivalents Albanian equivalent Dielli Canaanite equivalent Shapash
Etruscan equivalent Usil Greek equivalent Helios Indo-European equivalent Seh₂ul Norse equivalent Sól

 

 

COINCIDENCE

an occasion when two or more similar things happen at the same time, especially in a way that is unlikely and surprising

COIN INCIDENCE OR WHAT?

Related searches for TOSSING COIN FREQUENCIES
coin toss frequency
coin toss calculator
coin toss probability
coin toss streak
frequency of heads tosses

THE FALL OF THE DICE THE FALL OF THE COIN

THE FALL OF THE HOUSE THAT JACK BUILT

 

COINCIDENCE

HEADS I WIN TAILS YOU LOSE

 

THE SEVENTH SLEEPER.htm (973-eht-namuh-973.com)

DICE .htm (973-eht-namuh-973.com)

 

 

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

 

 

-
GOOD
-
-
-
2
DO
19
10
1
4
GOOD
41
23
5
6
GOOD DO
60
33
6

2
GO
22
13
4
2
DO
19
10
1
4
GOOD
41
23
5
8
GOOD GO DO
82
46
10
-
-`
8+2
4+6
1+0
8
GOOD DO GO
10
10
1
-
-`
1+0
1+0
-
8
GOOD GO DO
1
1
1

 

 

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

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
-
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
3
-
5
-
-
8
9
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
3
-
5
-
7
8
9
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
3
4
5
-
-
8
9
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
3
-
5
-
-
8
9
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
3
-
5
6
-
8
9
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
3
-
5
6
-
8
9
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
3
-
5
-
7
8
9
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
3
-
5
-
-
8
9
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
3
4
5
-
-
8
9
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
3
-
5
6
-
8
9
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
3
-
5
-
-
8
9
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
3
-
5
-
-
8
9
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
3
-
5
-
-
8
9
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
3
4
5
-
-
8
9
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
3
4
5
-
-
8
9
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
3
-
5
6
-
8
9
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
3
-
5
6
-
8
9
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
3
-
5
6
-
8
9
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
3
-
5
-
7
8
9
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
3
-
5
-
7
8
9
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
4
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
-
-
-
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
-
-
-
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
4
-
-
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
4
-
-
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
-
6
-
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
-
6
-
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
-
6
-
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
-
-
7
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
-
-
7
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
8
18
14
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
1+8
1+4
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
8
9
5

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

O
=
6
3
ONE
34
16
7
T
=
2
3
TWO
58
13
4
T
=
2
5
THREE
56
29
2
F
=
6
4
FOUR
60
24
6
F
+
6
4
FIVE
42
24
6
S
=
1
3
SIX
52
16
7
S
=
1
5
SEVEN
65
20
2
E
=
5
5
EIGHT
49
31
4
N
=
5
4
NINE
42
24
6
-
-
39
36
-
458
197
44
-
-
3+9
3+6
-
4+5+8
1+9+7
4+4
-
-
12
9
-
17
17
8
-
-
1+2
-
-
-
-
-
-
-
3
9
-
8
8
8

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Page 32

5


To Sorcerers and Magicians number FIVE is the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.

 

 

THE

BALANCING

ONE TWO THREE FOUR

FIVE

NINE EIGHT SEVEN SIX

666

999
O
=
15
-
3
ONE
34
16
7
-
1
T
=
20
-
3
TWO
58
13
4
-
2
T
=
20
-
5
THREE
56
29
2
-
3
F
=
6
-
4
FOUR
60
24
6
-
4
-
-
61
-
15
Add
208
82
19
-
10
-
-
6+1
-
1+5
Reduce
2+0+8
8+2
1+9
-
1+0
-
-
7
-
6
Deduce
10
10
10
-
1
-
-
-
-
-
Produce
1+0
1+0
1+0
-
-
-
-
7
-
6
Essence
1
1
1
-
1

 

 

N
=
14
-
4
NINE
42
24
6
-
9
E
=
5
-
5
EIGHT
49
31
4
-
8
S
=
19
-
5
SEVEN
65
20
2
-
7
S
=
19
-
3
SIX
52
16
7
-
6
-
-
57
-
17
Add
208
91
19
-
30
-
-
5+7
-
1+7
Reduce
2+0+8
9+1
1+9
-
3+0
-
-
12
-
8
Deduce
10
10
10
-
3
-
-
1+2
-
-
Produce
1+0
1+0
1+0
-
-
-
-
3
-
8
Essence
1
1
1
-
3

 

4
FIVE
42
24
6

 

15
ONE TWO THREE FOUR
208
82
1
4
FIVE
42
24
6
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

3
ONE
34
16
7
-
3
SIX
52
16
7
3
TWO
58
13
4
-
5
SEVEN
65
20
2
5
THREE
56
29
2
-
5
EIGHT
49
31
4
4
FOUR
60
24
6
-
4
NINE
42
24
6
15
Add
208
82
19
-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
-
1+7
Reduce
2+0+8
9+1
1+9
6
Deduce
10
10
10
-
8
Deduce
10
10
10
-
Produce
1+0
1+0
1+0
-
-
Produce
1+0
1+0
1+0
6
Essence
1
1
1
-
8
Essence
1
1
1

 

ALWAYS BALANCING IS THAT FIVE THAT FIVE IS BALANCING ALWAYS

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
PROBLEMS
-
-
-
-
-
-
-
-
-
-
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
37
-
8
PROBLEMS
100
46
37
-
1
2
3
4
5
6
7
8
9
-
-
3+7
-
-
1+0+0
4+6
3+7
-
-
-
-
-
-
-
-
-
-
-
10
-
8
PROBLEMS
1
10
10
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
1
-
8
PROBLEMS
1
1
1
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
PROBLEMS
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
37
-
8
PROBLEMS
100
46
37
-
1
2
3
4
5
6
7
8
9
-
-
3+7
-
-
1+0+0
4+6
3+7
-
-
-
-
-
-
-
-
-
-
-
10
-
8
PROBLEMS
1
10
10
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
1
-
8
PROBLEMS
1
1
1
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
9
-
-
-
-
-
PROBLEMS
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
9
-
-
37
-
8
PROBLEMS
100
46
37
-
1
2
3
4
5
6
7
9
-
-
3+7
-
-
1+0+0
4+6
3+7
-
-
-
-
-
-
-
-
-
-
10
-
8
PROBLEMS
1
10
10
-
1
2
3
4
5
6
7
9
-
-
1+0
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
1
-
8
PROBLEMS
1
1
1
-
1
2
3
4
5
6
7
9

 

 

-
FOURTEEN
-
-
-
1
F
6
6
6
2
OU
36
9
9
1
R
18
18
9
4
TEEN
44
17
8
8
FOURTEEN
104
50
32
-
-
1+0+4
5+0
3+2
8
FOURTEEN
5
5
5

 

-
-
-
-
-
FOURTEEN
-
-
-
-
-
-
-
-
14 1+4 = 5
-
-
-
-
-
-
-
-
FOURTEEN
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
FOURTEEN
-
-
-
F
=
6
-
4
FOUR
60
24
6
T
=
2
-
4
TEEN
44
17
8
-
-
8
-
8
FOURTEEN
104
41
14
-
-
-
-
-
-
1+0+4
4+1
1+4
-
-
8
-
8
FOURTEEN
5
5
5

 

5
DREAM
41
23
5
8
FOURTEEN
104
41
5

 

DAILY MAIL

Thursday, February 7,2008

By Laura Clark

Education Correspondent

"I think therefore I'm five"

PHILOSOPHY CLASSES FOR YOUNGSTERS

 

 

O
=
6
3
ONE
34
16
7
T
=
2
3
TWO
58
13
4
T
=
2
5
THREE
56
29
2
F
=
6
4
FOUR
60
24
6
F
+
6
4
FIVE
42
24
6
S
=
1
3
SIX
52
16
7
S
=
1
5
SEVEN
65
20
2
E
=
5
5
EIGHT
49
31
4
N
=
5
4
NINE
42
24
6
-
-
39
36
-
458
197
44
-
-
3+9
3+6
-
4+5+8
1+9+7
4+4
-
-
12
9
-
17
17
8
-
-
1+2
-
-
-
-
-
-
-
3
9
-
8
8
8

 

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

 

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.
The belief in Numerology is easier to understand when we put it into a context with realizing how the entire world revolves around numbers and mathematical equations.

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.

 

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

Daily Mail. Tuesday. February 19, 2019

Page 60

QUESTION Has a circle always had 360 degrees?
THE short answer is yes. The ancient Egyptians were the first to divide a circle into 360 degrees, but they inherited their numerical system from Mesopotamia.
Mesopotamia was the area along the Tigris and Euphrates rivers that makes up a sizeable portion of modern-day Iraq. Regarded as the cradle of civilisation, it
was where farming, written languages and mathematics began.
The best known ancient civilisation from Mesopotamia is the Babylonians, and their first use of mathematics dates from between the fifth and third millennium BC.
The Babylonian system of mathematics is built on a base of 60 (we use a base of ten). From this we get 60 seconds in a minute and 60 minutes in an hour.
If we didn't have this base of 60, the design of clock faces would be very different. With a circular clock face of 360 degrees, each minute division equals 6 degrees exactly.
The Babylonians had a Iove of the number 60, perhaps because it can, be divided in so many ways (by one, two, three, four, five, six, ten 12, 15, 20 and 30) and still leave a whole number.

 

C
=
3
-
CIRCLE
-
-
-
-
-
-
1
C
3
3
3
-
-
-
1
I
9
9
9
-
-
-
1
R
18
9
9
-
-
-
1
C
3
3
3
-
-
-
1
L
12
3
3
-
-
-
1
E
5
5
5
C
=
3
6
CIRCLE
50
32
32
-
-
-
-
-
5+0
3+2
3+2
C
=
3
6
CIRCLE
5
5
5

 

THE

FULCRUM

1 2 3 4 V5V 6 7 8 9

OF

THE

BALANCES

208 = ONE TWO THREE FOUR 5 NINE EIGHT SEVEN SIX = 208

10 = ONE TWO THREE FOUR 5 NINE EIGHT SEVEN SIX = 10

1 = ONE TWO THREE FOUR 5 NINE EIGHT SEVEN SIX = 1

1 2 3 4 V5V 6 7 8 9

CIRCLE = 50 = CIRCLE

CIRCLE = 5 = CIRCLE

1 2 3 4 V5V 6 7 8 9

 

-
-
-
-
CIRCLE
-
-
-
-
-
-
5
CIRCL
45
27
9
-
-
-
1
E
5
5
5
C
=
3
6
CIRCLE
50
32
32
-
-
-
-
-
5+0
3+2
3+2
C
=
3
6
CIRCLE
5
5
5

 

 

-
-
-
-
-
CIRCLE
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
32
-
6
CIRCLE
50
32
32
-
1
2
9
4
5
6
7
8
18
-
-
3+2
-
-
-
5+0
3+2
3+2
-
-
-
-
-
-
-
-
-
1+8
-
-
5
-
6
CIRCLE
5
5
5
-
1
2
9
4
5
6
7
8
9

 

 

-
-
-
-
-
CIRCLE
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
C
3
3
3
-
1
2
3
4
-
6
7
8
-
I
=
9
-
1
I
9
9
9
-
1
2
-
4
-
6
7
8
9
R
=
9
-
1
R
18
9
9
-
1
2
-
4
-
6
7
8
9
C
=
3
-
1
C
3
3
3
-
1
2
3
4
-
6
7
8
-
L
=
3
-
1
L
12
3
3
-
1
2
3
4
-
6
7
8
-
E
=
5
-
1
E
5
5
5
-
1
2
-
4
5
6
7
8
-
-
-
32
-
6
CIRCLE
50
32
32
-
1
2
9
4
5
6
7
8
18
-
-
3+2
-
-
-
5+0
3+2
3+2
-
-
-
-
-
-
-
-
-
1+8
-
-
5
-
6
CIRCLE
5
5
5
-
1
2
9
4
5
6
7
8
9

 

 

-
-
-
-
-
CIRCLE
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
C
3
3
3
-
1
2
3
4
-
6
7
8
-
C
=
3
-
1
C
3
3
3
-
1
2
3
4
-
6
7
8
-
L
=
3
-
1
L
12
3
3
-
1
2
3
4
-
6
7
8
-
E
=
5
-
1
E
5
5
5
-
1
2
-
4
5
6
7
8
-
I
=
9
-
1
I
9
9
9
-
1
2
-
4
-
6
7
8
9
R
=
9
-
1
R
18
9
9
-
1
2
-
4
-
6
7
8
9
-
-
32
-
6
CIRCLE
50
32
32
-
1
2
9
4
5
6
7
8
18
-
-
3+2
-
-
-
5+0
3+2
3+2
-
-
-
-
-
-
-
-
-
1+8
-
-
5
-
6
CIRCLE
5
5
5
-
1
2
9
4
5
6
7
8
9

 

 

-
-
-
-
-
CIRCLE
-
-
-
-
3
5
9
C
=
3
-
1
C
3
3
3
-
3
-
-
C
=
3
-
1
C
3
3
3
-
3
-
-
L
=
3
-
1
L
12
3
3
-
3
-
-
E
=
5
-
1
E
5
5
5
-
-
5
-
I
=
9
-
1
I
9
9
9
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
9
-
-
32
-
6
CIRCLE
50
32
32
-
9
5
18
-
-
3+2
-
-
-
5+0
3+2
3+2
-
-
-
1+8
-
-
5
-
6
CIRCLE
5
5
5
-
9
5
9

 

 

-
-
-
-
CIRCLE
-
-
-
-
-
-
5
CIRCL
45
27
9
-
-
-
1
E
5
5
5
C
=
3
6
CIRCLE
50
32
32
-
-
-
-
-
5+0
3+2
3+2
C
=
3
6
CIRCLE
5
5
5

 

 

T
=
2
-
3
THE
33
15
6
C
=
3
-
6
CIRCLE
50
32
5
I
=
9
-
2
IS
28
10
1
P
=
7
-
7
PERFECT
73
37
1
I
=
9
-
2
IS
28
10
1
P
=
7
-
7
PERFECT
73
37
1
I
=
9
-
2
IS
28
10
1
T
=
2
-
3
THE
33
15
6
C
=
3
-
6
CIRCLE
50
32
5
-
-
51
-
38
First Total
396
198
27
-
-
5+1
-
3+8
Add to Reduce
3+9+6
1+9+8
2+7
-
-
6
-
11
Second Total
18
18
9
-
-
-
-
1+1
Reduce to Deduce
1+8
1+8
-
-
-
6
-
2
Essence of Number
9
9
9

 

The circle is a universal symbol with extensive meaning. It represents the notions of totality, wholeness, original perfection, the Self, the infinite, eternity, timelessness, all cyclic movement, God ('God is a circle whose centre is everywhere and whose circumference is nowhere' (Hermes Trismegistus).

 

-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
G
=
7
-
1
3
GOD
26
17
8
-
-
-
-
-
-
-
-
8
-
I
=
9
-
2
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
3
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
C
=
3
-
4
6
CIRCLE
50
32
5
-
-
-
-
-
5
8
8
-
-
W
=
5
-
5
5
WHOSE
70
25
7
-
-
-
-
-
-
-
7
8
-
C
=
3
-
6
6
CENTRE
65
29
2
-
-
2
-
-
-
8
-
8
-
I
=
9
-
7
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
8
10
EVERYWHERE
134
62
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
W
=
5
-
10
5
WHOSE
70
25
7
-
-
-
-
-
-
-
7
8
-
C
=
3
-
11
13
CIRCUMFERENCE
123
69
6
-
-
-
-
-
-
6
-
-
-
I
=
9
-
12
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
N
=
5
-
13
7
NOWHERE
88
43
7
-
-
-
-
-
-
-
7
8
-
-
-
65
-
4
65
First Total
730
343
55
-
5
2
3
4
5
6
21
16
9
-
-
6+5
-
-
6+5
Add to Reduce
7+3+0
3+4+3
5+5
-
-
-
-
-
-
-
2+1
1+6
-
Q
-
11
-
-
11
Second Total
10
10
10
-
5
2
3
4
5
6
3
7
9
-
-
1+1
-
-
1+1
Reduce to Deduce
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
2
-
-
2
Essence of Number
1
1
1
-
5
2
3
4
5
6
3
7
9

 

T
=
2
-
3
THE
33
15
6
C
=
3
-
6
CIRCLE
50
32
5
I
=
9
-
2
IS
28
10
1
P
=
7
-
7
PERFECT
73
37
1
I
=
9
-
2
IS
28
10
1
P
=
7
-
7
PERFECT
73
37
1
I
=
9
-
2
IS
28
10
1
T
=
2
-
3
THE
33
15
6
C
=
3
-
6
CIRCLE
50
32
5
-
-
51
-
38
First Total
396
198
27
-
-
5+1
-
3+8
Add to Reduce
3+9+6
1+9+8
2+7
-
-
6
-
11
Second Total
18
18
9
-
-
-
-
1+1
Reduce to Deduce
1+8
1+8
-
-
-
6
-
2
Essence of Number
9
9
9

 

"THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS"

 

They passed this love of the number 60 to'the Ancient Egyptians, who found it worked for dividing a circle.
And 360 is also useful when it comes to dvision. Divide a circle into six and you get six equilateral, triangles, each with three internal angles of 60 degrees. A right angle, important for building pyramids and temples, is a quarter of a circle and is a convenient 90 degrees. The first calendars, also created by the Egyptians, had 360 days in a year, though this became problematic because it didnt match the Earth's orbit.

Bob Cubitt, Northampton.

The Babylonian system of mathematics is built on a base of 60 (we use a base of ten). From this we get 60 seconds in a minute and 60 minutes in an hour.

 

-
-
-
-
-
SECOND
-
-
-
-
-
-
-
1
S
19
10
1
-
-
-
-
1
E
5
5
5
-
-
-
-
1
C
3
3
3
-
-
-
-
1
O
15
6
6
-
-
-
-
2
ND
18
9
9
S
=
1
-
6
SECOND-
60
33
24
-
-
-
-
-
-
6+0
3+3
2+4
-
-
1
-
6
SECOND-
6
6
6

 

 

-
-
-
-
-
SECOND
-
-
-
-
-
-
-
3
S+E+C
27
18
9
-
-
-
-
1
O
15
6
6
-
-
-
-
2
ND
18
9
9
S
=
1
-
6
SECOND-
60
33
24
-
-
-
-
-
-
6+0
3+3
2+4
-
-
1
-
6
SECOND-
6
6
6

 

SECOND = 60 = SECOND

SECOND = 24 = SECOND

SECOND = 6 = SECOND

 

MINUTE = 82 = MINUTE

MINUTE = 28 = MINUTE

MINUTE = 10 = MINUTE

MINUTE = 1 = MINUTE

 

HOUR = 62 =HOUR

HOUR = 26 =HOUR

HOUR = 8 =HOUR

 

THE

HOURS OF HORUS

 

5
HOURS
81
27
9
2
OF
21
12
3
5
HORUS
81
27
9
12
First Total
183
66
21
1+2
Add to Reduce
1+8+3
6+6
2+1
3
Second Total
12
12
3
-
Reduce to Deduce
1+2
1+2
-
3
Essence of Number
3
3
3

 

The ancient Egyptians were the first to divide a circle into 360 degrees

ET CIRCLE ELECTRIC CIRCLE ET

 

ELECTRIC = ET CIRCLE = ELECTRIC

 

E
-
5
-
-
ELECTRIC
-
-
-
-
-
-
-
2
E+T
25
7
7
-
-
-
-
1
C
3
3
3
-
-
-
-
1
I
9
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
1
C
3
3
3
-
-
-
-
1
L
12
3
3
-
-
-
-
1
E
5
5
5
E
-
5
-
8
ELECTRIC
75
39
39
-
-
-
-
-
-
7+5
3+9
3+9
E
-
5
-
8
ELECTRIC
12
12
12
-
-
-
-
-
-
1+2
1+2
1+2
E
-
5
-
8
ELECTRIC
3
3
3

 

ELECTRIC = ET CIRCLE = ELECTRIC

 

-
ELECTRIC
-
-
-
1
E
5
5
5
1
L
12
3
3
1
E
5
5
5
1
C
3
3
3
1
T
20
2
2
1
R
18
9
9
1
I
9
9
9
1
C
3
3
3
8
ELECTRIC
75
39
39
-
-
7+5
3+9
3+9
8
ELECTRIC
12
12
12
-
-
1+2
1+2
1+2
8
ELECTRIC
3
3
3

 

 

-
ELECTRIC
-
-
-
5
ELECT
75
18
9
1
R
18
9
9
1
I
9
9
9
1
C
3
3
3
8
ELECTRIC
75
39
30
-
-
7+5
3+9
3+0
8
ELECTRIC
12
12
3
-
-
1+2
1+2
-
8
ELECTRIC
3
3
3

 

ELECTRIC = ET CIRCLE = ELECTRIC

 

-
-
-
-
-
ELECTRIC
-
-
-
E
-
5
-
1
E
5
5
5
T
-
2
-
1
T
20
2
2
-
-
-
-
-
-
-
-
-
C
-
3
-
1
C
3
3
3
I
-
9
-
1
I
9
9
9
R
-
9
-
1
R
18
9
9
C
=
3
-
1
C
3
3
3
L
=
3
-
1
L
12
3
3
E
=
5
-
1
E
5
5
5
-
-
39
-
8
ELECTRIC
75
39
39
-
-
3+9
-
-
-
7+5
3+9
3+9
-
-
12
-
8
ELECTRIC
12
12
12
-
-
1+2
-
-
-
1+2
1+2
1+2
-
-
3
-
8
ELECTRIC
3
3
3

 

ELECTRIC = ET CIRCLE = ELECTRIC

 

-
-
-
-
-
ELECTRIC
-
-
-
E
-
5
-
2
E+T
25
7
7
C
-
3
-
1
C
3
3
3
I
-
9
-
1
I
9
9
9
R
-
9
-
1
R
18
9
9
C
=
3
-
1
C
3
3
3
L
=
3
-
1
L
12
3
3
E
=
5
-
1
E
5
5
5
-
-
39
3
8
ELECTRIC
75
39
39
-
-
3+9
-
-
-
7+5
3+9
3+9
-
-
12
3
8
ELECTRIC
12
12
12
-
-
1+2
-
-
-
1+2
1+2
1+2
-
-
3
3
8
ELECTRIC
3
3
3

 

C
=
3
-
CIRCLE
-
-
-
-
-
-
1
C
3
3
3
-
-
-
1
I
9
9
9
-
-
-
1
R
18
9
9
-
-
-
1
C
3
3
3
-
-
-
1
L
12
3
3
-
-
-
1
E
5
5
5
C
=
3
6
CIRCLE
50
32
32
-
-
-
-
-
5+0
3+2
3+2
C
=
3
6
CIRCLE
5
5
5

 

CIRCLE CLERIC

THE

COLLAR

 

-
-
-
-
CIRCLE
-
-
-
-
-
-
5
CIRCL
45
27
9
-
-
-
1
E
5
5
5
C
=
3
6
CIRCLE
50
32
32
-
-
-
-
-
5+0
3+2
3+2
C
=
3
6
CIRCLE
5
5
5

 

-
ELECTRICITY
-
-
-
5
ELECT
45
18
9
1
R
18
9
9
1
I
9
9
9
1
C
3
3
3
1
I
9
9
9
2
T+Y
45
9
9
11
ELECTRICITY
129
57
48
1+1
-
1+2+9
5+7
4+8
2
ELECTRICITY
12
12
12
-
-
1+2
1+2
1+2
2
ELECTRICITY
3
3
3

 

Algorithm - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Algorithm

In mathematics and computer science, an algorithm is a step-by-step procedure for calculations. Algorithms are used for calculation, data processing, and ...

 

ALGORITHM

137699284

ALGORITHM

REARRANGED IN NUMERICAL ORDER ATLMOGHRI

ATLMOGHRI

123467899

LOOK AT THE 5'S LOOK AT THE 5'S LOOK AT THE MISSING 5'S

ATLM 5 OGHRI

THE 5'S AND 9'S HAVE IT

1234 5 67899

 

A
=
1
-
9
ALGORITHM
103
49
4
A
=
1
-
10
ALGORITHMS
122
59
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
-
ALGORITHMS
-
-
-
-
-
-
-
1
A
1
1
1
-
-
-
-
1
L
12
3
3
-
-
-
-
1
G
7
7
7
-
-
-
-
1
O
15
6
6
-
-
-
-
1
R
18
9
9
-
-
-
-
1
I
9
9
9
-
-
-
-
1
T
20
2
2
-
-
-
-
1
H
8
8
8
-
-
-
-
1
M+S
32
14
5
A
=
1
-
10
ALGORITHMS
122
59
50
-
-
-
-
1+0
-
1+2+2
5+9
5+0
A
=
1
-
1
ALGORITHMS
5
14
5
-
-
-
-
-
-
-
1+4
-
A
=
1
-
1
ALGORITHMS
5
5
5

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
6
7
8
9
-
-
-
-
-
ALGORITHMS
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
1
1
A
1
1
1
-
1
-
-
-
-
-
-
-
L
=
3
2
1
L
12
3
3
-
-
-
3
-
-
-
-
-
G
=
7
3
1
G
7
7
7
-
-
-
-
-
-
7
-
-
O
=
6
4
1
O
15
6
6
-
-
-
-
-
6
-
-
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
-
-
9
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
8
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
S
=
1
10
1
S
1
1
1
-
1
-
-
-
-
-
-
-
-
-
50
-
10
ALGORITHMS
122
50
50
-
2
2
3
4
6
7
8
18
-
-
5+0
-
1+0
-
1+2+2
5+5
5+0
-
-
-
-
-
-
-
-
1+8
-
-
5
-
1
ALGORITHMS
5
5
5
-
2
2
3
4
6
7
8
9

 

LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
ALGORITHMS
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
1
1
A
1
1
1
-
1
-
-
-
5
-
-
-
-
S
=
1
10
1
S
1
1
1
-
1
-
-
-
5
-
-
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
5
-
-
-
-
L
=
3
2
1
L
12
3
3
-
-
-
3
-
5
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
5
-
-
-
-
O
=
6
4
1
O
15
6
6
-
-
-
-
-
5
6
-
-
-
G
=
7
3
1
G
7
7
7
-
-
-
-
-
5
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
5
-
-
8
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
5
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
-
5
-
-
-
9
-
-
50
-
10
ALGORITHMS
122
50
50
-
2
2
3
4
5
6
7
8
18
-
-
5+0
-
1+0
-
1+2+2
5+5
5+0
-
-
-
-
-
-
-
-
-
1+8
-
-
5
-
1
ALGORITHMS
5
5
5
-
2
2
3
4
5
6
7
8
9

 

LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER

 

SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
6
7
8
9
-
-
-
-
-
ALGORITHMS
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
1
1
A
1
1
1
-
1
-
-
-
-
-
-
-
S
=
1
10
1
S
1
1
1
-
1
-
-
-
-
-
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
-
-
L
=
3
2
1
L
12
3
3
-
-
-
3
-
-
-
-
-
M
=
4
9
1
M
13
4
4
-
-
-
-
4
-
-
-
-
O
=
6
4
1
O
15
6
6
-
-
-
-
-
6
-
-
-
G
=
7
3
1
G
7
7
7
-
-
-
-
-
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
8
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
-
-
9
-
-
50
-
10
ALGORITHMS
122
50
50
-
2
2
3
4
6
7
8
18
-
-
5+0
-
1+0
-
1+2+2
5+5
5+0
-
-
-
-
-
-
-
-
1+8
-
-
5
-
1
ALGORITHMS
5
5
5
-
2
2
3
4
6
7
8
9

 

 

M
=
4
-
4
MIND
40
22
4
S
=
1
-
6
SPIRIT
91
37
1
M
=
4
-
6
MATTER
77
23
5
-
-
9
4
16
First Total
208
82
10
-
-
-
-
1+6
Add to Reduce
2+0+8
8+2
1+0
-
-
9
-
7
Second Total
10
10
1
-
-
-
4
-
Reduce to Deduce
1+0
1+0
-
-
-
9
5
7
Essence of Number
1
1
1

 

 

Sentience is the capacity to experience feelings and sensations. The word was first coined by philosophers in the 1630s for the concept of an ability to feel, derived from Latin sentientem, to distinguish it from the ability to think. In modern... Wikipedia

From Wikipedia, the free encyclopedia
Not to be confused with Sapience.

"Sentient" redirects here. For other uses, see Sentient (disambiguation).

A cat in an affectionate frame of mind, by T. W. Wood (1872).
Sentience is the capacity to experience feelings and sensations.[1] The word was first coined by philosophers in the 1630s for the concept of an ability to feel, derived from Latin sentientem (a feeling),[2] to distinguish it from the ability to think (reason).[citation needed] In modern Western philosophy, sentience is the ability to experience sensations. In different Asian religions, the word 'sentience' has been used to translate a variety of concepts. In science fiction, the word "sentience" is sometimes used interchangeably with "sapience", "self-awareness", or "consciousness".[3]

Some writers differentiate between the mere ability to perceive sensations, such as light or pain, and the ability to perceive emotions, such as fear or grief. The subjective awareness of experiences by a conscious individual are known as qualia in Western philosophy.[3]

Philosophy and sentience?[edit]

In philosophy, different authors draw different distinctions between consciousness and sentience. According to Antonio Damasio, sentience is a minimalistic way of defining consciousness, which otherwise commonly and collectively describes sentience plus further features of the mind and consciousness, such as creativity, intelligence, sapience, self-awareness, and intentionality (the ability to have thoughts about something). These further features of consciousness may not be necessary for sentience, which is the capacity to feel sensations and emotions.[4]

Consciousness?[edit]

See also: Consciousness

According to Thomas Nagel in his paper "What Is It Like to Be a Bat?", consciousness can refer to the ability of any entity to have subjective perceptual experiences, or as some philosophers refer to them, "qualia"—in other words, the ability to have states that it feels like something to be in.[5] Some philosophers, notably Colin McGinn, believe that the physical process causing consciousness to happen will never be understood, a position known as "new mysterianism." They do not deny that most other aspects of consciousness are subject to scientific investigation but they argue that qualia will never be explained.[citation needed] Other philosophers, such as Daniel Dennett, argue that qualia are not a meaningful concept.[6]

Regarding animal consciousness, according to the Cambridge Declaration of Consciousness, which was publicly proclaimed on 7 July 2012 at Cambridge University, consciousness is that which requires specialized neural structures, chiefly neuroanatomical, neurochemical, and neurophysiological substrates, which manifests in more complex organisms as the central nervous system, to exhibit consciousness.[a] Accordingly, only organisms that possess these substrates, all within the animal kingdom, are said to be conscious.[7] Sponges, placozoans, and mesozoans, with simple body plans and no nervous system, are the only members of the animal kingdom that possess no consciousness.[citation needed]

Phenomenal vs. affective consciousness?[edit]

David Chalmers argues that sentience is sometimes used as shorthand for phenomenal consciousness, the capacity to have any subjective experience at all, but sometimes refers to the narrower concept of affective consciousness, the capacity to experience subjective states that have affective valence (i.e., a positive or negative character), such as pain and pleasure.[8]

Recognition paradox and relation to sapience?[edit]

Chimps in a playful mood.
While it has been traditionally assumed that sentience and sapience are, in principle, independent of each other, there are criticisms of that assumption. One such criticism is about recognition paradoxes, one example of which is that an entity that cannot distinguish a spider from a non-spider cannot be arachnophobic. More generally, it is argued that since it is not possible to attach an emotional response to stimuli that cannot be recognized, emotions cannot exist independently of cognition that can recognize. The claim that precise recognition exists as specific attention to some details in a modular mind is criticized both with regard to data loss as a small system of disambiguating synapses in a module physically cannot make as precise distinctions as a bigger synaptic system encompassing the whole brain, and for energy loss as having one system for motivation that needs some built-in cognition to recognize anything anyway and another cognitive system for making strategies would cost more energy than integrating it all in one system that use the same synapses. Data losses inherent in all information transfer from more precise systems to less precise systems are also argued to make it impossible for any imprecise system to use a more precise system as an "emissary", as a less precise system would not be able to tell whether the outdata from the more precise system was in the interest of the less precise system or not.[9][10]

Empirical data on conditioned reflex precision?[edit]

The original studies by Ivan Pavlov that showed that conditioned reflexes in human children are more discriminating than those in dogs, human children salivating only at ticking frequencies very close to those at which food was served while dogs drool at a wider range of frequencies, have been followed up in recent years with comparative studies on more species. It is shown that both brain size and brain-wide connectivity contribute to make perception more discriminating, as predicted by the theory of a brain-wide perception system but not by the theory of separate systems for emotion and cognition.[11]

Eastern religions?[edit]

See also: Sentient beings (Buddhism)

Eastern religions including Hinduism, Buddhism, Sikhism, and Jainism recognise non-humans as sentient beings.[12] The term sentient beings is translated from various Sanskrit terms (jantu, bahu jana, jagat, sattva) and "conventionally refers to the mass of living things subject to illusion, suffering, and rebirth (Sa?sara)".[13] In some forms of Buddhism plants, stones and other inanimate objects are considered to be 'sentient'.[14][15] In Jainism many things are endowed with a soul, jiva, which is sometimes translated as 'sentience'.[16][17] Some things are without a soul, ajiva, such as a chair or spoon.[18] There are different rankings of jiva based on the number of senses it has. Water, for example, is a sentient being of the first order, as it is considered to possess only one sense, that of touch.[19]

In Jainism and Hinduism, this is related to the concept of ahimsa, non-violence toward other beings.[citation needed]

Sentience in Buddhism is the state of having senses. In Buddhism, there are six senses, the sixth being the subjective experience of the mind. Sentience is simply awareness prior to the arising of Skandha. Thus, an animal qualifies as a sentient being. According to Buddhism, sentient beings made of pure consciousness are possible. In Mahayana Buddhism, which includes Zen and Tibetan Buddhism, the concept is related to the Bodhisattva, an enlightened being devoted to the liberation of others. The first vow of a Bodhisattva states, "Sentient beings are numberless; I vow to free them."

Animal welfare, rights, and sentience?[edit]

Main articles: Animal rights by country or territory, Animal consciousness, Animal cognition, Animal welfare, Animal rights, Pain in animals, and Sentientism

Sentience has been a central concept in the animal rights movement, tracing back to the well-known writing of Jeremy Bentham in An Introduction to the Principles of Morals and Legislation: "The question is not, Can they reason? nor, Can they talk? but, Can they suffer?"

Richard D. Ryder defines sentientism broadly as the position according to which an entity has moral status if and only if it is sentient.[20] In David Chalmer's more specific terminology, Bentham is a narrow sentientist, since his criterion for moral status is not only the ability to experience any phenomenal consciousness at all, but specifically the ability to experience conscious states with negative affective valence (i.e. suffering).[8] Animal welfare and rights advocates often invoke similar capacities. For example, the documentary Earthlings argues that while animals do not have all the desires and ability to comprehend as do humans, they do share the desires for food and water, shelter and companionship, freedom of movement and avoidance of pain.[21][b]

Animal-welfare advocates typically argue that any sentient being is entitled, at a minimum, to protection from unnecessary suffering[citation needed], though animal-rights advocates may differ on what rights (e.g., the right to life) may be entailed by simple sentience. Sentiocentrism describes the theory that sentient individuals are the center of moral concern.

Gary Francione also bases his abolitionist theory of animal rights, which differs significantly from Singer's, on sentience. He asserts that, "All sentient beings, humans or nonhuman, have one right: the basic right not to be treated as the property of others."[22]

Andrew Linzey, founder of the Oxford Centre for Animal Ethics in England, considers recognising animals as sentient beings as an aspect of his Christianity. The Interfaith Association of Animal Chaplains encourages animal ministry groups to adopt a policy of recognising and valuing sentient beings.[citation needed]

In 1997 the concept of animal sentience was written into the basic law of the European Union. The legally binding protocol annexed to the Treaty of Amsterdam recognises that animals are "sentient beings", and requires the EU and its member states to "pay full regard to the welfare requirements of animals".

Alleged sentience of artificial intelligence?[edit]

It is a subject of debate as to whether artificial intelligence can potentially display, or has displayed, the level of awareness and cognitive ability required of sentience in animals.[23] Notably, the discussion on the topic of alleged sentience of artificial intelligence has been reignited as a result of recent (as of mid-2022) claims made about Google's LaMDA artificial intelligence system that it is "sentient" and had a "soul."[24] LaMDA (Language Model for Dialogue Applications) is an artificial intelligence system that creates chatbots — AI robots designed to communicate with humans — by gathering vast amounts of text from the internet and using algorithms to respond to queries in the most fluid and natural way possible. The transcripts of conversations between scientists and LaMDA reveal that the AI system excels at this, providing answers to challenging topics about the nature of emotions, generating Aesop-style fables on the moment, and even describing its alleged fears.[25]

However, the term "sentience" is not used by major artificial intelligence textbooks and researchers.[26] It is sometimes used in popular accounts of AI to describe "human level or higher intelligence" (or artificial general intelligence).

Sentience quotient?[edit]

The sentience quotient concept was introduced by Robert A. Freitas Jr. in the late 1970s.[27] It defines sentience as the relationship between the information processing rate of each individual processing unit (neuron), the weight/size of a single unit, and the total number of processing units (expressed as mass). It was proposed as a measure for the sentience of all living beings and computers from a single neuron up to a hypothetical being at the theoretical computational limit of the entire universe. On a logarithmic scale it runs from -70 up to +50.

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
SENTIENCE
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
E
=
5
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
4
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
I
=
9
5
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
6
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
7
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
C
=
3
8
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
40
-
9
SENTIENCE
94
49
40
-
1
2
3
4
25
6
7
8
8
-
-
4+0
-
-
-
9+4
4+9
4+0
-
-
-
-
-
2+5
-
-
-
-
-
-
4
-
9
SENTIENCE
13
13
4
-
1
2
3
4
7
6
7
8
8
-
-
4+0
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
9
SENTIENCE
4
4
5
-
1
2
3
4
7
6
7
8
8

 

 

-
-
-
-
-
SENTIENCE
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
1
S
19
10
1
-
1
-
-
4
-
6
7
8
-
E
=
5
2
1
E
5
5
5
-
-
-
-
4
5
6
7
8
-
N
=
5
3
1
N
14
5
5
-
-
-
-
4
5
6
7
8
-
T
=
2
4
1
T
20
2
2
-
-
2
-
4
-
6
7
8
-
I
=
9
5
1
I
9
9
9
-
-
-
-
4
-
6
7
8
9
E
=
5
6
1
E
5
5
5
-
-
-
-
4
5
6
7
8
-
N
=
5
7
1
N
14
5
5
-
-
-
-
4
5
6
7
8
-
C
=
3
8
1
C
3
3
3
-
-
-
3
4
-
6
7
8
-
E
=
5
9
1
E
5
5
5
-
-
-
-
4
5
6
7
8
-
-
-
40
-
9
SENTIENCE
94
49
40
-
1
2
3
4
25
6
7
8
8
-
-
4+0
-
-
-
9+4
4+9
4+0
-
-
-
-
-
2+5
-
-
-
-
-
-
4
-
9
SENTIENCE
13
13
4
-
1
2
3
4
7
6
7
8
8
-
-
4+0
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
9
SENTIENCE
4
4
5
-
1
2
3
4
7
6
7
8
8

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

5 x 5 = 25

LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES

5 x 5 = 25

 

-
-
-
-
-
SENTIENCE
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
1
S
19
10
1
-
1
-
-
4
-
6
7
8
-
T
=
2
4
1
T
20
2
2
-
-
2
-
4
-
6
7
8
-
C
=
3
8
1
C
3
3
3
-
-
-
3
4
-
6
7
8
-
E
=
5
2
1
E
5
5
5
-
-
-
-
4
5
6
7
8
-
N
=
5
3
1
N
14
5
5
-
-
-
-
4
5
6
7
8
-
E
=
5
6
1
E
5
5
5
-
-
-
-
4
5
6
7
8
-
N
=
5
7
1
N
14
5
5
-
-
-
-
4
5
6
7
8
-
E
=
5
9
1
E
5
5
5
-
-
-
-
4
5
6
7
8
-
I
=
9
5
1
I
9
9
9
-
-
-
-
4
-
6
7
8
9
-
-
40
-
9
SENTIENCE
94
49
40
-
1
2
3
4
25
6
7
8
8
-
-
4+0
-
-
-
9+4
4+9
4+0
-
-
-
-
-
2+5
-
-
-
-
-
-
4
-
9
SENTIENCE
13
13
4
-
1
2
3
4
7
6
7
8
8
-
-
4+0
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
9
SENTIENCE
4
4
5
-
1
2
3
4
7
6
7
8
8

 

 

-
-
-
-
-
SENTIENCE
-
-
-
-
1
2
3
5
9
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
T
=
2
4
1
T
20
2
2
-
-
2
-
-
-
C
=
3
8
1
C
3
3
3
-
-
-
3
-
-
E
=
5
2
1
E
5
5
5
-
-
-
-
5
-
N
=
5
3
1
N
14
5
5
-
-
-
-
5
-
E
=
5
6
1
E
5
5
5
-
-
-
-
5
-
N
=
5
7
1
N
14
5
5
-
-
-
-
5
-
E
=
5
9
1
E
5
5
5
-
-
-
-
5
-
I
=
9
5
1
I
9
9
9
-
-
-
-
-
9
-
-
40
-
9
SENTIENCE
94
49
40
-
1
2
3
25
8
-
-
4+0
-
-
-
9+4
4+9
4+0
-
-
-
-
2+5
-
-
-
4
-
9
SENTIENCE
13
13
4
-
1
2
3
7
8
-
-
4+0
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
4
-
9
SENTIENCE
4
4
5
-
1
2
3
7
8

 

SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME

 

Daily Mail, Wednesday, November 20, 2019

Page 62

QUESTION What was the longest word
used by William Shakespeare?

