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A MAZE IN ZAZAZA ENTER ZAZAZA ZAZAZAZAZAZAZAAZAZAZAZAZAZAZ ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGIKALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
WORK DAYS OF GOD Herbert W Morris D.D.circa 1883 Page 22
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium." "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics THE BOOK OF CREATION 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"
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
FINGERPRINTS OF THE GODS A QUEST FOR THE BEGINNING AND THE END Graham Hancock 1995 Chapter 32 Speaking to the Unborn Page 285 "It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers. A message in the bottle of time 'Of all the other stupendous inventions,' Galileo once remarked, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3 If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps. "What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them" "WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
ADVENT 502 ADVENT
Tarrasch I have always had a slight feeling of pity for the man who has no knowledge of chess. Chess, like love, like music, has the power to make men happy.
Og·do·ad Full Definition of OGDOAD 1 Gnosticism : a group of eight divine beings or of eight aeons 2 Gnosticism : the seat of rule of the higher archon and his son Origin of OGDOAD Gk ogdoad-, ogdoas, fr. ogdoos eighth (fr. oktō eight) + -ad-, -as, fem. suffix denoting descent from or connection with — more at eight This word doesn't usually appear in our free dictionary, but the definition from our premium Unabridged Dictionary is offered here on a limited basis. Note that some information is displayed differently in the Unabridged. To access the complete Unabridged Dictionary, with an additional 300,000 words that aren't in our free dictionary, start a free trial. Next Word in the Dictionary: ogee Byzant MysticalTarotSymbolsKabbalahBiographyAstrologyScriptorium Byzant Scriptorium - The Ogdoad www.byzant.com/mystical/Scriptorium/Ogdoad.aspx To the ancient Egyptians the Ogdoad were a group of eight primeval deities that gave birth to the sun, and to the Gnostics they were a set of eight emanations ... The Ogdoad The Ogdoad The Ogdoad were the primeval forces of chaos in Egyptian mythology, represented as eight deities that existed before the creation of the sun god. The eight were considered as four couples, each embodying a different aspect of the primal world: Nun and Naunet, the god and goddess of the primordial waters; Kek and Keket, the deities of darkness; Amon and Amaunet representing invisible power; and Heh and Hehet representing infinity. Occasionally other couples were included in the Ogdoad, but eight was always the total number of deities involved. Between and from themselves, the Ogdoad created a mound that rose from the primeval waters, and on this they formed an egg from which the young sun god emerged. Thus they were sometimes depicted as baboons heralding the first sunrise, as in this papyrus (left) from around 1350BC, showing seven of the Ogdoad and Horus, the falcon form of the sun god Ra-Harakhty. Often the Ogdoad were conceptualized as suitably primitive creatures like snakes and frogs. The site of the "Island of Flame" that saw the birth of the sun god was a place called Khemenu ("Eight Town") by the Egyptians and Hermopolis by the Greeks, and this was where the Ogdoad were principally worshipped. A piece of the shell of the cosmic egg from which the sun was born was said to be buried in a temple there. The Gnostics and the Ogdoad Valentinius was a prominent second century Gnostic, and he used the term Ogdoad to describe eight emanations - grouped in pairs of male/female, active/passive principles - by which Creation was effected. Initially there was the masculine principle of Bythos (the Abyss or Depth which was boundless and unqualified) from which came the feminine Silence, Grace or Thought. The uniting of these two produced Mind (masculine) and Truth (feminine). These four principles are the root of everything, bringing forth further powers called Aeons, again grouped in masculine/feminine pairs. The union of Mind and Truth brought forth Word (masculine) and Life (feminine), which together created Man (masculine) and the Church (feminine). Together, this group of eight principles formed the Ogdoad, which in turn produced further Aeons. The thirtieth of these was Sophia, the desire for wisdom, and it was the error of Sophia in not comprehending her limits that caused the Fall that made our Universe, according to Valentinian myth. The Ogdoad and Eight The Ogdoad is an expression of precreational infinity and always has eight as a characteristic, thus it has links with the lemniscate symbol of infinity and with the cyclical sense of eternity through the eight-spoked Wheel of the Year and the octagram. The production of all things from pairs of polar principles is analogous to yin and yang, Taoism and the eight trigrams of the I Ching. Lemniscate Octagram Yin-Yang
MysticalTarotSymbolsKabbalahBiographyAstrologyScriptorium
THE WHITE GODDESS Robert Graves 1948 Page 9 "Who cleft the Devil's foot?" Page 488 Chapter Twenty-Seven POSTSCRIPT 1960 People often ask me how I came to write The White Goddess. Here is the story. Though a poet by calling, I make my livelihood by prosebiographies, novels, translations from various languages, and so forth. My home has been in Majorca since 1929, Temporarily exiled because of the Spanish Civil War, I wandered around Europe and the United States; and the Second World War caught me in England, where I stayed until it ended and I could return to Majorca. In 1944, at the Devonshire village of Galmpton, I was working against time on a historical novel about the Argonauts, when a sudden over-whelming obsession interrupted me. It took the form of an unsolicited enlightenment on a subject which had meant little enough to me. I stopped marking across my big Admiralty chart of the Black Sea the course taken (the mythographers said) by the Argo from the Bosphorus to Baku and back. Instead, I began speculating on a mysterious 'Battle of the Trees', fought in pre-historic Britain, and my mind ran at such a furious rate all night, as well as all