THE longest word used by Shakespeare occurs in Love's Labour's Lost, a comedy written during the 1590s.
Though its popularity did not last long after the playwright's lifetime — the play was rarely performed in the 19th century
— it's undergone a recent revival. -
The play is remarkable for featuring, in Act V, Scene I, the word honorificabilitudinitatibus, meaning the state of being able to achieve honours'.
This is the longest English word in which vowels and consonants alternate. The play is also noted for the longest scene in Shakespeare (Act V, Scene II), and a speech of 588 words by Berowne in Act IV.

honorificabilitudinitatibus

The play is remarkable for featuring, in Act V, Scene I, the word honorificabilitudinitatibus, meaning the state of being able to achieve honours'.

HONORIFICABILITUDINITATIBUS

 

H
=
8
-
9
HONORIFIC
97
61
7
A
=
1
-
8
ABILITUD
78
33
6
I
=
9
-
10
INITATIBUS
124
43
7
-
-
18
-
27
First Total
299
137
20
-
-
1+8
-
2+7
Add to Reduce
2+9+9
1+3+7
2+0
-
-
9
-
9
Second Total
20
11
2
-
-
-
-
-
Reduce to Deduce
2+0
1+1
-
-
-
9
-
9
Essence of Number
2
2
2

 

HONORIFICABILITUDINITATIBUS

 

 

-
-
-
-
-
EGYPT
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
--
-
5
G
=
7
-
1
G
7
7
7
-
7
-
Y
=
7
-
1
Y
25
7
7
-
7
-
P
=
7
-
1
P
16
7
7
-
7
-
T
=
2
-
1
T
20
2
2
--
-
2
-
-
28
-
5
EGYPT
73
28
28
-
21
7
-
-
2+8
-
-
-
7+3
2+8
2+8
-
2+1
-
-
-
10
-
5
EGYPT
10
10
10
--
3
7
-
-
1+0
-
-
-
1+0
1+0
1+0
-
-
-
-
-
7
-
5
EGYPT
1
7
7
--
3
7

 

LOOK AT THE SEVENS THE SEVENS THE SEVENS

EGYPT = 1 = EGYPTT

E+T =7= E+T

G =7= G

Y =7= Y

P = 7 = P

EGYPT = 1 = EGYPTT

THE SEVENS THE SEVENS LOOK AT THE SEVENS

 

HEBDOMAD = 7 = HEBDOMAD

 

8
HEBDOMAD
-
-
-
1
H
8
8
8
2
E+B
7
7
7
-
D+O
19
10
1
2
M+A+D
18
9
9
8
HEBDOMAD
52
34
25
-
-
5+2
3+4
2+5
8
HEBDOMAD
7
7
7

 

HEBDOMAD = 7 = HEBDOMAD

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

 

The number seven is the most prominent number throughout the whole Bible. The word “seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times. The book of the Bible that uses the word “seven” most frequently is Revelation, where it appears 55 times.
The Special Meaning of Sev…
revelationlogic.com
7 – represents perfection, and is the sign of God, divine worship, completions, obedience, and rest. The “prince” of Bible numbers, it is used 562 times, including its derivatives (e.g., seventh, sevens). (See Genesis 2:1–4, Psalm 119:164, and Exodus 20:8–11 for just a few of the examples.)


heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

Forgotten Realms Wiki

https://forgottenrealms.fandom.com › wiki › Celestial_H...
The Celestial Hebdomad was the name given to the seven celestial paragons that ruled Mount Celestia and the celestial archons that lived there.

HEBDOMAD Definition & Meaning
Dictionary.com

https://www.dictionary.com › browse › hebdomad
noun · the number seven. · a period of seven successive days; week.

The Mysteries Of The Hebdomad - HP Blavatsky

Hebdomad. A characteristic feature of the Gnostic concept of the universe is the role played in almost all Gnostic systems by the seven world-creating archons, known as the Hebdomad (Koinē Greek:

CATHOLIC ENCYCLOPEDIA: Gnosticism

New Advent
https://www.newadvent.org › cathen
The greatness of the Seven — the Moon, Mercury, Venus, Mars, the Sun, Jupiter, and Saturn — the sacred Hebdomad, symbolized for millenniums by the staged towers ...

HEBDOMAD = 7 = HEBDOMAD

 

8
HEBDOMAD
-
-
-
1
H
8
8
8
2
E+B
7
7
7
-
D+O
19
10
1
2
M+A+D
18
9
9
8
HEBDOMAD
52
34
25
-
-
5+2
3+4
2+5
8
HEBDOMAD
7
7
7

 

HEBDOMAD = 7 = HEBDOMAD

HEBDOMAD = 34 = HEBDOMAD

HEBDOMAD = 52 = HEBDOMAD

 

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

 

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

The number seven is the most prominent number throughout the whole Bible. The word “seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times. The book of the Bible that uses the word “seven” most frequently is Revelation, where it appears 55 times.

 


Albrecht Dürer, Melencolia I, 1514 - National Gallery of …

A magic square is inscribed on one wall;

the digits in each row, column, and diagonal add up to 34.

In the background, a blazing star or comet illuminates a seascape surmounted by a rainbow. One of Dürer’s three “master engravings,” …

 

 

THE PYRAMID TEXTS

34

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 665

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door."

HEBDOMAD = 52 = HEBDOMAD

HEBDOMAD = 34 = HEBDOMAD

HEBDOMAD = 7 = HEBDOMAD

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

The number seven is the most prominent number throughout the whole Bible. The word “seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times. The book of the Bible that uses the word “seven” most frequently is Revelation, where it appears 55 times.

 


Albrecht Dürer, Melencolia I, 1514 - National Gallery of …

A magic square is inscribed on one wall;

the digits in each row, column, and diagonal add up to 34.

In the background, a blazing star or comet illuminates a seascape surmounted by a rainbow. One of Dürer’s three “master engravings,” …

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 659

" It was learned, further,. that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - in­visible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her par­ents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turk­ish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners some­what hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room.
Was it Holger, Friiulein Kleefeld asked, who had rolled up the cloth? Little Brand did not know. And what had she thought about the affair? But since it was absolutely impossible to think anything about it, little Elly had thought nothing at all. Had she told her parents? No. That was odd. Though so sure she had thought nothing about it, Elly had had a distinct impression, in this and similar cases, that she must keep it to herself, make a profound and shamefaced secret of it. Had she taken it much to heart? No, not particularly. What was there about the roiling up of a cloth to take to hean? But other things she had - for ex­ample, the following:
A year before, in her parent's house at Odense, she had risen, as was her custom, in the cool of the early morning and left her room on the ground-floor, to go up to the breakfast-room, in order to brew the moming coffee before her parents rose. She had almost reached the landing, where the stairs turned, when she saw standing there close by the steps her elder sister Sophie, who had married and gone to Amenca to live. There she was, her physical presence, in a white gown, with, curiously enough, a garland of moist water-lilies on her head, her hands folded against one shoulder, and nodded to her sister. Ellen, rooted to the spot, half joyful, half terrified, cried out: "Oh, Sophie, is that you? " Sophie had nodded once again, and dissolved. She became gradually transparent, soon she was only visible as an ascending current of warm air, then not visible at all. so that Ellen's / Page 660 / path was clear. Later, it transpired that Sister Sophie had died of heat trouble in New Jersey, at that very hour.
Hans Castorp, when Fraulein Kleefeld related this to him, ex­pressed the view that there was some sort of sense in it: the appari­tion here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition.
A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the appartus Hermine had provided, consisting of a medium­sized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Friiulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of c..old feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded table­lamp, as Friiulein Kleefeld, in concession to the mood of the gath­ering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move.
That should happen with ease. The top of the table was smooth, the rim of the grass well ground, the pressure of the tremulous fingers, howe!ver lightly laid on, certainly unequal, some of it being exerted vertically, some rather sidewise, and probably in sufficient strength to cause the glass finally to move from its position in the centre of the table. On the periphery of its field it would come in contact with the marked counters; and if the letters on these, when put together, made words that conveyed any sort of sense, the resultant phenomenon would be complex and contaminate, a mixed product of conscious, half -conscious, and unconscious elements; the actual desire and pressure of some, to whom the wish was father to the act, whether or not they were aware of what they did; and the secret acquiescence of some dark stratum in the soul of the generality, a common if subterranean effort toward seemingly strange experiences, in which the sup / Page 661 / pressed self of the individual was more or less involved, most strongly, of course, that of little Elly. This they all knew be­forehand - Hans Castorp even blurted out something of the sort, after his fashion, as they sat and waited. The ladies' palpitation and cold extremities, the forced hilarity of the men, arose from their knowledge that they were come together in the night to embark on an unclean traffic with their own natures, a fearsome prying into unfamiliar regions of themselves, and that they were awaiting the appearance of those illuso.ry or half-realities which we call magic. It was almost entirely for form's sake, and came about quite conventionally, that they asked the sp irits of the departed to speak to them through the movement 0 the glass. Herr Albin offered to be spokesman and deal with such spirits as manifested themselves - he had already had a little experience at seances.
Twenty minutes or more went by. The whisperings had run dry, the first tension relaxed. They supported their right arms at the elbow with their left hands. The Czech Wenzel was al­most dropping off. Ellen Brand rested her finger lightly on the glass and directed her pure, childlike gaze away into the rosy light from the table-lamp.
Suddenly the glass tipped, knocked, and ran away from under their hands. They had difficulty in keeping their fingers on it. It pushed over to the very edge of the table, ran along it for a space, then slanted back nearly to the middle; tapped again, and remained quiet.
They were all Startled; favourably, yet with some alarm. Frau Stohr whimpered that she would like to stop, but they told her she should have thought of that before, she must just keep quiet now. Things seemed in train. They stipulated that, in order to answer yes or 00, the glass need not ron to the letters, but might give one or two knocks instead.
" Is there an Intelligence present? " Herr Albin asked, severely directing his gaze over their heads into vacancy. Ater some hesitation, the glass tipped and said yes.
" What is your name? " Herr Albin asked, almost gruffly, and emphasized his energetic speech by shaking his head.
The glass pushed off. It ran with resolution from one point te another, executing a zigzag by returning each time a little dis­tance toward the centre of the table. It visited H, O, and L, then seemed exhausted; but pulled itself together again and sought out the G, and E, and the R. Just as they thought. It was Holger in person, the spirit Holger, who understood such matters as the / Page 661 / pinch of salt and that, but knew better than to mix into lessons at school. He was there, floating in the air, above the heads of the little circle. What should they do with him? A certain diffidence possessed them; they took counsel behind their hands, what they were to ask him. Herr Albin decided to question him about his position and occupation in life, and did so, as before, severely, with frowning brows; as though he were a cross-examining counsel.
The glass was silent awhile. Then it staggered over to the P, zigzagged and returned to O. Great suspense. Dr. Ting-Fu giggled and said Holger must be a poet. Frnu Stohr began to laugh hysterically; which the glass appeared to resent, for after indi­cating the E it stuck and went no further. However, it seemed fairly clear that Dr. Ting-Fu was right.
What the deuce, so Holger was a poet? The glass revived, and superfluously, in apparent pridefulness, rapped yes. A lyric poet, Fraulein Kleefeld asked? She said ly-ric, as Hans Castorp involuntarily noted. Holger was disinclined to specify. He gave no new answer, merely spelled out again, this time quickly and unhesitatingly, the word poet, adding the T he had left off before.
Good, then, a poet. The constraint increased. It was a con­straint that in realIty had to do with manifestations on the part of uncharted regions of their own inner, their subjective selves, but which, because of the illusory, half-actual conditions of these manifestations, referred itself to the objective and external. Did Holger feel at home, and content, in his present state? Dreamily, the glass spelled out the word tranquil. Ah, tranquil It was not a word one would have hit upon oneself, but after the glass spelled it out, they found it well chosen and probable. And how long had Holger been in ,this tranquil state? The answer to this was again something one would never have thought of, and dreamily answered; it was "A hastening while." Very good. As a piece of ventriloquistic poesy from the Beyond, Hans Castorp, in particular, found it capital. A " hastening while" was the time-element Holger lived in: and of course he had to answer as it were in parables, having very likely forgotten how to use earthly terminofogy and standards of exact measurement. Fraulein Levi confessed her curiosity to know how he looked, or had looked, more or less. Had he been a handsome youth? Here Albin said she might ask him herself, he found the request beneath his dignity. So she asked if the spirit had fair hair.
"Beautiful, brown, brown curls," the glass responded, deliberately spelling out the word brown twice. There was much merri­ / Page 663 / ment over this. The ladies said they were in love with him. They kissed their hands at the ceiling. Dr. Ting-Fu, giggling, said Mister Holger must be rather vain.
Ah, what a fury the glass fell into! It ran like mad about the table, quite at random, rocked with rage, fell over and rolled into Frau Stohr's lap, who stretched out her anns and looked down at it pallid with fear. They apologetically conveyed it back to its station, and rebuked the Chinaman. How had he dared to say such a thing - did he see what his indiscretion had led to? Suppose Holger was up and off in his wrath, and refused to say another word!
They addressed themselves to the glass with the extreme of courtesy. WouId Holger not make up some poetry for them? He had said he was a poet, before he went to hover in the hastening while. Ab, how they all yearned to hear him versify! They would love it so!
And 10, the good glass yielded and said yes! Truly there was something placable and good-humoured about the way it tapped. And then Holger the spirit began to poetize, and kept it up, copi­ously, circumstantially, without pausing for thought, for dear knows how long. It seemed impossible to stop him. And what a surprising poem it was, this ventriloquistic effort, delivered to the admiration of the circle - stuff of magic, and shoreless as the sea of which it largely dealt. Sea-wrack in heaps and bands along the narrow strand of the broad-flung bay; an islanded coast, girt by steep, cllify dunes. Ab, see the dim green distance faint and die into eternity, while beneath broad veils of mist in dull cannine and milky radiance the sununer sun delays to sink! No word can utter how and when the watery mirror turned from silver into untold changeful colour-play, to bright or pale, to spreading, opaline and moonstone gleams - or how, mysteriously as it came, the voice­less magic died away. The sea slumbered. Yet the last traces of the sunset linger above and beyond. Until deep in the night it has not
grown dark: a ghostly twilight reigns in the pine forests on the downs, bleaching the sand until it looks like snow- A simulated winter forest all in silence, save where an owl wings rustling flight. Let us stray here at this hour - so soft the sand beneath our tread, so sublime, so mild the night! Far beneath us the sea respires slowly, and murmurs a long whispering in its dream. Does it crave thee to see it again? Step forth to the sallow, glacierlike cliffs of the dunes, and climb quite up into the softness, that runs coolly into thy shoes. The land falls harsh and bushy steeply down to the pebbly shore, and still the last {>arting remnants of the day haunt the edge of the vanishing sky. LIe down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty little mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour-glass, that solemn, fragile toy that adorns the hermit's hut. An open book, a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn, mysterious essence. . . .
Thus Holger the spirit and his lyric improvisation, ranging with weird flights of thought from the familiar sea-shore to the cell of a hermit and the tools of his mystic contemplation. And there waf more; more, human and divine, involved in daring and dreamlike terminology - over which the members of the little circle puzzled endlessly as they spelled it out; scarcely finding time for hurried though raptUrous applause, so swiftly did the glass zigzag back and forth, so swiftly the words roll on and on. There was no distant prospect of a period, even at the end of an hour. The glass improvised inexhaustibly of the pangs of birth and the first kiss of lovers; the crown of sorrows, the fatherly goodness of God; plunged into the mysteries of creation, lost itself in other times and lands, in interstellar space; even mentioned the Chaldeans and the zodiac; and would "most, certainly have gone on all night, if the conspirators had not finally taken their fingers from the glass, and expressing their gratitude to Holger, told him that must suffice them for the time, it had been wonderful beyond their wildest dreams, it was an everlasting pity there had been no one at hand to take it down, for now it must inevitably be forgotten, yes, alas, they had already forgotten most of it, thanks to its quality, which made it hard to retain, as dreams are. Next time they must appoint an amanuensis to take it down, and see how it would look m black and white, and read connectedly. For the moment, however, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?
The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy-story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was so difficult to choose. At length, as no one else seemed able to settle, Hans Castorp, with his finger on the glass, supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.
Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door."

 
THIRTYFOUR
6
THIRTY
100
37
1
4
FOUR
60
24
6
10
THIRTYFOUR
160
61
7
1+0
-
1+6+0
6+1
-
1
THIRTYFOUR
7
7
7

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 665

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that?

NUMBER THIRTY- FOUR

"WHAT WAS THE SENSE OF THAT"

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

HEBDOMAD = 7 = HEBDOMAD

HEBDOMAD = 34 = HEBDOMAD

HEBDOMAD = 52 = HEBDOMAD

 
THIRTYFOUR
2
TH
28
10
1
1
I
9
9
9
1
R
18
9
9
2
TY
45
9
9
1
F
6
6
6
2
OU
36
9
9
1
R
18
9
9
10
THIRTY FOUR
160
61
52
1+0
-
1+6+0
6+1
 5+2
1
THIRTY FOUR
7
7
7

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Page 10

Number 34

 
THIRTYFOUR
2
TH
28
10
1
2
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
3
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

34

34 THREE FOUR 34

34

10
THIRTY FOUR
2
TH
28
10
1
2
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
3
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

 

34

34 THREE FOUR 34

34

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Page 10

Number 34

"ON their right as they entered, between the main door and the inner one, was the porter's lodge. An official of the French type, in the grey livery of the man at the station, was sitting at the tele­phone, reading the newspaper. He came out and led them through the well-lighted halls, on the left of which lay the reception-rooms. Hans Castorp peered in as he passed, but they were empty. Where, then, were the guests, he asked, and his cousin answered: " In the rest-cure. I had leave tonight to go out and meet you. Otherwise I am always up in my balcony, after supper."
Hans Castorp came near bursting out again. " What! You lie out on your balcony at night, in the damp? " he asked, his voice shak­ing.
" Yes, that is the rule. From eight to ten. But come and see your room now, and get a wash."
They entered the lift - it was an electric one, worked by the Frenchman. As they went up, Hans Castorp wiped. his eyes.
" I'm perfectly worn out with laughing, he said, and breathed through his mouth. cc You've told me such a lot of crazy stuff ­ that about the psycho-analysis was the last straw. I suppose I am a bit relaxed from the journey. And my feet are cold - are yours? But my face bums so, it is really unpleasant. Do we eat now? I feel hungry. Is the food decent up here?"
They went noiselessly along the coco matting of the narrow corridor, which was lighted by electric lights in white glass shades set in the ceiling. The walls gleamed with hard white enamel paint.
They had a glimpse of a nursing sister in a white cap, and eye­glasses on a cord that ran behind her ear. She had the look of a Protestant sister - that is to say, one working without a real vo­cation and burdened with restlessness and ennui. As they went along the corridor, Hans Castorp saw, beside two of the white­enamelled, numbered doors, cenain curious, swollen-looking, bal­loon-shaped vessels with short necks. He did not think, at the moment, to ask what they were.
" Here you are," said Joachim. " I am next you on the right. The other side you have a Russian couple, rather loud and offensive, but it couldn't be helped. Well, how do you like it? "
There were two doors, an outer and an inner, with clothes­hooks in the space between. Joachim had turned on the ceiling light, and jn its vibrating brilliance the room looked restful and cheery, with practical wliite furniture, whte washable walls, clean / Page 11 / linoleum, and white linen curtains gaily embroidered in modem taste. The door stood open; one saw the lights of the valley and heard distant dance-music. The good Joachim had put a vase of flowers on the chest of drawers - a few bluebells and some yarrow, which he had found himself among the second crop of grass on the slopes.
" Awfully decent of you, "said Hans Castorp. "What a nice room! I can spend a couple of weeks here with pleasure."

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Chapter 1

"Number 34"

"But come and see your room now"

"What a nice room! I can spend a couple of weeks here with pleasure."

Page 663

"Lie down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour glass, that solemn, fragile toy that adorns the hermit's hut. An open book a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn mysterious essence. . ."

"For the moment, how-ever, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?

The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was difficult to choose. At length, as no one else seemed able to sttle, Hans Castorp, with his finger on the glass supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer which none of them succeeded in fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room, that was to say, through number thirty-four.What was the sense of that."

NUMBER THIRTY- FOUR

"WHAT WAS THE SENSE OF THAT"

?

10
THIRTY FOUR
-
-
-
-
TH

28
10
1
-
I
9
9
9
-
R
18
9
9
-
TY
45
9
9
-
F
6
6
6
-
OU
36
9
9
-
R
18
18
9
10
THIRTY FOUR
160
70
52
1+0
-
1+6+0
7+0
5+2
1
THIRTY FOUR
7
7
7

 

34

34 THREE FOUR 34

34

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Number 34

Page 95

"Room 34"

 

-
10
T
H
I
R
T
Y
-
F
O
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-
-
-
-
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8
9
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9
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 15
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10
T
H
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11
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20
-
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18
20
25
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21
18
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11
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2
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10
T
H
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R
T
Y
-
F
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-
  
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8
9
18
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15
21
18
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7
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7
-
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2
8
9
9
2
7
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6
6
3
9
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=
61
6+1
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7
=
7
=
7
-
10
T
H
I
R
T
Y
-
F
O
U
R
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-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
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-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
--
-
2
occurs
x
2
=
4
=
4
-
--
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
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=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
--
-
5
-
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
6
6
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
--
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
9
9
-
-
-
-
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
10
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
35
-
-
11
-
61
-
34
1+0
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-
-
9
9
-
-
-
-
-
-
9
-
-
3+5
-
-
1+1
-
6+1
-
3+4
1
1
T
H
I
R
T
Y
-
F
O
U
R
-
-
8
-
-
2
-
7
-
7
-
-
2
8
9
9
2
7
-
6
6
3
9
-
-
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1
1
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I
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-
F
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-
8
-
-
2
-
7
-
7

 

34

34 THREE FOUR 34

34

 

10
T
H
I
R
T
Y
-
F
O
U
R
-
-
-
-
-
--
-
-
-
-
-
-
8
9
-
-
-
-
-
6
-
-
+
=
23
2+3
=
5
=
5
=
5
`-
-
8
9
-
-
-
-
-
 15
-
-
+
=
32
3+2
=
5
=
5
=
5
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
-
  
-
--
-
-
-
-
-
2
=
=
9
2
7
-
6
-
3
9
+
=
38
3+8
=
11
1+1
2
=
2
`-
20
-
-
18
20
25
-
6
-
21
18
+
=
128
1+2+8
=
11
1+1
2
=
2
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
-
  
-
--
-
-
-
-
`-
20
8
9
18
20
25
-
6
15
21
18
+
=
160
1+6+0
=
7
=
7
=
7
-
2
8
9
9
2
7
-
6
6
3
9
+
=
61
6+1
=
7
=
7
=
7
10
T
H
I
R
T
Y
-
F
O
U
R
-T
-
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
--
-
2
occurs
x
2
=
4
=
4
--
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
6
6
-
-
-
-
6
occurs
x
2
=
12
1+2
3
--
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
9
-
-
-
-
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
35
-
-
11
-
61
-
34
1+0
-
-
9
9
-
-
-
-
-
-
9
-
-
3+5
-
-
1+1
-
6+1
-
3+4
1
T
H
I
R
T
Y
-
F
O
U
R
-
-
8
-
-
2
-
7
-
7
-
2
8
9
9
2
7
-
6
6
3
9
-
-
-
-
-
-
-
-
-
-
1
T
H
I
R
T
Y
-
F
O
U
R
-
-
8
-
-
2
-
7
-
7

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Foreword

THE STORY of Hans Castorp, which we would here set forth, not on his own account, for in him the reader will make acquaintance with a simple-minded though pleasing young man, but for the sake of the story itself, which seems to us highly worth telling­though it must needs be borne in mind, in Hans Castorp's behalf, that it is his story, and not every story happens to everybody­ this story, we say, belongs to the long ago; is already, so to speak covered with historic mould, and unquestionably to be presented in the tense best suited to a narrative out of the depth of the past.
That should be no drawback to a story, but ratner the reverse. Since histories must be in the past, then the more past the better, it would seem, for them in their character as histories, and for him, the teller of them, rounding wizard of times gone by. With this story, moreover, it sunds as it does to-day with human beings, not least among them writers of tales: it is far older than its years; its age may not be measured by length of days, nor the weight of time on its head reckoned by the rising or setting of suns. In a word, the degree of its antiquity has noways to do with the pas­sage of time - in which statement the author intentionally touches upon the strange and questionable double nature of that riddling efement.
But we would not wilfully obscure a plain matter. The exag­gerated pastness of our narrative is due to its taking place before the epoch when a certain crisis shattered its way through life and consciousness and left a deep chasm behind. It takes place - or, rather, deliberately to avoid the present tense, it tOok place, and had t:lken place - in the long ago, in the old days, the days of the world before the Great War, in the beginning of which so much began that has scarcely yet left off beginning. Yes, it took place before that; yet not so long before. Is not the pastness of the past the profound er, the completer, the more legendary, the more immediately before the present it falls? More than that, our story has, of its own nature, something of the legend about it now and again.

We shall tell it at length; thoroughly, in detail- for when did a narrative seem too long or too short by reason of the actual time
or space it took up? We do not fear being called meticulous, inclinmg as we do to the view that only the exhaustive can be truly interesting.
Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!"

 

The number seven is the most prominent number throughout the whole Bible. The word “seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times. The book of the Bible that uses the word “seven” most frequently is Revelation, where it appears 55 times.
The Special Meaning of Sev…
revelationlogic.com
7 – represents perfection, and is the sign of God, divine worship, completions, obedience, and rest. The “prince” of Bible numbers, it is used 562 times, including its derivatives (e.g., seventh, sevens). (See Genesis 2:1–4, Psalm 119:164, and Exodus 20:8–11 for just a few of the examples.)

 


Albrecht Dürer, Melencolia I, 1514 - National Gallery of …

A magic square is inscribed on one wall;

the digits in each row, column, and diagonal add up to 34.

In the background, a blazing star or comet illuminates a seascape surmounted by a rainbow. One of Dürer’s three “master engravings,” …

 

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

The number seven is the most prominent number throughout the whole Bible. The word “seven” (or derivatives such as “seventh”, “seventy”, etc.) appears in the Bible 562 times. The book of the Bible that uses the word “seven” most frequently is Revelation, where it appears 55 times.

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 665

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door."

34

34 THREE FOUR 34

34

 

10
THIRTY FOUR
2
TH
28
10
1
2
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
3
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

 

34

34 THREE FOUR 34

34

 

Foreword

We shall tell it at length; thoroughly, in detail- for when did a narrative seem too long or too short by reason of the actual time
or space it took up? We do not fear being called meticulous, inclinmg as we do to the view that only the exhaustive can be truly interesting.
Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!"

 

IDEAS PLEASE I ME I ME I PLEASE IDEAS

PLACET EXPERIRI EXPERIRI PLACET

1

are echoes here of Hans Castorp’s Mountain motto, ‘placet experiri’, which. states a positive commitment to experience and experiment. The same idea ... assets.cambridge.org/97805216/53107/sample/9780521653107ws

2

 

Placet experiri. Latin phrase meaning "It pleases to experiment", Ch. 4. “Beer, tobacco, and music,” he went on.. “Behold the Fatherland.” ... en.wikiquote.org/wiki/Thomas_Mann

3

Mann Quote: Placet experiri. ... Famous Quotes |Placet experiri. Printable Version · Cite this Page.Placet experiri. - Thomas Mann ... www.enotes.com/famous-quotes/placet-experiri

4

Diesen Ausgang verdankt Hans Castorp dem ,Placet experiri, der Erfahrung, ... Re:Placet experiri... dominikus franke schrieb am 24.07.2007 um 01:43 Uhr: ... www.albertmartin.de/latein/forum

5

Placet experiri. Wie schön, daß damals, auf dem Höhepunkt der Thomas-Mann-Begeisterung, das Krankenhaus, in dem ich lag, sich so leicht zum „Berghof“ (aus ... www.werner-radtke.de/1995/03/224-placet-experiri.html

 

PLACET EXPERIRI THAT I AM ME I ME AM I THAT EXPERIRI PLACET

 

-
PLACET EXPERIRI
-
-
-
2
P+L
28
10
1
3
A+C+E
9
9
9
1
T
20
2
2
4
E+X+P+E
50
23
5
1
R
18
9
9
1
I
9
9
9
1
R
18
9
9
1
I
9
9
9
14
PLACET EXPERIRI
161
80
53
1+4
-
1+6+1
9+0
5+3
5
-PLACET EXPERIRI
18
9
8
-
-
1+8
-
-
5
PLACET EXPERIRI
9
9
8

 

 

-
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
-
`-
-
-
--
-
-
-
-
-
--
-
-
18
9
18
9
+
=
54
5+4
=
9
-
9
-
9
-
-
-
-
--
-
-
-
-
-
--
-
-
9
9
9
9
+
=
36
3+6
=
9
-
9
-
9
-
`-
-
-
--
-
-
-
-
-
--
-
-
18
9
18
9
+
=
54
5+4
=
9
-
9
-
9
-
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
-
-
7
3
1
3
5
2
-
5
6
7
5
-
--
-
--
+
=
44
4+4
=
8
-
8
-
8
-
`-
16
12
1
3
5
20
-
5
24
16
5
-
--
-
--
+
=
107
1+0+7
=
8
-
8
-
8
-
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
-
`-
16
12
1
3
5
20
-
5
24
16
5
18
9
18
9
+
=
161
1+6+1
=
8
-
8
-
8
-
-
7
3
1
3
5
2
-
5
6
7
5
9
9
9
9
+
=
80
8+0
=
8
-
8
-
8
-
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
3
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
-
-
5
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
9
occurs
x
4
=
36
3+6
9
12
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
33
-
-
14
-
80
-
35
1+2
-
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
3+3
-
-
1+4
-
8+0
-
3+5
3
5
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8
--
--
7
3
1
3
5
2
-
5
6
7
5
9
9
9
9
-
-
-
-
-
--
--
-
-
-
3
5
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8

 

 
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
`-
-
-
--
-
-
-
-
-
--
-
-
18
9
18
9
+
=
54
5+4
=
9
-
9
-
9
-
-
-
--
-
-
-
-
-
--
-
-
9
9
9
9
+
=
36
3+6
=
9
-
9
-
9
`-
-
-
--
-
-
-
-
-
--
-
-
18
9
18
9
+
=
54
5+4
=
9
-
9
-
9
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
-
7
3
1
3
5
2
-
5
6
7
5
-
--
-
--
+
=
44
4+4
=
8
-
8
-
8
`-
16
12
1
3
5
20
-
5
24
16
5
-
--
-
--
+
=
107
1+0+7
=
8
-
8
-
8
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
`-
16
12
1
3
5
20
-
5
24
16
5
18
9
18
9
+
=
161
1+6+1
=
8
-
8
-
8
-
7
3
1
3
5
2
-
5
6
7
5
9
9
9
9
+
=
80
8+0
=
8
-
8
-
8
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
5
-
-
5
-
-
5
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
9
occurs
x
4
=
36
3+6
9
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
33
-
-
14
-
80
-
35
1+4
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
3+3
-
-
1+4
-
8+0
-
3+5
5
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8
--
7
3
1
3
5
2
-
5
6
7
5
9
9
9
9
-
-
-
-
-
--
--
-
-
-
5
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8

 

 

7
IT
29
11
2
4
PLEASES
77
23
5
6
TO
35
8
8
4
EXPERIMENT
129
57
3
17
First Total
270
99
18
1+7
Add to Reduce
2+7+0
9+9
1+8
8
Second Total
9
18
9
-
Reduce to Deduce
-
1+8
-
8
Essence of Number
9
9
9

 

 

Placet experiri. Latin phrase meaning "It pleases to experimnent", Ch. 4. “Beer, tobacco, and music,” he went on. “Behold the Fatherland.” ... en.wikiquote.org/wiki/Thomas_Mann

Paul Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and mid-length stories, noted for their insight into the psychology of the artist and the intellectual.

Contents [hide]
1 Sourced
1.1 Tristan (1902)
1.2 Tonio Kröger (1903)
1.3 Death in Venice (1912)
1.4 The Magic Mountain (1924)
1.5 Suffering and Greatness of Richard Wagner (1933)
1.6 Freud and the Future (1937)
1.7 The Beloved Returns (1939)
1.8 Doctor Faustus (1947)
1.9 Confessions of Felix Krull, Confidence Man (1954)
2 Unsourced
3 External links

[edit] Sourced
I think of my suffering, of the problem of my suffering. What am I suffering from? From knowledge — is it going to destroy me? What am I 
suffering from? From sexuality — is it going to destroy me? How I hate it, this knowledge which forces even art to join it! How I hate it, this sensuality, which claims everything fine and good is its consequence and effect. Alas, it is the poison that lurks in everything fine and good! — How am I to free myself of knowledge? By religion? How am I to free myself of sexuality? By eating rice?
Letter from Naples, Italy to Otto Grautoff (1896); as quoted in A Gorgon's Mask: The Mother in Thomas Mann's Fiction (2005) by Lewis A. Lawson, p. 34
Here and there, among a thousand other peddlers, are slyly hissing dealers who urge you to come along with them to allegedly "very beautiful" girls, and not only to girls. They keep at it, walk alongside, praising there wares until you answer roughly. They don't know that you have resolved to eat nothing but rice just to escape from sexuality!
Letter from Naples, Italy to Otto Grautoff (1896); as quoted in A Gorgon's Mask: The Mother in Thomas Mann's Fiction (2005) by Lewis A. Lawson, p. 35
We are most likely to get angry and excited in our opposition to some idea when we ourselves are not quite certain of our own position, and are inwardly tempted to take the other side.
Buddenbrooks [Buddenbrooks: Verfall einer Familie, Roman] (1901). Pt 8, Ch. 2
Beauty can pierce one like pain.
Buddenbrooks [Buddenbrooks: Verfall einer Familie, Roman], Pt 11, Ch. 2
That daily the night falls; that over stresses and torments, cares and sorrows the blessing of sleep unfolds, stilling and quenching them; that every anew this draught of refreshment and lethe is offered to our parching lips, ever after the battle this mildness laves our shaking limbs, that from it, purified from sweat and dust and blood, strengthened, renewed, rejuvenated, almost innocent once more, almost with pristine courage and zeal we may go forth again — these I hold to be the benignest, the most moving of all the great facts of life.
"Sleep, Sweet Sleep" ["Süßer Schlaf] first published in Neue Freie Presse [Vienna] (30 May 1909), as translated by Helen T. Knopf in Past Masters and Other Papers (1933), p. 269
The important thing for me, then, is not the "work," but my life. Life is not the means for the achievement of an esthetic ideal of perfection; on the contrary, the work is an ethical symbol of life.
Reflections of a Non-Political Man [Betrachtungen eines Unpolitischen (1918)]
Extraordinary creature! So close a friend, and yet so remote.
Herr und Hund (A Man and his Dog) (1918)
The meeting in the open of two dogs, strangers to each other, is one of the most painful, thrilling, and pregnant of all conceivable encounters; it is surrounded by an atmosphere of the last canniness, presided over by a constraint for which I have no preciser name; they simply cannot pass each other, their mutual embarrassment is frightful to behold.
Herr und Hund (A Man and his Dog)
I have an epic, not a dramatic nature. My disposition and my desires call for peace to spin my thread, for a steady rhythm in life and art.
Nobel Banquet Speech (10 December 1929)
This fantastic state of mind, of a humanity that has outrun its ideas, is matched by a political scene in the grotesque style, with Salvation Army methods, hallelujahs and bell-ringing and dervishlike repetition of monotonous catchwords, until everybody foams at the mouth. Fanaticism turns into a means of salvation, enthusiasm into epileptic ecstasy, politics becomes an opiate for the masses, a proletarian eschatology; and reason veils her face.
On German fascism, in "An Appeal to Reason" ["Deutsche Ansprache. Ein Appell an die Vernunft"] in Berliner Tageblatt (18 October 1930); as translated by Helen T. Lowe-Porter in Order of the Day, Political Essays and Speeches of Two Decades (1942), p. 57
In the Word is involved the unity of humanity, the wholeness of the human problem, which permits nobody to separate the intellectual and artistic from the political and social, and to isolate himself within the ivory tower of the "cultural" proper.
Letter to the dean of the Philosophical Faculty, Bonn University (January 1937)
Democracy is timelessly human, and timelessness always implies a certain amount of potential youthfulness.
The Coming Victory of Democracy (1938), p. 14, translated by Agnes E. Meyer, Knopf (1938)
In certain respects, particularly economically, National-Socialism is nothing but bolshevism. These two are hostile brothers of whom the younger has learned everything from the older, the Russian excepting only morality.
The Coming Victory of Democracy (1938), p. 14, translated by Agnes E. Meyer, Knopf (1938)
This was love at first sight, love everlasting: a feeling unknown, unhoped for, unexpected — in so far as it could be a matter of conscious awareness; it took entire possession of him, and he understood, with joyous amazement, that this was for life.
"Early Sorrow in Tellers of Tales: 100 Short Stories from the United States, England, France, Russia and Germany edited by William Somerset Maugham (1939), p. 884
The Freudian theory is one of the most important foundation stones for an edifice to be built by future generations, the dwelling of a freer and wiser humanity.
As quoted in The New York Times (21 June 1939)
Unhappy German nation, how do you like the Messianic rôle allotted to you, not by God, nor by destiny, but by a handful of perverted and bloody-minded men.
"This War" (1939); also in Order of the Day (1942)
It is a strange fact that freedom and equality, the two basic ideas of democracy, are to some extent contradictory. Logically considered, freedom and equality are mutually exclusive, just as society and the individual are mutually exclusive.
Speech, "The War and the Future" (1940); published in Order of the Day (1942)
What we call National-Socialism is the poisonous perversion of ideas which have a long history in German intellectual life.
Speech, "The War and the Future" (1940); published in Order of the Day (1942)
An art whose medium is language will always show a high degree of critical creativeness, for speech is itself a critique of life: it names, it characterizes, it passes judgment, in that it creates.
Speech at the Prussian Academy of Art in Berlin (22 January 1929); also in Essays of Three Decades (1942)
A writer is somebody for whom writing is more difficult than it is for other people.
Essays of Three Decades (1942)
Politics has been called the “art of the possible,” and it actually is a realm akin to art insofar as, like art, it occupies a creatively mediating position between spirit and life, the idea and reality.
Speech at the US Library of Congress (29 May 1945); published as "Germany and the Germans" ["Deutschland und die Deutschen"] in Die Neue Rundschau [Stockholm] (October 1945), p. 58, as translated by Helen T. Lowe-Porter
Reduced to a miserable mass level, the level of a Hitler, German Romanticism broke out into hysterical barbarism.
Speech at the US Library of Congress (29 May 1945); published as "Germany and the Germans" ["Deutschland und die Deutschen"] in Die Neue Rundschau [Stockholm] (October 1945), p. 58, as translated by Helen T. Lowe-Porter
Every reasonable human being should be a moderate Socialist.
As quoted in The New York Times (18 June 1950); also in Thomas Mann: A Critical Study (1971) by R. J. Hollingdale, Ch. 2
It is not good when people no longer believe in war. Pretty soon they no longer believe in many other things which they absolutely must believe in if they are to be decent men.
Quoted in Survey of Contemporary Literature (1977) by Frank Northen Magill, p. 4263

[edit] Tristan (1902)
It often happens that an old family, with traditions that are entirely practical, sober and bourgeois, undergoes in its declining days a kind of artistic transfiguration.
Ch. 7
They sang their mysterious duo, sang of their nameless hope, their death-in-love, their union unending, lost forever in the embrace of night’s magic kingdom. O sweet night, everlasting night of love! Land of blessedness whose frontiers are infinite!
Ch. 8
It had been a moving, tranquil apotheosis, immersed in the transfiguring sunset glow of decline and decay and extinction. An old family, already grown too weary and too noble for life and action, had reached the end of its history, and its last utterances were sounds of music: a few violin notes, full of the sad insight which is ripeness for death.
Ch. 10

[edit] Tonio Kröger (1903)
If you are possessed by an idea, you find it expressed everywhere, you even smell it.
Variant translation: It is strange. If an idea gains control of you, you will find it expressed everywhere, you will actually smell it in the wind.
As translated by Bayard Quincy Morgan
What they, in their innocence, cannot comprehend is that a properly constituted, healthy, decent man never writes, acts, or composes.
"Tonio Kröger" on general opinions about artists.
This longing for the bliss of the commonplace.
Ch. 4, and also in Ch. 9, as translated by David Luke
He remembered the dissolute adventures in which his senses, his nervous system and his mind had indulged; he saw himself corroded by irony and intellect, laid waste and paralyzed by insight, almost exhausted by the fevers and chills of creation, helplessly and contritely tossed to and fro between gross extremes, between saintly austerity and lust — oversophisticated and impoverished, worn out by cold, rare artificial ecstasies, lost, ravaged, racked and sick — and he sobbed with remorse and nostalgia.
Ch. 8, as translated by David Luke
I stand between two worlds, am at home in neither, and in consequence have rather a hard time of it. You artists call me a commoner, and commoners feel tempted to arrest me ... I do not know which wounds me more bitterly. Commoners are stupid; but you worshippers of beauty who call me phlegmatic and without yearning, ought to reflect that there is an artistry so deep, so primordial and elemental, that no yearning seems to it sweeter and more worthy of tasting than that for the raptures of common-placeness.
Ch. 9, as translated by Bayard Quincy Morgan
I admire the proud and cold who go adventuring on the paths of great and demoniac beauty, and scorn "man" — but I do not envy them. For if anything is capable of making a poet out of a man of letters, it is this plebeian love of mine for the human, living, and commonplace. All warmth, all goodness, all humor is born of it, and it almost seems to me as if it were that love itself, of which it is written that a man might speak with the tongues of men and of angels, and yet without it be no more than sounding brass or a tinkling cymbal.
Ch. 9, as translated by Bayard Quincy Morgan
What I have done is nothing, not much — as good as nothing. I shall do better things, Lisaveta — this is a promise. While I am writing, the sea's roar is coming up to me, and I close my eyes. I am looking into an unborn and shapeless world that longs to be called to life and order, I am looking into a throng of phantoms of human forms which beckon me to conjure them and set them free: some of them tragic, some of them ridiculous, and some that are both at once — and to these I am very devoted. But my deepest and most secret love belongs to the blond and blue-eyed, the bright-spirited living ones, the happy, amiable, and commonplace.
Do not speak lightly of this love, Lisaveta; it is good and fruitful. There is longing in it and melancholy envy, and a tiny bit of contempt, and an unalloyed chaste blissfulness.
Ch. 9, as translated by Bayard Quincy Morgan
Variant translation: But my deepest and most secret love belongs to the fair-haired and the blue-eyed, the bright children of life, the happy, the charming and the ordinary.
Ch. 9, as translated by David Luke

[edit] Death in Venice (1912)
Der Tod in Venedig, originally published in Die Neue Rundschau 23 (Oct-Nov 1912)

The figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.But he would “stay the course” — it was his favorite motto.
The disposition of the main character "Gustav Aschenbach", Ch. 2, as translated by David Luke
Hidden away amongst Aschenbach’s writing was a passage directly asserting that nearly all the great things that exist owe their existence to a defiant despite: it is despite grief and anguish, despite poverty, loneliness, bodily weakness, vice and passion and a thousand inhibitions, that they have come into being at all. But this was more than an observation, it was an experience, it was positively the formula of his life and his fame, the key to his work.
Ch. 2, as translated by David Luke
The new hero-type favored by Aschenbach, and recurring in his books in a multiplicity of individual variants, had already been remarked upon at an early stage by a shrewd commentator, who had described his conception as that of “an intellectual and boyish manly virtue, that of a youth who clenches his teeth in proud shame and stands calmly on as the swords and spears pass through his body ... the figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.
Ch. 2, as translated by David Luke
Gustav Aschenbach was the writer who spoke for all those who work on the brink of exhaustion, who labor and are heavy-laden, who are worn out already but still stand upright, all those moralists of achievement who are slight of stature and scanty of resources, but who yet, by some ecstasy of the will and by wise husbandry, manage at least for a time to force their work into a semblance of greatness.
Ch. 2, as translated by David Luke
Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
Ch. 2, as translated by David Luke
How else is the famous short story ‘A study in Abjection’ to be understood but as an outbreak of disgust against an age indecently undermined by psychology.
On a short story of the character, "Gustav Aschenbach". Ch. 2, as translated by David Luke
How strange a vehicle it is, coming down unchanged from times of old romance, and so characteristically black, the way no other thing is black except a coffin — a vehicle evoking lawless adventures in the plashing stillness of night, and still more strongly evoking death itself, the bier, the dark obsequies, the last silent journey!
Ch. 3, as translated by David Luke
With astonishment Aschenbach noticed that the boy was entirely beautiful. His countenance, pale and gracefully reserved, was surrounded by ringlets of honey-colored hair, and with its straight nose, its enchanting mouth, its expression of sweet and divine gravity, it recalled Greek sculpture of the noblest period.
Ch. 3, as translated by David Luke

I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.There were profound reasons for his attachment to the sea: he loved it because as a hard-working artist he needed rest, needed to escape from the demanding complexity of phenomena and lie hidden on the bosom of the simple and tremendous; because of a forbidden longing deep within him that ran quite contrary to his life’s task and was for that very reason seductive, a longing for the unarticulated and immeasurable, for eternity, for nothingness. To rest in the arms of perfection is the desire of any man intent upon creating excellence; and is not nothingness a form of perfection?
Ch. 3, as translated by David Luke
The writer’s joy is the thought that can become emotion, the emotion that can wholly become a thought.
Ch. 4, as translated by David Luke
Never had he felt the joy of the word more sweetly, never had he known so clearly that Eros dwells in language.
Ch. 4, as translated by David Luke
This was Venice, the flattering and suspect beauty — this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.
Ch. 5, as translated by David Luke
I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.
Ch. 5, as translated by David Luke

[edit] The Magic Mountain (1924)
Der Zauberberg (1929), using quotes primarily from the translation of Helen T. Lowe-Porter (1955)

Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.Space, like time, engenders forgetfulness; but it does so by setting us bodily free from our surroundings and giving us back our primitive, unattached state. Yes, it can even, in the twinkling of an eye, make something like a vagabond of the pedant and Philistine. Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.
Ch. 1
Psycho-analyses — how disgusting.
"Hans Castorp" in Ch. 1
I, for one, have never in my life come across a perfectly healthy human being.
The psychoanalyst "Dr. Krokowski" in Ch. 1
A man lives not only his personal life, as an individual, but also, consciously or unconsciously, the life of his epoch and his contemporaries.
Ch. 2, “At Tienappels’,” (1924), trans. by H.T. Lowe-Porter (1928).
Hans Castorp loved music from his heart; it worked upon him much the same way as did his breakfast porter, with deeply soothing, narcotic effect, tempting him to doze.
Ch. 3
I never can understand how anyone can not smoke — it deprives a man of the best part of life ... with a good cigar in his mouth a man is perfectly safe, nothing can touch him — literally.
Ch. 3
In effect it seemed to him that, though honor might possess certain advantages, yet shame had others, and not inferior: advantages, even, that were well-nigh boundless in their scope.
Ch. 3
One always has the idea of a stupid man as perfectly healthy and ordinary, and of illness as making one refined and clever and unusual.
Ch. 4
Placet experiri
Latin phrase meaning "It pleases to experiment", Ch. 4
“Beer, tobacco, and music,” he went on. “Behold the Fatherland.”
"Herr Settembrini" commenting on Germany, in Ch. 4
There is something suspicious about music, gentlemen. I insist that she is, by her nature, equivocal. I shall not be going too far in saying at once that she is politically suspect.
Ch. 4
My aversion from music rests on political grounds.
Ch. 4
I love and reverence the Word, the bearer of the spirit, the tool and gleaming ploughshare of progress.
Settembrini's view of literature, Ch. 4

This triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge — if in a form so altered as to be unrecognizable."Love as a force contributory to disease."
The title of "Dr. Krokowski" lectures. Ch. 4
This conflict between the powers of love and chastity ... it ended apparently in the triumph of chastity. Love was suppressed, held in darkness and chains, by fear, conventionality, aversion, or a tremulous yearning to be pure.... But this triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge — if in a form so altered as to be unrecognizable.
Ch. 4
It seemed that at the end of the lecture Dr. Krokowski was making propaganda for psycho-analysis; with open arms he summoned all and sundry to come unto him. "Come unto me," he was saying, though not in those words, " come unto me, all ye who are weary and heavy-laden." And he left no doubt of his conviction that all those present were weary and heavy-laden. He spoke of secret suffering, of shame and sorrow, of the redeeming power of the analytic. He advocated the bringing of light into the unconscious mind and explained how the abnormality was metamorphosed into the conscious emotion; he urged them to have confidence; he promised relief.
Ch. 4

All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics...Two principles, according to the Settembrinian cosmogony, were in perpetual conflict for possession of the world: force and justice, tyranny and freedom, superstition and knowledge; the law of permanence and the law of change, of ceaseless fermentation issuing in progress.
Ch. 4
The beautiful word begets the beautiful deed.
Ch. 4
Writing well was almost the same as thinking well, and thinking well was the next thing to acting well. All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics. Yes, they were all one, one and the same force, one and the same idea, and all of them could be comprehended in one single word... The word was — civilization!
Ch. 4
Frau Stöhr ... began to talk about how fascinating it was to cough.... Sneezing was much the same thing. You kept on wanting to sneeze until you simply couldn’t stand it any longer; you looked as if you were tipsy; you drew a couple of breaths, then out it came, and you forgot everything else in the bliss of the sensation. Sometimes the explosion repeated itself two or three times. That was the sort of pleasure life gave you free of charge.
Ch. 4
Disease makes men more physical, it leaves them nothing but body.
Ch. 4
Our air up here is good for the disease — I mean good against the disease,... but it is also good for the disease.
Ch. 4
A black pall, you know, with a silver cross on it, or R.I.P. — requiescat in pace — you know. That seems to me the most beautiful expression — I like it much better than ‘He is a jolly good fellow,’ which is simply rowdy.
Ch. 5
Six months at most after they get here, these young people — and they are mostly young who come — have lost every idea they had, except flirtation and temperature.
Settembrini on the Magic Mountain Society, in Ch. 5
It is a cruel atmosphere down there, cruel and ruthless.
Hans Castorp on the world outside the sanatorium, in Ch. 5

The ancients adorned their sarcophagi with the emblems of life and procreation...The only religious way to think of death is as part and parcel of life; to regard it, with the understanding and the emotions, as the the inviolable condition of life.
Ch. 5
The ancients adorned their sarcophagi with the emblems of life and procreation, and even with obscene symbols; in the religions of antiquity the sacred and the obscene often lay very close together. These men knew how to pay homage to death. For death is worthy of homage as the cradle of life, as the womb of palingenesis.
Ch. 5

Analysis can be a very unappetizing affair, as much so as death...Irony, forsooth! Guard yourself, Engineer, from the sort of irony that thrives up here; guard yourself altogether from taking on their mental attitude! Where irony is not a direct and classic device of oratory, not for a moment equivocal to a healthy mind, it makes for depravity, it becomes a drawback to civilization, an unclean traffic with the forces of reaction, vice and materialism.
Ch. 5
Paradox is the poisonous flower of quietism, the iridescent surface of the rotting mind, the greatest depravity of all.
Ch. 5
Analysis as an instrument of enlightenment and civilization is good, in so far as it shatters absurd convictions, acts as a solvent upon natural prejudices, and undermines authority; good, in other words, in that it sets free, refines, humanizes, makes slaves ripe for freedom. But it is bad, very bad, in so far as it stands in the way of action, cannot shape the vital forces, maims life at its roots. Analysis can be a very unappetizing affair, as much so as death.
Ch. 5
Time has no divisions to mark its passage, there is never a thunderstorm or blare of trumpets to announce the beginning of a new month or year. Even when a new century begins it is only we mortals who ring bells and fire off pistols.
Ch. 5
Order and simplification are the first steps toward the mastery of a subject — the actual enemy is the unknown.
Ch. 5
Asien verschlingt uns. Wohin man blickt: tatarische Gesichter.
Asia surrounds us — wherever one’s glance rests, a Tartar physiognomy.
Variant translation: Asia devours us. Wherever one looks: Tartar faces.
Settembrini in Ch. 5

What was life?'What was life? It was warmth, the warmth generated by a form-preserving instability, a fever of matter, which accompanied the process of ceaseless decay and repair of protein molecules that were too impossibly ingenious in structure.
Ch. 5
Disease was a perverse, a dissolute form of life.
Ch. 5
Le corps, l'amour, la mort, ces trois ne font qu'un. Car le corps, c'est la maladie et la volupté, et c'est lui qui fait la mort, oui, ils sont charnels tous deux, l'amour et la mort, et voilà leur terreur et leur grande magie!
Rough translation of this passage written in French: The body, love, death, these three only. For the body, this is the disease and exquisite delight, and this that does die, yes, they are carnal both of them, love and death, and thus their terror and their great magic!
Hans Castorp to Chauchat, in French, Ch. 5
L’amour pour lui, pour le corps humain, c’est de même un intérêt extrêmement humanitaire et une puissance plus éducative que toute la pédagogie du monde!
Love for him, for the human body, was extremely humanitarian an interest and had more educational power than the whole teaching skills of the world!
Ch. 5
Human reason needs only to will more strongly than fate, and she is fate.
Ch. 6
Opinions cannot survive if one has no chance to fight for them.
Ch. 6
All interest in disease and death is only another expression of interest in life.
Ch. 6
The invention of printing and the Reformation are and remain the two outstanding services of central Europe to the cause of humanity.
Ch. 6
There is both rhyme and reason in what I say, I have made a dream poem of humanity. I will cling to it. I will be good. I will let death have no mastery over my thoughts. For therein lies goodness and love of humankind, and in nothing else.
Ch. 6; variant translation: I will let death have no mastery over my thoughts! For therein, and in nothing else, lies goodness and love of humankind.
Love stands opposed to death. It is love, not reason, that is stronger than death. Only love, not reason, gives kind thoughts.
Ch. 6; variant translation: It is love, not reason, that is stronger than death. Only love, not reason, gives 
sweet thoughts. And from love and sweetness alone can form come: form and civilization.
For the sake of goodness and love, man shall let death have no sovereignty over his thoughts. And with that, I wake up.
Ch. 6
Everything is politics.
Ch. 6
Speech is civilization itself. The word, even the most contradictory word, preserves contact — it is silence which isolates.

Ch. 6
A man’s dying is more the survivors’ affair than his own.
Ch. 6
What we call mourning for our dead is perhaps not so much grief at not being able to call them back as it is grief at not being able to want to do so.
Ch. 7
Time cools, time clarifies, no mood can be maintained quite unaltered through the course of hours.
Ch. 7
The purifying, healing influence of literature, the dissipating of passions by knowledge and the written word, literature as the path to understanding, forgiveness and love, the redeeming might of the word, the literary spirit as the noblest manifestation of the spirit of man, the writer as perfected type, as saint.
Ch. 7
Absolutely everything beloved and cherished of the bourgeoisie, the conservative, the cowardly, and the impotent — the State, family life, secular art and science — was consciously or unconsciously hostile to the religious idea, to the Church, whose innate tendency and permanent aim was the dissolution of all existing worldly orders, and the reconstitution of society after the model of the ideal, the communistic City of God.
Naphta in Ch. 7
We, when we sow the seeds of doubt deeper than the most up-to-date and modish free-thought has ever dreamed of doing, we well know what we are about. Only out of radical skepsis, out of moral chaos, can the Absolute spring, the anointed Terror of which the time has need.
Ch. 7
Passionate — that means to live for the sake of living. But one knows that you all live for the sake of experience. Passion, that is self-forgetfulness. But what you all want is self-enrichment. C'est ça. You don't realize what revolting egoism it is, and that one day it will make you the enemies of the human race.


[edit] Suffering and Greatness of Richard Wagner (1933)
"Leiden und Größe Richard Wagners" in Die Neue Rundschau, Jahrgang 44, Heft 4 (April 1933), as translated by Helen T. Lowe-Porter in Essays by Thomas Mann (1957), p. 199
He was all for catharsis and purification, he dreamed of an aesthetic consecration that should cleanse society of luxury, the greed of gold and all unloveliness.
It is a pregnant complex, gleaming up from the unconscious, of mother-fixation, sexual desire, and fear.
What was it that drove these thousands into the arms of his art — what but the blissfully sensuous, searing, sense-consuming, intoxicating, hypnotically caressing, heavily upholstered — in a word, the luxurious quality of his music?
Wagner’s art is the most sensational self-portrayal and self- critique of German nature that it is possible to conceive.

[edit] Freud and the Future (1937)
"Freud und die Zukunft" in Imago, vol. 22 (1936); as translate by Helen T. Lowe-Porter in Essays by Thomas Mann (1957) p. 307

While in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.When it had long since outgrown his purely medical implications and become a world movement which penetrated into every field of science and every domain of the intellect: literature, the history of art, religion and prehistory; mythology, folklore, pedagogy, and what not.
Has the world ever been changed by anything save the thought and its magic vehicle the Word?
The myth is the foundation of life; it is the timeless schema, the pious formula into which life flows when it reproduces its traits out of the unconscious. Certainly when a writer has acquired the habit of regarding life as mythical and typical there comes a curious heightening of his artistic temper, a new refreshment to his perceiving and shaping powers, which otherwise occurs much later in life; for while in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.
I hold that we shall one day recognize in Freud’s life-work the cornerstone for the building of a new anthropology and therewith of a new structure, to which many stones are being brought up today, which shall be the future dwelling of a wiser and freer humanity.
As a science of the unconscious it is a therapeutic method, in the grand style, a method overarching the individual case. Call this, if you choose, a poet’s utopia.

[edit] The Beloved Returns (1939)
Lotte in Weimar as translated by Helen T. Lowe-Porter, Knopf (1940); also titled as 'Lotte in Weimar: The Beloved Returns
Hold fast the time! Guard it, watch over it, every hour, every minute! Unregarded it slips away, like a lizard, smooth, slippery, faithless, a pixy wife. Hold every moment sacred. Give each clarity and meaning, each the weight of thine awareness, each its true and due fulfillment.
Ch. 7
Cruelty is one of the chief ingredients of love, and divided about equally between the sexes: cruelty of lust, ingratitude, callousness, maltreatment, domination. The same is true of the passive qualities, patience under suffering, even pleasure in ill usage.
Ch. 7
Profundity must smile.
Ch. 7

[edit] Doctor Faustus (1947)
This music of yours. A manifestation of the highest energy — not at all abstract, but without an object, energy in a void, in pure ether — where else in the universe does such a thing appear? We Germans have taken over from philosophy the expression ‘in itself,’ we use it every day without much idea of the metaphysical. But here you have it, such music is energy itself, yet not as idea, rather in its actuality. I call your attention to the fact that is almost the definition of God. Imitatio Dei — I am surprised it is not forbidden.
Ch. 9
Why does almost everything seem to me like its own parody? Why must I think that almost all, no, all the methods and conventions of art today are good for parody only?
Ch. 15

[edit] Confessions of Felix Krull, Confidence Man (1954)
Bekenntnisse des Hochstaplers Felix Krull (1954), as translated by Denver Lindley
What a glorious gift is imagination, and what satisfaction it affords!
Bk. 1, Ch. 1
Only he who desires is amiable and not he who is satiated.
Bk. 1, Ch. 8
The intellect longs for the delights of the non-intellect, that which is alive and beautiful dans sa stupidité.
Madame Houpflé, Bk. 2, Ch. 9
What a wonderful phenomenon it is, carefully considered, when the human eye, that jewel of organic structures, concentrates its moist brilliance on another human creature!
Bk. 2, Ch. 4
O scenes of the beautiful world! Never have you presented yourself to more appreciative eyes.
Bk. 2, Ch. 4

[edit] Unsourced
I have always been an admirer. I regard the gift of admiration as indispensable if one is to amount to something; I don’t know where I would be without it.
Letter, (1950); as quoted in Thomas Mann — The Birth of Criticism (1987) by Marcel Reich-Ranicki
The positive thing about the sceptic is that he considers everything possible!
Tolerance becomes a crime when applied to evil.
War is only a cowardly escape from the problems of peace.

[edit] External links
Wikipedia has an article about:
Thomas MannWikisource has original works written by or about:
Thomas MannThe Nobel Prize Bio on Mann
Brief biography
Works by Thomas Mann at Project Gutenberg
Bibliography
FBI File on Thomas Mann
Retrieved from "http://en.wikiquote.org/wiki/Thomas_Mann"

 

 

SHAMANIC WISDOM IN THE PYRAMID TEXTS

THE MYSTICAL TRADITION OF ANCIENT EGYPT

Jeremy Naydler 2005

The Sarcophagus Chamber Texts

Page 199

"Figure 7.11 shows a relief fragment from the pyramid temple of Unas depicting (in all probability) the king sitting in front of an offering table on which are arranged long slices of bread. In his left hand he holds the seshed cloth, which, as we have seen, was a symbol of the triumph of the human spirit over death.32"

 

 

THE SUN

Tuesday, December 27, 2005

FRONT PAGE

"IT WASN'T DEATH THAT WON THE DAY. . HUMANITY TRIUMPHED"

 

 

4
PTAH
-
-
-
-
P+T
36
9
9
-
A+H
9
9
9

4
PTAH
45
18
18
-
-
4+5
1+8
1+8

4
PTAH
9
9
9

 

FOLLOW

THE

PATH OF PTAH

 

THE NATURE OF SHAMANISM

SUBSTANCE AND FUNCTIONS OF A RELIGIOUS METAPHOR

Michael Ripinsky Naxon

1993

Page 49

"In most cases the skin membrane is ornamented with designs, among which the number nine appearing sometimes in various aspects has an obvious symbolic significance, possibly as a product of three, three's.

In the Mongol cosmogony the number nine together with the planet Venus and the constellation of the Great Bear, particularly the star Polaris occupies central positions."

 

VE-NUS 9 9 SUN-EV

 

THE NATURE OF SHAMANISM

SUBSTANCE AND FUNCTIONS OF A RELIGIOUS METAPHOR

Michael Ripinsky Naxon

1993

Page 166

"According to a Chinese tradition of the first century RC., a raven carried this mushroom to resurrect a man who had been dead for three days. This familiar theme of resurrection from the sepulcher, involving the mystical number 3 (after three days), is to be found among many religious sects of that day."

Page 121

Nevertheless, a real correlation between the number of deities and that of the heavenly levels seems to be lacking, on the whole. Although in northern Eurasia we sometimes encounter nine heavens, with nine gods, and nine branches of the Cosmic Tree (9 = 3 x 3). The number three symbolizes, of course, the three cosmic worlds.

 

 

THE NATURE OF SHAMANISM

SUBSTANCE AND FUNCTIONS OF A RELIGIOUS METAPHOR

Michael Ripinsky Naxon

1993

Page 234

"13. G. M. Vasilevich, "Early Concepts about the Universe among the Evenks (Materials)!' (In): Henry N. Michael (ed.), Studies in Siberian Shamanism; p. 68 [see note 5].
The Norse tradition that recounts Odin's offering himself in sacrifice to himself loses, thus, much of its strangeness. It is not much else than a variant of the transculturally encountered myth of transformation. In this particular account, the god Odin, by his own hand, hangs for nine days and nine nights (the recurrent significance of the number 9, or 3 x 3) from the World Tree (Yggdrasil), which represents the junction to the Otherworlds. .- During this transformational process, very much in shamanistic order, he acquires nine magical chants."

 

Extract revised for OED Online

ninety, a. and n. Draft Revision Jan 2006

     5. ninety-nine Brit. (also 99 ),

http://www.oed.com/bbcwords/ninety.html

 

 

THE ELEMENTS OF THE GODDESS

Caitlin Matthews 1989

Page38

"This ennead of aspects is endlessly adaptable for it is made up of nine, the most adjustable and yet essentially unchanging number. However one chooses to add up multiples of nine, for example 54, 72, 108, they always add up to nine"

 

 

P
=
7
-
4
PARTICLES
103
40
4
O
=
6
-
1
OF
21
12
3
L
=
3
-
5
LIGHT
56
29
2
-
-
16
-
10
-
180
81
9
-
-
1+6
-
1+0
-
1+8+0
8+1
-
-
-
7
-
1
-
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
5
LARGE
43
25
7
H
=
8
-
6
HADRON
60
33
6
C
=
3
-
8
COLLIDER
78
42
6
-
-
16
-
22
Add to Reduce
214
115
25
-
-
1+6
-
2+2
Reduce to Deduce
2+1+4
1+1+5
2+5
-
-
7
-
4
Essence of Number
7
7
7

 

L
=
3
-
5
LARGE
43
25
7
H
=
8
-
6
HADRON
60
33
6
C
=
3
-
8
COLLIDER
78
42
6
-
-
14
-
19
First Total
181
100
19
-
-
1+4
-
1+9
Add to Reduce
1+8+1
1+0+0
1+9
-
-
5
-
10
Second Total
10
1
10
-
-
-
-
1+0
Reduce to Deduce
1+0
-
1+0
-
-
5
-
1
Essence of Number
1
1
1

 

 

P
=
7
-
8
PARTICLE
84
39
3
A
=
1
-
11
ACCELERATOR
101
47
2
-
-
8
-
19
First Total
185
86
5
-
-
-
-
1+9
Add to Reduce
1+8+5
8+6
-
-
-
8
-
10
Second Total
14
14
5
-
-
-
-
1+0
Reduce to Deduce
1+4
1+4
-
-
-
8
-
1
Essence of Number
5
5
5

 

P
=
7
-
8
PARTICLE
84
39
3
C
=
3
-
8
COLLIDER
78
42
6
-
-
10
-
16
Add to Reduce
162
81
9
-
-
1+0
-
1+6
Reduce to Deduce
1+6+2
8+6
-
-
-
1
-
7
Essence of Number
9
9
9

 

H
=
8
-
5
HIGGS
50
32
5
B
=
2
-
5
BOSON
65
20
2
P
=
7
-
8
PARTICLE
84
39
3
-
-
17
-
18
First Total
199
91
10
-
-
1+7
-
1+8
Add to Reduce
1+9+9
9+1
1+0
-
-
8
-
18
Second Total
10
10
1
-
-
-
-
1+8
Reduce to Deduce
1+0
1+0
-
-
-
8
-
9
Essence of Number
1
1
1

 

3
THE
33
15
6
4
BEAM
21
12
3
7
Add to Reduce
54
27
9
-
Reduce to Deduce
5+4
2+7
-
7
Essence of Number
9
9
9

 

T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SPEED
49
13
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
5
LIGHT
56
29
2
-
-
12
-
15
First Total
159
69
15
-
-
1+2
-
1+5
Add to Reduce
1+5+9
6+9
1+5
-
-
3
-
6
Second Total
15
15
6
-
-
-
-
-
Reduce to Deduce
1+5
1+5
-
-
-
3
-
6
Essence of Number
6
6
6

 

S
=
1
-
5
SPEED
49
22
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
5
LIGHT
56
29
2
-
-
10
-
12
-
126
63
9
-
-
1+0
-
1+2
-
1+2+6
6+3
-
-
-
1
-
3
-
9
9
9

 

P
=
7
-
7
PROTONS
117
36
9
A
=
1
-
2
AT
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SPEED
49
13
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
5
LIGHT
56
29
2
-
-
20
-
24
First Total
297
117
27
-
-
2+0
-
2+4
Add to Reduce
2+9+7
1+1+7
2+7
-
-
2
-
6
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
2
-
6
Essence of Number
9
9
9

 

P
=
7
-
7
PROTONS
117
36
9
F
=
6
-
5
FIRED
42
33
6
A
=
1
-
2
AT
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
SPEED
49
13
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
5
LIGHT
56
29
2
-
-
26
-
29
First Total
339
150
33
-
-
2+6
-
2+9
Add to Reduce
3+3+9
1+5+0
3+3
-
-
8
-
11
Second Total
15
6
6
-
-
-
-
1+1
Reduce to Deduce
1+5
-
-
-
-
8
-
2
Essence of Number
6
6
6

 

KARMA = A MARK MADE

 

3
THE
33
15
6
3
LAW
36
9
9
2
OF
21
12
3
6
KARMAS
63
18
9
14
Add to Reduce
153
54
27
1+4
Reduce to Deduce
1+5+3
5+4
2+7
5
Essence of Number
9
9
9

 

S
=
1
-
5
SPEED
49
13
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
5
LIGHT
56
29
2
-
-
10
-
12
Add to Reduce
126
54
9
-
-
1+0
-
1+2
Reduce to Deduce
1+2+6
5+4
-
-
-
1
-
3
Essence of Number
9
9
6

 

 

H
=
8
-
5
HIGGS
50
32
5
B
=
2
-
5
BOSON
65
20
2
P
=
7
-
8
PARTICLE
84
39
3
-
-
17
-
18
First Total
199
91
10
-
-
1+7
-
1+8
Add to Reduce
1+9+9
9+1
1+0
-
-
8
-
9
Second Total
10
10
1
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
8
-
9
Essence of Number
1
1
1

 

 

T
=
2
-
3
THE
33
15
6
G
=
7
-
3
GOD
26
26
8
P
=
7
-
8
PARTICLE
84
39
3
-
-
16
-
14
Add to Reduce
143
80
17
-
-
1+6
-
1+4
Reduce to Deduce
1+4+3
8+0
1+7
-
-
7
-
5
Essence of Number
8
8
8

 

 

T
=
2
-
3
THE
33
15
6
G
=
7
-
3
GOD
26
26
8
P
=
7
-
9
PARTICLES
103
40
4
-
-
16
-
15
Add to Reduce
162
81
18
-
-
1+6
-
1+5
Reduce to Deduce
1+6+2
8+1
1+8
-
-
7
-
6
Essence of Number
9
9
9

 

Higgs boson - Wikipedia
https://en.wikipedia.org/wiki/Higgs_boson

The Higgs boson is an elementary particle in the Standard Model of particle physics. First suspected to exist in the 1960s, it is the quantum excitation of the Higgs field, a fundamental field of crucial importance to particle physics theory. Unlike other known fields such as the electromagnetic field, it has a non-zero constant ...

Higgs boson
Subatomic particle

The Higgs boson is an elementary particle in the Standard Model of particle physics. First suspected to exist in the 1960s, it is the quantum excitation of the Higgs field, a fundamental field of crucial importance to particle physics theory. Wikipedia

Composition: Elementary particle

Classification: Boson

Symbol: H°

Mass: 125.09±0.21 (stat.)±0.11 (syst.) GeV/c² (CMS+ATLAS)

Electric charge: 0 e

Discovered: Large Hadron Collider (2011–2013)

Mean lifetime: 1.56×10-22 s (predicted)

 

T
=
2
-
3
THE
33
15
6
H
=
8
-
5
HIGGS
50
41
5
B
=
2
-
5
BOSON
65
29
2
-
-
12
-
13
First Total
148
85
13
-
-
1+2
-
1+3
Add to Reduce
1+4+8
8+5
1+3
-
-
3
-
4
Second Total
13
13
4
-
-
-
-
-
Reduce to Deduce
1+3
1+3
-
-
-
3
-
4
Essence of Number
4
4
4

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 665

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that?

NUMBER THIRTY- FOUR

"WHAT WAS THE SENSE OF THAT"

 

-
-
-
-
-
THE HIGGS BOSON
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
THE
-
-
-
-
-
-
3
4
-
-
-
-
-
T
=
6
1
1
T
20
2
2
-
-
2
3
4
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
3
4
-
-
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
3
4
5
-
-
-
-
15
-
3
THE
33
15
15
-
-
-
3
4
-
-
-
-
-
-
-
-
-
-
HIGGS
-
-
-
-
-
-
3
4
-
-
-
-
-
H
=
8
4
1
H
8
8
8
-
-
-
3
4
-
-
-
8
-
I
=
9
5
1
I
9
9
9
-
-
-
3
4
-
-
-
-
9
G
=
7
6
1
G
7
7
7
-
-
-
3
4
-
-
7
-
-
G
=
7
7
1
G
7
7
7
-
-
-
3
4
-
-
7
-
-
S
=
1
8
1
S
19
10
1
-
1
-
3
4
-
-
-
-
-
-
-
32
-
5
HIGGS
50
41
32
-
-
-
3
4
-
-
-
-
-
-
-
-
-
-
BOSON
-
-
-
-
-
-
3
4
-
-
-
-
-
B
=
2
9
1
B
2
2
2
-
-
2
3
4
-
-
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
3
4
-
6
-
-
-
S
=
1
11
1
S
19
10
1
-
1
-
3
4
-
-
-
-
-
O
=
6
12
1
O
15
6
6
-
-
-
3
4
-
6
-
-
-
N
=
5
13
1
N
14
5
5
-
-
-
3
4
5
-
-
-
-
20
-
5
BOSON
65
29
20
-
-
-
3
4
-
-
-
-
-
-
-
67
-
13
THE HIGGS BOSON
148
85
67
-
2
4
3
4
10
12
14
16
9
6+7
-
1+3
-
1+4+8
8+5
6+7
-
-
-
-
-
1+0
1+2
1+4
1+6
-
-
-
13
-
4
THE HIGGS BOSON
13
13
13
-
2
4
3
4
1
3
5
7
9
-
-
1+3
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
THE HIGGS BOSON
4
4
4
-
2
4
3
4
1
3
5
7
9

 

34

34 THREE FOUR 34

34

 

10
THIRTY FOUR
2
TH
28
10
1
2
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
3
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 665

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that?

NUMBER THIRTY- FOUR

"WHAT WAS THE SENSE OF THAT"

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week. Celestial Hebdomad | Forgotten Realms Wiki - Fandom

 

10
THIRTY FOUR
2
TH
28
10
1
2
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
3
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

 

34

34 THREE FOUR 34

34

 

-
-
-
-
-
THE HIGGS BOSON
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
6
1
1
T
20
2
2
-
-
2
3
4
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
3
4
-
-
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
3
4
5
-
-
-
-
H
=
8
4
1
H
8
8
8
-
-
-
3
4
-
-
-
8
-
I
=
9
5
1
I
9
9
9
-
-
-
3
4
-
-
-
-
9
G
=
7
6
1
G
7
7
7
-
-
-
3
4
-
-
7
-
-
G
=
7
7
1
G
7
7
7
-
-
-
3
4
-
-
7
-
-
S
=
1
8
1
S
19
10
1
-
1
-
3
4
-
-
-
-
-
B
=
2
9
1
B
2
2
2
-
-
2
3
4
-
-
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
3
4
-
6
-
-
-
S
=
1
11
1
S
19
10
1
-
1
-
3
4
-
-
-
-
-
O
=
6
12
1
O
15
6
6
-
-
-
3
4
-
6
-
-
-
N
=
5
13
1
N
14
5
5
-
-
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3
4
5
-
-
-
-
-
-
67
-
13
THE HIGGS BOSON
148
85
67
-
2
4
3
4
10
12
14
16
9
6+7
-
1+3
-
1+4+8
8+5
6+7
-
-
-
-
-
1+0
1+2
1+4
1+6
-
-
-
13
-
4
THE HIGGS BOSON
13
13
13
-
2
4
3
4
1
3
5
7
9
-
-
1+3
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
THE HIGGS BOSON
4
4
4
-
2
4
3
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1
3
5
7
9

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Foreword

We shall tell it at length; thoroughly, in detail- for when did a narrative seem too long or too short by reason of the actual time
or space it took up? We do not fear being called meticulous, inclinmg as we do to the view that only the exhaustive can be truly interesting.
Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!"

heb·​do·​mad ˈheb-də-ˌmad. 1. : a group of seven. 2. : a period of seven days : week.
Celestial Hebdomad | Forgotten Realms Wiki - Fandom

 

34

34 THREE FOUR 34

34

 

8
HEBDOMAD
-
-
-
1
H
8
8
8
2
E+B
7
7
7
-
D+O
19
10
1
2
M+A+D
18
9
9
8
HEBDOMAD
52
34
25
-
-
5+2
3+4
2+5
8
HEBDOMAD
7
7
7

 

34

34 THREE FOUR 34

34

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Chapter 1

"Number 34"

"But come and see your room now"

"What a nice room! I can spend a couple of weeks here with pleasure."

34

34 THREE FOUR 34

34

 

LETTERS RE-ARRANGED IN NUMERICAL ORDER

 

-
-
-
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THE HIGGS BOSON
-
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-
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19
10
1
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=
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19
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1
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20
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2
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6
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=
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6
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G
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=
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THE HIGGS BOSON
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2
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6+7
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THE HIGGS BOSON
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3
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THE HIGGS BOSON
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LETTERS RE-ARRANGED IN NUMERICAL ORDER

 

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11
1
S
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7
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THE HIGGS BOSON
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THE HIGGS BOSON
13
13
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THE HIGGS BOSON
4
4
4
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THE HIGGS BOSON

285 89771 26165

THEN AS IF BY MAGIC WILL

INTENDED

THE HIGGS BOSON

SS - TB - TH3 -FO4 -EN - OO - GG -HH - I

11- 22 - THREE - FOUR - 55 - 66 - 77 - 88 - 9

THE HIGGS BOSON

 

 

 

 

THE MAGIC MOUNTAIN

Thomas Mann

1875 1955

Page 465 / 466

"They talked of "humanity," of nobility - but it was / the spirit alone that distinguished man, as a creature largely divorced from nature, largely opposed to her in feeling, from all other forms of organic life. In man's spirit, then, resided his true nobility and his merit - in his state of disease, as it were; in a word, the more ailing he was, by so much was he the more man. The genius of disease was more human than the genius of health. How, then, could one who posed as the. friend of man shut his eyes to these fundamental truths concerning man's humanIty? Herr Settembrini had progress ever on his lips: was he aware that all progress, in so far as there was such a thing, was due to illness, and to illness alone? In other words, to genius, which was the same thing? 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 Atone-ment."

 

AT

ONE

MENT

 

THE MAGIC MOUNTAIN

Thomas Mann

1875 1955

FOREWORD

"THE STORY of Hans Castorp, which we would here set forth, not on his own account, for in him the reader will make acquaintance with a simple-minded though pleasing young man, but for the sake of the story itself, which seems to us highly worth telling- though it must needs be borne in mind, in Hans Castorp's behalf, that it is his story, and not every story happens to everybody- this story, we say, belongs to the long ago; is already, so to speak, covered with historic mould, and unquestionably to be presented in the tense best suited to a narrative out of the depth of the past.
That should be no drawback to a story, but rather the reverse. Since histories must be in the past, then the more past the better, it would seem, for them in their character as histories, and for him, the teller of them, rounding wizard of times gone by. With this story, moreover, it stands as it does to-day with human beings, not least among them writers of tales: it is far older than its years; its age may not be measured by length of days, nor the weight of time on its head reckoned by the rising or setting of suns. In a word, the degree of its antiquity has noways to do with the pas-sage of time - in which statement the author intentionally touches upon the strange and questionable double nature of that riddling element.
But we would not wilfully obscure a plain matter. The exag-gerated pastness of our narrative is due to its taking place before the epoch when a certain crisis shattered its way through life and consciousness and left a deep chasm behind. It takes place - or, rather, deliberately to avoid the present tense, it took place, and had taken place - in the long ago, in the old days, the days of the world before the Great War, in the beginning of which so much began that has scarcely yet left off beginning. Yes, it took place before that; yet not so long before. Is not the pastness of the past the profounder, the completer, the more legendary, the more im-mediately before the present it falls? More than that, our story has, of its own nature, something of the legend about it now and again.

We shall tell it at length, thoroughly, in detail-for when did a narrative seem too long or too short by reason of the actual time or space it took up? We do not fear being called meticulous, in-clining as we do to the view that only the exhaustive can be truly interesting.
Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!
And now we begin"

 

BY THE OCEAN OF TIME

CHAPTER SEVEN

Page 541

"CAN one tell - that is to say, narrate - time, time itself', as such, for its own sake? That would surely be an absurd undertaking. A story which read: "Time passed, It ran on, the time. flowed on-ward" and so forth - no one in his senses could consider that a narrative. It would be as though one .held a single note or chord fora whole hour, and called it music. For narration resembles music in this, that it fills up the time. It " fills it in " and " breaks it up." so that there's something to it," " something going on" - to quote, with due and mouriiful piety, those casual phrases of our departed Joachim, all echo of which so long ago died away. So long ago, indeed, that we wonder if the reader is clear how long ago it was. For time is the medium of narration, as it is the medium of life. Both are in extricably bound up with it, as inextricably as are bodies in space. Similarly, time is the medium of music; music divides, measures, articulates time, and can shorten it, yet enhance its value, both at once. Thus music and narration are alike, in that they can only present themselves as a flowing, as a succession in time, as one thing after another; and both differ from the plastic arts, which are complete in the present, and unrelated to time save as all bodies are, whereas narration - like music - even if it should try to be completely present at any given moment, would need time to do it in.
So much is clear. But it is just as clear that we have also a dif-ference to deal with. For the time element in music is single. Into a section of mortal time music pours itself, thereby inexpressibly' enhancing and ennobling what it fills. But a narrative must have two kinds of time: first, its own, like music, actual time, condi- tioning its presentation and course; and second, the time of its con-tent, which is relative, so extremely relative that the imaginary time of the narrative can either coincide nearly or completely with the actual, or musical, time, or can be a world away. A piece of music called a "Five-minute Waltz "lasts five minutes, and this is / Page 542 / its sole relation to the time element. But a narrative which con-cerned itself with the events of five minutes, might, by extraor-dinary conscientiousness in the telling, take up a thousand times five minutes, and even then seem very short, though long in relation to its imaginary time. On the other hand, the contentual time of a story can shrink its actual time out of all measure. We put it in this way on purpose, in order to suggest another element, an illusory, even, to speak plainly, a morbid element, which is quite definitely a factor in the situation. I am speaking of cases where the story practises a hermetical magic, a temporal distortion of perspective reminding one of certain abnormal and transcendental experiences in actual life. We have records of opium dreams in which the dreamer, during a brief narcotic sleep, had experiences stretching over a period or ten, thirty, sixty years, or even passing the extreme limit of man's temporal capacity for experience: dreams whose contentual time was enormously greater than their actual or mu-sical time, and in which there obtained an incredible foreshortening of events; the images pressing one upon another with such rapidity that it was as though "somethmg had been taken away, like the - spring from a broken watch" from the brain of the sleeper. Such is the descriftion of a hashish eater.
Thus, or in some such way as in these sinister dreams, can the narrative go to work with time; in some such way can time be dealt with in a tale. And if this be so, then it is clear that time, while- the medium of the narrative, can also become its subject. There-fore, if it is too much to say that one can tell a tale of time, it is none the less true that a desire to tell a tale about time is not such an absurd idea as it just now seemed. We freely admit that, in bring-ing up the question as to whether the time can be narrated or not, we have done so only to confess that we had something like that in view.in the present work. And if we touched upon the. further question, whether our readers were clear how .much time had passed since the upnght Joachim, deceased in the mterval, had in-troduced into the conversation the above-quoted phrases about music and time - remarks indicating a certain alchemlstical height-ning of his nature, which, in its goodness and simpliciry, was, of its own unaided power, incapable of any such ideas - we should not have been dismayed to hear that they were not clear. We might even have been gratified, on the plain ground that a thorough-go-ing sympathy with the experiences of our hero is precisely what :" we wish to arouse, and he, Hans Castorp, was himself not clear upon the point in question, no, nor had been for a very long time - a fact that has conditioned his romantic adventures up here, to an / Page 543 / extent which has made of them, in more than one sense, a "time-romance."
How long Joachim had lived here with his cousin, up to the time of his fateful departure, or taken all in all; what had been the date of his going, how long he "had been gone, when he had come back; how long Hans Castorp himself had been up here when his cousin returned and then bade time farewell; how long - dismissing Joachim from our calculations - Frau Chauchat had been absent; how long, since what date, she had been back again (for she did come back); how much mortal time Hans Castorp himself had spent in House Berghof by the time she returned; no one asked him all these questions, and he probably shrank from asking him- self. If they had been put him, he would have tapped his forehead with the tips of his fingers, and most certainly not have known - a phenomenon as disquieting as his incapacity to answer Herr Set-tembrini, that long-ago first evening, when the latter had asked him his age.
All which may sound preposterous; yet there are conditions under which nothing could keep us from losing account of the passage of time, losing account -even of our own age; lacking, as we do, any trace of an inner time-organ, and being absolutely in- capable of fixing it even with an approach to accuracy by our-selves, without any outward fixed pomts as guides. There is a case of a party of miners, buried and shut off from every possibility of knowing the passage of day or night, who told their rescuers that they estimated the time they had spent in darkness, flickering be-tween hope and fear, to be some three days, It had actually been ten. Their high state of suspense might, one would think, have made the time seem longer to them than it actually was, whereas it shrank to less than a third of its objective length. It would ap-pear, then, that under conditions of bewilderment man is likely to under-rather than over-estimate time.
No doubt Hans Castorp, were he wishful to do so, could with-out a great trouble have reckoned himself into certainty; just as the reader can, in case all this vagueness and involvedness are re-pugnant to his healthy sense. Perhaps our hero himself was not quite comfortable either; though he refused to give himself any trouble to wrestle clear of vagueness and involution and arrive at certainty of how much time had gone over his head since he came up here. His scruple was of the conscience - yet surely it is a want
of conscientiousness most flagrant of all not to pay heed to the time.
We do not know whether we may count it in his favour that /Page 544 / circumstances advantaged his lack of inclination, or perhaps we ought to say his disinclination. When Frau Chauchat came back - under circumstances very different from those Hans Castorp had imagined, but of that in its place - when she came back, it was the Advent season again, and the shortest day of the year; the begin-ning; of winter, astronomically speaking, was at hand. Apart. from arbitrary time-divisions, and with reference to the quantity of snow and cold, it had been winter for God knows how long, in-terrupted, as always all too briefly, by burning hot summer days, with a sky of an exaggerated depth of blueness, well-nigh shading into black; real summer days, such as one often had even in the winter, aside from the snow - and the snow one might also have in the summer! This confusion in the seasons, how often had Hans Castorp discussed it with the departed Joachim! It robbed the year of its articulation, made it tediously brief, or briefly tedious,as one chose to put it; and confirmed another of Joachim's disgusted utter-ances, to the effect that there was no time up here to speak of, either long or short. The great confusion played havoc, moreover, with emotional conceptions, or states of consciousness like "still " and "again "; and this was one of the very most gruesome, bewil-dering, uncanny features of the case. Hans Castorp, on his first day up here, had discovered in himself a hankering to dabble in that uncanny, during the five mighty meals in the gaily stenciled dining- room; when a first faint giddiness, as yet quite blameless, had made itself felt.
Since then, however, the deception upon his senses and his mind had assumed much larger proportions. Time, however weakened the subjective perception of it has become, has objective reality in that it brings things to pass. It is a question for professional think- ers - Hans Castorp, in his youthful arrogance, nad one time been led to consider it - whether the hermetically sealed conserve upon its shelf is outside of time. We know that time does its work, even upon Seven-Sleepers. A physician cites a case of a twelve-year- old-girl, who felf asleep and slept thirteen years; assuredly she did not remain thereby a twelve-year-old girl; but bloomed into ripe womanhood while she slept. How could it be otherwise? The dead man - is dead; he has closed his eyes on time. He has plenty of time, or personally speaking, he is timeless. Which does not prevent his hair and nails from growing, or, all in all- but no, we shall not repeat those free-and-easy expressions used once by Joachim, to which Hans Castorp, newly arrived from the flat-land, had taken exception. Hans Castorp's hair and nails grew too, grew rather fast. He sat very often in the barber's chair m the main street of the / Page 545 / Dorf, wrapped in a white sheet; and the barber, chatting obsequi-ously the while, deftly performed upon the fringes of his hair, growing too long behind his ears. First time; then the barber, per-formed their office upon our hero. When he sat there, or when he stood at the door of his loggia and pared his nails and groomed them, with the accessories from his aainty velvet case, he would suddenly be over-powered by a mixture of terror and eager joy that made him fairly giddy. And this giddiness was in both senses of the word: rendering our hero not only dazed and dizzy, but flighty and light-headed, incapable of distinguishing between "now" and "then, " and prone to mingle these together in a time-less eternity.
As we have repeatedly .said, we wish to make him out neither better nor worse than he was; accordingly we must report that he often tried to atone for his reprehensible indulgence in attacks of mysticism, by virtuously and painstakingly stnving to counteract them. He would sit with his watch open in his hand, his thin gold watch with the engraved. monogram on the lid, looking at the porcelain face with the double row of black and red Arabic fig-ures running round it, the two fine and delicately curved gold hands moving in and out over it, and the little second-hand taking its busy ticking course round its own small circle. Hans Castorp, watching the second-hand, essayed to hold time by the tail, to cling to and prolong the passing moments. The little hand tripped on its way, Unheeding the figures it reached, passed over, left behind, left far behind, approached, and came on to again. It had no feeling for time limits, divisions, or measurements of time. Should it not pause on the sixty, or give some small sign that this was the end of one thing and the beginning of the next? But the way it passed over the intervening unmarked strokes showed that the figures and divisons on its path were.simply beneath it, that it moved on, and on. - Hans Castorp shoved his product of the Glashutte works back in his waistcoat pocket, and left time to take care of itself.
How make plain to the sober intelligence of the flat-land the changes that took place in the inner economy of our young adven-turer? The dizzying problem of identities grew grander in its scale.
If to-day's now - even with decent goodwill-was not easy to distinguish from yesterday's, the day before's or the day before
that's, which were all as like each other as the same number of peas, was it not also capable of being confused. with the now which: had been in force a month or a year ago, was it not also likely to be mingled and rolled round in the course of that other, to blend with / Page 546 / it into the always? However one might still differentiate between the ordinary states of consciousness which we attached to the words .. still," .. again," .. next," there was always the temptation to extend the sigificance of such descriptive words as "to-morrow,"yesterday," by which "to-day" holds at bay" the past " and" the future." It would not be hard to imagine the exist-ence of creatures, perhaps upon smaller planets than ours, practis-ing a miniature time-economy, in whose brief span the brisk trip-ping gait of our second-hand would possess the tenacious spatial economy of our hand that marks the hours. And, contrariwise, one can conceive of a world so spacious that its time system too has a majestic stride, and the distinctions between .. still," ., in a little while," " yesterday," .. to-morrow,'? are, in its economy, possessed of hugely extended significance. That, we say, would be not only conceivable, but, viewed in the spirit of a tolerant relativity, and in the light of an already-quoted proverb, might be considered legiti- mate, sound, even estimable. Yet what shall one say of a son of earth, and of our time to boot, for whom a day, a week, a month, a semester, ought to play such an important role, and bring so many changes, so much progress in its !:rain, who one day falls into the vicious habit -,- or perhaps we should say, yields sometimes to the desire - to say" yesterday" when he means a year ago, and .. next year " when he means to-morrow? Certainly we must deem him lost and undone, and the object of our just concern.
There is a state, in our human life, there are certain scenic sur-roundings - if one may use that adjective to describe the surround-ings we have in mind - within which such a confusion and obliteration of distances in time and space is in a measure justified, and temporary submersion in them, say for the term of a holiday, not reprehensible. Hans Castorp, for his part, could never without the greatest longing think of a stroll along the ocean's edge. We know how he loved to have the snowy wastes remind him of his native landscape of broad ocean dunes; we hope the reader's recol-lections will bear us out when we speak of the joys of that straying. You walk, and walk - never will you come home at the right time, for you are of time, and time is vanished. O ocean, far from thee we sit and spin our tale; we turn toward thee our thoughts, our love, loud and expressly we call on thee, that thou mayst be present in the tale we spin, as in secret thou ever wast and shalt be! - A sing-ing solitude, spanned by a sky of palest grey; full of stinging damp that leaves a salty tang upon the lips. - We walk along the springy floor, strewn with seaweed and tiny mussel-shells. Our ears are wrapped about by the great mild, ample wind, that comes / Page 547 / sweeping untrammelled blandly through space, and gently blunts our senses. We wander - wander - watching the tongues of foam lick upward toward our feet and sink back again. The surf is seething; wave after wave, with high, hollow sound, rears up, re-bounds, and runs with a silken rustle out over the flat strand: here one, there one, and more beyond, out on the bar. The dull; perva-sive, sonorous roar loses our ears against all the sounds of the world. O deep content, O wilful bliss of sheer forgetfulness! Let us shut our eyes, safe in eternity! No - for there in the flaming grey- green waste that stretches Wlth uncanny foreshortenIng to lose it-self in the horizon,. look, there is a sail. There? Where is there? How far, how near? You cannot tell. Dizzyingly it escapes your measurement. In order to know how far that ship is from the shore, you would need to know how much room it occupies, as a body in space.1s it large and far off, or is it small and near? Your eye grows dim with uncertainty, for in yourself you have no sense-organ to help. you judge of time or space. - We Walk, walk. How long, how far? Who knows? Nothing is changed by our pacing, there is the same as here, once on a time the same as now, or then; time is drowning in the measureless monotony of space, motion from point-to point is no motion more, where uniformity rules; and where motion is no more motion, time is no longer time.
The schoolmen of the Middle Ages would have it that time is an illusion; that its flow in sequence and causality is only the result of
a sensory device, and the real existence of things in an abiding pres-ent. Was he walking by the sea, the philosopher to whom this thought first came, walking by the sea, with the faint bitterness of eternity upon his lips? We must repeat that, as for us, we have been speaking only of the lawful licence of a holiday, of fantasies born of leisure, of which the well-conducted mind wearies as quickly as a vigorous man does of lying in the warm sand. To call into question our human means and powers of perception, to ques-tion their validity, would be absurd; dishonourable, arbitrary, if it were done in any other spirit than to set bounds to reason, which
she may not overstep without incurring the reproach of neglecting her own task. We can only be grateful to a man like Herr Settem- brini, who with pedagogic dogmatism characterized metaphysics as the " evil principle," to the young man in whose fate we are in- terested, and whom he had once subtly called "life's delicate child." We shall best honour the memory of one departed, who was dear to us, if we say plainly that the meaning, the end and aim of the critical principle can and may be but one thing: the thought
of duty, the law of life. Yes, law-giving wisdom, in marking off the / Page548 / limits of reason, planted precisely at those limits the banner of life, and proclaimed it man's soldierly duty to serve under that banner. May we set it down on the credit side of Hans Castorp's account, that he had been strengthened in his vicious time-economy, his baleful traffic with eternity, by seeing that all his cousin's zeal, called doggedness by a certain melancholy blusterer, had but the more surely brought him to a fatal end?"

 

 

THE MAGIC MOUNTAIN

Thomas Mann

1875 1955

MOUNTING MISGIVINGS

Page 147 Quoted in full

"other he mentally summoned up various people, the thought of whom might serve him as some sort of mental support.
 There was the good, the upright Joachim, firm as a rock-yet whose eyes in these past months had come to hold such a tragic Shadow, and who had never used to shrug his shoulders, as he did so often now. Joachim, with the "Blue Peter" in his pocket, as Frau Stohr called the receptacle. When Hans Castorp thought of her hard, crabbed face it made him shiver. Yes, there was Joa-chim - who kept constandy at Hofrat Behrens to let him get away and go down to the longed-for service in the " plain "- the " flat-land," as the healthy, normal world was called up here, with a faint yet perceptible nuance of contempt. Joachim served the cure single-mindedly, to the end that he might arrive sooner at his goal and save some of the time which "those up here " so wantonly flung away; served it unquestioningly for the sake of speedy re-covery - but also, Hans Castorp detected, for the sake of the cure'
itself, which, after all, was a service, like another; and was not duty duty, wherever performed? Joachim invatiably went upstairs after only a quarter-hour in the drawing-rooms; and this military precision of his was a crop to the civilian laxity of his cousin, who would otherwise be likely to loiter unprofitably below, with his eye on the company in the small salon. But Hans Castorp was con-vinced there was another and private reason why Joachim with-drew so early; he had known it since the time he saw his cousin's face take on the mottleled pallor, and his mouth assume the pathetic twist. He perfectly understood. For Marusja was almost always there in the evening -laughter-loving Marusja, with the little ruby on her charming hand, the handkerchief with the orange scent, and the swelling bosom, tainted within - Hans Castorp com-prehended that it. was her presence which drove Joachim away, precisely because it so strongly, so fearfully drew him toward her.
Was Joachim too "immured " - and even worse off than him-self, in that, he had five times a day to sit at the same table with Marusja and her orange-scented handkerchief? However that might be, it was clear that Joachim was preoccupied with his own troubles; the thought of him could afford his cousin no mental support. That he took refuge in daily flight was a credit to him; but that he had to flee was anything but reassuring to Hans Ca-storp, who even began to feel that Joachim's good example of faithful service of the cure and the initiation which he owed to his cousin's experience might have also their bad side.
Hans Castorp had not been up here three weeks. But it seemed longer; and the daily routine which Joachim so piously observed"

 

 

BEHRENS
7

occurs

x
1
=

7
--

7
CASTORP
7

occurs

x

6

=

42

4+2

6
JOACHIM
7

occurs

x

11
=

77

7+7

5
MARUSJA
7

occurs

x

3
=

21

2+1

3
-
28
-
-
21
-
147
-
21
-
2+8
-
-
2+1
-
1+4+7
-
2+1
-
10
-
-
3
-
12
-
3
-
1+0
-
-
-
-
1+2
-
-
-
1
-
-
3
-
3
-
3

 

 

Page 147 containing seven lettered names of characters

Page 147 Penguin edition 1979 contains 43 lines

Joachim x 10

Joachim's x1

 

7
 BEHRENS
71
35
8
7
 CASTORP
92
29
2
7
 JOACHIM
59
32
5
7
 MARUSJA
83
20
2
28
-
305
116
17
2+8
-
3+0+5
1+1+6
1+7
10
-
8
8
8
1+0
-
-
-
-
1
-
8
8
8

 

305 + 1 = 306

JOACHIM'S

APOSTROPHE'S

?

 

 

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."

 

 

THE MAGIC MOUNTAIN

Thomas Mann

1875 1955

FOREWORD

"THE STORY of Hans Castorp, which we would here set forth, ..."

We shall tell it at length, thoroughly, in detail-for when did a narrative seem too long or too short by reason of the actual time or space it took up? We do not fear being called meticulous, in-clining as we do to the view that only the exhaustive can be truly interesting.
Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!
And now we begin"

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 659

" It was learned, further, that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - in­visible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her par­ents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turk­ish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners some­what hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room.
Was it Holger, Friiulein Kleefeld asked, who had rolled up the cloth? Little Brand did not know. And what had she thought about the affair? But since it was absolutely impossible to think anything about it, little Elly had thought nothing at all. Had she told her parents? No. That was odd. Though so sure she had thought nothing about it, Elly had had a distinct impression, in this and similar cases, that she must keep it to herself, make a profound and shamefaced secret of it. Had she taken it much to heart? No, not particularly. What was there about the roiling up of a cloth to take to hean? But other things she had - for ex­ample, the following:
A year before, in her parent's house at Odense, she had risen, as was her custom, in the cool of the early morning and left her room on the ground-floor, to go up to the breakfast-room, in order to brew the moming coffee before her parents rose. She had almost reached the landing, where the stairs turned, when she saw standing there close by the steps her elder sister Sophie, who had married and gone to Amenca to live. There she was, her physical presence, in a white gown, with, curiously enough, a garland of moist water-lilies on her head, her hands folded against one shoulder, and nodded to her sister. Ellen, rooted to the spot, half joyful, half terrified, cried out: "Oh, Sophie, is that you? " Sophie had nodded once again, and dissolved. She became gradually transparent, soon she was only visible as an ascending current of warm air, then not visible at all. so that Ellen's / Page 660 / path was clear. Later, it transpired that Sister Sophie had died of heat trouble in New Jersey, at that very hour.
Hans Castorp, when Fraulein Kleefeld related this to him, ex­pressed the view that there was some sort of sense in it: the appari­tion here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition.
A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the appartus Hermine had provided, consisting of a medium­sized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Friiulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of c..old feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded table­lamp, as Friiulein Kleefeld, in concession to the mood of the gath­ering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move.
That should happen with ease. The top of the table was smooth, the rim of the grass well ground, the pressure of the tremulous fingers, howe!ver lightly laid on, certainly unequal, some of it being exerted vertically, some rather sidewise, and probably in sufficient strength to cause the glass finally to move from its position in the centre of the table. On the periphery of its field it would come in contact with the marked counters; and if the letters on these, when put together, made words that conveyed any sort of sense, the resultant phenomenon would be complex and contaminate, a mixed product of conscious, half -conscious, and unconscious elements; the actual desire and pressure of some, to whom the wish was father to the act, whether or not they were aware of what they did; and the secret acquiescence of some dark stratum in the soul of the generality, a common if subterranean effort toward seemingly strange experiences, in which the sup / Page 661 / pressed self of the individual was more or less involved, most strongly, of course, that of little Elly. This they all knew be­forehand - Hans Castorp even blurted out something of the sort, after his fashion, as they sat and waited. The ladies' palpitation and cold extremities, the forced hilarity of the men, arose from their knowledge that they were come together in the night to embark on an unclean traffic with their own natures, a fearsome prying into unfamiliar regions of themselves, and that they were awaiting the appearance of those illuso.ry or half-realities which we call magic. It was almost entirely for form's sake, and came about quite conventionally, that they asked the sp irits of the departed to speak to them through the movement 0 the glass. Herr Albin offered to be spokesman and deal with such spirits as manifested themselves - he had already had a little experience at seances.
Twenty minutes or more went by. The whisperings had run dry, the first tension relaxed. They supported their right arms at the elbow with their left hands. The Czech Wenzel was al­most dropping off. Ellen Brand rested her finger lightly on the glass and directed her pure, childlike gaze away into the rosy light from the table-lamp.
Suddenly the glass tipped, knocked, and ran away from under their hands. They had difficulty in keeping their fingers on it. It pushed over to the very edge of the table, ran along it for a space, then slanted back nearly to the middle; tapped again, and remained quiet.
They were all Startled; favourably, yet with some alarm. Frau Stohr whimpered that she would like to stop, but they told her she should have thought of that before, she must just keep quiet now. Things seemed in train. They stipulated that, in order to answer yes or 00, the glass need not ron to the letters, but might give one or two knocks instead.
" Is there an Intelligence present? " Herr Albin asked, severely directing his gaze over their heads into vacancy. Ater some hesitation, the glass tipped and said yes.
" What is your name? " Herr Albin asked, almost gruffly, and emphasized his energetic speech by shaking his head.
The glass pushed off. It ran with resolution from one point te another, executing a zigzag by returning each time a little dis­tance toward the centre of the table. It visited H, O, and L, then seemed exhausted; but pulled itself together again and sought out the G, and E, and the R. Just as they thought. It was Holger in person, the spirit Holger, who understood such matters as the / Page 661 / pinch of salt and that, but knew better than to mix into lessons at school. He was there, floating in the air, above the heads of the little circle. What should they do with him? A certain diffidence possessed them; they took counsel behind their hands, what they were to ask him. Herr Albin decided to question him about his position and occupation in life, and did so, as before, severely, with frowning brows; as though he were a cross-examining counsel.
The glass was silent awhile. Then it staggered over to the P, zigzagged and returned to O. Great suspense. Dr. Ting-Fu giggled and said Holger must be a poet. Frnu Stohr began to laugh hysterically; which the glass appeared to resent, for after indi­cating the E it stuck and went no further. However, it seemed fairly clear that Dr. Ting-Fu was right.
What the deuce, so Holger was a poet? The glass revived, and superfluously, in apparent pridefulness, rapped yes. A lyric poet, Fraulein Kleefeld asked? She said ly-ric, as Hans Castorp involuntarily noted. Holger was disinclined to specify. He gave no new answer, merely spelled out again, this time quickly and unhesitatingly, the word poet, adding the T he had left off before.
Good, then, a poet. The constraint increased. It was a con­straint that in realIty had to do with manifestations on the part of uncharted regions of their own inner, their subjective selves, but which, because of the illusory, half-actual conditions of these manifestations, referred itself to the objective and external. Did Holger feel at home, and content, in his present state? Dreamily, the glass spelled out the word tranquil. Ah, tranquil It was not a word one would have hit upon oneself, but after the glass spelled it out, they found it well chosen and probable. And how long had Holger been in ,this tranquil state? The answer to this was again something one would never have thought of, and dreamily answered; it was "A hastening while." Very good. As a piece of ventriloquistic poesy from the Beyond, Hans Castorp, in particular, found it capital. A " hastening while" was the time-element Holger lived in: and of course he had to answer as it were in parables, having very likely forgotten how to use earthly terminofogy and standards of exact measurement. Fraulein Levi confessed her curiosity to know how he looked, or had looked, more or less. Had he been a handsome youth? Here Albin said she might ask him herself, he found the request beneath his dignity. So she asked if the spirit had fair hair.
"Beautiful, brown, brown curls," the glass responded, deliberately spelling out the word brown twice. There was much merri­ / Page 663 / ment over this. The ladies said they were in love with him. They kissed their hands at the ceiling. Dr. Ting-Fu, giggling, said Mister Holger must be rather vain.
Ah, what a fury the glass fell into! It ran like mad about the table, quite at random, rocked with rage, fell over and rolled into Frau Stohr's lap, who stretched out her anns and looked down at it pallid with fear. They apologetically conveyed it back to its station, and rebuked the Chinaman. How had he dared to say such a thing - did he see what his indiscretion had led to? Suppose Holger was up and off in his wrath, and refused to say another word!
They addressed themselves to the glass with the extreme of courtesy. WouId Holger not make up some poetry for them? He had said he was a poet, before he went to hover in the hastening while. Ab, how they all yearned to hear him versify! They would love it so!
And 10, the good glass yielded and said yes! Truly there was something placable and good-humoured about the way it tapped. And then Holger the spirit began to poetize, and kept it up, copi­ously, circumstantially, without pausing for thought, for dear knows how long. It seemed impossible to stop him. And what a surprising poem it was, this ventriloquistic effort, delivered to the admiration of the circle - stuff of magic, and shoreless as the sea of which it largely dealt. Sea-wrack in heaps and bands along the narrow strand of the broad-flung bay; an islanded coast, girt by steep, cllify dunes. Ab, see the dim green distance faint and die into eternity, while beneath broad veils of mist in dull cannine and milky radiance the sununer sun delays to sink! No word can utter how and when the watery mirror turned from silver into untold changeful colour-play, to bright or pale, to spreading, opaline and moonstone gleams - or how, mysteriously as it came, the voice­less magic died away. The sea slumbered. Yet the last traces of the sunset linger above and beyond. Until deep in the night it has not
grown dark: a ghostly twilight reigns in the pine forests on the downs, bleaching the sand until it looks like snow- A simulated winter forest all in silence, save where an owl wings rustling flight. Let us stray here at this hour - so soft the sand beneath our tread, so sublime, so mild the night! Far beneath us the sea respires slowly, and murmurs a long whispering in its dream. Does it crave thee to see it again? Step forth to the sallow, glacierlike cliffs of the dunes, and climb quite up into the softness, that runs coolly into thy shoes. The land falls harsh and bushy steeply down to the pebbly shore, and still the last {>arting remnants of the day haunt the edge of the vanishing sky. LIe down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty little mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour-glass, that solemn, fragile toy that adorns the hermit's hut. An open book, a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn, mysterious essence. . . .
Thus Holger the spirit and his lyric improvisation, ranging with weird flights of thought from the familiar sea-shore to the cell of a hermit and the tools of his mystic contemplation. And there waf more; more, human and divine, involved in daring and dreamlike terminology - over which the members of the little circle puzzled endlessly as they spelled it out; scarcely finding time for hurried though raptUrous applause, so swiftly did the glass zigzag back and forth, so swiftly the words roll on and on. There was no distant prospect of a period, even at the end of an hour. The glass improvised inexhaustibly of the pangs of birth and the first kiss of lovers; the crown of sorrows, the fatherly goodness of God; plunged into the mysteries of creation, lost itself in other times and lands, in interstellar space; even mentioned the Chaldeans and the zodiac; and would "most, certainly have gone on all night, if the conspirators had not finally taken their fingers from the glass, and expressing their gratitude to Holger, told him that must suffice them for the time, it had been wonderful beyond their wildest dreams, it was an everlasting pity there had been no one at hand to take it down, for now it must inevitably be forgotten, yes, alas, they had already forgotten most of it, thanks to its quality, which made it hard to retain, as dreams are. Next time they must appoint an amanuensis to take it down, and see how it would look m black and white, and read connectedly. For the moment, however, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?
The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy-story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was so difficult to choose. At length, as no one else seemed able to settle, Hans Castorp, with his finger on the glass, supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.
Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door."

 

 
THIRTYFOUR
6
THIRTY
100
37
1
4
FOUR
60
24
6
10
THIRTYFOUR
160
61
9
1+0
-
1+6+0
6+1
-
1
THIRTYFOUR
7
7
7

 

 
THIRTYFOUR
2
TH
28
10
1
1
I
9
9
9
1
R
18
9
9
2
TY
45
9
9
1
F
6
6
6
2
OU
36
24
6
1
R
18
9
9
10
THIRTY FOUR
160
61
43
1+0
-
1+6+0
6+1
 4+3
1
THIRTY FOUR
7
7
7

 

 
THIRTYFOUR
2
TH
28
10
1
1
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
2
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

 

 
THIRTYFOUR
2
TH
28
10
1
1
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
2
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
 3+4
1
THIRTY FOUR
7
7
7

 

 

-
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
-
-
-
--
-
-
-
-
-
-
-
8
9
-
-
-
-
-
6
-
-
+
=
23
2+3
=
5
=
5
=
5
-
`-
-
8
9
-
-
-
-
-
 15
-
-
+
=
32
3+2
=
5
=
5
=
5
-
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
-
  
-
--
-
-
-
-
-
-
2
=
=
9
2
7
-
6
-
3
9
+
=
38
3+8
=
11
1+1
2
=
2
-
`-
20
-
-
18
20
25
-
6
-
21
18
+
=
128
1+2+8
=
11
1+1
2
=
2
-
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
-
  
-
--
-
-
-
-
-
`-
20
8
9
18
20
25
-
6
15
21
18
+
=
160
1+6+0
=
7
-
7
-
7
-
-
2
8
9
9
2
7
-
6
6
3
9
+
=
61
6+1
=
7
-
7
-
7
-
10
T
H
I
R
T
Y
-
F
O
U
R
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
--
-
2
occurs
x
2
=
4
=
4
-
--
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
--
-
5
-
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
6
6
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
--
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
9
9
-
-
-
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
10
10
T
H
I
R
T
Y
-
F
O
U
R
-
-
35
-
-
11
-
61
-
34
1+0
1+0
-
-
9
9
-
-
-
-
-
-
9
-
-
3+5
-
-
1+1
-
6+1
-
3+4
1
1
T
H
I
R
T
Y
-
F
O
U
R
-
-
8
-
-
2
-
7
-
7
-
-
2
8
9
9
2
7
-
6
6
3
9
-
-
-
-
-
-
-
-
-
-
1
1
T
H
I
R
T
Y
-
F
O
U
R
-
-
8
-
-
2
-
7
-
7

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Page 10

Number 34

"ON their right as they entered, between the main door and the inner one, was the porter's lodge. An official of the French type, in the grey livery of the man at the station, was sitting at the tele­phone, reading the newspaper. He came out and led them through the well-lighted halls, on the left of which lay the reception-rooms. Hans Castorp peered in as he passed, but they were empty. Where, then, were the guests, he asked, and his cousin answered: " In the rest-cure. I had leave tonight to go out and meet you. Otherwise I am always up in my balcony, after supper."
Hans Castorp came near bursting out again. " What! You lie out on your balcony at night, in the damp? " he asked, his voice shak­ing.
" Yes, that is the rule. From eight to ten. But come and see your room now, and get a wash."
They entered the lift - it was an electric one, worked by the Frenchman. As they went up, Hans Castorp wiped. his eyes.
" I'm perfectly worn out with laughing, he said, and breathed through his mouth. "You've told me such a lot of crazy stuff ­
that about the psycho-analysis was the last straw. I suppose I am a bit relaxed from the journey. And my feet are cold - are yours? But my face bums so, it is really unpleasant. Do we eat now? I feel hungry. Is the food decent up here?"
They went noiselessly along the coco matting of the narrow corridor, which was lighted by electric lights in white glass shades set in the ceiling. The walls gleamed with hard white eriamel paint.
They had a glimpse of a nursing sister in a white cap, and eye­glasses on a cord that ran behind her ear. She had the look of a Protestant sister - that is to say, one working without a real vo­cation and burdened with restlessness and ennui. As they went along the corridor, Hans Castorp saw, beside two of the white­enamelled, numbered doors, cenain curious, swollen-looking, balloon-shaped vessels with short necks. He did not think, at the moment, to ask what they were.
" Here you are," said Joachim. " I am next you on the right. The other side you have a Russian couple, rather loud and offensive, but it couldn't be helped. Well, how do you like it? "
There were two doors, an outer and an inner, with clothes­hooks in the space between. Joachim had turned on the ceiling light, and jn its vibrating brilliance the room looked restful and cheery, with practical wliite furniture, whte washable walls, clean / Page 11 / linoleum, and white linen curtains gaily embroidered in modem taste. The door stood open; one saw the lights of the valley and heard distant dance-music. The good Joachim had put a vase of flowers on the chest of drawers - a few bluebells and some yarrow, which he had found himself among the second crop of grass on the slopes.
"Awfully decent of you, "said Hans Castorp. "What a nice room! I can spend a couple of weeks here with pleasure."

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Chapter 1

"Number 34"

"But come and see your room now"

"What a nice room! I can spend a couple of weeks here with pleasure."

Page 663

"Lie down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour glass, that solemn, fragile toy that adorns the hermit's hut. An open book a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn mysterious essence. . ."

"For the moment, how-ever, and before Holger withdrew to the tranquillity of his hasten-ing while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?

The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was difficult to choose. At length, as no one else seemed able to sttle, Hans Castorp, with his finger on the glass supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer which none of them succeeded in fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room, that was to say, through number thirty-four.What was the sense of that."

NUMBER THIRTY- FOUR

"WHAT WAS THE SENSE OF THAT"

?

 
THIRTYFOUR
6
THIRTY
100
37
1
4
FOUR
60
24
6
10
THIRTYFOUR
160
61
9
1+0
-
1+6+0
6+1
-
1
THIRTYFOUR
7
7
7

 

 
THIRTYFOUR
2
TH
28
10
1
1
I
9
9
9
1
R
18
9
9
2
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45
9
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1
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6
6
6
2
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36
24
6
1
R
18
9
9
10
THIRTY FOUR
160
61
43
1+0
-
1+6+0
6+1
 4+3
1
THIRTY FOUR
7
7
7

 

 
THIRTYFOUR
2
TH
28
10
1
1
IR
27
18
9
2
TY
45
9
9
1
F
6
6
6
2
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54
18
9
10
THIRTY FOUR
160
61
34
1+0
-
1+6+0
6+1
3+4
1
THIRTY FOUR
7
7
7

 

 
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2
TH
28
10
1
1
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27
18
9
2
TY
45
9
9
1
F
6
6
6
2
OUR
54
18
9
10
THIRTY FOUR
160
61
34
1+0
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1+6+0
6+1
 3+4
1
THIRTY FOUR
7
7
7

 

 

-
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T
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8
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-
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-
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9
9
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27
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10
10
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T
Y
-
F
O
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R
-
-
35
-
-
11
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61
-
34
1+0
1+0
-
-
9
9
-
-
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-
-
-
9
-
-
3+5
-
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1+1
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6+1
-
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1
1
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H
I
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T
Y
-
F
O
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R
-
-
8
-
-
2
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7
-
7
-
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2
8
9
9
2
7
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6
6
3
9
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-
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1
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Y
-
F
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8
-
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2
-
7
-
7

 

 

3
THE
33
15
6
5
WHITE
65
29
2
7
RABBITZ
78
33
6
15
First Total
221
77
14
1+5
Add to Reduce
2+2+1
7+7
1+4
6
Second Total
5
14
5
-
Reduce to Deduce
-
1+4
-
6
Essence of Number
5
5
5

 

 

3
THE
33
15
6
7
BERGHOF
61
43
7
10
First Total
94
58
13
1+0
Add to Reduce
9+4
5+8
1+3
1
Second Total
13
13
4
-
Reduce to Deduce
1+3
1+3
-
1
Essence of Number
4
4
4

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Page 649

The invisible character sang:

"Now the parting hour has come

I must leave my loved home"

and turned under these circumstances to God, imploring Him to take under His special care and protection his beloved sister. He was going to the wars: the rhythmm changed, grew brisk and lively, dull care and sorrow might go hang! He the invisible singer, longed to be in the field, to stand in the thickest of the fray, where danger was hottest, and fling upon the foe - gallang, God fearing, altogether French, But if, he sang, God should call him to Himself, then would He look down protectingly / Page 650 / on "thee" - meaning the singer's sister, 'as Hans Castorp was perfectly aware, yet the word thrilled him to the depths, and his emotion prolonged itself as the hero sang, to a mighty choral accompaniment:

"O Lord of heaven, hear my prayer!
Guard Marguerite within Thy shelt'rIng care!"

There the record ceased. We have dwelt upon it because oF Hans' Castorp's especial penchant; but also because it played a certain role on a later and most strange occasion. And now we come back to the fifth and last piece in his group of high favourites: this time not French, but something especially ,and exemplarily German; not opera either, but a lied, one of those which are folk-song and masterpiece together, and from the combination receive their peculiar stamp as spiritual epitomes. Why should we beat about the bush? It was Schubert's "Linden-tree," it was none other than the old, old favourite, "Am Brunnen vor demTore."

It was sung to piano ,accompaniment by a tenor voice; and to. the singer was a lad of parts and discernment, who knew how to render with great skill, fine musical feeling and finesse inrecitative his simple yet consummate theme. We all know that the noble lied sounds rather differently when' given as a concert-number from its rendition in the childish or the popular mouth. In its to simplified form. the melody is sung straight through; whereas in the original art-song, the key changes to minor in the second of the eight-line stanzas, changes back again with beautiful effect to major in the fifth line; is dramatically resolved in the following "bitter blasts" and "facing the tempest"; and returns again only with the last four lines of the third stanza, which are repeated to finish out the melody. The truly compelling turn in the melody occurs three times, in its modulated second half, the third of time in the repetition of the last half-strophe" Ay, onward, ever onward." The enchanting turn, which we would not touch too nearly in bold words, comes on the phrases "Upon its branches fair " A message in my ear," "Yet ever in my breast"; and each time the tenor rendered them, in his clear, warm voice, with his excellent breathing-technique, with the suggestion of a. sob, and so much sensitive, beauty-loving intelligence, the listener felt his heart gripped in undreamed-of fashion with an effect the singer knew how to heighten by head-tones of extraordinary ardour on the lines" I found my solace there," and " For rest and Peace are here," In the repetition of the last line;. "Here shouldst thou find / Page 651 / thy rest," he sang the " shouldst thou" the first time yearningly, at full strength, but the second in the tenderest flute-tones. So much for the song, and the rendering of it. For the earlier selections, we may flatter ourselves, perhaps, that we have been ble to communicate to the reader some understanding, more or less precise, of Hans Castorp's intimate emotional participation in the chosen numbers of his nightly programme. But to make clear what this last one, the old "Linden-tree," meant to him, is truly, a ticklish endeavour; requiring great delicacy of emphasis if more harm than good is not to come of the undertaking.

Let us put it thus: a conception which is of the spirit, and therefore significant, is so because it reaches beyond itself to become the expession and exponent of a larger conception, a whole world of feeling and sentiment, which, whether more or less completely, is mirrored in the first, and in this wise, accordingly, the degree of its significance measured. Further, the love felt for such a creation is in itself "significant": betraying something of the person who cherishes it, characterizing his relation to that broader world the conception bodies forth - which, consciously or unconsciously, he loves along with and in the thing itself.

May we take it that our simple hero, after so many years of hermetic-pedagogic discipline, of ascent from one stage of being to another has now reached a point where .he is conscious of the" meaningfulness" of his love and the object of it? We assert, we record, that he has. To him the song meant a whole world, a world which he must have loved, else he could not have so desperately loved that which it represented and symbolized to him. We know what we are saymg when we add - perhaps rather darkly - that he might have had a different fate if his temperament had been less accessible to the charms of the sphere of feeling, the general attitude of mind, which the lied so profoundly, so mystically epitomized. The truth was that his very destiny had been marked by stages, adventures, insights, and these flung up in his mind, suitable themes for his "stock-taking" activities, and these, in their turn, ripened him into an intuitional critic of this sphere, of this its absolutely exquisite image, and his love of it. To the point even that he was quite capable of bringing up all three as objects of his conscientious scruples!

Only one totally ignorant of the tender 'passion will suppose that such scruples .can detract from the object of love. On the contrary, they but give it spice. It is they which lend love the spur of passion, so that one might almost,define passion as misgiving / Page 653 / love. But wherein lay Hans Castorp's conscientious and stock-taking misgiving; as to the ultimate propriety of his love for the enchanting lied and the world whose image it was? What was the world behind the song, which the motions of his conscience made to seem a world of forbidden love?

It was death;

What utter and explicit madness! That glorious song! An in­disputable masterpiece, sprung' froni the profoundest and holiest depths of racial feeling; a precious possession, the archetype of the genuine; embodied loveliness. What vile detraction!

Yes. Ah, yes! All very line. Thus must every upright man speak.
But for all that, behind this so lovely and pleasant artistic production stood - death. It had with death cenain relations, which one might love, yet not without consciously, and in a " stock-taking" sense, acknowledging a certain illicIt element in one's love. Perhaps in its original form it was not sympathy with death; perhaps it was something very much of the people and racy of life; but spiritual sympathy with it was none the less sympathy with death. At first blush proper and pious enough, indisputably. But the issues of it were sinister.

What was all this he was thinking? He would not have listened to it from one of you. Sinister issues. Fantastical, dark-corner, misanthropic, torture-ehamber thoughts, Spanish black and the ruff, lust not love - and these the issues of pure-eyed loveliness!

Unquestioning confidence, Hans Castorp knew, he had never placed in Herr Settembrini. But he remembered now an admonition the enlightened mentor had given him. in past time, at the beginning of his hermetic career; on the subject of "spiritual backsliding" to darker ages. Perhaps it would be well to make cautious application of that wisdom to the present case. It was the backslidmg which Herr Settembrini had characterized as "dis­ease"; the e:pitome itself, the spiritual phase to which one back­slid - that too would appeal to his pedagogic mind as "diseased".? And even so? Hans Castorp's loved nostalgic lay, and the sphere of feeling to which it belonged-morbid? Nothing of the sort. They were the sanest, the homeliest in the world. And yet - This was a fruit, sound and splendid enough for the instant or so, yet extraordinarily prone to decay; the purest refreshment of the spirit, if enjoyed at the right moment, but the next, capable of spreading decay and corruption among men. It was the fruit of life, conceived of death, pregnant of dissolution; it was a miracle of the soul, perhaps the highest, in the eye and sealed with the blessing of consienceless beauty; but on cogent grounds. re- / Page 653 / garded with mistrust by the eye of shrewd geniality dutifully "taking stock" in its love of the organic; it was a subject for self-conquest at the definite behest of conscience.

Yes, self-conquest - that might well be the essence of triumph over this love, this soul-enchantment that.bore such sinister fruit! Hans Castorp's thoughts, or rather his prophetic half-thoughts soared high, as he sat there in night and silence before his truncated sarcophagus of music. They soared higher than his understanding, they were alchemistically enhanced. Ah, what power had this soul-enchantment! We were all its sons, and could achieve mighty things on earth, in so far as we served it. One need have no more genius, only .. much more. talent, than the author of the "Lindenbawn," to be such an artist of soul-enchantment as should give to the song a giant volume by which it should subjugate the world. Kingdoms might be founded upon it, earthly, all-too­earthly kingdoms, solid, "progressive," not at all nostalgic - in which the song degenerated to a piece of gramophone music played by electricity. But its faithful son might still be he who consumed his life in self-conquest; and died, on his lips the new word of love which as yet he knew not how to speak. Ah, it was worth dying for, the enchanted lied! But he who died for it, died indeed no longer for it; was a hero only because he died for the new, the new word of love and the future that whispered in his heart.
These, then, were Hans Castorp's favourite records.

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE


EDHIN KROKOWSKI'S lectures had in the swift passage of the years taken an unexpected turn. His researches, which dealt. with psycho-analysis and the dream-life of humanity, had always had a subterranean, not to say catacombish character; but now, by a transition so gradual that one scarcely marked it, they had passed over to the frankly supernatural, and his fortnightly lectures in the dining-room - the prime attraction. of the house, the pride of the prospectus, delivered in a drawling, foreign voice, in frock­coat and sandals from behind a little covered table, to the rapt and motionless Berghof audience - these lectures no longer treated of the disguised activities of love and the retransformation of the illness into the conscious emotion. They had gone on to the extraordinary phenomena of hypnotism and somnambulism, telepathy, "dreaming true," and second sight; the marvels of hysteria, the expounding of which widened the philosophic horizon to such an extent that suddenly before the listener's eyes would glitter / Page/ 654 / darkly puzzles'like that of the relation of matter to the psychic yes, even the puzzle of life itself, which, it appeared, was easier to approach by uncanny, even morbid paths than by the way of health.

We say this because we consider it our duty to confound those flippant 'spirits who declared that Dr. Krokowski had resorted to mystification for the sake of redeeming his lectures from hopeless monotony; in other words, with purely emotional ends in view. Thus spoke the slanderous tongues which are everywhere to be found: True, the gentlemen at the Monday lectures flicked their ears harder than ever to make them hear; Fraulein Levi looked, if possible; even more like a wax figure wound up by machinery. But these effects were as legitimate as the train of thought pursued by the mind of the learned gentleman, and for that he might claim 'that it was not only consistent but even inevitable. The field of his study had always been those wide,.dark tracts of the human soul, which one had been used to call the subconsciousness, though they might perhaps better be called the superconsciousness, since from them sometimes emanates a knowingness beyond anything of which the conscious intelligence is capable, and giving rise to the hypothesis that there may subsist connexions and associations between the lowest and least illumined regions of the individual soul and a wholly knowing All-soul. The province of the subsconscious, "occult" in the proper sense of ,the word, very soon shows itself to be occult in the narrower sense as well, and forms one of the sources whence flow the phenomena we have agreed thus to characterize. But that is not all. Whoever recognizes a symptom of organic disease as an effect of the conscious soul-life of forbidden and hystericized emotions, recoguizes the creative force of the psychical within the. material - a force which one is inclined to claim as a second source of magic phenomena. Idealist of the pathological, not to say pathological idealist, he sees himself at the point of departure of certain trains of thought which will shortly issue in the problem of existence, that is to say in the problem of the relation between spirit and matter. The materialist, son of a philosophy of sheer animal vigour, can never be dissuaded from explaining spirit as a mere phosphorescent product,of matter; whereas the idealist, proceeding from the principle of. creative hysteria, is inclined; and very readily resolved, to· answer the question of primacy in the exactly opposite sense. Take it all in all, there is here nothing less than the old strife over which was first, the chicken or the egg - a strife which assumes its, extraordinary complexity from the fact / Page 655 / that no egg is thinkable except one laid by a hen, and no hen to that has not crept out of a previously postulated egg.

Take it all in all, there is here nothing less than the old strife over which was first, the chicken or the egg

Causality
From Wikipedia, the free encyclopedia

A question related to this argument is which came first, the chicken or the egg?

 

CHICKENS OR EGGS EGGS OR CHICKEN FIRST YOU SEE IT THEN YOU DONT

 

Page 654 Take it all in all, there is here nothing less than the old strife over which was first, the chicken or the egg - a strife which assumes its, extraordinary complexity from the fact / Page 655 / that no egg is thinkable except one laid by a hen, and no hen to that has not crept out of a previously postulated egg.

Well then, it was such matters as these that Dr. Krokowski discussed in his lectures. He came upon them organically, logically, legitimately - that fact cannot be over-emphasized. We will even add that he had already begun to treat of them before the arrival of Ellen Brand upon the scene of action, and the progress of matters into the empirical and experimental stage.

Who was Ellen Brand? We had almost forgotten that our readers do not know her, so familiar to us is the name. Who was she? Hardly anybody, at first glance. A sweet young thing of nineteen years, a flaxen-haired Dane, not from Copenhagen but from Odense-on-Funen, where her father had a butter business. She herself had been in commercial life for a couple of years or so; with a - sleeve-protector on her writing-arm she had sat over heavy books, perched on a revolving stool in a provincial branch of a city bank-and developed temperature. It was a trifling case, probably more suspected than real, though Elly was indeed fragile, fragile and obviously chlorotic - distinctly sympathetic too, giving one a yearning to lay one's hand upon the flaxen head- as the Hofrat regularly did, when he spoke to her in the dining-room. A northern freshness emanated from her, a chaste and glassy, maidenly chaste atmosphere surrounded her, she was entirely lovable, with a pure, open look from childlike blue eyes, and a pointed, fine, High-German speech, slightly broken, with small, typical mispronunciations. About her features there was nothing unusual. Her chin was too short. She sat at table with the Kleefeld, who mothered her.

Now this little Fraulein Brand, this little Elly, this friendly­natured little Danish bicycle-rider and stoop-shouldered young counter-jumper, had things about her, of which no one could have dreamed, at first sight of her transparent small personality, but which began to discover themselves after a few weeks; and these it became Dr. Krokowski's affair to lay bare in all their extraordinariness.

The leamed, man received his first hint in the course of a general evening conversation. Various guessing games were being played; hidden objects found by the aid of strains from the piano, which swelled higher when one approached the right spot, and died away when the seeker strayed on a false scent. Then one person went outside and waited while it was decided what task he should perform; as, exchanging the rings of two selected persons; inviting someone to dance by making three bows before her; taking a / Page 656 / designated book from the shelves. and presenting it to this or that person - and more of the same kind. It is worthy of remark such games had not been the practice among the Berghof guests. Who had introduced them was not afterwards easy to decide; it had not been Elly Brand, yet they had begun since her arrival.

The participants were nearly all old friends of ours, among them Hans Castorp. They showed themselves apt in greater or less degree - some of them were entirely incapa.ble. But Elly Brands talent was soon seen to be surpassmg, stnking, unseemly. Her power of finding hidden articles was passed over with applause and admiring laughter. But when it came to a concerted seies of actions they were struck dumb. She did whatever they covenanted she should do, did it directly she entered the room; with a gentle smile, without hesitation, without the help of music. She fetched a pinch of salt from the dining-room, sprinkled it over Lawyer Paravant's head; took him by the hand, led him to the piano and played the beginning of a nursery ditty with his forefinger; then brought him back to his seat, curtseyed, fetched a footstool and finally seated herself at his feet, all of that being precisely what they had cudgelled their brains to set her for a task.

She had been listening.

She reddened. With a sense of relief at her embarrassment they began in chorus to chide her; but she assured them she had not blushed in that serise. She had not listened, not outside, not at the door, truly, truly she had not!

Not outside, not at the door?

"Oh, no" - she begged their pardon. She had listened after she came back, in the room, she could not help it.

How not help it?

Something whispered to her, she said; It whispered and told her what to do, softly, but quite clearly and distinctly.

Obviously that was an admission. In a certain sense she was aware, she had confessed, that she had cheated. She should have said beforehand that she was no good to play such a game, if she had the advantage of being whispered - to. A competition loses all sense if one of the competitors has unnatural advantages over the others. In a sporting sense, she was straightway disqualified­disqualified in a way that made chills run up. and down their backs. With one voice they called on Dr. Krokowski, they ran to fetch him, and he came. He was immediately at home in the situation, and stood there; sturdy, heartily smiling,. in his very essence inviting confidence. Breathless they told him they had / Page 657 / Something quite Abnormal for him, an omniscient; a girl with voices. Yes, yes? Only let them be calm, they should see. This was his native heath, quagmirish and uncertain footing enough for the rest of them, yet he moved upon it with assured tread. He asked questions, and they told him. Ah, there she was - come, my child, is it true, what they are telling me? And he laid his hand on her head, as scarcely anyone could resist doing. Here was much ground for interest, none at all for consternation. He plunged the gaze of his brown, exotic eyes deep into Ellen Brands blue ones, and ran his hand down over her shoulder and arm, stroking her gently. She returned his gaze with increasing submission, her head inclined slowly toward her shoulder and breast. Her eyes were actually beginning to glaze, when the master made a careless outward motion with his hand before her face. Immediately there­after he expressed his opinion that everything was in perfect order, and sent the overwrought company off to the evening cure, with the exception of Elly Brand, with whom he said he wished to have a little chat.

A little chat. Quite so. But nobody felt easy at the word, it was just the sort of word Krokowski the merry comrade used by preference, and it gave them cold shivers. Hans Castorp, as he sought his tardy, reclining-chair, remembered the feeling with which he had seen Elly's illicit achievements and heard her shame­faced explanation. as though the ground were shifting under his feet, and giving him a slightly qualmish feeling, a mild seasickness. He had never been in an earthquake; but he said to himself that one must experience a like sensation of unequivocal alarm. But he had also felt great curiosity at these fateful gifts of Ellen Brand; combined, it is true, with the knowledge that, their field was with difficulty accessible to the spirit, and the doubt as to whether it was not barren, or even sinful, so far as he was concerned -all which did not prevent his feeling from being what in fact it actually, was, curiosity. Like everybody else, Hans Castorp had, ,at his time of life, heard this and that about the mysteries of nature, or the supernatural. We. have mentioned the clairvoyante great-aunt, of whom a melancholy tradition had come down. But, the world of the supernatural, though theoretically and objectively he had recognized its existence, had never come close to him, he had never had any practical experience of it. And his aversion from it, a matter of taste, an aesthetic revulsion, a re­action of human pride -'if we may use such large words in connexion with our modest hero - was almost as great as his curiousity. He felt beforehand, quite clearly, that such experiences, / Page 658 / whatever the course of them, could never be anything but in bad taste, unintelligible and humanly valueless. And yet he was on fire to go through them. He was aware that his alternative of "barren" or else "sinful," bad enough in itself, was in reality not an alternative at all, since the two ideas fell together, and calling a thing spiritually unavailable was only an a-moral way of of expressing its forbidden character. But the "placet experiri" planted in Hans Castorp's mind by one who would surely and resoundingly have reprobated any experimentation at all in this field, was planted firmly enough. By little and little his morality and his curiosity approached and overlapped, or had probably always done so; the pure curiosity of inquiring youth on its travels, which had already brought him pretty close to the forbidden field, what time he tasted the mystery of personality, and for which he had claimed the justification that it too was almost military in character, in that it did not weakly avoid the forbidden, when it presented itself. Hans Castorp came to the final resolve not to avoid; but to stand his ground if it came to more developments in the case of Ellen Brand.

Dr. Krokowski had issued a strict prohibition against any further experimentation on the part of the laity upon Fraulein Brand's mysterious gifts. he had pre-empted the child for his scientific use, held sittings with her in his scientific oubliette, hypnotized her, it was reported, in an effort to arouse and discipline her slumbering potentialities, to make researches into her previous psychic life. Hermine Kleefeld, who mothered and patronized the child, tried to do the same; and under the seal of secrecy a certain number of facts were ascertained, which under the same seal she spread throughout the house, even unto the porter's lodge. She learned , for example, that he who - or that which whispered the answers, into the little one's ear at games was called Holger. This Holger was the departed and etherealized spirit of a young man, the familiar, something like the guardian angel, of little Elly. So it was he who had told all that about a pinch of salt and the tune played with Lawyer Paravant's finger? Yes those spirit lips, so close to her ear that they were like a caress, and tickled a little, making her smile, had whispered her what to do. It must have been very nice when she was in school and had not prepared her lesson to have him tell her the answers. Upon this point Elly was silent. Later she said she thought he would not have been allowed. It would have been forbidden to him to mix in such serious matters - and moreover, he would probably not have known the answers himself.

Page 659

It was learned, further, that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - in­visible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her parents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turkish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners some­what hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room.
Was it Holger, Fraulein Kleefeld asked, who had rolled up the cloth? Little Brand did not know. And what had she thought about the affair? But since it was absolutely impossible to think anything about it, little Elly had thought nothing at all. Had she told her parents? No. That was odd. Though so sure she had thought nothing about it, Elly had had a distinct impression, in this and similar cases, that she must keep it to herself, make a profound and shamefaced secret of it. Had she taken it much to heart? No, not particularly. What was there about the roiling up of a cloth to take to heart? But other things she had - for example, the following:
A year before, in her parent's house at Odense, she had risen, as was her custom, in the cool of the early morning and left her room on the ground-floor, to go up to the breakfast-room, in order to brew the moming coffee before her parents rose. She had almost reached the landing, where the stairs turned, when she saw standing there close by the steps her elder sister Sophie, who had married and gone to Amenca to live. There she was, her physical presence, in a white gown, with, curiously enough, a garland of moist water-lilies on her head, her hands folded against one shoulder, and nodded to her sister. Ellen, rooted to the spot, half joyful, half terrified, cried out: "Oh, Sophie, is that you? " Sophie had nodded once again, and dissolved. She became gradually transparent, soon she was only visible as an ascending current of warm air, then not visible at all. so that Ellen's / Page 660 / path was clear. Later, it transpired that Sister Sophie had died of heart trouble in New Jersey, at that very hour.

Hans Castorp, when Fraulein Kleefeld related this to him, expressed the view that there was some sort of sense in it: the apparition here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition.

A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the apparatus Hermine had provided, consisting of a medium­sized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Fraulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of cold feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded table­lamp, as Fraulein Kleefeld, in concession to the mood of the gathering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move.
That should happen with ease. The top of the table was smooth, the rim of the grass well ground, the pressure of the tremulous fingers, howe!ver lightly laid on, certainly unequal, some of it being exerted vertically, some rather sidewise, and probably in sufficient strength to cause the glass finally to move from its position in the centre of the table. On the periphery of its field it would come in contact with the marked counters; and if the letters on these, when put together, made words that conveyed any sort of sense, the resultant phenomenon would be complex and contaminate, a mixed product of conscious, half-conscious, and unconscious elements; the actual desire and pressure of some, to whom the wish was father to the act, whether or not they were aware of what they did; and the secret acquiescence of some dark stratum in the soul of the generality, a common if subterranean effort toward seemingly strange experiences, in which the sup / Page 661 / pressed self of the individual was more or less involved, most strongly, of course, that of little Elly. This they all knew be­forehand - Hans Castorp even blurted out something of the sort, after his fashion, as they sat and waited. The ladies' palpitation and cold extremities, the forced hilarity of the men, arose from their knowledge that they were come together in the night to embark on an unclean traffic with their own natures, a fearsome prying into unfamiliar regions of themselves, and that they were awaiting the appearance of those illusory or half-realities which we call magic. It was almost entirely for form's sake, and came about quite conventionally, that they asked the spirits of the departed to speak to them through the movement of the glass. Herr Albin offered to be spokesman and deal with such spirits as manifested themselves - he had already had a little experience at seances.
Twenty minutes or more went by. The whisperings had run dry, the first tension relaxed. They supported their right arms at the elbow with their left hands. The Czech Wenzel was al­most dropping off. Ellen Brand rested her finger lightly on the glass and directed her pure, childlike gaze away into the rosy light from the table-lamp.
Suddenly the glass tipped, knocked, and ran away from under their hands. They had difficulty in keeping their fingers on it. It pushed over to the very edge of the table, ran along it for a space, then slanted back nearly to the middle; tapped again, and remained quiet.
They were all Startled; favourably, yet with some alarm. Frau Stohr whimpered that she would like to stop, but they told her she should have thought of that before, she must just keep quiet now. Things seemed in train. They stipulated that, in order to answer yes or no, the glass need not run to the letters, but might give one or two knocks instead.
" Is there an Intelligence present? " Herr Albin asked, severely directing his gaze over their heads into vacancy. After some hesitation, the glass tipped and said yes.
" What is your name? " Herr Albin asked, almost gruffly, and emphasized his energetic speech by shaking his head.
The glass pushed off. It ran with resolution from one point te another, executing a zigzag by returning each time a little distance toward the centre of the table. It visited H, O, and L, then seemed exhausted; but pulled itself together again and sought out the G, and E, and the R. Just as they thought. It was Holger in person, the spirit Holger, who understood such matters as the / Page 662 / pinch of salt and that, but knew better than to mix into lessons at school. He was there, floating in the air, above the heads of the little circle. What should they do with him? A certain diffidence possessed them; they took counsel behind their hands, what they were to ask him. Herr Albin decided to question him about his position and occupation in life, and did so, as before, severely, with frowning brows; as though he were a cross-examining counsel.
The glass was silent awhile. Then it staggered over to the P, zigzagged and returned to O. Great suspense. Dr. Ting-Fu giggled and said Holger must be a poet. Frnu Stohr began to laugh hysterically; which the glass appeared to resent, for after indi­cating the E it stuck and went no further. However, it seemed fairly clear that Dr. Ting-Fu was right.
What the deuce, so Holger was a poet? The glass revived, and superfluously, in apparent pridefulness, rapped yes. A lyric poet, Fraulein Kleefeld asked? She said lyric, as Hans Castorp involuntarily noted. Holger was disinclined to specify. He gave no new answer, merely spelled out again, this time quickly and unhesitatingly, the word poet, adding the T he had left off before.
Good, then, a poet. The constraint increased. It was a con­straint that in realIty had to do with manifestations on the part of uncharted regions of their own inner, their subjective selves, but which, because of the illusory, half-actual conditions of these manifestations, referred itself to the objective and external. Did Holger feel at home, and content, in his present state? Dreamily, the glass spelled out the word tranquil. Ah, tranquil It was not a word one would have hit upon oneself, but after the glass spelled it out, they found it well chosen and probable. And how long had Holger been in ,this tranquil state? The answer to this was again something one would never have thought of, and dreamily answered; it was "A hastening while." Very good. As a piece of ventriloquistic poesy from the Beyond, Hans Castorp, in particular, found it capital. A " hastening while" was the time-element Holger lived in: and of course he had to answer as it were in parables, having very likely forgotten how to use earthly terminofogy and standards of exact measurement. Fraulein Levi confessed her curiosity to know how he looked, or had looked, more or less. Had he been a handsome youth? Here Albin said she might ask him herself, he found the request beneath his dignity. So she asked if the spirit had fair hair.
"Beautiful, brown, brown curls," the glass responded, deliberately spelling out the word brown twice. There was much merri­ / Page 663 / ment over this. The ladies said they were in love with him. They kissed their hands at the ceiling. Dr. Ting-Fu, giggling, said Mister Holger must be rather vain.
Ah, what a fury the glass fell into! It ran like mad about the table, quite at random, rocked with rage, fell over and rolled into Frau Stohr's lap, who stretched out her anns and looked down at it pallid with fear. They apologetically conveyed it back to its station, and rebuked the Chinaman. How had he dared to say such a thing - did he see what his indiscretion had led to? Suppose Holger was up and off in his wrath, and refused to say another word!
They addressed themselves to the glass with the extreme of courtesy. WouId Holger not make up some poetry for them? He had said he was a poet, before he went to hover in the hastening while. Ah, how they all yearned to hear him versify! They would love it so!
And lo, the good glass yielded and said yes! Truly there was something placable and good-humoured about the way it tapped. And then Holger the spirit began to poetize, and kept it up, copiously, circumstantially, without pausing for thought, for dear knows how long. It seemed impossible to stop him. And what a surprising poem it was, this ventriloquistic effort, delivered to the admiration of the circle - stuff of magic, and shoreless as the sea of which it largely dealt. Sea-wrack in heaps and bands along the narrow strand of the broad-flung bay; an islanded coast, girt by steep, cllify dunes. Ah, see the dim green distance faint and die into eternity, while beneath broad veils of mist in dull cannine and milky radiance the sununer sun delays to sink! No word can utter how and when the watery mirror turned from silver into untold changeful colour-play, to bright or pale, to spreading, opaline and moonstone gleams - or how, mysteriously as it came, the voice­less magic died away. The sea slumbered. Yet the last traces of the sunset linger above and beyond. Until deep in the night it has not
grown dark: a ghostly twilight reigns in the pine forests on the downs, bleaching the sand until it looks like snow- A simulated winter forest all in silence, save where an owl wings rustling flight. Let us stray here at this hour - so soft the sand beneath our tread, so sublime, so mild the night! Far beneath us the sea respires slowly, and murmurs a long whispering in its dream. Does it crave thee to see it again? Step forth to the sallow, glacierlike cliffs of the dunes, and climb quite up into the softness, that runs coolly into thy shoes. The land falls harsh and bushy steeply down to the pebbly shore, and still the last parting remnants of the day haunt the edge of the vanishing sky. Lie down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty little mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour-glass, that solemn, fragile toy that adorns the hermit's hut. An open book, a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn, mysterious essence. . . .
Thus Holger the spirit and his lyric improvisation, ranging with weird flights of thought from the familiar sea-shore to the cell of a hermit and the tools of his mystic contemplation. And there waf more; more, human and divine, involved in daring and dreamlike terminology - over which the members of the little circle puzzled endlessly as they spelled it out; scarcely finding time for hurried though raptUrous applause, so swiftly did the glass zigzag back and forth, so swiftly the words roll on and on. There was no distant prospect of a period, even at the end of an hour. The glass improvised inexhaustibly of the pangs of birth and the first kiss of lovers; the crown of sorrows, the fatherly goodness of God; plunged into the mysteries of creation, lost itself in other times and lands, in interstellar space; even mentioned the Chaldeans and the zodiac; and would "most, certainly have gone on all night, if the conspirators had not finally taken their fingers from the glass, and expressing their gratitude to Holger, told him that must suffice them for the time, it had been wonderful beyond their wildest dreams, it was an everlasting pity there had been no one at hand to take it down, for now it must inevitably be forgotten, yes, alas, they had already forgotten most of it, thanks to its quality, which made it hard to retain, as dreams are. Next time they must appoint an amanuensis to take it down, and see how it would look m black and white, and read connectedly. For the moment, however, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?
The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy-story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was so difficult to choose. At length, as no one else seemed able to settle, Hans Castorp, with his finger on the glass, supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.
Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door.
They all jumped. Was it a surprise? Was Dr. Krokowski standing without, come to break up the forbidden session? They looked up guiltily, expecting the betrayed one to enter. But then came a crashing knock on the middle of the table, asif to testify that the first knock too had come from the inside and not the outside of the room.
They accused Herr Albin of perpetrating this rather contemptible jest, but he denied it on his honour; and even without his word they all felt fairly certain no one of their circle was guilty. Was it Holger, then? They looked at Elly, suddenly struck by her silence. She was leaning back in her chair, with drooping wrists and finger-tips poised on the table-edge, her head bent on one shoulder, her eyebrows raised, her little mouth drawn down so that it looked even smaller. with a tiny smile that had something both silly and sly about it, and gazing into space with vacant, childlike blue eyes. They called to her, but she gave no sign of consciousness. And suddenly the night-table light went out.
Went out? Frau Stohr, beside herself, made great outcry, for she had heard the switch turned. The light, then, had not gone out, but been put out, by a hand - a hand which one characterized afar off in calling it a "strange" hand. Was it Holger's? Up to then he had been so mild, so tractable, so poetic - but now he seemed to degenerate into clownish practical jokes. Who knew that a hand which could so roundly thump doors and tables, and knavishly turn off lights, might not next catch hold of'someone's throat? They called for matches, for pocket torches. Fraulein Levi shrieked out that someone had pulled her front hair. Frau Stohr made no bones Of calling aloud on God in her ,distress: "O Lord. forgive me this once! " she moaned, and whimpered for mercy instead of justice. well knowing she had tempted hell. It was Dr. Ting-Fu who hit on the sound idea of turning on the ceiling light; / Page 666 / the room was brilliantly illuminated straightway. They now es­tablished that the lamp on. the night-table had not gone out by chance, but been turned off, and only needed to have the switch turneded back in order to bum again. But while this was happening, Hans Castorp made on his own account a most singular discovery, ·which ·might be regarded as a personal attention on the part of the dark powers here manifesting themselves with such childish perversity. A light. object lay in his lap; he .discovered it to be the"souvenir" which had once so surpnsed his uncle when he lifted It from his nephew's. table: the glass diapositive of Claudia Chauchat's x-ray portrait. Quite uncontestably he, Hans Castorp,.had not carried it into the room.

He put it into his pocket, unobservably. The others were busied about Ellen Brand, who remained sitting in her place in the same state, staring vacantly, with that curious simpering expression. Herr Albin blew in her face and imitated the upward sweeping motion of Dr. Krokowski, upon which she roused, and incontinently wept a little. They caressed and comforted her, kissed her on the forehead and sent her to bed. Fraulein Levi said she was willing to sleep with Frau Stohr, for that abject creature confessed she was too frightened to go to bed alone. Hans Castorp, with his, retrieved property in his breast pocket, had no objection to finishing off the evening with a cognac in Herr Albin's room. He had discovered, in fact, that this sort of thing affected neither the heart nor the spirits So much as the nerves of the stomach - a retroactive effect, like seasickness, which sometimes troubles the traveller with qualms hours after he has set foot on shore.

His curiosity was for the was for the time quenched. Holger's poem had not oeen so bad; but the antlclpated futility and vulgarity of the scene as a whole had been so unmistakable that he felt quite willing to let it go at these few vagrant sparks of hell-fire. Herr Settembrini, to whom he related his experiences, strengthened this conviction with all his force. "That," he cried out, "was all that was lacking. Oh, misery, misery! " And cursorily dismissed little Elly as a thorough-paced impostor.

His pupil said neither yea nor nay to that. He shrugged his Shoulders, and expressed the view that we did not seem to be altogether sure what constituted actuality, nor yet, in consequence, what imposture. Perhaps the boundary line was not constant. Perhaps there were transitional stages between. the two, grades of actuality within nature; nature being as she was, mute, not susceptihle of valuation, and thus defying distinctions which in any case, it seemed to him, had a strongly moralizing flavour. What / Page 667 / did Herr Settembrini think about delusions which were a mixture of actuality and dream, perhaps less strange in nature than to our crude, everyday processes of thought? The mystery of life was literally bottomless. What wonder, then, if sometimes illusions arose - and so on and so forth, in our hero's genial, confiding, loose and flowing style.

Herr Settembrini duly gave him a dressing-down, and did produce a temporary reaction of the conscience, even something like a promise to steer clear in the future of such abominations. "Have respect," he adjured him, " for your humanity, Engineer! Confide in your God-given power of clear thought, and hold in abhorrence these luxations of the brain, these miasmas of the spirit! Delusions? The mystery of life? Caro mio! When the moral courage to make decisions and distinctions between reality and deception degenerates to that point, then there is an end of life, of judgment, of the creative deed: the process of decay sets in, moral scepsis, and does its deadly work." Man, he went on to say, was the measure of things. His right to recognize and to distinguish between good and evil, reality and counterfeit, was indefeasible; woe to them who dared to lead him astray in his belief in this creative right. Better for them that a millstone be hanged about their necks and that they be drowned in the depth of the sea.

Hans Castorp nodded assent - and in fact did for a while .keep aloof from all such undertakings. He heard that Dr. Krokowski. had begun holding seances with Ellen Brand in his subterranean cabinet, to which certain chosen ones of the guests were invited. But he nonchalantly put aside the invitation to join them - naturally not without hearing from them and from Krokowski himself something about the success they were having. It appeared that there had been wild and arbitrary exhibitions of power, like those in Fraulein Kleefeld's room: knockings on walls and table, the turning off of the lamp, and these as well as further manifestations were .being systematically produced and investigated, with every possible safeguardmg of their genuineness, after Comrade Krokowskihad practised the approved technique and put little Elly into her. hypnotic sleep. They had discovered that the process was facilitated by music; and on these evenings the gramo­phone was pre-empted by the circle and carried down into the basement. But the Czech Wenzel who operated it there was a not unmusical man, and would surely not injure or misuse the instrument; Hans Castorp might hand it over without misgiving. He even chose a suitable album of records, containing light music-, dances, smaIl overtures and suchlike tunable trifles. Little Elly / Page 668 / made no demands on a higher art, and they served the purpose admirably.

To their accompaniment, Hans Castorp learned, a handkerchief had been lifted from the floor, of its own motion, or, rather, that of the ."hidden hand" in its folds. The doctor's waste-paper­basket: had risen to the ceiling; the pendulum of a clock been afternately stopped and set going again" without anyone touching it," a table-bell " taken" and rung.- these and a good many other turbid and meaningless phenomena. The learned master of ceremonies was in the happy position of being able to characterize them by a Greek word, very scientific and impressive. They were, so he. explained in his lectures. and in private conversations, "telekinetic' phenomena, cases of movement from a distance; he associated them with a class of manifestations which were scientifically known as materializations, and toward which his plans and attempts with Elly Brand were directed.

He talked to them about biopsychical projections of subconscious complexes into the objective; about transactions of which the medial constitution, the somnambulic state, was to be regarded as the source; and which one might speak of as objectivated dream­concepts, in so far as they confirmed an ideoplastic property of nature; a power, which under certain conditions appertained to thought, of drawing substance to itself, and clothing itself in temporary reality. This substance streamed out from the body of the medium, and developed extraneously into biological, living end­organs, these being .the agencies which had performed the extraordinary though meaningless feats they witnessed in Dr. Krokowski's laboratory. Under some conditions these agencies might be seen or touched, the limbs left their impression in wax or plaster. But some.­times the matter did not rest with such corporealization. Under certain conditions, human heads, faces, full-length phantoms manifested themselves before the eyes of the experimenters, even within certain limits entered into contact with them. And here Dr. Krokowski's doctrine began, as it were, to squint; to look two ways at once. It took on a shifting and fluctuating character, like the method .of treatment he had adopted in his exposition of the nature of love. It was no longer plain-sailing, scientific treatment of the - objectively mirrored subjective content of the medium and her passive auxiliaries. It was a mixing in the game, at least sometimes, lit least half and half, of entities from without and beyond. It dealt - at least possibly, if not quite adinittedly - with the non-vital, with existences that took advantage of a ticklish, mysteriously and momentarily favouring chance to return to substantiality and show / Page 669 / themselves to their summoners.., in brief, with the spiritualistic invocation of the departed.

Such manifestations it was that Comrade Krokowski, with the assistance of his followers, was latterly striving to produce; sturdily, with his ingratiating smile, challenging their cordial confidence, thoroughly at home; for his own person, in this questionable morass of the subhuman, and a born leader for the timid and compunctious in the regions where they now moved. He had laid himself out to develop and discipline the extraordinary powers of Ellen Brand and, from what Hans Castorp could hear, fortune smiled upon his efforts. Some of the party had felt the touch of materialized hands. Lawyer Paravant had received out of transcendency a sounding slap on the cheek, and had countered with scientific alacrity, yes, had even eagerly turned the other cheek, heedless of his quality as gentleman, jurist, and one-time member of a duelling corps, all of which would have constrained him to quite a different line of conduct had the blow been of terrestrial origin. A. K. Ferge, that good-natured martyr, to whom all " high­brow" thought was foreign, had one evening held such a spirit hand in his own, and established by sense of touch that it was whole and well shaped. His clasp had been heart-felt to the limits of respect; but it had in some indescribable fashion escaped him. A considerable period elapsed, some two months and a half of bi­weekly sittings, before a hand of other-worldly origin, a young man's hand, it seemed, came .fingering over the table, in the red glow of the paper-shaded lamp, and, plain to the eyes of all the circle, left its imprint in an earthenware basin full of flour. And eight days later a troop of Krokowski's workers, Herr Albin, Frau Stohr, the Magnuses, burst in upon Hans Castorp where he sat dozing toward midnight in the biting cold of his balcony, and with every mark of distracted and feverish delight, their words tumbling over one another, announced that they had seen Elly's Holger - he had showed his head over the shoulder of the little medium, and had in truth "beautiful brown, brown curls." He had smiled with such unforgettable, gentle melancholy as he vanished!

Hans Castorp found this lofty melancholy scarcely consonant with Holger's other pranks, his impish and simple-minded tricks, the anything but gently melancholy slap he had given Lawyer Paravant and the latter had pocketed up. It was apparent that one must not demand consistency of conduct. Perhaps they were dealing with a temperament like that of the little hunch-backed man in the nursery song, with his pathetic wickedness and his' craving for intercession. Holger's admirers had no -thought for all this / Page 670 / What they were determined to do was to persuade Hans Castorp rescind his decree; positively, now that everything was so brilliantly in train, he must be present at the next seance. Elly, it seemed, in her trance had promised to materialize the spirit of any departed person the circle chose.

Any departed person they chose? Hans Castorp still showed reluctance. But that it might be any person they chose occupied his mind to such an extent that in the next three days he came to a different conclusion. Strictly speaking it was not three days, but as many minutes, which brought about the change. One evening, in a solitary hour in the music-room, he played again the record that bore the imprint of Valentine's personality, to him so profoundly moving. He sat there listening to the soldierly prayer of the hero departing for the field of honour:

"If God should summon me away,

Thee I would watch and guard -alway,

O Marguerite! " -

and, as ever, Hans Castorp was filled by emotion at the sound, an emotion which this time circumstances magnified and as it were ndensed into a longing; he thought: "Barren and sinful or no, it. would be a marvellous thing, a darling adventure! And he, as I know him, if he had anything to do with it, would not mind." He recalled that composed and liberal" Certainly, of course," he had heard in the darkness of the x-ray laboratory, when he asked Joahim if he might commit certain optical indiscretions.

The next morning he announced his willingness to take part in the evening seance; and half an hour after dinner joined the group of familiars of tl1e uncanny, who, unconcernedly chatting, took their way down to the basement; They were all old inhabitants, the-oldest of the old, or at least of long standing in the group, like the Czech Wenzel and Dr. Ting-Fu; Ferge and Wehsal, Lawyer Paravant, the ladies KIeefeld and Levi, and, in addition, those persons who had come to his balcony to announce to him the apparition of Holger's head, and of course the medium, Elly Brand.

That child of thee north was already in the doctor's charge when Hans Castorp passed through the door with the visiting-card: the doctor, in his black tunic, his arm laid fatherly across her shoulder, stood at the foot of the stair leading from the basement floor and welcomed the guests, and she with him. Everybody greeted everybody else, with surprising hilarility and expansiveness -It seemed to be the common aim to keep the meeting pitched in a key free from all solemnity or constraint. They- talked in loud, cheery voices, / Page 671 / "poked each other in the ribs, showed everyway how perfectly at ease they felt. Dr. Krokowski's yellow teeth kept gleaming in his beard with every hearty, confidence-inviting sinile; he repeated his "Wel - come" to each arrival, with special fervour in Hans Castorp's case - who, for his .part, said nothing at all, and whose manner was hesitating. "Courage, comrade," Krokowski's energetic and hospitable nod seemed to be saying, as he gave the young man's hand an almost violent squeeze. No need here to hang the head, here is no cant nor sanctimoniousness, nothing but the blithe and manly spirit of disinterested research. But Hans Castorp felt none the better for all this pantomime. He summed up the resolve formed by the memories of the x ray cabinet; but the train of thought hardly fitted with his present frame; father he was reminded of the peculiar and unforgettable mixture of feelings ­ nervousness, pridefulness, curiosity, disgust, and awe - with which, years ago, he had gone with some fellow students, a little tipsy, to a brothel in Sankt-Pauli.

As everyone was now present, Dr. Krokowski selected two controls - they were, for the evening, Frau Magnus and the ivory Levi - to preside over the physical examination of the medium, and they withdtew to the next room. Hans Castorp and the re­maining nine persons awaited in the consulting-room the issue of the austerely scientific procedure - which was invariably without any result whatever. The room was familiar to him from the hours he had spent here, behind Joachim's back, in conversation with the psycho-analyst. It had a writing-desk, an arm-chair and an easy­chair for patients on the left, the window side; a library of reference-books on shelves to right and left of the side door, and in the' further right-hand corner a chaise-longue, covered with oilcloth, separated by a folding screen from the desk and chairs. The doctor's glass instrument-case also stood in that corner, in another was a bust of Hippocrates, while an engraving of Rembrandt's " Anatomy Lesson" hung above the gas fire-place on the right side wall. It was an ordinary consulting-room, like thousands more; but with certain temporary special arrangements. The round mahogany table whose place was in the centre of the room, beneath the electric chandelier, upon the red carpet that covered most of the floor, had been pushed forward against the left-hand wall, be­neath the plaster bust; while a smaller table, covered with a cloth and bearing a red-shaped lamp, had been set obliquely near the gas fire, which was lighted and giving out a dry heat. Another electric bulb, covered with "red and further with a black gauze veil, hung above the table. On this table stood certain notorious objects: two / Page 672 / table-bells, of different patterns, one to shake and one to press, the plate with flour, and the paper-basket. Some dozen chairs of different shapes and sizes surrounded the table in a half-circle, one end of which was formed by the foot of the chaise-longue, the other ending near the centre of the room, beneath the ceiling light. Here, in the neighbourhood of the last chair, and about half-way to the door, stood the gramophone; the album of light trifles lay on a chair next it. Such were the arrangements. The red lamps were yet lighted, the ceiling light was shedding an effulgence as of common day, for the window, above the narrow end of the writing-desk, was shrouded in a dark covering, with its open-work cream-coloured blind hanging down in front of it.

After ten minutes the doctor returned with the three ladies. Elly's outer appearance had changed: she was not wearing her ordinary clothes, but a night-gownlike garment of white crepe, girdled about the waist by a cord, leaving her slender arms bare. Her maidenly breasts showed themselves soft and unconfined beneath this garment, it appeared she wore little else.

They all hailed her gaily. "Hullo, Elly!, How lovely she looks again! A perfect fairy! Very pretty, my angel! " She smiled at their compliineilts to her attire, probably well knowing it became her. "Preliminary' control negative," Krokowski announced. "Let's get to work, then, comrades," he said. Hans Castorp, consious of being disagreeably affected by the doctor's manner of address, was about to follow the example. of the others, who, shouting, chattering, slapping each other on the shoulders, were settling themselves'in the circle of chairs, when the doctor addressed him personally.

"My friend," said he, "you are a guest, perhaps a novice, in our midst, and therefore I should like, this evening, to pay you special honour. I confide to you the control of the medium. Our practice is as follows." He ushered the young man toward the end of the circle next the chaise-longue and the screen, where Elly was seated on. an ordinary cane chair, with her face turned rather toward the entrance door than to the centre of the room. He himself sat down close in front of her in another such chair, and clasped her hands, at the same time holding both her knees fiirmly between his own. "Like'that," he, said. and gave his place to Hans Castorp, who assumed the same position. "You'll grant that the arrest is complete. But we shall give you assistance too. Fraulem KIeefeld, may I implore you to lend us your aid?" And the lady. thus courteousfy and exotically entreated came and sat down. clasping Elly's fragile wrists, one in each hand.

Page 673

Unavoidable, that Hans Castorp should look into'the face of the young prodigy, fixed as it was so immediately before his own. Their eyes met - but Elly's slipped aside and gazed with natural self-consciousness in her lap. She was smiling a little affectedly, with her lips slightly pursed, and her head on one side, as she had at the wineglass seance. And Hans Castorp was reminded, as he saw her, of something else: the look on Karen Karstedt's face, a smile just like that, when she stood with Joachim and himself and regarded the unmade grave in the Dorf graveyard.

The circle had sat down. They were thirteen persons; not counting the Czech Wenzel, whose function it was to serve Polyhymnia, and who accordingly, after putting his instrument in readiness, squatted with his guitar at the back of the circle. Dr. Krokowski sat beneath the chandelier, at the other end of the row, after he had turned on both red lamps with a single switch, and turned off the centre light. A darkness, gently aglow, layover the room, the corners and distances were obscured. Only the surface of the little table and its immediate vicinity were illumined by a pale rosy light. During the next few minutes one scarcely saw one's neighbours; then their eyes slowly accustomed themselves to the darkness and made the best use of the light they had - which was slightly reinforced by the small dancing flames from the chimney piece.

The doctor devoted a few words to this matter of the lighting, and excused its lacks from the scientific point of view. They must take care not to interpret it in the sense of deliberate mystification and scene-setting. With the best will in the world they could not, unfortunately, have 'more light for the present. The nature of the powers they were to study would not permit of their being developed with white light, it was not possible thus to produce the desired conditions. This was a fixed postulate, with which they must for the present reckon. Hans Castorp, for his part, was quite satisfied. He liked the darkness, it mitigated the queerness of the situation. And in its justification he recalled the darkness of the x-ray room, and how they had collected themselves, and "washed their"eyes" in it, before they" "saw."
The medium, Dr. Krokowski went on, obviously addressing his words to Hans Castorp in particular, no longer needed to be put in the trance by the physician. She fell into it herself, as the control would see, and once she had done so, it would be her guardian spirit Holger, who spoke with her voice, to whom, and not to her, they should address themselves. Further, it was an error, which might result in failure, to suppose that one must bend mind or will / Page 674 / upon the expected phenomena. On the contrary, a slightly diffused attention, with conversation, was recommended. And Hans Castorp was cautioned, whatever else he did, not to lose control of the medium's extremities. '

We will now form the chain," finished Dr. Krokowski; and they did so, laughing when they could not find each other's hands in the dark. Dr. Ting-Fu, sitting next Hermine Kleefeld, laid his right hand on her shoulder and reached his left to Herr Wehsal, who came next. Beyond him were Herr and Frau Magnus, then K. Ferge; who, if Hans Castorp mistook not, held the hand of the ivory Levi on his right - and so on. "Music!" the doctor commanded, and behind him his neighbour the Czech set the instrument in motion and placed the needle, on the disk. "Talk!" Krokowski bade them, and as the first bars of an overture by Millocker were heard, they obediently bestirred themselves to make conversation, about nothing at all: the winter snow-fall, the last course at dinner, a newly arrived patient, a departure, "wild" or otherwise - artificially sustained, half drowned by the music, and lapsing now and again. So some minutes passed.

The record had not run out before Elly shuddered violently. trembling ran through her, she sighed, the upper part of her bo dy sank forward so that her forehead rested against Hans Castorp's, and her arms, together with those of her guardians, began: make extraordinary pumping motions to and fro.

"Trance," announced the Kleefeld. The music stopped, so also conversation. In the abrupt silence they heard the baritone drawl of the doctor. "Is Holger present? "

Elly shivered again. She swayed in her chair. Then Hans Castorp felt her press his two hands with a quick, firm pressure.

"She pressed my hands," he informed them.

"He," the doctor corrected him. "He pressed your hands. He is present. Wel-come, Holger," he went on with unction." Wel-come, friend and fellow comrade, heartily, heartily wel-come. And remember, when you were last with us," he went on, and Hans Castorp remarked that he did not use the form of address common to the civilized West - "you promised to make visible to our mortal eyes some dear departed, whether brother soul or sister soul, whose name should be given to you by our circle. Are you willing? Do you feel yourself able to perform what you promised? "

Again Elly shivered. She sighed and shivered as the answer came. Slowly she carried her hands and those of her guardians to her fore- / Page 675 / head, where she let them rest. Then close to Hans Castorp's ear she whispered: "Yes."

The warm breath immediately at his ear caused·in our friend that phenomenon of the epidermis popularly called goose-flesh, the nature of which the Hofrat had once explained to him. We mention this in order to make a distinction between the psychical and ·the purely physical. There could scarcely be talk of fear, for our hero was in fact thinking: "Well, she is certainly biting off more than she can chew!" But then he was straightway seized with a mingling of sympathy and consternation springing from the confusing and illusory circumstance that a blood-young creature, whose hands he held in his, had just breathed a yes into his ear.

"He said yes," he reported, and felt embarrassed.

"Very well, then, Holger," spoke Dr. Krokowski. "We shall take you at your word. We are confident you will do your part. The name of the dear departed shall shortly be communicated to you. Comrades," he turned to the gathering, " out with it, now! Who has a wish? Whom shall our friend Holger show us? "

A silence followed: Each waited for the other to speak. Individually they had probably all questioned themselves, in these last few days; they knew whither their thoughts tended. But the calling back of the dead, or the desirability of calling them back, was a ticklish matter, after all. At bottom, and boldly confessed, the desire does not exist; it is a misapprehension precisely as impossible as the thing itself, as we should soon see if nature once let it happen. What we call mourning for our dead is perhaps not so much grief at not being able to call them back as it is grief at not being able to want to do so.

This was what they were all obscurely feeling; and since it was here simply a question not of an actual return, but merely a theatrical staging of one, in which they should only see the departed, no more, the thing seemed humanly unthinkable; they were afraid to look into the face of him or her of whom they thought, and each one would willingly have resigned his right of choice to the next. Hans Castorp too, though there was echoing in his ears that large-hearted "Of course, of course" out of the past, held back, and at the last moment was rather inclined to pass the choice on. But the pause was too long; he turned his head toward their leader, and said; in a husky voice: "I should like to see my departed cousin, Joachim Ziemssen."

That was a relief to them all. Of those present, all excepting Dr. Ting-Fu, Wenzel, and the medium had known the person asked / Page 676 / for. The others, Ferge, Wehsal, Herr Albin, Paravant, Herr and Frau Magnus, Frau Stohr, Fraulein Levi, and the Kleefeld, loudly announced their satisfaction with the choice. Krokowski himself nodded well pleased, though his relations with Joachim had always been rather cool, owing to the latter's reluctance in the matter of psycho-analysis.

" Very good indeed," said the doctor. "Holger, did you hear? The person named was a stranger to you in life. Do you know him in the Beyond, and are you prepared to lead him hither?

Immnse suspense. The sleeper swayed, sighed, and shuddered. he seemed to be seeking, to be struggling; fallihg this way and that, whispering now to Hans Castorp, now to the Kleefeld, something they could not catch. At last he received from her hands the pressure that meant yes. He announced himself to have done so. and-

"Very well;-then," cried Dr. Krokowski. "To work, Holger Music," he cried. "Conversation! "and he repeated the injunction that no fixing of the attention, no strained anticipation was in place, only an unforced and hovering expectancy.

And now followed the most extraordinary hours of our hero's young life. Yes, though his later fate is unclear, though at a certain moment in his destiny he will vanish from our eyes, we may assume them to have been the most extraordinary he ever spent.

They were hours - more than two of them, to be explicit, counting in a brief intermission in the efforts on Holger's part which now began, or rather, on the girl Elly's - of work so hard and so prolonged that they were all toward the end inclined to be faint­hearted and despair of any result; out of pure pity, too, tempted to resign an attempt which seemed pitilessly hard, and beyond the delicate strength of her upon whom it was laid. We men, if we do not shirk our humanity, are familiar with an hour of life when we know this almost intolerable pity, which, absurdly enough no one else,can feel, this rebellious "Enough, no more! ' which is wrung from us, though it is not enough, and cannot or will not be enough. until it comes somehow or other to its appointed end. The reader knows we, speak of our husband- and fatherhood, of the act of birth, which Elly's wrestling did so unmistakably resemble that even he must recognize it who had never passed through this experience, even ouryoung Hans Castorp; who, not having shirked life, now came to know, in such a guise, this act, so full of organic mysticism. In what a guise! To what an end! Under what circumstances! One could not regard as anything less than scandalous the sights and sounds in this red-lighted lying-in chamber, the / Page 677 / maidenly form of the pregnant one, bare-armed, in flowing night­robe; and then by contrast the ceaseless and senseless gramophone music, the forced conversation which the circle kept up at command, the cries of encouragement they ever and anon directed at the struggling one: "Hullo, Holger! Courage, man! It's coming, just keep it up, let it come, that's the way!" Nor do we except the person and situation of the "husband" - if we may regard in that light our young friend, who had indeed formed such a wish­sitting there, with the knees of the little "mother" between his own, holding in his her hands, which were as wet as once little Leila's, so that he had constantly to be renewing his hold, not to let them slip.

For the gas fire in the rear of the circle radiated great heat. Mystical, consecrate? Ah, no, it was all rather noisy and vulgar, there in the red glow, to which they had now so accustomed their eyes that they could see the whole room' fairly well. The music and shouting were so like the revivalistic methods of the Salvation Army, they even made Hans Castorp think of the comparison, albeit he had never attended at a celebration by these cheerful zealots. It was in no eerie or ghostly sense that the scene affected the sympathetic one as mystic or mysterious, as conducing to solemnity; it was rather natural, organic - by virtue of the intimate association we have already referred to. Elly's exertions came in waves, after periods of rest, during which she hung sidewise from her chair in a totally relaxed and inaccessible condition, described by Dr. Krokowski as "deep trance." From this she would start up with a moan, throw herself about, strain and wrestle with her captors, whisper feverish, disconnected words, seem to be trying, with sidewise, jerking movements, to expel something; she would gnash her teeth, once even fastened them in Hans Castorp's sleeve.

This had gone on for more than an hour when the leader found it to the interest of all concerned to grant a brief intermission. The Czech Wenzel, who had introduced an enlivening variation by closing the gramophone. and striking up very expertly on his guitar, laid that instrument aside. They all drew a long breath and broke the circle. Dr. Krokowski strode over to the wall and switched on the ceiling lamp; the light flashed up glaringly, making them all blink. Elly, bent forward, her face almost in her lap, slumbered. She was busy too, absorbed in the oddest activity, with which the others appeared familiar, but which Hans Castorp watched. with attentive wonder. For some minutes together she moved the hollow of her hand to and fro in the region of her hips: / Page 678 / carried the hand away from her body and then with scooping, raking motion drew It towards her, as though gathering something and pulling it in. Then, with a series of starts, she came to herself, blinked in her turn at the light with sleep-stiffened eyes and smiled.

She smiled affectedly, rather remotely. In truth, their solicitude· seemed wasted; she did not appear exhausted by her efforts. Perhaps she retained no memory of them. She sat down in the chair reserved for patients, by the writing-desk near the window, between the desk and the screen about the chaise-longue; gave the chair a turn so that she could support her elbow on the desk and look into the room; and remained thus, receiving their sympathetic glances and encouraging nods, silent during the whole intermission, which lasted fifteen minutes.

It was a beneficent pause, relaxed, and filled with peaceful satisfaction in respect of work already accomplished. The lids of cigarette-cases snapped, the men smoked comfortably, and standing.in groups discussed the prospects of the seance. They were far from despairing or anticipating a negative result to their efforts. Signs enough were present to prove such doubting uncalled for. Those sitting near the doctor, at the far-end of the row, agreed that they had several times felt, quite unmistakably, that current of cool air which regularly whenever manifestations. were under way streamed in a definite direction from the person of the medium. Others had seen light-phenomena, white spots, moving conglobations of forces showing themselves at intervals against the screen. In short, no faint-heartedness! No looking backward now they had put their hands to the plough: Holger had given his word they had no call to doubt that he would keep it.

Dr. Krokowski signed for the resumption of the sitting. He led Elly back to her martyrdom and seated her, stroking her hair. The others closed the circle. All went as before. Hans Castorp suggested that he be released from his post of first control, but Dr. Krokowski refused. He said he laid great stress on excluding, by immediate contact, every possibility of misleading manipulation on the part of the medium. So Hans Castorp took lip again his strange position vis-a.-vis to Elly; the white light gave place to rosy twilight, the music began again, the pumping motions; this time it was Hans Castorp who announced 'trance." The scandalous lying-in proceeded.

With what distressful difficulty! It seemed unwilling to take its course - how could it? Madness! What maternity was this, what delivery, of what should she be delivered? " Help, help,". the child / Page 679 / moaned, and her spasms seemed about to pass over into that dangerous and unavailing stage obstetricians call eclampsia. She called at intervals on the doctor, that he should put his hands on' her. He did so, speaking to her encouragingly. The magnetic effect, if such it was, strengthened her to further efforts.

Thus passed the second hour, while the guitar was strummed or the gramophone gave out the contents of the album of light music into the twilight to which they had again accustomed their vision. Then came an episode, introduced by Hans Castorp. He supplied a stimulus by expressing an idea, a wish; a wish he had cherished from the beginning, and might perhaps have profitably expressed before now. Elly was lying with her face on their joined hands, in "deep trance." Herr Wenzel was just changing or reversing the record when our friend summoned his resolution and said he had a suggestion to make, of no great importance, yet perhaps - possibly - of some avail. He had - that is, the house possessed among its volumes of records - a. certain song, from Gounod's Faust, Valentine's Prayer, baritone with orchestral accompaniment, very appealing. He, the speaker, thought they might try the record.

"Why that particular one? " the doctor asked out of the darkness.

"A question of mood. Matter of feeling," the young man responded. The mood of the piece in question was peculiar to itself, quite special- he suggested they should try it. Just possible, not out of the question, that its mood and atmosphere might shorten their labours.

"Is the record here? " the doctor inquired.

No, but Hans Castorp could fetch it at once.

"What are you thinking of? " Krokowski promptly repelled the idea. What? Hans Castorp thought he might go and come again and take up his business where he had left it off? There spoke the voice of utter inexperience. Oh, no, it was impossible. It would upset everything, they would have to begin all over. Scientific exactitude forbade them to think of any such arbitrary going in and out. The door was locked. He, the doctor, had the key in his pocket. In short, if the record was not now in the room -

He was still talking when the Czech threw in, from the gramophone: "The record is here."

" Here? " Hans Castorp asked.

"Yes, here it is, Faust, Valentine's Prayer." It had been stuck by mistake in the album of light music, not in the green album of arias, where it belonged; quite by chance - or mismanagement / Page 680 / or carelessness, in any case luckily - it had partaken of the general topsyturvyness, and here it was, needing only to be put on.

"What had Hans Castorp to say to that? Nothing. It was the doctor who remarked: "So much the better," and some of the others chimed in. The needle scraped, the lid was put down. The male voice began to choral accompaniment: "Now the parting hour has come."

"No one spoke. They listened: Elly, as the music resumed, renewed her efforts. She started up convulsively, pumped, carried the slippery hands to her brow. The record went on, came to the middle part, with skipping rhythm, the part about war and danger, gallant, god-fearing, French. After that the finale, in full volume, the orchestrally supported refrain of the beginning.

"O Lord of heaven, hear me pray. . . ."

Hans Castorp had work with Elly. She raised herself, drew in a straggling breath, sighed a long, long, outward sigh, sank down illlc1 was still. He bent over her in concern, and as he did so, he heard Frau Stohr say; in a high, whining pipe: "Ziemssen! "

He did not look up. A bitter taste came in his mouth. He heard another voice, a deep, cold voice, saying: "I've seen him a long time."

The record had run off, with a. last accord of horns. But no one stopped the machine. The needle went on scratching in the silence, as the disk whirred round. Then Hans Castorp raised his head, and his eyes went, without searching, the right way.

"There was one more person in the room than before. There in the background, where the red rays lost themselves in gloom, so that the eye scarcely reached thither, between writing-desk and screen, in the doctor's consulting-chair, where in the intermission Elly had been sitting, Joachim sat. It was the Joachim of the last days, with hollow, shadowy cheeks, warrior's beard and full, curling lips. He sat leaning back, one leg crossed over the other.

On his wasted face, shaded though it was by his head-covering, was plainly seen the stamp of suffering, the expression of gravity mid austerity which had beautified it. Two folds stood on his brow, between the eyes, that lay deep in their bony cavities; but there was no change in the mildness of. the great dark orbs, whose quiet, friendly gaze sought out Hans Castorp, and him alone. That ancient grievance of the outstanding ears was still to be seen under the head-covering, his extraordinary head-covering, which they could not make out. Cousin Joachim was not in mufti. His sabre seemed to be leaning against his leg, he held the handle, one thought to distinguish something like a pistol-case in his belt. "But that was / Page 681 / no proper uniform he wore. No colour, no decorations; it had a collar like a litewka jacket, and side pockets. Somewhere low down on the breast was a cross. His feet looked large, his legs very thin, they seemed to be bound or wound as for the business of sport more than war. And what was it, this headgear? It seemed as though Joachim had turned an army cook-pot upside-down on his head, and fastened it under his chin with a band. Yet it looked quite properly warlike, like an old-fashioned foot-soldier, perhaps.

Hans Castorp felt Ellen Brand's breath on his hands. And near him the Kleefeld's rapid breathing. Other sound there was none, save the continued scraping of the needle on the run-down, rotating record, which nobody stopped. He looked at none of his company, would hear or see nothing of them; but across the hands and head on his knee leaned far forward and stared through the red darkness at the guest in the chair. It seemed one moment as though his stomach would turn over within him. His throat contracted and a four- or fivefold sob went through and through him. "Forgive me! " he whispered; then his eyes overflowed, he saw no more.

He heard breathless voices: "Speak to him! "he heard Dr. Krokowski's baritone voice summon him, formally, cheerily, and repeat the request. Instead of complying, he drew his hands away from beneath Elly's face, and stood up.

Again Dr. Krokowski called upon his name, this time in monitory tones. But in two strides Hans Castorp was at the step by.the entrance door and with one quick movement turned on the white light.

Fraulein Brand had collapsed. She was twitching convulsively in the Kleefeld's arms. The chair over there was empty.

Hans Castorp went up to the protesting Krokowski, close up to him. He tried to speak, but no words came. He put out his hand, with a brusque, imperative gesture. Receiving the key, he .nodded several times, threateningly, close into the other's face;
turned, and went out of-the room.

 

ELLY BRAND

 

Daily Mail

Monday, March 22, 2010

Mail Foreign Service

Girl, 4 dies in car horror on holiday beach

"She was beautiful, a princess': Ellie Bland

Page 28

A BRITISH girl of four was killed by a car as she walked along a popular U.S. beach with her family.
Ellie Bland was holding her great uncle's hand when she stepped into a car lane that runs along Daytona Beach, on Florida's east coast.
Although police said the vehicle was driving within the 10mph speed limit, she was sent flying.

Horrified witnesses screamed as the car halted. But before they could reach Ellie, the driver, Barbara Worley, 66, panicked and hit the accelerator, surging forward and hitting the girl - killing her instantly.

Ellie's parents, who were at home in Nottingham, learned of their daughter's death by phone. It is thought they flew out to Florida yesterday.
Enlarge Investigation: Florida Highway Patrol said Worley could face charges

Relatives said that her great uncle, John Langlands, 53, and his wife Karen, 44, had brought up Ellie and her five-year-old sister, believed to be called Kacey, since they were babies.

Ellie had survived serious health problems including a heart murmur and a digestive tract condition.

Last year she nearly died after contracting swine flu. The family regularly took holidays in Daytona Beach, where it is thought they had a holiday home.
The recent trip, with a group of friends from Britain, was Ellie's sixth. The Langlands had planned to take her to Disney's Magic Kingdom yesterday to dress up as the star of the film the Princess and the Frog.
Ellie was with her sister at the time of the tragedy and an older child, who has not been named.
Mrs Langlands said of the crash: 'It just took her. It's not real. You just bring them to the beach for the day. . . I can't believe it.'
Mr Langlands told police the car came 'barrelling down' on them and clipped Ellie. He broke down as he added: 'She was beautiful, a princess.'
Daytona Beach is one of the few beaches in America where cars are permitted to drive, because of its hard, compacted sand.

There are clearly marked lanes monitored by police, but officials said the high tide may have brought pedestrians and cars closer together than usual. It was also one of the first warm Saturdays of the year, meaning the beach was packed.
Last night, Ellie's family in Nottingham spoke of their grief.
A woman relative, who did not want to be named, said: 'Karen will be completely devastated.

'She can't have kids herself so she lived for Ellie - she took her all around the world.'
Worley, a U.S. tourist from Georgia, sat weeping in her car after the accident. She was not speeding or under the influence of alcohol, police said.
She is likely to a face only a minor traffic infringement charge rather than the more serious one of vehicular manslaughter, which could have led to a 15-year jail term.
A police spokesman said: 'We are still conducting our investigation, but everything points to a very tragic accident.
'Witnesses have said the girl ran into the traffic lane. She could have been distracted by the sight of the waves and sea.'

 

 

MAIL ON LINE

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Pictured: British girl, 4, killed by car on Florida beach while walking hand-in-hand with uncle 'after driver panicked'

By Mail Foreign Service
Last updated at 10:23 AM on 22nd March 2010

Comments (81) Add to My Stories
A four-year-old British girl was killed by a car as she walked along a popular U.S. beach with her family.
Ellie Bland was holding her great uncle's hand when she stepped into a car lane that runs along Daytona Beach, on Florida's east coast.
Although police said the vehicle was driving within the 10mph speed limit, she was sent flying.

Victim:Ellie Bland was killed by a car as she walked along Daytona beach with her great uncle
Shattered: Barbara Worley sits in her Lincoln Town Car moments after the accident on Saturday afternoon

Horrified witnesses screamed as the car halted. But before they could reach Ellie, the driver, Barbara Worley, 66, panicked and hit the accelerator, surging over the little girl - killing her instantly.

Florida Highway Patrol said an investigation had been launched and that charges were pending for Worley, from Elberton, Georgia.

Ellie's parents, who were at home in Nottingham, learned of their daughter's death by phone. It is thought they flew out to Florida yesterday.
Enlarge Investigation: Florida Highway Patrol said Worley could face charges

Relatives said that her great uncle, John Langlands, 53, and his wife Karen, 44, had brought up Ellie and her five-year-old sister, believed to be called Kacey, since they were babies.

Ellie had survived serious health problems including a heart murmur and a digestive tract condition.

Last year she nearly died after contracting swine flu. The family regularly took holidays in Daytona Beach, where it is thought they had a holiday home.
The recent trip, with a group of friends from Britain, was Ellie's sixth.

The Langlands had planned to take her to Disney's Magic Kingdom yesterday to dress up as the star of the film the Princess and the Frog.
Ellie was with her sister at the time of the tragedy and an older child, who has not been named.
Mrs Langlands said of the crash: 'It just took her. It's not real. You just bring them to the beach for the day. . . I can't believe it.'
Mr Langlands told police the car came 'barrelling down' on them and clipped Ellie. He broke down as he added: 'She was beautiful, a princess.'
Daytona Beach is one of the few beaches in America where cars are permitted to drive, because of its hard, compacted sand.

There are clearly marked lanes monitored by police, but officials said the high tide may have brought pedestrians and cars closer together than usual. It was also one of the first warm Saturdays of the year, meaning the beach was packed.
Last night, Ellie's family in Nottingham spoke of their grief.
A woman relative, who did not want to be named, said: 'Karen will be completely devastated.
Daytona Beach is on the east coast of Florida

Daytona Beach is one of few coastal resorts in the US where cars are permitted to drive on the sand
'She can't have kids herself so she lived for Ellie - she took her all around the world.'
Worley, a U.S. tourist from Georgia, sat weeping in her car after the accident. She was not speeding or under the influence of alcohol, police said.
She is likely to a face only a minor traffic infringement charge rather than the more serious one of vehicular manslaughter, which could have led to a 15-year jail term.
A police spokesman said: 'We are still conducting our investigation, but everything points to a very tragic accident.
'Witnesses have said the girl ran into the traffic lane. She could have been distracted by the sight of the waves and sea.'

Print this article Read later Email to a friend Share this article: Digg it Del.icio.us Reddit Newsvine Nowpublic StumbleUpon Facebook MySpace Fark Comments (81)Here's what readers have had to say so far. Why not debate this issue live on our message boards.
The comments below have been moderated in advance.

Newest Oldest Best rated Worst rated View all The reason vehicles are allowed on the sand in Daytona Beach is, like most of the beaches on the U.S. Atlantic coast, frigging hotels dot every last bit of open space. The only other way to get to the beach is to pay a parking fee to a hotel to use a parking lot (car park), or fight with someone to get a parking space at one of the few free city mantained lots. In many Atlantic coastal cities, there are so many hotels you can't even SEE the beach. The alternative is to find a beach that is in the jurisdiction of the National Park Service, such as Pea Island National Bird Sanctuary in the Outer Banks. No frigging hotels allowed!
- haywoodzarathustra, Fat City, Atlantis, 22/3/2010 13:14

Click to rate Rating 48 Report abuse

I was so sad when reading this. I have a 4 year old daughter and I can only imagine the family's grief and great sadness. I am heartbroken. My deepest sympathy goes out to the family.
- Mrs. Badcrumble, Columbus, OH, 22/3/2010 13:10

Click to rate Rating 69 Report abuse

This is so sad and horrible for all involved, and I include the driver in this.
We can just blame her, or blame those who did not keep Ellie's hand in theirs and keep her out of the car lane--or we can just see the truth. Accident, all it is, and unfortunately those involved will blame themselves enough for all of us.
Have mercy on them.
Humans make mistakes, that's all.

Mr. Ellis in Southhampton (22/3/2010 08:46), thank you and bless you for such a reasonable comment.

- Linda, Farmington, USA, 22/3/2010 12:51

Click to rate Rating 79 Report abuse

RIP Ellie For Gods sake take an Engish course,Or shut up.
- P.Widdowson, loule portugal, 22/3/2010 12:48

Click to rate Rating 49 Report abuse

We went to Daytona when my son was small and when I saw the traffic on the beach, I was terrified. It seemed to me to be so easy for an excited child to run towards the sea and be hit by a car. Paranoia, maybe, but it looked to me like an accident waiting to happen. It was impossible to settle and enjoy a holiday there, so we packed up and went back to the Florida Keys.
- Pato, Hale, Chesh., 22/3/2010 12:15

Click to rate Rating 40 Report abuse

For everyone slamming American drivers and those of us fortunate enough to live in Daytona Beach, a little history. Cars have been on our beach since the early 1900s when racing began in Daytona (Daytona International Speedway, anyone?). The original race track was the beach, because of its hard packed sand. As a teenager, one of the best things in life was to cruise the beach with your friends. The speed limit is 10 miles per hour, strictly enforced. Until the overcrowding of our beloved beach, it was extremely rare for a sun bather to get run over by a car. The last accident of the sort was 22 years ago, when another child darted out into the traffic lanes. Our beach is 23 miles long, there is driving on only a small portion of that, most of the beach has sand that is too soft for cars. People are free to go there to play where there are no cars allowed. In the core tourist area driving has been banned for the last ten years, again people are free to go there. RIP dear Ellie.
- Dynah Moe Humm, Daytona Beach, Florida USA, 22/3/2010 12:15

Read more: http://www.dailymail.co.uk/news/worldnews/article-1259623/Four-year-old-British-girl-killed-tragic-car-accident-popular-Florida-beach.html#ixzz0jMmSgekQ

 

 

IDEAS PLEASE I ME I ME I PLEASE IDEAS

 

 

PLACET EXPERIRI EXPERIRI PLACET

 

1

are echoes here of Hans Castorp’s Mountain motto, ‘placet experiri’, which. states a positive commitment to experience and experiment. The same idea ... assets.cambridge.org/97805216/53107/sample/9780521653107ws

2

 

Placet experiri. Latin phrase meaning "It pleases to experiment", Ch. 4. “Beer, tobacco, and music,” he went on.. “Behold the Fatherland.” ... en.wikiquote.org/wiki/Thomas_Mann

3

Mann Quote: Placet experiri. ... Famous Quotes |Placet experiri. Printable Version · Cite this Page.Placet experiri. - Thomas Mann ... www.enotes.com/famous-quotes/placet-experiri

4

Diesen Ausgang verdankt Hans Castorp dem ,Placet experiri, der Erfahrung, ... Re:Placet experiri... dominikus franke schrieb am 24.07.2007 um 01:43 Uhr: ... www.albertmartin.de/latein/forum

5

Placet experiri. Wie schön, daß damals, auf dem Höhepunkt der Thomas-Mann-Begeisterung, das Krankenhaus, in dem ich lag, sich so leicht zum „Berghof“ (aus ... www.werner-radtke.de/1995/03/224-placet-experiri.html

 

 

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A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
-
7
3
1
3
5
2
-
5
6
7
5
-
--
-
--
+
=
44
4+4
=
8
-
8
-
8
`-
16
12
1
3
5
20
-
5
24
16
5
-
--
-
--
+
=
107
1+0+7
=
8
-
8
-
8
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
`-
16
12
1
3
5
20
-
5
24
16
5
18
9
18
9
+
=
161
1+6+1
=
8
-
8
-
8
-
7
3
1
3
5
2
-
5
6
7
5
9
9
9
9
+
=
80
8+0
=
8
-
8
-
8
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
5
-
-
5
-
-
5
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
9
occurs
x
4
=
36
3+6
9
14
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
33
-
-
14
-
80
-
35
1+4
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
3+3
-
-
1+4
-
8+0
-
3+5
5
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8
--
7
3
1
3
5
2
-
5
6
7
5
9
9
9
9
-
-
-
-
-
--
--
-
-
-
5
P
L
A
C
E
T
-
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8

 

 

14
P
L
A
C
E
T
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
`-
-
-
--
-
-
-
-
--
-
-
18
9
18
9
+
=
54
5+4
=
9
-
9
-
9
-
-
-
--
-
-
-
-
--
-
-
9
9
9
9
+
=
36
3+6
=
9
-
9
-
9
`-
-
-
--
-
-
-
-
--
-
-
18
9
18
9
+
=
54
5+4
=
9
-
9
-
9
14
P
L
A
C
E
T
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
-
7
3
1
3
5
2
5
6
7
5
-
--
-
--
+
=
44
4+4
=
8
-
8
-
8
`-
16
12
1
3
5
20
5
24
16
5
-
--
-
--
+
=
107
1+0+7
=
8
-
8
-
8
14
P
L
A
C
E
T
E
X
P
E
R
I
R
1
-
-
-
-
-
-
-
-
-
-
`-
16
12
1
3
5
20
5
24
16
5
18
9
18
9
+
=
161
1+6+1
=
8
-
8
-
8
-
7
3
1
3
5
2
5
6
7
5
9
9
9
9
+
=
80
8+0
=
8
-
8
-
8
14
P
L
A
C
E
T
E
X
P
E
R
I
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
5
-
5
-
-
5
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
7
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
9
occurs
x
4
=
36
3+6
9
14
P
L
A
C
E
T
E
X
P
E
R
I
R
I
-
-
33
-
-
14
-
80
-
35
1+4
-
-
-
-
-
-
-
-
-
-
9
9
9
9
-
-
3+3
-
-
1+4
-
8+0
-
3+5
5
P
L
A
C
E
T
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8
--
7
3
1
3
5
2
5
6
7
5
9
9
9
9
-
-
-
-
-
--
--
-
-
-
5
P
L
A
C
E
T
E
X
P
E
R
I
R
I
-
-
6
-
-
5
-
8
-
8

 

 

7
IT
29
11
2
4
PLEASES
77
23
5
6
TO
35
8
8
4
EXPERIMENT
129
57
3
17
First Total
270
99
18
1+7
Add to Reduce
2+7+0
9+9
1+8
8
Second Total
9
18
9
-
Reduce to Deduce
-
1+8
-
8
Essence of Number
9
9
9

 

 

10
COMMITMENT
125
44
8
2
TO
35
8
8
10
EXPERIENCE
104
59
5
3
AND
19
10
1
10
EXPERIMENT
129
57
3
45
First Total
412
178
25
4+5
Add to Reduce
4+1+2
1+7+8
2+5
9
Second Total
7
16
7
-
Reduce to Deduce
-
1+6
-
9
Essence of Number
7
7
7

 

 

7
IT
29
11
2
4
PLEASES
77
23
5
6
TO
35
8
8
4
EXPERIMENT
129
57
3
17
First Total
270
99
18
1+7
Add to Reduce
2+7+0
8+1
1+8
8
Second Total
9
9
9
-
Reduce to Deduce
-
1+8
-
8
Essence of Number
9
9
9

 

 

-
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
--
-
-
-
-
-
-
9
-
-
-
-
-
-
1
-
1
-
-
6
-
-
6
-
-
-
9
-
-
5
-
+
=
37
3+7
=
10
1+0
1
=
1
-
-
9
-
-
-
-
-
-
19
-
19
-
-
15
-
-
24
-
-
-
9
-
-
14
-
+
=
109
1+0+9
=
10
1+0
1
=
1
-
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
7
3
5
1
-
5
-
-
2
-
-
5
-
7
5
9
-
4
5
-
2
+
=
62
6+2
=
8
=
8
=
8
-
-
-
20
-
16
12
5
1
-
5
-
-
20
-
-
5
-
16
5
18
-
13
5
-
20
+
=
161
1+6+1
=
8
=
8
=
8
-
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
-
--
-
-
-
-
-
-
9
20
-
16
12
5
1
19
5
19
-
20
15
-
5
24
16
5
18
9
13
5
14
20
+
=
270
2+7+0
=
9
=
9
=
9
-
-
9
2
-
7
3
5
1
1
5
1
-
2
6
-
5
6
7
5
9
9
4
5
5
2
+
=
99
9+9
=
18
1+8
9
=
9
-
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
``-
-
2
-`
-
-
-
-
-
-
-
-`
2
-
-`
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
5
-
-
5
-
-
-
-
-
5
-
-
5
-
-
-
5
5
-
-
-
5
occurs
x
6
=
30
3+0
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
6
-
-
-
-
-
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
9
-
-
-
-
-
-
9
occurs
x
3
=
27
2+7
9
8
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
37
-
-
21
-
99
-
36
-
2+1
9
-
-
-
-
5
-
-
5
-
-
-
-
-
5
-
-
5
-
-
-
5
5
-
-
-
3+7
-
-
2+1
-
9+9
-
3+6
8
3
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
10
-
-
3
-
18
-
9
-
-
9
2
-
7
3
5
1
1
5
1
-
2
6
-
5
6
7
5
9
9
4
5
5
2
-
-
1+0
-
-
-
-
1+8
-
-
8
3
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
1
-
-
3
-
9
-
9

 

 

1
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
--
-
-
-
-
-
9
-
-
-
-
-
-
1
-
1
-
-
6
-
-
6
-
-
-
9
-
-
5
-
+
=
37
3+7
=
10
1+0
1
=
1
-
9
-
-
-
-
-
-
19
-
19
-
-
15
-
-
24
-
-
-
9
-
-
14
-
+
=
109
1+0+9
=
10
1+0
1
=
1
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
-
-
-
-
-
-
-
-
2
-
7
3
5
1
-
5
-
-
2
-
-
5
-
7
5
9
-
4
5
-
2
+
=
62
6+2
=
8
=
8
=
8
-
-
20
-
16
12
5
1
-
5
-
-
20
-
-
5
-
16
5
18
-
13
5
-
20
+
=
161
1+6+1
=
8
=
8
=
8
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
-
--
-
-
-
-
-
9
20
-
16
12
5
1
19
5
19
-
20
15
-
5
24
16
5
18
9
13
5
14
20
+
=
270
2+7+0
=
9
=
9
=
9
-
9
2
-
7
3
5
1
1
5
1
-
2
6
-
5
6
7
5
9
9
4
5
5
2
+
=
99
9+9
=
18
1+8
9
=
9
21
I
T
-
P
L
E
A
S
E
S
-
T
O
-
E
X
P
E
R
I
M
E
N
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
``-
-
2
-`
-
-
-
-
-
-
-
-`
2
-
-`
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
5
-
-
5
-
-
-
-
-
5
-
-
5
-
-
-
5
5
-
-
-
5
occurs
x
6
=
30
3+0
3
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
6
-
-
-
-
-
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
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Placet experiri. Latin phrase meaning "It pleases to experimnent", Ch. 4. “Beer, tobacco, and music,” he went on. “Behold the Fatherland.” ... en.wikiquote.org/wiki/Thomas_Mann

Paul Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and mid-length stories, noted for their insight into the psychology of the artist and the intellectual.

Contents [hide]
1 Sourced
1.1 Tristan (1902)
1.2 Tonio Kröger (1903)
1.3 Death in Venice (1912)
1.4 The Magic Mountain (1924)
1.5 Suffering and Greatness of Richard Wagner (1933)
1.6 Freud and the Future (1937)
1.7 The Beloved Returns (1939)
1.8 Doctor Faustus (1947)
1.9 Confessions of Felix Krull, Confidence Man (1954)
2 Unsourced
3 External links

[edit] Sourced
I think of my suffering, of the problem of my suffering. What am I suffering from? From knowledge — is it going to destroy me? What am I 
suffering from? From sexuality — is it going to destroy me? How I hate it, this knowledge which forces even art to join it! How I hate it, this sensuality, which claims everything fine and good is its consequence and effect. Alas, it is the poison that lurks in everything fine and good! — How am I to free myself of knowledge? By religion? How am I to free myself of sexuality? By eating rice?
Letter from Naples, Italy to Otto Grautoff (1896); as quoted in A Gorgon's Mask: The Mother in Thomas Mann's Fiction (2005) by Lewis A. Lawson, p. 34
Here and there, among a thousand other peddlers, are slyly hissing dealers who urge you to come along with them to allegedly "very beautiful" girls, and not only to girls. They keep at it, walk alongside, praising there wares until you answer roughly. They don't know that you have resolved to eat nothing but rice just to escape from sexuality!
Letter from Naples, Italy to Otto Grautoff (1896); as quoted in A Gorgon's Mask: The Mother in Thomas Mann's Fiction (2005) by Lewis A. Lawson, p. 35
We are most likely to get angry and excited in our opposition to some idea when we ourselves are not quite certain of our own position, and are inwardly tempted to take the other side.
Buddenbrooks [Buddenbrooks: Verfall einer Familie, Roman] (1901). Pt 8, Ch. 2
Beauty can pierce one like pain.
Buddenbrooks [Buddenbrooks: Verfall einer Familie, Roman], Pt 11, Ch. 2
That daily the night falls; that over stresses and torments, cares and sorrows the blessing of sleep unfolds, stilling and quenching them; that every anew this draught of refreshment and lethe is offered to our parching lips, ever after the battle this mildness laves our shaking limbs, that from it, purified from sweat and dust and blood, strengthened, renewed, rejuvenated, almost innocent once more, almost with pristine courage and zeal we may go forth again — these I hold to be the benignest, the most moving of all the great facts of life.
"Sleep, Sweet Sleep" ["Süßer Schlaf] first published in Neue Freie Presse [Vienna] (30 May 1909), as translated by Helen T. Knopf in Past Masters and Other Papers (1933), p. 269
The important thing for me, then, is not the "work," but my life. Life is not the means for the achievement of an esthetic ideal of perfection; on the contrary, the work is an ethical symbol of life.
Reflections of a Non-Political Man [Betrachtungen eines Unpolitischen (1918)]
Extraordinary creature! So close a friend, and yet so remote.
Herr und Hund (A Man and his Dog) (1918)
The meeting in the open of two dogs, strangers to each other, is one of the most painful, thrilling, and pregnant of all conceivable encounters; it is surrounded by an atmosphere of the last canniness, presided over by a constraint for which I have no preciser name; they simply cannot pass each other, their mutual embarrassment is frightful to behold.
Herr und Hund (A Man and his Dog)
I have an epic, not a dramatic nature. My disposition and my desires call for peace to spin my thread, for a steady rhythm in life and art.
Nobel Banquet Speech (10 December 1929)
This fantastic state of mind, of a humanity that has outrun its ideas, is matched by a political scene in the grotesque style, with Salvation Army methods, hallelujahs and bell-ringing and dervishlike repetition of monotonous catchwords, until everybody foams at the mouth. Fanaticism turns into a means of salvation, enthusiasm into epileptic ecstasy, politics becomes an opiate for the masses, a proletarian eschatology; and reason veils her face.
On German fascism, in "An Appeal to Reason" ["Deutsche Ansprache. Ein Appell an die Vernunft"] in Berliner Tageblatt (18 October 1930); as translated by Helen T. Lowe-Porter in Order of the Day, Political Essays and Speeches of Two Decades (1942), p. 57
In the Word is involved the unity of humanity, the wholeness of the human problem, which permits nobody to separate the intellectual and artistic from the political and social, and to isolate himself within the ivory tower of the "cultural" proper.
Letter to the dean of the Philosophical Faculty, Bonn University (January 1937)
Democracy is timelessly human, and timelessness always implies a certain amount of potential youthfulness.
The Coming Victory of Democracy (1938), p. 14, translated by Agnes E. Meyer, Knopf (1938)
In certain respects, particularly economically, National-Socialism is nothing but bolshevism. These two are hostile brothers of whom the younger has learned everything from the older, the Russian excepting only morality.
The Coming Victory of Democracy (1938), p. 14, translated by Agnes E. Meyer, Knopf (1938)
This was love at first sight, love everlasting: a feeling unknown, unhoped for, unexpected — in so far as it could be a matter of conscious awareness; it took entire possession of him, and he understood, with joyous amazement, that this was for life.
"Early Sorrow in Tellers of Tales: 100 Short Stories from the United States, England, France, Russia and Germany edited by William Somerset Maugham (1939), p. 884
The Freudian theory is one of the most important foundation stones for an edifice to be built by future generations, the dwelling of a freer and wiser humanity.
As quoted in The New York Times (21 June 1939)
Unhappy German nation, how do you like the Messianic rôle allotted to you, not by God, nor by destiny, but by a handful of perverted and bloody-minded men.
"This War" (1939); also in Order of the Day (1942)
It is a strange fact that freedom and equality, the two basic ideas of democracy, are to some extent contradictory. Logically considered, freedom and equality are mutually exclusive, just as society and the individual are mutually exclusive.
Speech, "The War and the Future" (1940); published in Order of the Day (1942)
What we call National-Socialism is the poisonous perversion of ideas which have a long history in German intellectual life.
Speech, "The War and the Future" (1940); published in Order of the Day (1942)
An art whose medium is language will always show a high degree of critical creativeness, for speech is itself a critique of life: it names, it characterizes, it passes judgment, in that it creates.
Speech at the Prussian Academy of Art in Berlin (22 January 1929); also in Essays of Three Decades (1942)
A writer is somebody for whom writing is more difficult than it is for other people.
Essays of Three Decades (1942)
Politics has been called the “art of the possible,” and it actually is a realm akin to art insofar as, like art, it occupies a creatively mediating position between spirit and life, the idea and reality.
Speech at the US Library of Congress (29 May 1945); published as "Germany and the Germans" ["Deutschland und die Deutschen"] in Die Neue Rundschau [Stockholm] (October 1945), p. 58, as translated by Helen T. Lowe-Porter
Reduced to a miserable mass level, the level of a Hitler, German Romanticism broke out into hysterical barbarism.
Speech at the US Library of Congress (29 May 1945); published as "Germany and the Germans" ["Deutschland und die Deutschen"] in Die Neue Rundschau [Stockholm] (October 1945), p. 58, as translated by Helen T. Lowe-Porter
Every reasonable human being should be a moderate Socialist.
As quoted in The New York Times (18 June 1950); also in Thomas Mann: A Critical Study (1971) by R. J. Hollingdale, Ch. 2
It is not good when people no longer believe in war. Pretty soon they no longer believe in many other things which they absolutely must believe in if they are to be decent men.
Quoted in Survey of Contemporary Literature (1977) by Frank Northen Magill, p. 4263

[edit] Tristan (1902)
It often happens that an old family, with traditions that are entirely practical, sober and bourgeois, undergoes in its declining days a kind of artistic transfiguration.
Ch. 7
They sang their mysterious duo, sang of their nameless hope, their death-in-love, their union unending, lost forever in the embrace of night’s magic kingdom. O sweet night, everlasting night of love! Land of blessedness whose frontiers are infinite!
Ch. 8
It had been a moving, tranquil apotheosis, immersed in the transfiguring sunset glow of decline and decay and extinction. An old family, already grown too weary and too noble for life and action, had reached the end of its history, and its last utterances were sounds of music: a few violin notes, full of the sad insight which is ripeness for death.
Ch. 10

[edit] Tonio Kröger (1903)
If you are possessed by an idea, you find it expressed everywhere, you even smell it.
Variant translation: It is strange. If an idea gains control of you, you will find it expressed everywhere, you will actually smell it in the wind.
As translated by Bayard Quincy Morgan
What they, in their innocence, cannot comprehend is that a properly constituted, healthy, decent man never writes, acts, or composes.
"Tonio Kröger" on general opinions about artists.
This longing for the bliss of the commonplace.
Ch. 4, and also in Ch. 9, as translated by David Luke
He remembered the dissolute adventures in which his senses, his nervous system and his mind had indulged; he saw himself corroded by irony and intellect, laid waste and paralyzed by insight, almost exhausted by the fevers and chills of creation, helplessly and contritely tossed to and fro between gross extremes, between saintly austerity and lust — oversophisticated and impoverished, worn out by cold, rare artificial ecstasies, lost, ravaged, racked and sick — and he sobbed with remorse and nostalgia.
Ch. 8, as translated by David Luke
I stand between two worlds, am at home in neither, and in consequence have rather a hard time of it. You artists call me a commoner, and commoners feel tempted to arrest me ... I do not know which wounds me more bitterly. Commoners are stupid; but you worshippers of beauty who call me phlegmatic and without yearning, ought to reflect that there is an artistry so deep, so primordial and elemental, that no yearning seems to it sweeter and more worthy of tasting than that for the raptures of common-placeness.
Ch. 9, as translated by Bayard Quincy Morgan
I admire the proud and cold who go adventuring on the paths of great and demoniac beauty, and scorn "man" — but I do not envy them. For if anything is capable of making a poet out of a man of letters, it is this plebeian love of mine for the human, living, and commonplace. All warmth, all goodness, all humor is born of it, and it almost seems to me as if it were that love itself, of which it is written that a man might speak with the tongues of men and of angels, and yet without it be no more than sounding brass or a tinkling cymbal.
Ch. 9, as translated by Bayard Quincy Morgan
What I have done is nothing, not much — as good as nothing. I shall do better things, Lisaveta — this is a promise. While I am writing, the sea's roar is coming up to me, and I close my eyes. I am looking into an unborn and shapeless world that longs to be called to life and order, I am looking into a throng of phantoms of human forms which beckon me to conjure them and set them free: some of them tragic, some of them ridiculous, and some that are both at once — and to these I am very devoted. But my deepest and most secret love belongs to the blond and blue-eyed, the bright-spirited living ones, the happy, amiable, and commonplace.
Do not speak lightly of this love, Lisaveta; it is good and fruitful. There is longing in it and melancholy envy, and a tiny bit of contempt, and an unalloyed chaste blissfulness.
Ch. 9, as translated by Bayard Quincy Morgan
Variant translation: But my deepest and most secret love belongs to the fair-haired and the blue-eyed, the bright children of life, the happy, the charming and the ordinary.
Ch. 9, as translated by David Luke

[edit] Death in Venice (1912)
Der Tod in Venedig, originally published in Die Neue Rundschau 23 (Oct-Nov 1912)

The figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.But he would “stay the course” — it was his favorite motto.
The disposition of the main character "Gustav Aschenbach", Ch. 2, as translated by David Luke
Hidden away amongst Aschenbach’s writing was a passage directly asserting that nearly all the great things that exist owe their existence to a defiant despite: it is despite grief and anguish, despite poverty, loneliness, bodily weakness, vice and passion and a thousand inhibitions, that they have come into being at all. But this was more than an observation, it was an experience, it was positively the formula of his life and his fame, the key to his work.
Ch. 2, as translated by David Luke
The new hero-type favored by Aschenbach, and recurring in his books in a multiplicity of individual variants, had already been remarked upon at an early stage by a shrewd commentator, who had described his conception as that of “an intellectual and boyish manly virtue, that of a youth who clenches his teeth in proud shame and stands calmly on as the swords and spears pass through his body ... the figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.
Ch. 2, as translated by David Luke
Gustav Aschenbach was the writer who spoke for all those who work on the brink of exhaustion, who labor and are heavy-laden, who are worn out already but still stand upright, all those moralists of achievement who are slight of stature and scanty of resources, but who yet, by some ecstasy of the will and by wise husbandry, manage at least for a time to force their work into a semblance of greatness.
Ch. 2, as translated by David Luke
Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
Ch. 2, as translated by David Luke
How else is the famous short story ‘A study in Abjection’ to be understood but as an outbreak of disgust against an age indecently undermined by psychology.
On a short story of the character, "Gustav Aschenbach". Ch. 2, as translated by David Luke
How strange a vehicle it is, coming down unchanged from times of old romance, and so characteristically black, the way no other thing is black except a coffin — a vehicle evoking lawless adventures in the plashing stillness of night, and still more strongly evoking death itself, the bier, the dark obsequies, the last silent journey!
Ch. 3, as translated by David Luke
With astonishment Aschenbach noticed that the boy was entirely beautiful. His countenance, pale and gracefully reserved, was surrounded by ringlets of honey-colored hair, and with its straight nose, its enchanting mouth, its expression of sweet and divine gravity, it recalled Greek sculpture of the noblest period.
Ch. 3, as translated by David Luke

I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.There were profound reasons for his attachment to the sea: he loved it because as a hard-working artist he needed rest, needed to escape from the demanding complexity of phenomena and lie hidden on the bosom of the simple and tremendous; because of a forbidden longing deep within him that ran quite contrary to his life’s task and was for that very reason seductive, a longing for the unarticulated and immeasurable, for eternity, for nothingness. To rest in the arms of perfection is the desire of any man intent upon creating excellence; and is not nothingness a form of perfection?
Ch. 3, as translated by David Luke
The writer’s joy is the thought that can become emotion, the emotion that can wholly become a thought.
Ch. 4, as translated by David Luke
Never had he felt the joy of the word more sweetly, never had he known so clearly that Eros dwells in language.
Ch. 4, as translated by David Luke
This was Venice, the flattering and suspect beauty — this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.
Ch. 5, as translated by David Luke
I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.
Ch. 5, as translated by David Luke

[edit] The Magic Mountain (1924)
Der Zauberberg (1929), using quotes primarily from the translation of Helen T. Lowe-Porter (1955)

Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.Space, like time, engenders forgetfulness; but it does so by setting us bodily free from our surroundings and giving us back our primitive, unattached state. Yes, it can even, in the twinkling of an eye, make something like a vagabond of the pedant and Philistine. Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.
Ch. 1
Psycho-analyses — how disgusting.
"Hans Castorp" in Ch. 1
I, for one, have never in my life come across a perfectly healthy human being.
The psychoanalyst "Dr. Krokowski" in Ch. 1
A man lives not only his personal life, as an individual, but also, consciously or unconsciously, the life of his epoch and his contemporaries.
Ch. 2, “At Tienappels’,” (1924), trans. by H.T. Lowe-Porter (1928).
Hans Castorp loved music from his heart; it worked upon him much the same way as did his breakfast porter, with deeply soothing, narcotic effect, tempting him to doze.
Ch. 3
I never can understand how anyone can not smoke — it deprives a man of the best part of life ... with a good cigar in his mouth a man is perfectly safe, nothing can touch him — literally.
Ch. 3
In effect it seemed to him that, though honor might possess certain advantages, yet shame had others, and not inferior: advantages, even, that were well-nigh boundless in their scope.
Ch. 3
One always has the idea of a stupid man as perfectly healthy and ordinary, and of illness as making one refined and clever and unusual.
Ch. 4
Placet experiri
Latin phrase meaning "It pleases to experiment", Ch. 4
“Beer, tobacco, and music,” he went on. “Behold the Fatherland.”
"Herr Settembrini" commenting on Germany, in Ch. 4
There is something suspicious about music, gentlemen. I insist that she is, by her nature, equivocal. I shall not be going too far in saying at once that she is politically suspect.
Ch. 4
My aversion from music rests on political grounds.
Ch. 4
I love and reverence the Word, the bearer of the spirit, the tool and gleaming ploughshare of progress.
Settembrini's view of literature, Ch. 4

This triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge — if in a form so altered as to be unrecognizable."Love as a force contributory to disease."
The title of "Dr. Krokowski" lectures. Ch. 4
This conflict between the powers of love and chastity ... it ended apparently in the triumph of chastity. Love was suppressed, held in darkness and chains, by fear, conventionality, aversion, or a tremulous yearning to be pure.... But this triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge — if in a form so altered as to be unrecognizable.
Ch. 4
It seemed that at the end of the lecture Dr. Krokowski was making propaganda for psycho-analysis; with open arms he summoned all and sundry to come unto him. "Come unto me," he was saying, though not in those words, " come unto me, all ye who are weary and heavy-laden." And he left no doubt of his conviction that all those present were weary and heavy-laden. He spoke of secret suffering, of shame and sorrow, of the redeeming power of the analytic. He advocated the bringing of light into the unconscious mind and explained how the abnormality was metamorphosed into the conscious emotion; he urged them to have confidence; he promised relief.
Ch. 4

All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics...Two principles, according to the Settembrinian cosmogony, were in perpetual conflict for possession of the world: force and justice, tyranny and freedom, superstition and knowledge; the law of permanence and the law of change, of ceaseless fermentation issuing in progress.
Ch. 4
The beautiful word begets the beautiful deed.
Ch. 4
Writing well was almost the same as thinking well, and thinking well was the next thing to acting well. All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics. Yes, they were all one, one and the same force, one and the same idea, and all of them could be comprehended in one single word... The word was — civilization!
Ch. 4
Frau Stöhr ... began to talk about how fascinating it was to cough.... Sneezing was much the same thing. You kept on wanting to sneeze until you simply couldn’t stand it any longer; you looked as if you were tipsy; you drew a couple of breaths, then out it came, and you forgot everything else in the bliss of the sensation. Sometimes the explosion repeated itself two or three times. That was the sort of pleasure life gave you free of charge.
Ch. 4
Disease makes men more physical, it leaves them nothing but body.
Ch. 4
Our air up here is good for the disease — I mean good against the disease,... but it is also good for the disease.
Ch. 4
A black pall, you know, with a silver cross on it, or R.I.P. — requiescat in pace — you know. That seems to me the most beautiful expression — I like it much better than ‘He is a jolly good fellow,’ which is simply rowdy.
Ch. 5
Six months at most after they get here, these young people — and they are mostly young who come — have lost every idea they had, except flirtation and temperature.
Settembrini on the Magic Mountain Society, in Ch. 5
It is a cruel atmosphere down there, cruel and ruthless.
Hans Castorp on the world outside the sanatorium, in Ch. 5

The ancients adorned their sarcophagi with the emblems of life and procreation...The only religious way to think of death is as part and parcel of life; to regard it, with the understanding and the emotions, as the the inviolable condition of life.
Ch. 5
The ancients adorned their sarcophagi with the emblems of life and procreation, and even with obscene symbols; in the religions of antiquity the sacred and the obscene often lay very close together. These men knew how to pay homage to death. For death is worthy of homage as the cradle of life, as the womb of palingenesis.
Ch. 5

Analysis can be a very unappetizing affair, as much so as death...Irony, forsooth! Guard yourself, Engineer, from the sort of irony that thrives up here; guard yourself altogether from taking on their mental attitude! Where irony is not a direct and classic device of oratory, not for a moment equivocal to a healthy mind, it makes for depravity, it becomes a drawback to civilization, an unclean traffic with the forces of reaction, vice and materialism.
Ch. 5
Paradox is the poisonous flower of quietism, the iridescent surface of the rotting mind, the greatest depravity of all.
Ch. 5
Analysis as an instrument of enlightenment and civilization is good, in so far as it shatters absurd convictions, acts as a solvent upon natural prejudices, and undermines authority; good, in other words, in that it sets free, refines, humanizes, makes slaves ripe for freedom. But it is bad, very bad, in so far as it stands in the way of action, cannot shape the vital forces, maims life at its roots. Analysis can be a very unappetizing affair, as much so as death.
Ch. 5
Time has no divisions to mark its passage, there is never a thunderstorm or blare of trumpets to announce the beginning of a new month or year. Even when a new century begins it is only we mortals who ring bells and fire off pistols.
Ch. 5
Order and simplification are the first steps toward the mastery of a subject — the actual enemy is the unknown.
Ch. 5
Asien verschlingt uns. Wohin man blickt: tatarische Gesichter.
Asia surrounds us — wherever one’s glance rests, a Tartar physiognomy.
Variant translation: Asia devours us. Wherever one looks: Tartar faces.
Settembrini in Ch. 5

What was life?'What was life? It was warmth, the warmth generated by a form-preserving instability, a fever of matter, which accompanied the process of ceaseless decay and repair of protein molecules that were too impossibly ingenious in structure.
Ch. 5
Disease was a perverse, a dissolute form of life.
Ch. 5
Le corps, l'amour, la mort, ces trois ne font qu'un. Car le corps, c'est la maladie et la volupté, et c'est lui qui fait la mort, oui, ils sont charnels tous deux, l'amour et la mort, et voilà leur terreur et leur grande magie!
Rough translation of this passage written in French: The body, love, death, these three only. For the body, this is the disease and exquisite delight, and this that does die, yes, they are carnal both of them, love and death, and thus their terror and their great magic!
Hans Castorp to Chauchat, in French, Ch. 5
L’amour pour lui, pour le corps humain, c’est de même un intérêt extrêmement humanitaire et une puissance plus éducative que toute la pédagogie du monde!
Love for him, for the human body, was extremely humanitarian an interest and had more educational power than the whole teaching skills of the world!
Ch. 5
Human reason needs only to will more strongly than fate, and she is fate.
Ch. 6
Opinions cannot survive if one has no chance to fight for them.
Ch. 6
All interest in disease and death is only another expression of interest in life.
Ch. 6
The invention of printing and the Reformation are and remain the two outstanding services of central Europe to the cause of humanity.
Ch. 6
There is both rhyme and reason in what I say, I have made a dream poem of humanity. I will cling to it. I will be good. I will let death have no mastery over my thoughts. For therein lies goodness and love of humankind, and in nothing else.
Ch. 6; variant translation: I will let death have no mastery over my thoughts! For therein, and in nothing else, lies goodness and love of humankind.
Love stands opposed to death. It is love, not reason, that is stronger than death. Only love, not reason, gives kind thoughts.
Ch. 6; variant translation: It is love, not reason, that is stronger than death. Only love, not reason, gives 
sweet thoughts. And from love and sweetness alone can form come: form and civilization.
For the sake of goodness and love, man shall let death have no sovereignty over his thoughts. And with that, I wake up.
Ch. 6
Everything is politics.
Ch. 6
Speech is civilization itself. The word, even the most contradictory word, preserves contact — it is silence which isolates.

Ch. 6
A man’s dying is more the survivors’ affair than his own.
Ch. 6
What we call mourning for our dead is perhaps not so much grief at not being able to call them back as it is grief at not being able to want to do so.
Ch. 7
Time cools, time clarifies, no mood can be maintained quite unaltered through the course of hours.
Ch. 7
The purifying, healing influence of literature, the dissipating of passions by knowledge and the written word, literature as the path to understanding, forgiveness and love, the redeeming might of the word, the literary spirit as the noblest manifestation of the spirit of man, the writer as perfected type, as saint.
Ch. 7
Absolutely everything beloved and cherished of the bourgeoisie, the conservative, the cowardly, and the impotent — the State, family life, secular art and science — was consciously or unconsciously hostile to the religious idea, to the Church, whose innate tendency and permanent aim was the dissolution of all existing worldly orders, and the reconstitution of society after the model of the ideal, the communistic City of God.
Naphta in Ch. 7
We, when we sow the seeds of doubt deeper than the most up-to-date and modish free-thought has ever dreamed of doing, we well know what we are about. Only out of radical skepsis, out of moral chaos, can the Absolute spring, the anointed Terror of which the time has need.
Ch. 7
Passionate — that means to live for the sake of living. But one knows that you all live for the sake of experience. Passion, that is self-forgetfulness. But what you all want is self-enrichment. C'est ça. You don't realize what revolting egoism it is, and that one day it will make you the enemies of the human race.


[edit] Suffering and Greatness of Richard Wagner (1933)
"Leiden und Größe Richard Wagners" in Die Neue Rundschau, Jahrgang 44, Heft 4 (April 1933), as translated by Helen T. Lowe-Porter in Essays by Thomas Mann (1957), p. 199
He was all for catharsis and purification, he dreamed of an aesthetic consecration that should cleanse society of luxury, the greed of gold and all unloveliness.
It is a pregnant complex, gleaming up from the unconscious, of mother-fixation, sexual desire, and fear.
What was it that drove these thousands into the arms of his art — what but the blissfully sensuous, searing, sense-consuming, intoxicating, hypnotically caressing, heavily upholstered — in a word, the luxurious quality of his music?
Wagner’s art is the most sensational self-portrayal and self- critique of German nature that it is possible to conceive.

[edit] Freud and the Future (1937)
"Freud und die Zukunft" in Imago, vol. 22 (1936); as translate by Helen T. Lowe-Porter in Essays by Thomas Mann (1957) p. 307

While in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.When it had long since outgrown his purely medical implications and become a world movement which penetrated into every field of science and every domain of the intellect: literature, the history of art, religion and prehistory; mythology, folklore, pedagogy, and what not.
Has the world ever been changed by anything save the thought and its magic vehicle the Word?
The myth is the foundation of life; it is the timeless schema, the pious formula into which life flows when it reproduces its traits out of the unconscious. Certainly when a writer has acquired the habit of regarding life as mythical and typical there comes a curious heightening of his artistic temper, a new refreshment to his perceiving and shaping powers, which otherwise occurs much later in life; for while in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.
I hold that we shall one day recognize in Freud’s life-work the cornerstone for the building of a new anthropology and therewith of a new structure, to which many stones are being brought up today, which shall be the future dwelling of a wiser and freer humanity.
As a science of the unconscious it is a therapeutic method, in the grand style, a method overarching the individual case. Call this, if you choose, a poet’s utopia.

[edit] The Beloved Returns (1939)
Lotte in Weimar as translated by Helen T. Lowe-Porter, Knopf (1940); also titled as 'Lotte in Weimar: The Beloved Returns
Hold fast the time! Guard it, watch over it, every hour, every minute! Unregarded it slips away, like a lizard, smooth, slippery, faithless, a pixy wife. Hold every moment sacred. Give each clarity and meaning, each the weight of thine awareness, each its true and due fulfillment.
Ch. 7
Cruelty is one of the chief ingredients of love, and divided about equally between the sexes: cruelty of lust, ingratitude, callousness, maltreatment, domination. The same is true of the passive qualities, patience under suffering, even pleasure in ill usage.
Ch. 7
Profundity must smile.
Ch. 7

[edit] Doctor Faustus (1947)
This music of yours. A manifestation of the highest energy — not at all abstract, but without an object, energy in a void, in pure ether — where else in the universe does such a thing appear? We Germans have taken over from philosophy the expression ‘in itself,’ we use it every day without much idea of the metaphysical. But here you have it, such music is energy itself, yet not as idea, rather in its actuality. I call your attention to the fact that is almost the definition of God. Imitatio Dei — I am surprised it is not forbidden.
Ch. 9
Why does almost everything seem to me like its own parody? Why must I think that almost all, no, all the methods and conventions of art today are good for parody only?
Ch. 15

[edit] Confessions of Felix Krull, Confidence Man (1954)
Bekenntnisse des Hochstaplers Felix Krull (1954), as translated by Denver Lindley
What a glorious gift is imagination, and what satisfaction it affords!
Bk. 1, Ch. 1
Only he who desires is amiable and not he who is satiated.
Bk. 1, Ch. 8
The intellect longs for the delights of the non-intellect, that which is alive and beautiful dans sa stupidité.
Madame Houpflé, Bk. 2, Ch. 9
What a wonderful phenomenon it is, carefully considered, when the human eye, that jewel of organic structures, concentrates its moist brilliance on another human creature!
Bk. 2, Ch. 4
O scenes of the beautiful world! Never have you presented yourself to more appreciative eyes.
Bk. 2, Ch. 4

[edit] Unsourced
I have always been an admirer. I regard the gift of admiration as indispensable if one is to amount to something; I don’t know where I would be without it.
Letter, (1950); as quoted in Thomas Mann — The Birth of Criticism (1987) by Marcel Reich-Ranicki
The positive thing about the sceptic is that he considers everything possible!
Tolerance becomes a crime when applied to evil.
War is only a cowardly escape from the problems of peace.

[edit] External links
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Thomas MannThe Nobel Prize Bio on Mann
Brief biography
Works by Thomas Mann at Project Gutenberg
Bibliography
FBI File on Thomas Mann
Retrieved from "http://en.wikiquote.org/wiki/Thomas_Mann"

 

 

Rhadamanthus - Wikipedia, the free encyclopedia In Greek myths, Rhadamanthus (Ῥαδάμανθυς; also transliterated as Rhadamanthys or Rhadamanthos) was a wise king, the son of Zeus and Europa. ...
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Rhadamanthus
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"Rhadamanthys" redirects here. For the fictional character in Saint Seiya, see Wyvern Rhadamanthys.
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In Greek myths, Rhadamanthus (Ῥαδάμανθυς; also transliterated as Rhadamanthys or Rhadamanthos) was a wise king, the son of Zeus and Europa. Later accounts even make him out to be one of judges of the dead. His brothers were Sarpedon and Minos (also a king and later a judge of the dead). Rhadamanthus was raised by Asterion. He had two sons, Gortys and Erythrus.

[edit] In Greek and Roman accounts
According to one account, Rhadamanthus ruled Crete before Minos, and gave the island an excellent code of laws, which the Spartans were believed to have copied.

Driven out of Crete by his brother, Minos, who was jealous of his popularity, he fled to Boeotia, where he wedded Alcmene. Homer represents him as dwelling in the Elysian Fields (Odyssey, iv. 564), the paradise for the immortal sons of Zeus.

According to later legends (c. 400 BC), on account of his inflexible integrity he was made one of the judges of the dead in the lower world, together with Aeacus and Minos. He was supposed to judge the souls of Asians, Aeacus those of Europeans, while Minos had the casting vote (Plato, Gorgias, 524A).

Virgil (69 - 18 BC) makes Rhadamanthus one of the judges and punishers of the damned in the Underworld (Tartarus) section of The Aeneid.

Pindar says that he is the right-hand man of Cronus (now ruling Elysium) and was the sole judge of the dead.

In another version, Minos, Sarpedon and Rhadamanthus quarreled over a beautiful boy they were all in love with, by the name of Miletus, son of Apollo and Areia. The youth however preferred Sarpedon, so Minos in revenge went to war and conquered the whole island. Sarpedon and his beloved escaped to Lycia, where Miletus founded the city that bore his name. Other mythographers claimed that the beloved youth's name was Atymnios, and that he was the son of Zeus and Cassiopeia. (Apollodorus III.1.2)

Bernard Sergent claims that the story is a late invention in that the theme of competition for a beloved youth is not in keeping with the Cretan pederastic tradition, and there is no record of this Miletus prior to the second century BC.[citation needed]

[edit] Other uses
In Thomas Mann's novel The Magic Mountain, Rhadamanthys is the cynical nickname Mr. Settembrini uses for Doctor Behrens, head of the Davos Sanatorium, who decides who gets to leave and who has to remain hospitalized.
Rhadamanthus also lends its name to the English word 'rhadamanthine', an adjective describing any just but inflexible judgment. (The Aeneid, vi. 566)
The Kuiper belt object 38083 Rhadamanthus is named after this figure.
In Stephen King's Rose Madder, Rhadamanthus is the name of the white pony tied to the broken cart in Rosie's picture.
In Wild Arms 2, one of the major antagonists of the game is named Vinsfield Rhadamanthus.
In the popular manga series Saint Seiya , Wyvern Rhadamanthys is the name of one of the generals of hades.
In the Hyperion Cantos, Rhadamanth Nemes is sent after the main characters, encountering them on two occasions.
In John C. Wright's novel The Golden Age and its sequels, Rhadamanthus is the name of the artificial intelligence, called a Sophotech, that advises and serves the household of the protagonist, Phaethon, and his father, Helion, who in turn are named after the mythical Greek characters Phaëton and Helios.
In Charlotte Bronte's Villette, John Graham Bretton refers to himself as Rhadamanthus in his response of justice to the behavior of Ginerva Fanshawe, a young girl with whom he had been infatuated.
In the PC Game Diablo II, there is an undead boss called Radament, possibly influenced by Rhadamanthus.
In the Playstation Game Persona 2, one of the first Personae available in the game is called Rhadamanthys.
Retrieved from "http://en.wikipedia.org/wiki/Rhadamanthus"
Categories: Greek mythology | Kings of Crete | Greek judges of the dead | Pederastic heroes and deities | Offspring of Zeus | Demigods of Classical mythology

 

 

THE MAGIC MOUNTAIN

Thomas Mann Translated by H.T. Lowe Porter

Der Zauberg 1924

Page56

Satana

His age would have been hard to say, probably between thirty and forty; for though he gave an impression of youthfulness, yet hair on his temples was sprinkled with silver and gone quite thin on his head. Two bald bays ran along the narrow scanty parting, and added to the height of his forehead. His clothing, loose trousers in light yellowish checks, and too long, double. double-breasted pilot coat, with very wide lapels, made no slightest claim to elegance; and his stand-up collar, with rounding comers, was rough on the edges from frequent washing. His black cravat showed wear, and he wore no cuffs, as Hans Castorp saw at once from thee lax way the sleeve hung round the wrist. But despite all he knew he had a gentleman before him: the stranger's easy, charming pose and cultured expression left no doubt of that. Yet by this mingling of shabbiness and grace, by the black eyes and softly waving moustaches, Hans Castorp was irresistibly reminded of certain foreign musicians who used to come to Hamburg at Christmas to play in the streets before people's doors. He could see them rolling up their velvet eyes and holding .ut:their soft hats for the coins tossed from the windows. "A hand-organ man," he thought. Thus he was not surprised at the name he heard, as Joachim rose from the bench and in some embarrassment presented him: "My cousin Castorp, Herr Settembrini."

Hans Castorp had got up at the same time, the traces of his burst of hilarity still on his face. But the Italian courteously bade them both not to disturb themselves, and made them sit down /Page 57/ again, while he maintained his easy pose before them. He smiled, standing there and looking at the cousins, in particular at Hans Castorp; a smile that was a fine, almost mocking deepening and crisping of one corner of the mouth, just at the point where the full moustache made its beautiful upward curve. It had upon the cousins a singular effect: it somehow constrained them to mental alertness and clarity; it sobered the reeling Hans Castorp in a twinkling, and made him ashamed.
Settembrini said: " You are in good spirits - and with reason too, with excellent reason. What a splendid morning! A blue sky, a smiling sun" - with an easy, adequate motion of the arm he raised a small, yellowish-skinned hand to the heavens, and sent a lively glance upward after it - " one could almost forget where one is."

He spoke without accent, only the precise enunciation betrayed the foreigner. His lips seemed to take a certain pleasure in forming the words. It was most agreeable to hear him.
"You had a pleasant journey hither, I hope? " he turned to Hans Castorp. "And do you already know your fate - I mean has the mournful ceremony of the first examination taken place? " Here, if he had really been expecting a reply he should have paused; he had put his question, and Hans Castorp prepared to answer. But he went on: "Did you get off easily? One might put - " here he paused a second, and the crisping at the corner of his mouth grew crisper - "more than one interpretation upon your laughter. How many months have our Minos and Rhadamanthus knocked you down for? " The slang phrase sounded droll on his lips. "Shall I guess? Six? Nine? You know we are free with the time up here - "

Hans Castorp laughed, astonished, at the same time racking his brains to remember who Minos and Rhadamanthus were. He answered: "Not at all - no, really, you are under a misapprehension, Herr Septem - "

"Settembrini," corrected the Italian, clearly and with emphasis, making as he spoke a mocking bow.

" Herr Settembrini - I beg your pardon. No, you are mistaken. Really I am not ill. I have only come on a visit to my cousin Ziemssen for a few weeks, and shall take advantage of the opportunity to get a good rest - "

"Zounds! You don't say? Then you are not one of us? You are well, you are but a guest here, like Odysseus in the kingdom of the shades? You are bold indeed, thus to descend into these depths peopled by the vacant and idle dead - "

Page 58

- "Descend, Herr Settembrini? I protest. Here I have climbed up some five thousand feet to get here - "

" That was only seeming. Upon my honour, it was an illusion," the Italian said, with a decisive wave of the hand. " We are sunk enough here, aren't we, Lieutenant?" he said to Joachim, who, - no little gratified at this method of address, thought to hide his satisfaction, and answered reflectively:

"I suppose we do get rather one-sided. But we can pull ourselves together, afterwards, if we try."

"At least, you can, I'm sure-you are an upright man," Settembrini said. "Yes, yes, yes," he said, repeating the word three times, with a sharp s, turning to Hans Castorp again as he spoke, and then, in the same measured way, clucking three times. with his tongue against his palate. "I see, I see, I see," he said again, giving the s the same sharp sound as before. He looked the newcomer so steadfastly in the face that his eyes grew fixed in a stare; then, becoming lively again, he went on: "So you come up quite of your own free will to us sunken ones, and mean to bestow upon us the pleasure of your company for some little while? That is delightful. And what term had you thought of - putting to your stay? I don't mean precisely. I am merely interested to know what the length of a man's sojourn would be when it is himself and not Rhadamanthus who prescribes the limit."

"Three weeks," Hans Castorp said, rather pridefully, as he saw himself the object of envy.

" O dio! Three weeks! Do you hear, Lieutenant? Does it: not sound to you impertinent to hear a person. say: 'I am stopping for three weeks and then I am gomg away again ? We up here are not acquainted with such an unit of time as the week - if I may be permitted to instruct you, my dear sir. Our smallest unit is the month.We reckon in the grand style-that is a privilege we shadows have. We possess other such; they are all of the same quality. May I ask what profession you practise down below?

Or, more probably, for what profession are you preparing yourself? You see we set no bounds to our thirst for iriformation­curiosity is another of the prescriptive rights of shadows."

"Pray don't mention it,' said Hans Castorp. And told him.

"A ship-builder! Magnificent! " cried Settembrini. "I assure you, I find that magnificent - though my own talents lie in quite another direction.

"Herr Settembrini is a literary man," Joachim explained, rather self-consciously. "He wrote the obituary notices of Carducci for the German papers-Carducci, you know." He got /Page 59/ more self-conscious still, for his cousin looked at him in amazement, as though to say: "Carducci? What do you know about him? Not any more than I do, I'll wager."

"Yes," the Italian said, nodding. "I had the honour of telling your countrymen the story of our great poet and free­thinker, when his life had drawn to a close. I knew him, I can count myself among his pupils. I sat at his feet in Bologna. I may thank him for what culture I can call my own - and for what joyousness of life as well. But we were speaking of you. A ship­builder! Do you know you have sensibly risen in my estimation? You represent now, in my eyes, the world of labour and practical genius."

"Herr Settembrini, I am only a student as yet, I am just beginning."

" Certainly. It is the beginning that is hard. But all work is hard, isn't it, that deserves the name? "

"That's true enough, God knows - or the Devil does," Hans Castorp said, and the words came from his heart.

Settembrini's eyebrows went up.

" Oh," he said, "so you call on the Devil to witness that sentiment - the Devil incarnate, Satan himself? Did you know that my great master wrote a hymn to him? "

"I beg your pardon," Hans Castorp said, "a hymn to the Devil? "

"The very Devil himself, and no other. It is sometimes sung, in my native land, on festal occasions. 'O salute, O Satana, O ribellione, O forza vindice della ragione!. . .' It is a magnificent song. But it was hardly Carducci's Devil you had in mind when you spoke; for he is on the very best of terms with hard work; whereas yours, who is afraid of work and hates it like poison, is probably the same of whom we are told that we may not hold out even the little finger to him."

All this was making the very oddest impression on our good Hans Castorp. He knew no Italian, and the rest of it sounded no less uncomfortable, and reminded him of Sunday sermons, though delivered quite casually, in a light, even jesting tone. He looked at his cousin, who kept his eyes cast down; then he said: "You take my words far too literally, Herr Settembrini. When I spoke of the Devil, it was just a manner of speaking, I assure you.'

" Somebody must have some esprit," Settembrini said, looking straight ahead, with a melancholy air. Then recovering himself, he skilfully got back to their former subject, and went on blithely: " At all events, I am probably right in concluding from /Page 60/ your words that the calling you have embraced is as strenuous as it is honourable. As for myself, I am a humanist, a homo humanus. have no mechanical ingenuity, however sincere my respect for But I can well understand that the theory of your craft requires a clear and keen mind, and its practice not less than the man. Am I right? "

"You certainly are, I can go all the way with you there," Hans Castorp answered. Unconsciously he made an effort to reply with eloquence.

The demands made to-day on a man in my profession aresimply enormous. It is better not to have too clear an idea of their magnitude, it might take away one's courage: no, it's no joke. And if one isn't the strongest in the world - It is true that I am here only on a visit; but I am not very robust, and I cannot with truth assert that my work agrees with me so wonderfully wel1. It would be a great deal truer to say that it rather takes it out of me. I only feel reallyfit when I am doing nothing at alI."

" As now, for example?"

"Now? Oh, now I am so new up here, I am still rather bewildered - you can imagine."

"Ah - bewildered."

"Yes, and I did not sleep so very well, and the early breakfast wasreally too solid. - I am accustomed to a fair breakfast, but this was a little too rich for my blood, as the saying goes. In short, I feel a sense of oppression - and for some reason or other, my cigar this morning hasn't the right taste, something that as good as never happens to me, or only when I am seriously upset ­to-day It is like leather. I had to throw it away, there was no forcing it. Are you a smoker, may I ask? No? Then you cannot imagine the annoyance and disappointment it is for anyone like me, who have smoked from my youth up, and taken such pleasure in it"

"I am without experience in the field," Settembrini answered, I find that my lack of it is in no poor company. So many, self-denying spirits have refrained. Carducci had no use for the practice. But you will find our Rhadamanthus a kindred spirit. He is a devotee of your vice."

"Vice, Herr Settembrini? "

"Why not? One must call things by their right names; life is enriched and ennobled thereby. I too have my vices."

" So Hofrat Behrens is a·connoisseur? A charming man."

"Yon find him so? Then you have already made his acquaintance?"

"Yes, just now, as we came out. It was almost like a profe-/Page 61/ ssional visit - but gratis, you mow -sine pecunia. He saw at once that I am anaemic. He advised me to follow my cousin's regimen entirely: to lie out on the balcony a good deal he even said I should take my temperature."

"Did he indeed?" Settembrini cried out. "Capital!" He laughed and threw back his head. "How does it go, that opera of yours? ' A fowler bold in me you see, forever laughing merrily! ' Ah, that is most amusing! And you will follow his advice? Of course, why shouldn't you? He's a devil of a fellow, our Rhadamanthus! 'Forever laughing' - even if it is rather forced at times. He is inclined to melancholia, you know. His vice doesn't agree with him - of course, else it would be no vice. Smoking gives him fits of depression; that is why our respected Frau Directress has taken charge of his supplies, and only deals him out daily rations. It even happens sometimes that he yields to the temptation to steal it, and then he gets an attack of melancholia. A troubled spirit, in short. Do you know your Directress already, too? No? You have made a inistake. You must remedy it at the earliest opportunity. My dear sir, she comes of the noble race of von Mylendonk. And she is distinguished from the Medici Venus by the fact that where the goddess has a bosom, she has a cross."

"Ah, ha ha! - capital! " Hans Castorp laughed. " Her Christian name is Adriatica."

"Adriatica! " shouted Hans Castorp. "Priceless! Adriatica von Mylendonk! Isn't that splendid! Sounds as though she had been dead a very long time. It is'positively mediaeval."

"My dear sir," Settembrini answered him, "there is a good deal up here that is positively mediaeval, as you express it. Personally, I am convinced that Rhadamanthus was actuated simply and solely by artistic feeling when he made this fossil head overseer of his Chamber of Horrors. You lmow he is an artist, by the bye. He paints in oils. Why not? There's no law against it - anybody can paint that likes. Frau Adriatica tells all who will listen to her, not counting those who won't, that a Mylendonk was abbess of a cloister at Bonn on the Rhine, in the thirteenth century. It can't have been long after that she herself saw the light of day."

"Ha ha! Why, Herr Settembrini, I find you are a mocker! " "A mocker? You mean I am malicious? Well, yes, perhaps I am, a little," said Settembrini. " My great complamt is that it is my fate to spend my malice upon such insignificant objects. I hope, Engineer, you have nothing against malice? In my eyes, it is ,reason's keenest dart against the powers of darkness and /Page 62/ ugliness."

 

THE MAGIC MOUNTAIN

Thomas Mann

1875 1955

The Thunderbolt

Page 706
"SEVEN years Hans Castorp remained amongst those up here. Partisans of the decimal system might prefer a round number, though seven is a good handy figure in its way, picturesque, with a savour of the mythical; one might even say that it is more filling to the spirit than a dull academic half-dozen. Our hero had sat at all seven of the tables in the dining-room, at each about a year, the last being the "bad" Russian table, and his company there two Ar-menians, two Finns, a Bokharian, and a Kurd. He sat at the " bad " Russian table, wearing a recent little blond beard, vaguish in cut, which we are disposed to regard as a sign of philosophic indiffer-ence to his own outer man. Yes, we will even go further, and relate his carelessness of his person to the carelessness of the rest of the world regarding him. The authorities had ceased to devise him distractions. There was the morning inquiry, as to, whether he had slept well, itself purely rhetorical and summary; and that aside, the Hofrat did not address him with any particularity; while Adriatica von Mylendonk-she had, at the time of which we write, a stye in a perfect state of maturity - did so seldom, in fact scarcely ever. They let him be. He was like the scholar in the peculiarly happy state of never being "asked" any more; of never having a task, of being left to sit, since the fact of his being left behind is established, and no one troubles about him further - an orgiastic kind of freedom, but we ask ourselves whether, in-deed, freedom ever is or can be of any other kind. At all events, here was one on whom the authorities no longer needed to keep an eye, being assured that no wild or defiant resolves were ripen-ing in his breast. He was " settled," established. Long ago he had ceased to know where else he should go, long ago he had ceased to be capable of a resolve to return to the flat-land. Pid not the very fact that he was sitting at the " bad " Russian table witness a certain-abandon? No slightest adverse comment upon the said table being intended by the remark! Among all the seven, no single one could be said to possess definite tangible advantages or / Page 707 / disadvantages. We make bold to say that here was a democracy of tables, all honourable alike. T:he same tremendous meals were served here, as at the others; Rhadamanthus himself occasionally folded his huge hands before the doctor's place at the head; and the nations who ate there were respectable members of the human race, even though they boasted no Latin, and were not exag-geratedly dainty at their feeding.
Time - yet not the time told by the station clock, moving with- a jerk five minutes at once, but rather the time of a tiny timepiece, the hand of which one cannot see move, or the time the grass keeps when it grows, so unobservably one would say it does not grow at all, until some morning the fact is undeni- able - time, a line composed of a succession of dimensionless points (and now we are sure the unhappy deceased Naphta would interrupt us to ask how dimensionless points, no matter how many of them, can constitute a line), time, we say, had gone on, in its furtive, unobservable, competent way, bringing about changes. For example, the boy Teddy was discovered, one day- not one single day, of course, but only rather indefinitely from which day - to be a boy no longeer. No more might ladies take him on their laps, when, on occasion, he left his bed, changed his pyjamas for his knickerbockers, and came downstairs. Im-perceptibly that leaf had turned. Now, on such occasions, he took them. on- his instead, and both sides were as well, or even better pleased. He was become a youth; scarcely could we say he had bloomed into a youth; but he had shot up. Hans Castorp had not noticed it happening, and then, suddenlyy, he did. The shooting-up, however, did not suit the lad Teddy; the temporal became him not. In his twenty-first year he departed this life; dying of the disease for which he had proved receptive; and they cleansed and fumigated after him. The fact makes little claim upon our emotions, the change being so slight between his one state and his next.
But there were other deaths, and more important; deaths down in the flat-land, which touched, or would once have touched, our hero more nearly. We are thinking of the recent decease of old .Consul Tienappel, Hans's great-uncle and foster-father, of faded memory. He had carefully avoided unfavourable conditions of atmospheric pressure, and left it to Uncle James to stultify him-self; yet .an apoplexy carried him off after all; and a telegram, couched m brief but feelmg terms - feeling more for the departed than for the recipient of the wire - was one day brought to Hans Castorp where he lay.in his excellent chair. He acquired / Page 708 / some black-bordered note-paper, and wrote to his uncle-cousins: he, the doubly, now, so to say, triply orphaned, expressed him- self as being the more distressed over the sad news, for that cir- cumstances forbade him interrupting his present sojourn even to pay his great-uncle the last respects.
To speak of sorrow would be disingenuous. Yet in these days Hans Castorp's eyes did wear an expression more musing than common. This death, which could at no time have moved him greatly, and after the lapse of years could scarcely move him at all, meant the sundering of yet another bond with the life below; gave to what he rightly called his freedom the final seal. In the time of which we speak, all contact between him and the flatland had ceased. He sent no letters thither, and received none thence. He no longer ordered Maria Mancini, having found a brand up here to his liking, to which he was now as faithful as once to his old-time charmer: a brand that must have carried even a polar explorer through the sorest and severest trials; armed with which, and no other solace, Hans Castorp could lie and bear it out indefinitely, as one does at the sea-shore. It was an especially well cured brand, with the best leaf wrapper, named "Light of Asia "; rather more compact than Maria, mouse-grey in colour with a blue band, very tractable and mild, and evenly consuming to a snow-white ash, that held its shape and still showed traces of the veining on the wrapper; so evenly and regularly that it might have served the smoker for an hour-glass, and did so, at need, for he no longer carried a timepiece. His watch had fallen from his night-table; it did not go, and he had neglected to have it regulated, perhaps on the same grounds as had made him long since give up using a calendar, whether to keep track of the day, or to look out an approaching feast: the grounds, namely, of his freedom." Thus he did honour to his abiding-everlasting, his walk by the ocean of time, the hermetic enchantment to which he had proved so extraordinarily susceptible that it had become tlle fundamental adventure ofhis life, in which all the alchemisti-cal processes of his simple substance had found full play.
Thus he lay; and thus, in high summer, the year was once more rounding out, the seventh year, though he knew it not, of his sojourn up here.
Then, like a thunder-peal-
But God forbid and modesty withhold us from speaking over- much of what the thunder-peal bore us on its wave of sound! Here rodomontade is out of place. Rather let us lower our voice to say that then came the peal of thunder we all know so well; / Page 709 / that deafening explosion of long-gathering magazines of passion and spleen. That historic thunder-peal, of which we speak with bated breath, made the foundations of the earth to shake; but for us it was the shock that fired the mine beneath the magic mountain, and set our sleeper ungently outside the gates. Dazed he sits in the long grass and rubs his eyes - a man who, despite many warnings, had neglected to read the papers.
His Mediterranean friend and mentor had ever tried to prompt him; had felt it incumbent upon him to instruct his nurslmg, the object of his solicitude, in what was going on down below; but his pupil had lent no ear. The young man had indeed, in a stock- taking way, preoccupied himself. with this or that among the subjective shadows of things; but the things themselves he had heeded not at all, having a wilful tendency to take the shadow for the substance, and in the substance to see only shadow. For this, however, we must not judge him harshly, since the relation between'substance and shadow has never been defined once and for all.
Long ago it had been Herr Settembrini who brought sudden illumination into the room, sat down beside the horizontal Hans and sought to influence and instruct him upon matters of life and death. But now it was the pupil, who, seated with his hands between his knees, at the bedside of the humanist, or near his couch in the cosy and retired little mansard, study, with the car- bonaro chairs and the water-bottle, kept him company and listened courteously to his utterances upon the state of Europe - for in these days Herr Ludovico was seldom on his legs. Naphta's violent end, the terroristic deed of that desperat~ antagonist, had dealt his sensitive nature a blow from which it could scarcely rally; weakness and infirmity had since been his portion. He could
no longer work on the Sociological Pathology; the League waited in vain for that lexicon of all the masterpieces of letters having human suffering for their central theme. Herr Ludovico had per-force to limit to oral efforts his contribution to the organization of progress; and even so much he must have foregone had not Hans Castorp's visits given him opportunity to spread his gospel.
His voice was weak, but he spoke with conviction, at length and beautifully, upon the self-perfecting of the human spirit through social betterment. Softly, as though on the wings of doves, came the words of Herr Ludovico. Yet again, when he came to speak of the unification and universal well being of the liberated peoples, there mingled a sound - he neither knew nor willed it, of course - as of the rushing pinions of eagles. That / Page 710 / was the political key, the grandfatherly inheritance that united in him with the humanistic gift of the father, to make up the litterateur - precisely as humanism and politics united in the lofty ideal of civilization, an ideal wherein were blended the mildness of doves and the boldness of eagles. That ideal was only biding its time, until the day dawned, the Day of the People, when,. the principle of reaction should be laid low, and the Holy Alliance of civic democracIes take Its place. Yes, here seemed to sound two voices, with differing counsels. For Herr Settembrini was a hu-manitarian, yet at the same time, half explicitly, he was warlike too. In the duel with the outrageous little Naphta he had borne himself like a man. But in general it still remained rather vague what his position was to be, when humanity in an outburst of enthusiasm united itself with politics in support of a triumphant and dominating world-civilization, and the burgher's pike was dedicated upon the altar of humanity. There was some doubt whether he would then hold back his hand from the shedding of blood. Yes, it seemed the prevailing temper more and more held sway in the Italian's mind and view; the boldness of the eagle was gradually outbidding the mildness of the dove.
Not infrequently his attitude toward the existing great political systems was divided, embarrassed, disturbed by scruples. The. diplomatic rapprochement between his country and Austria, their co-operation in Albania, had reflected itself in his conversation: a co-operation that raised his spirits in that it was directed against Latinless half-Asia - knout, Schlusselburg, and all- yet tormented them in that it was a misbegotten alliance with the hereditary foe, with the principle of reaction and subjugated nationalities. The autumn previous, the great French loan to Russia, for the purpose of building a network of railways in Poland, had awakened in him similar misgivings. For Herr Settembrini belonged to the Fran-cophile party in his own country, which was not surprising when one recalled that his grandfather had compared the six days of the July Revolution to the six days of the creation, and seen that they were as good. But the understanding between the en-lightened republic and Byzantine Scythia was too much for him, it oppressed his breast, and at the same time made him breathe quicker for hope and joy at the thought of the strategic meaning of that network of railways. Then came the Serajevo murder, for everyone excepting German Seven-Sleepers a storm-signal; de-cisive for the informed ones, among whom we may reckon Herr Settembrini. Hans Castorp saw him shudder as a private citizen at the frightful deed, while in the same moment his breast heaved / Page 711 / with the knowledge that this was a deed of popular liberation, directed against the citadel of his loathing. On the other hand, was it not also the fruit of Muscovite activity, and as such giving rise to great heart.;searchings? Which did not hinder him, three weeks later, from characterizing the extreme demands of the monarchy upon Servia as a hideous crime and an insult to human dignity, the consequences of which he could forese well enough, and awaited in breathless excitement.
In short, Herr Settembrini's feelings were as complex as the fatality he saw fast rolling up, for which he sought by hints and half-words to prepare his pupil, a sort of national courtesy and compunction preventIng him from speaking out. In the first days of mobilization, the first declaration of war, he had a way of putting out both hands to his visitor; taking Hans Castorp's own and pressing them, that fairly went to our young noodle's heart, if not precisely to his head. " My friend," the Italian would say, " gunpowder, the printing-press, yes, you have certainly given us all that. but if you think we could march against the Revolution-Caro. . . .
During those days of stifling expectation, when the nerves of Europe were on the rack, Hans Castorp did not see Herr Settembrini. The newspapers with their wild, chaotic contents pressed up out of the depths to his very balcony, they disorganized the house, filled the dining-room with their sulphurous, stifling breath, even penetrated the chambers of the dying. These were the moments when the "Seven-Sleeper," not knowing what had hap-pened, 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, peni-entially - 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.

Page 712

And in this attitude Herr Settembrini found him - figura-tively and most figuratively spoken, for full well we know our hero's traditional reserve would render such theatricality im-possible. Herr Settembrini, in fact, found him packing his trunk. For since the moment of his sudden awakening, Hans Castorp had been caught up in the hurry and scurry of a "wild" de-parture, brought about by the thunder-peal. "Home" - the Berghof - was the picture of an ant-hill in a panic: its little popu- lation was flinging itself, heels over head, five thousand feet downwards to the catastrophe-smitten flat-land. They stormed the little trains, they crowded them to the footboard -luggageless, if needs must, and the stacks of luggage piled high the station platform, the seething platform, to the height of which the scorching breath from the flat-land seemed to mount - and Hans Castorp stormed with them. In the heart of the tumult Ludovico embraced him, quite literally enfolded him in his arms and kissed him, like a southerner - but like a Russian too - on both his cheeks; and this, despite his own emotion, took our wild traveller no little aback. But he nearly lost his composure. when, at t.he very last, Herr Settembnm called him " Giovanni" and, laying aside the form, of address common to the cultured West, spoke to him with the thou!
"E cosi in giu," he said. "Cosi vai in giu finalmente - add-io, Giovanni mio! Quite otherwise had I thought to see thee go. But be it so, the gods have willed it thus and not otherwise. I hoped to discharge you to go down to your work, and now you go to fight among your kindred. My God, it was given to you and not to your cousin, our Tenente! What tricks life plays! Go, then, It is your blood 'that calls, go and fight bravely. More than that can no man. But forgive me if I devote the remnant of my powers to incite my country to fight where the Spirit and sacra egoismo point the way. Addio! " .
  Hans Castorp thrust out his head among ten others, filling the little open window-frame. He waved.. And Herr Settembrini waved back, with his right hand, while with the ring-finger of his left he delicately touched the comer of his eye.

What is it? Where are we? Whither has the dream snatched us? Twilight, rain, filth. Fiery glow of the overcast sky, ceaseless booming of heavy thunder; the moist air rent by a sharp singing whine, a raging, swelling howl as of some hound of hell, that ends its course in a splitting, a splintering and sprinkling, a crackling, a coruscation; by groans and shrieks, by trumpets blowing fit to / Page 713 /  burst, by the beat of a drum coming faster, faster- There is a wood, discharging drab hordes, that come on, fall, spring up again, come on - Beyond, a line of hill stands out against the fiery sky, whose glow turns now and again to blowing flames. About us is rolling plough-land, all upheaved and trodden into mud; athwart it a bemired high road, disguised with broken branches and from it again a deeply furrowed, boggy field-path leading off in curves toward the distant hills. Nude, branchless trunks of trees meet the eye, a cold rain falls. Ah, a signpost! Useless, though, to question it, even despite the half-dark, for it is shattered, illegible. East, west? It is the flat-land, it is the war. And we are shrinking shadows by the way-side, shamed by the security of our shadowdom, and noways minded to indulge in any rodomontade; merely led hither by the spirit of our nar-rative, merely to see again, among those running, stumbling, drum- mustered grey comrades that swarm out of yonder wood, one we know; merely to look once more in the simple face of our one-time fellow of so many years, the genial sinner whose voice we know so well, before we lose him from our sight.
They have been brought forward, these comrades, for a final thrust in a fight that has already lasted all day long, whose ob-jective is the retaking of the hill position and the burning villages beyond, lost two days since to the enemy. It is a volunteer regiment, fresh young blood and mostly students, not long in the field. They were roused in the night, brought up in trains to morning, then marched in the rain on wretched roads - on no roads at all, for the roads were blocked, and they went over moor and ploughed land with full kit for seven hours, their coats. sodden. It was no pleasure excursion. If one did not care to lose one's boots, one stooped at every second step, clutched with one's fingers into the straps and pulled them out of the quaking mire. It took an hour of such work to cover one meadow. But at last they have reached the appointed spot, exhausted, on edge, yet the reserve strength of their youthful bodies has kept them tense, they crave neither the sleep nor the food they have been denied. Their wet, mud-bespattered faces, framed between strap and grey-covered helmet, are flushed with exertion - perhaps too with the sight of the losses they suffered on their march through that boggy wood. For the enemy, aware of their advance, have concentrated a barrage of shrapnel and large-calibre grenades upon .the way they must come; it crashed among them in the wood, and howling, flaming, splashing, lashed the wide ploughed land.
They must get through, these three thousand ardent youths; / Page 714 / they must reinforce with their bayonets the attack on the burning villages, and the trenches in front of and behind the line of hills; they must help to advance their line to a point indicated in the dispatch their leader has in his pocket. They are three thousand, that they may be two thousand when the hills, the villages are reached; that is the meaning of their number. They are a body of troops calculated as sufficierit, even after great losses, to attack and carry a position and greet their triumph with a thousand-voiced huzza - not counting the stragglers that fall out by the way. Many a one has thus fallen out on the forced march, for which he proved too young and weak; paler he grew, staggered, set his teeth, drove himself on - and after all he could do fell out notwithstanding. Awhile he dragged himself in the rear of the marching column, overaken and passed by company after company; at length he remained on the ground, lying where it was not good to lie. Then came the shattering wood. But there are so many of them, swarming on - they can survive a blood-letting and still come on in hosts. They have already overflowed the level, rain-lashed land; the high road, the field road, the boggy ploughed land; we shadows stand amid and among them. At the edge of the wood they fix their bayonets, with the practised grips; the horns enforce them, the drums roll deepest bass, and forward they stumble, as best they can, with shrill cries; night- marishly, for clods of earth cling to their heavy boots and fetter them.
They fling themselves down before the projectiles that come howling on, then they leap up again and hurry forward; they exult, in their young, breaking voices as they run, to discover themselves still unhit. Or they are hit, they fall, fighting the air with their arms, shot through the forehead, the heart, the belly; They lie, their faces in the mire, and are motionless. They lie, their backs elevated by the knapsack, the crowns of their heads pressed into the mud, and clutch and claw in the air. But the wood emits new swarms, who fling themselves down, who spring up, who, shrieking or silent, blunder forward over the fallen.
Ah, this young blood, with its knapsacks and bayonets, its mud-befouled boots and clothing! We look at it, our humanistic- aesthetic eye pictures it among scenes far other than these: we see these youths watering horses on a sunny arm of the sea; roving with the beloved one along the strand, the lover's lips to the ear of the yielding bride; in happiest rivalry bending the bow. Alas, no, here they lie, their noses in fiery filth: They are glad to be here - albeit with boundless anguish, with unspeakable / Page 715 / sickness for home; and this, of itself, is a noble and a shaming thing - but no good reason for bringing them to such a pass.
There is our friend, there is Hans Castorp! We recognize him at a distance, by the little beard he assumed while sitting at the bad" Russian table. Like all the others, he is wet through and glowing.. He is running, his feet heavy with mould, the bayonet swinging in his hand. Look! He treads on the hand of a fallen comrade; with his hobnailed boot he treads the hand deep into the slimy, branch-strewn ground. But it is he. What, singing? As one sings, unaware, staring stark ahead, yes, thus he spends his hurrying breath, to sing half soundlessly:

"And loving words I've carven
 Upon its branches fair - "

He stumbles, No, he has flung himself down, a hell-hound is coming howling, a huge explosive shell, a disgusting sugar-loaf from the infernal regions. He lies with his face in the cool mire, legs sprawled out, feet twisted, heels turned down. The product of a perverted science, laden with death, slopes earth-ward thirty paces in front of him. and buries its nose in the ground;. explodes InsIde there, wIth hideous expense of power, and raises up a fountain high as a house, of mud, fire, iron, molten metal, scattered fragments of humanity. Where it fell, two youths had lain, friends who in their need flung themselves down together - now they are scattered, commingled and gone.
Shame of our shadow-safety! Away! No more! - But our friend? Was he hit? He thought so, for the moment. A great clod of earth struck him on the shin, it hurt, but he smiles at it. Up he gets, and staggers on, limping on his earth-bound feet, all un-consciously singing:

"Its waving branches whi-ispered
A mess-age in my ear-"

and thus, in the tumult, in the rain, in the dusk, vanishes out of our sight.
Farewell, honest Hans Castorp, farewell, Life's delicate child! Your tale is told. We have told it to the end, and it was neither short nor long, but hermetic. We have told it for its own sake, not for yours, for you were simple. But after all, it was your story, it befell you, you must have more in you than we thought; we will not disclaim the pedagogic weakness we conceived for / Page 716 / you in the telling; which could even lead us to press a finger delicately to our eyes at the thought that we shall see you no more, hear you no more for ever.
Farewell- and if thou livest or diest! Thy prospects are poor. The desperate dance, in which thy fortunes are caught up, will last yet many a sinful year; we should not care to set a high stake on thy life by the time it ends. We even confess that it is without great concern we leave the question open. Adventures of the flesh and in the spirit, while enhancing thy simplicity, granted thee to know in the spirit what in the flesh thou scarcely couldst have done. Moments there were, when out of death, and the rebellion of the flesh, there came to thee, as thou tookest stock of thyself, a dream of love. Out of this universal feast of death, out of this extremity of fever, kindling the rain-washed evening sky to a fiery glow, may it be that Love one day shall mount?"

FINIS OPERIS

 

THE

SAPTARSHI

SAP+TARS+HI

A

RISH = 999 = HSIR

SAPTARSHI = A PAST RISH = SAPTARSHI

SAPTARSHI = A STAR SHIP = SAPTARSHI

 

THE

CHRIST = C RISH T = CHRIST

 

“THE WORLD IS BUILT UPON THE POWER OF NUMBERS”

"Pythagoras, the old master philosopher and mathematician, who lived in the sixth century BC, propounded the theory that nothing in the universe could exist without numbers. He established a Mystery School in Italy when he was 52 years old. He was born in Greece and lived between 582 and 507 BC, much of his life spent in study and travel. His Mystery School taught esoteric knowledge, which included the secret of number and vibration."

“The World is built upon the power of Numbers” ...Pythagoras – 6th century BC.

 

“THE WORLD IS BUILT UPON THE POWER OF NUMBERS”

 

T
=
2
Q
3
THE
33
15
6
W
=
5
-
5
WORLD
72
27
9
I
=
9
-
2
IS
28
10
1
B
=
2
Q
5
BUILT
64
19
1
U
=
3
-
4
UPON
66
21
3
T
=
2
Q
3
THE
33
15
6
P
=
7
Q
5
POWER
77
32
5
O
=
6
-
2
OF
21
12
3
N
=
5
-
7
NUMBERS
92
29
2
-
-
41
-
36
First Total
486
180
36
-
-
4+1
-
3+6
Add to Reduce
2+7+9
1+8+0
3+6
-
-
5
-
9
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
5
-
9
Essence of Number
9
9
9

 

 

I

ME

NUMBERS

EGYPT PYTHAGORAS EGYPT

THREE FOUR FIVE - FIVE FOUR THREE

PYTHAGORAS OURABORUS PYTHAGORAS

 

 

THE GROWTH OF SCIENCE

A.P. Rossiter 1939

Page 15

"The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."

 

"...among them one very old rule for getting a right-angle by stretching out knotted cords with

5, 4 And 3 units between the knots."

 

 

CIVILIZATION, SCIENCE AND RELIGION

A. D. RITCHIE 1945

THE ART OF THINKING

Page 39

"The Egyptians could set out a right-angle on the ground,

for building or for land surveying,

by means of a cord knotted at intervals of

3, 4 and 5 units of length."

 

-
-
-
-
-
PYTHAGORAS
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
3
4
5
-
7
-
-
Y
=
7
-
1
Y
25
7
7
-
-
-
3
4
5
-
7
-
-
T
=
2
-
1
T
20
2
2
-
-
2
3
4
5
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
3
4
5
-
-
8
-
A
=
1
-
1
A
1
1
1
-
1
-
3
4
5
-
-
-
-
G
=
7
-
1
G
7
7
7
-
-
-
3
4
5
-
7
-
-
O
=
6
-
1
O
15
6
6
-
-
-
3
4
5
6
-
-
-
R
=
9
-
1
R
18
9
9
-
-
-
3
4
5
-
-
-
9
A
=
1
-
1
A
1
1
1
-
1
-
3
4
5
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
3
4
5
-
-
-
-
-
-
49
-
10
PYTHAGORAS
130
58
49
-
3
2
3
4
5
6
21
8
9
-
-
4+9
-
1+0
-
1+3+0
5+8
4+9
-
-
-
-
-
-
-
2+1
-
-
-
-
13
-
1
PYTHAGORAS
4
13
13
-
3
2
3
4
5
6
3
8
9
-
-
1+3
-
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
PYTHAGORAS
4
4
4
-
3
2
3
4
5
6
3
8
9

 

THE MISSING NUMBERS IN THE WORD

PYTHAGORAS

THREE FOUR FIVE -

 

-
-
-
-
-
PYTHAGORAS
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
3
4
5
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
3
4
5
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
3
4
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
3
4
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
3
4
5
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
3
4
5
-
7
-
-
Y
=
7
-
1
Y
25
7
7
-
-
-
3
4
5
-
7
-
-
G
=
7
-
1
G
7
7
7
-
-
-
3
4
5
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
3
4
5
-
-
8
-
R
=
9
-
1
R
18
9
9
-
-
-
3
4
5
-
-
-
9
-
-
49
-
10
PYTHAGORAS
130
58
49
-
3
2
3
4
5
6
21
8
9
-
-
4+9
-
1+0
-
1+3+0
5+8
4+9
-
-
-
-
-
-
-
2+1
-
-
-
-
13
-
1
PYTHAGORAS
4
13
13
-
3
2
3
4
5
6
3
8
9
-
-
1+3
-
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
PYTHAGORAS
4
4
4
-
3
2
3
4
5
6
3
8
9

 

 

-
-
-
-
-
PYTHAGORAS
-
-
-
-
1
2
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
7
-
-
Y
=
7
-
1
Y
25
7
7
-
-
-
-
7
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
8
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
G
=
7
-
1
G
7
7
7
-
-
-
-
7
-
-
O
=
6
-
1
O
15
6
6
-
-
-
6
-
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
49
-
10
PYTHAGORAS
130
58
49
-
3
2
6
21
8
9
-
-
4+9
-
1+0
-
1+3+0
5+8
4+9
-
-
-
-
2+1
-
-
-
-
13
-
1
PYTHAGORAS
4
13
13
-
3
2
6
3
8
9
-
-
1+3
-
-
-
-
1+3
1+3
-
-
-
-
-
-
-
-
-
4
-
1
PYTHAGORAS
4
4
4
-
3
2
6
3
8
9

 

 

A BRIEF HISTORY OF INFINITY

"The Quest to Think the Unthinkable

Brian Clegg 2003

Page 66

"When dealing with such ratios, they would know that there was a clear relationship in terms of a full unit - so, for instance, in the famous right angled triangle of Pythagoras' theorem, they would think of of the longest side being 5 units long when the other side were 3 and 4..."

 

The Theorem of Pythagoras 25 Nov 2001 ... Brief description and proof of the Pythagorean theorem by dissection, ... Ancient Egyptian builders may have known the (3,4,5) triangle and ... arc.iki.rssi.ru/mirrors/stern/stargaze/Spyth.htm - Cached - Similar -

 

Pythagorean Triangles and Triples Jump to The 3-4-5 Triangle‎: 3 4 5 on graph paper But all Pythagorean triangles are even easier to draw on squared paper because all their sides are ... www.mcs.surrey.ac.uk/Personal/R.Knott/Pythag/pythag.html - Cached - Similar

 

-3:4:5 triangle definition - Math Open Reference - Sep 23
You could of course use any dimensions you like, and then use Pythagoras' theorem to see if it is a right triangle. But the numbers 3,4,5 are easy to ...
www.mathopenref.com/triangle345.html - Cached - Similar

 

-The Pythagorean Theorem and the Maya Long Count Various ancient cultures based some of their artwork on the 3-4-5 right triangle, frequently referred to by geometrists as a perfect triangle. Pythagoras is ... www.earthmatrix.com/pythagoras.html - Cached - Similar

 

-Our Ancient Friend and Brother, the Great Pythagoras The evidence that the particular triangle alluded to in the Monitor is the 3,4,5 right triangle can be derived from the odd comments about Pythagoras' ... www.sricf-ca.org/paper1.htm - Similar

 

-The 3-4-5 Rule is the Pythagorean Theorem: Set Control Lines for ... The Pythagorean theorem is the basis for the 3-4-5 rule. This simple math equation is a carpenter's tool used to find or verify the squareness of a room or ...
homerenorepair.suite101.com/.../the_345_rule_is_the_pythagorean_theorem - Cached - Similar

 

-pythagoras For integers m and n, {n2-m2, 2mn, n2+m2}is a pythagorean triangle. For m=1, n=2, you'll get {3, 4, 5}. I'll add a diagram so that this isn't completely ... www.mathpuzzle.com/pythagoras.html - Cached - Similar

-The Pythagorean Theorem First described by the Greek mathematician Pythagoras 2500 years ago, the Pythagorean ... For example: 3,4,5 or 6,8,10 or 9,12,15 or 12,16,20 ... etc ... www.worsleyschool.net/.../pythagoras/pythagoreantheorem.html - Cached - Similar

 

-pythagoras Pythagoras the 3-4-5 fallacy. ... Traditionally the example used to illustrate the Pythagorean theorem is the 3-4-5 diagram. This is a fallacy, ... www.marques.co.za/duke/pythagoras.htm - Cached - Similar -

 

PYTHAGORAS = 7728176911 = PYTHAGORAS

1112345677789

123456789

1112345677789

PYTHAGORAS = 7728176911 = PYTHAGORAS

 

THE GROWTH OF SCIENCE

A.P.Rossiter 1939

Page 15

"The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."

"...among them one very old rule for getting a right-angle by stretching out knotted cords with

5, 4 And 3 units between the knots."

 

 

CIVILIZATION, SCIENCE AND RELIGION

A. D. RITCHIE 1945

THE ART OF THINKING

Page 39

"The Egyptians could set out a right-angle on the ground,

for building or for land surveying,

by means of a cord knotted at intervals of

3, 4 and 5 units of length."

 

3
-
5
THREE
56
29
2
4
-
4
FOUR
60
24
6
5
-
4
FIVE
42
24
6
12
-
13
First Total
158
77
14
1+2
-
1+3
Add to Reduce
1+5+8
7+7
1+4
3
-
4
Second Total
14
14
5
-
-
-
Reduce to Deduce
1+4
1+4
--
3
-
4
Essence of Number
5
5
5

 

THE

MISSING

NUMBERS

EGYPT PYTHAGORAS EGYPT

THREE FOUR FIVE - FIVE FOUR THREE

PYTHAGORAS OURABORUS PYTHAGORAS

 

A

STRAIGHT ANSWER TO A STRAIGHT

QUESTION

?

ARE YOU AN ALIEN AND IF SO ARE YOU FROM OUTER SPACE OR INNER SPACE

?

YES AND YOU

?

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
5
5
11
TERRESTRIAL
145
55
1
16
EXTRATERRESTRIAL
213
78
6
3
AND
19
10
1
9
CELESTIAL
86
32
5
2
AM
14
5
5
1
I
9
9
9
49
First Total
558
216
45
4+9
Add to Reduce
5+5+8
2+1+6
4+5
13
Second Total
18
9
9
1+3
Reduce to Deduce
1+8
-
-
4
Essence of Number
9
9
9

 

 

11
DECLARATION
102
48
3
2
OF
21
12
3
10
PRINCIPLES
121
58
4
10
CONCERNING
102
57
3
10
ACTIVITIES
117
45
9
9
FOLLOWING
113
50
5
3
THE
33
15
6
9
DETECTION
95
41
5
2
OF
21
12
3
16
EXTRATERRESTRIAL
213
78
6
12
INTELLIGENCE
115
61
7
94
First Total
1053
477
54
9+4
Add to Reduce
1+0+5+3
4+7+7
5+4
13
Second Total
9
18
9
1+3
Reduce to Deduce
-
1+8
-
4
Essence of Number
9
9
9

 

 

-
-
-
-
12
FIRST CONTACT
-
-
-
F
=
6
-
5
FIRST
72
36
9
C
=
3
-
8
CONACT
76
22
4
-
-
9
-
12
FIRST CONTACT
148
58
13
-
-
-
-
1+3
-
1+4+8
5+8
1+3
-
-
9
-
3
FIRST CONTACT
13
13
4
-
-
-
-
-
-
1+3
1+3
-
-
-
9
-
3
FIRST CONTACT
4
4
4
-
-
-
-
-
-
-
-
-
-
-
9
-
3
THIRTEEN
99
45
9

 

 

YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO

 

8
QUO VADIS
108
36
9
6
VOX POP
108
36
9
11
SORROW
108
36
9
8
INSTINCT
108
36
9
11
DESCENDANTS
108
36
9
8
STARTING
108
36
9
9
NARRATIVE
108
36
9
9
SEQUENCES
108
36
9
9
COMPLETES
108
36
9
9
AMBIGUOUS
108
36
9
7
JOURNEY
108
36
9

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone?

 

 

-
-
-
-
-
ITS THE FINAL COUNTDOWN
-
-
-
I
=
3
-
3
ITS
48
21
3
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FINAL
42
24
6
C
=
3
-
12
COUNTDOWN
129
39
3
-
-
-
-
20
ITS THE FINAL COUNTDOWN
252
99
18
-
-
-
-
2+0
-
2+5+2
9+9
1+3
-
-
9
-
2
ITS THE FINAL COUNTDOWN
9
18
9

 

 

JUST SIX NUMBERS

Martin Rees

1
999

OUR COSMIC HABITAT I

PLANETS STARS AND LIFE

Page 24

"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
Page 24 / 25
"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli- gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"

"A proton is

1,836 times heavier than an electron, and the number 1,836

would have the same connotations to any 'intelligence'"

 

 

E
=
5
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
7
4
17
First Total
225
99
9
-
-
-
-
1+7
Add to Reduce
2+2+5
9+9
-
Q
-
7
-
8
Second Total
9
18
9
-
-
-
-
1+7
Reduce to Deduce
-
1+8
-
Q
-
7
-
8
Essence of Number
9
9
9

 

THE GREAT PYRAMID

ITS

DIVINE MESSAGE

AN ORIGINAL CO-ORDINATION OF HISTORICAL DOCUMENTS AND ARCHEOLOGICAL EVIDENCES

D. Davidson and H. Aldersmith 1925

Page 279

"The resulting length for the Grand Gallery roof is 1836 P an important Pyramid dimension dealt with later."

 

HARMONIC 288

Bruce Cathie 1977

EIGHT

 THE MEASURE OF LIGHT : I

Page 95
"The search for this particular value was a lengthy one and the clue that led me finally to a possible solution was a study of the construction of the Grand Gallery. The height of the Gallery was the first indication that it was not just an elaborate access passage. Previous measurements made by scientific investigators pointed to some interesting possibilities. "
Page 95
"The value that I calculated for length was extremely close to that of the one published in Davidson and Aldersmith's book, their value being 1836 inches,"

Page 95/97                                                                                                                                                        
"A search of my physics books revealed that 1836 was the closest approximation the scientists have calculated to the mass / ratio of the positive hydrogen ion, i.e. the proton, to the electron."

 

 

 THE TUTANKHAMUN PROPHECIES

 Maurice Cotterell 1999

Page194

Anderson's Constitutions of the Freemasons (In3) comments:
", . . the Tillest structures of Tyre and Sidon could not be compared with the Eternal God's Temple at Jerusalem. , ,
  there were employed 3,600 Princes, or Master Masons', to conduct the work according to Solomon's directions,
 with 80000 hewers of stone in the mountains ('Fellow Craftsmen')and 70000 labourers in all 153600 besides       
the levy under Adoniram to work In the mountains of Lebanon by turns with the Sidonians, viz 30,000 being in all 183,600

Page 190

"The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9. Freemasons" for reasons we shall see, are said to be 'on the square'."

 

 

THE BIOLOGY OF DEATH

Lyall Watson 1974

Page 49

"AS long ago as 1836, in a Manual of Medical Jurisprudence, this was said: Individuals who are apparently destroyed in a sudden manner, by certain wounds, diseases , or even decapitation are not really dead, but are only in conditions incompatible with the persistence life."

 

 

THE JUPITER EFFECT

John Gribbin and Stephen Plagemann 1977

Page 122

: "Seventeen 'major historical earthquakes' are referred to in the report all of which occurred since
1836

 

 

AUTOBIOGRAPHY OF A YOGI

Paramahansa Yogananda

1946

Book cover comments

"I am grateful to you for granting me some insight into this fascinating world." - Thomas Mann"

"As an eye witness recountal of the extraordinary lives and powers of modern Hindu saints, the book has importance both timely and timeless."

- W. Y. Evans-Wentz, Orientalist

Page 275

"In the gigantic concepts of Einstein, the velocity of light - 1863 miles per second - dominates the whole theory of relativity"

1863 - 1836

 

 

GODS OF THE DAWN

THE MESSAGE OF THE PYRAMIDS

AND

THE TRUE STARGATE MYSTERY

Peter Lemesurier 1997

Page 118

"With the entry into the Grand Gallery, all kinds of extraordinary things now start to happen"
                                         while the 1836P" long roof (-code equivalent: 153 x 12)

 

8
QUO VADIS
108
36
9
6
VOX POP
108
36
9
11
SORROW
108
36
9
8
INSTINCT
108
36
9
11
DESCENDANTS
108
36
9
8
STARTING
108
36
9
9
NARRATIVE
108
36
9
9
SEQUENCES
108
36
9
9
COMPLETES
108
36
9
9
AMBIGUOUS
108
36
9
7
JOURNEY
108
36
9

 

KEEPER OF GENESIS  
Robert Bauval Graham Hancock 1996

Page 254

Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says:
we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood? Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as possible. But how could they? Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have. That common language is science and mathematics. The laws of Nature are the same everywhere.3

Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien.

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
1
16
EXTRATERRESTRIAL
213
78
6
-
-
-
-
-
-
6
-
-
-
I
=
9
2
12
INTELLIGENCE
115
61
7
-
-
-
-
-
-
-
7
-
-
W
=
5
3
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
B
=
2
4
2
BE
7
7
7
-
-
-
-
-
-
-
7
-
-
E
=
5
5
7
ELEGANT
64
28
1
-
1
-
-
-
-
-
-
-
-
C
=
3
6
7
COMPLEX
88
34
7
-
-
-
-
-
-
-
7
-
-
I
=
9
7
10
INTERNALLY
130
49
4
-
-
-
-
4
-
-
-
-
-
C
=
3
8
10
CONSISTENT
138
57
3
-
-
-
3
-
-
-
-
-
-
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
10
7
UTTERLY
121
31
4
-
-
-
-
4
-
-
-
-
-
O
=
6
11
5
ALIEN
41
23
5
-
-
-
-
-
5
-
-
-
-
-
-
51
-
83
First Total
992
398
47
-
2
2
3
8
5
6
21
8
9
-
-
5+1
-
8+3
Add to Reduce
9+9+2
3+9+8
4+7
-
-
-
-
-
-
-
2+1
-
-
-
-
6
-
11
Second Total
20
20
11
-
2
2
3
8
5
6
3
8
9
-
-
-
-
1+1
Reduce to Deduce
2+0
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
Essence of Number
2
2
2
-
2
2
3
8
5
6
3
8
9

 

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
1
16
EXTRATERRESTRIAL
213
78
6
-
-
-
-
-
-
6
-
8
9
I
=
9
2
12
INTELLIGENCE
115
61
7
-
-
-
-
-
-
-
7
8
9
W
=
5
3
4
WILL
56
20
2
-
-
2
-
-
-
-
-
8
9
B
=
2
4
2
BE
7
7
7
-
-
-
-
-
-
-
7
8
9
E
=
5
5
7
ELEGANT
64
28
1
-
1
-
-
-
-
-
-
8
9
C
=
3
6
7
COMPLEX
88
34
7
-
-
-
-
-
-
-
7
8
9
I
=
9
7
10
INTERNALLY
130
49
4
-
-
-
-
4
-
-
-
8
9
C
=
3
8
10
CONSISTENT
138
57
3
-
-
-
3
-
-
-
-
8
9
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
8
9
U
=
3
10
7
UTTERLY
121
31
4
-
-
-
-
4
-
-
-
8
9
O
=
6
11
5
ALIEN
41
23
5
-
-
-
-
-
5
-
-
8
9
-
-
51
-
83
First Total
992
398
47
-
2
2
3
8
5
6
21
8
9
-
-
5+1
-
8+3
Add to Reduce
9+9+2
3+9+8
4+7
-
-
-
-
-
-
-
2+1
-
-
-
-
6
-
11
Second Total
20
20
11
-
2
2
3
8
5
6
3
8
9
-
-
-
-
1+1
Reduce to Deduce
2+0
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
Essence of Number
2
2
2
-
2
2
3
8
5
6
3
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
5
7
ELEGANT
64
28
1
-
1
-
-
-
-
-
-
8
9
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
8
9
W
=
5
3
4
WILL
56
20
2
-
-
2
-
-
-
-
-
8
9
C
=
3
8
10
CONSISTENT
138
57
3
-
-
-
3
-
-
-
-
8
9
I
=
9
7
10
INTERNALLY
130
49
4
-
-
-
-
4
-
-
-
8
9
U
=
3
10
7
UTTERLY
121
31
4
-
-
-
-
4
-
-
-
8
9
O
=
6
11
5
ALIEN
41
23
5
-
-
-
-
-
5
-
-
8
9
E
=
5
1
16
EXTRATERRESTRIAL
213
78
6
-
-
-
-
-
-
6
-
8
9
I
=
9
2
12
INTELLIGENCE
115
61
7
-
-
-
-
-
-
-
7
8
9
B
=
2
4
2
BE
7
7
7
-
-
-
-
-
-
-
7
8
9
C
=
3
6
7
COMPLEX
88
34
7
-
-
-
-
-
-
-
7
8
9
-
-
51
-
83
First Total
992
398
47
-
2
2
3
8
5
6
21
8
9
-
-
5+1
-
8+3
Add to Reduce
9+9+2
3+9+8
4+7
-
-
-
-
-
-
-
2+1
-
-
-
-
6
-
11
Second Total
20
20
11
-
2
2
3
8
5
6
3
8
9
-
-
-
-
1+1
Reduce to Deduce
2+0
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
Essence of Number
2
2
2
-
2
2
3
8
5
6
3
8
9

 

 

S
=
1
-
3
SUN
54
9
9
E
=
5
-
5
EARTH
52
25
7
M
=
4
-
4
MOON
57
21
3
-
-
10
-
12
First Total
163
55
19
-
-
1+0
-
1+0
Add to Reduce
1+6+3
5+5
1+9
-
-
1
-
3
Second Total
10
10
10
-
-
-
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
1
-
3
Essence of Number
1
1
1

 

 

MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS

 

W
=
5
-
4
WHAT
52
16
7
O
=
6
-
3
ONE
34
16
7
W
=
5
-
5
WOULD
75
21
3
L
=
3
-
4
LOOK
53
17
8
F
=
6
-
3
FOR
30
21
3
T
=
2
-
9
THEREFORE
100
46
1
W
=
5
-
5
WOULD
75
21
3
B
=
2
-
2
BE
7
7
7
A
=
1
-
1
A
1
1
1
U
=
3
-
9
UNIVERSAL
121
40
4
L
=
3
-
8
LANGUAGE
68
32
5
-
-
41
4
53
-
616
238
49
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
K
=
2
-
4
KIND
38
20
2
O
=
6
-
2
OF
21
12
3
L
=
3
-
8
LANGUAGE
68
32
5
C
=
3
-
4
THAT
144
72
9
T
=
2
-
5
WOULD
35
8
8
A
=
1
-
2
BE
40
13
4
T
=
2
-
14
COMPREHENSIBLE
161
71
8
A
=
1
-
2
TO
54
27
9
S
=
1
-
3
ANY
96
33
6
I
=
9
-
15
TECHNOLOGICALLY
23
14
5
A
=
1
-
2
ADVANCED
40
13
4
E
=
5
-
7
SOCIETY
48
29
2
T
=
2
-
2
IN
49
13
4
W
=
5
-
3
ANY
75
21
3
B
=
2
-
5
EPOCH
7
7
7
-
-
47
4
81
-
931
400
85
-
-
-
-
-
-
-
-
-
S
=
1
-
4
SUCH
51
15
6
L
=
3
-
9
LANGUAGES
87
33
6
A
=
1
-
3
ARE
24
15
6
F
=
6
-
3
FEW
34
16
7
A
=
1
-
3
AND
19
10
1
F
=
6
-
3
FAR
25
16
7
B
=
2
-
7
BETWEEN
74
29
2
B
=
2
-
3
BUT
43
7
7
M
=
4
-
11
MATHEMATICS
112
40
4
I
=
9
-
2
IS
28
10
1
O
=
6
-
3
ONE
34
16
7
O
=
6
-
2
OF
21
12
3
T
=
2
-
4
THEM
46
19
1
-
-
49
4
57
-
598
238
58
-
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
L
=
3
-
8
LANGUAGE
68
32
5
O
=
6
-
2
OF
21
12
3
L
=
3
-
7
LETTERS
99
27
9
A
=
1
-
3
AND
19
10
1
N
=
5
-
7
NUMBERS
73
28
1
-
-
19
4
28
-
299
110
20
-
-
-
-
-
-
-
-
-
-
-
156
-
219
First Total
2444
986
212
-
-
1+5+6
-
2+1+9
Add to Reduce
2+4+4+4
9+8+6
2+1+2
-
-
12
-
12
Second Total
14
23
5
-
-
1+2
-
1+2
Reduce to Deduce
1+4
2+3
-
-
-
3
-
3
Essence of Number
5
5
5

 

MATHEMATICS A LANGUAGE OF LETTER AND NUMBER

 

 

 

EHT NAMUH 1973

 

 

 
 
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