the next day, that it was difficult for my pen to keep pace with it. Three weeks later, I had written a seventy thousand-word book, called The Roebuck in the Thicket. I am no mystic: I avoid participation in witchcraft, spiritualism, yoga, fortune-telling, automatic writing, and the like. I live a simple, normal, rustic life with my family and a wide circle of sane and intelligent friends. I belong to no religious cult, no secret society, no philosophical sect; I belong to no secret society, no philosophical sect; nor do I trust my historical intuition any further than it can be factually checked. While engaged on my Argonaut book, I found the White Goddess of Pelion growing daily more important to the narrative. Now, I had in my work-room several small West African brass objects-bought from a London dealer-gold-dust weights, mostly in the shape of animals, among them a humpback playing a flute. I also had a small brass-box, with a lid, intended (so the dealer told me) to contain gold dust. I kept the humpback seated on the box. In fact, he is still seated there; but I knew nothing about him, or about the design on the box-lid, until ten years //Page 489/ had gone by. Then I learned that the humpback was a herald in the service of the Queen-mother of some Akan State; and that every Akan Queen mother (there are a few reigning even today) claims to be an incarnation of the Triple Moon-goddess Ngame. The design on the box-lid, a spiral, connected by a single stroke to the rectangular frame enclosing it-the frame having nine teeth on either side-means: 'None greater in the universe than the Triple Goddess Ngame!' These gold weights and the box were made before the British seizure of the Gold Coast, by craftsmen subservient to the Goddess, and regarded as highly magical. Very well: put it down to coincidence. Deny any connexion between the hump-backed herald on the box (proclaiming the sovereignty of the Akan Triple Moon-goddess, and set in a ring of brass animals representing Akan clan totems) and myself, who suddenly became' obsessed by the European White Goddess, wrote about her clan totems in the Argonaut context, and now had thrust upon me ancient secrets of her cult in Wales, Ireland and elsewhere. I was altogether unaware that the box celebrated the Goddess Ngame, that the Helladic Greeks, including the primitive Athenians, were racially linked with Ngame's people-Libyan Berbers, known as the Garamantians, who moved south from the Sahara to the Niger in the eleventh century A.D., and there intermarried with negroes. Or that Ngame herself was a Moon-goddess, and that the White Goddess of Greece and Western Europe shared her attributes. I knew only that Herodotus recognized the Libyan Neith as Athene. On returning to Majorca soon after the War, I worked again at The Roebuck in the Thicket, now called The White Goddess, and wrote more particularly about the Sacred King as the Moon-goddess's divine victim; holding that every Muse-poet must, in a sense, die for the Goddess whom he adores, just as the King died. Old Georg Schwarz, a German-Jewish collector, had bequeathed me five or six more Akan gold-weights, among them a mummy-like figurine with one large eye. It has since been identified by experts on West African art as the Akan King's okrafo priest. I had suggested in my book that, in early Mediterranean society, the King fell a sacrifice at the end of his term. But later (to judge from Greek and Latin myths) he won executive power as the Queen's chief minister and the privilege of sacrificing a surrogate. The same governmental change, I have since learned, took place after the matriarchal Akan arrived at the Gold Coast. In Bono, Asante, and other near-by states, the King's surrogate victim was called the 'okrafo priest'. Kjers-meier, the famous Danish (expert on African art, who has handled ten thousand of these gold-weights, tells me that he never saw another like mine. Dismiss it as a coincidence, if you please, that the okrafo figurine lay beside the herald on the gold box, while I wrote about the Goddess's victims. Page 490 After The White Goddess had been published, a Barcelona antiquary read my Claudius novels and invited me to choose myself a stone for a seal-ring from a collection of Roman gems recently bought. Among them was a stranger, a banded carnelian seal of the Argonaut period, engraved with a royal stag galloping towards a thicket, and a crescent moon on its flank! Dismiss that as a coincidence, too, if you please. Chains of more-than-coincidence occur so often in my life that, if I am forbidden to call them supernatural hauntings, let me call them a habit. Not that I like the word 'supernatural'; I find these happenings natural enough, though superlatively unscientific. In scientific terms, no god at all can be proved to exist, but only beliefs in gods, and the effects of such beliefs on worshippers. The concept of a creative goddess was banned by Christian theologians almost two thousand years ago, and by Jewish theologians long before that. Most scientists, for social convenience, are God-worshippers; though I cannot make out why a belief in a Father-god's authorship of the universe, and its laws, seems any less unscientific than a belief in a Mother-goddess's inspiration of this artificial system. Granted the first metaphor, the second follows logically-if these are no better than metaphors. . . True poetic practice implies a mind so miraculously attuned and illuminated that it can form words, by a chain of more-than-coincidences, into a living entity-a poem that goes about on its own (for centuries after the author's, death, perhaps) affecting readers with its stored magic. Since the source of poetry's creative power is not scientific intelligence, but inspiration-however this may be explained by scientists-one may surely attribute inspiration to the Lunar Muse, the oldest and most convenient European term for this source? By ancient tradition, the White Goddess becomes one with her human representative-a priestess, a prophetess, a queen-mother. No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident; just as no Apollonian poet can perform his proper function unless he lives under a monarchy or a quasi-monarchy. A Muse-poet . falls in love, absolutely, and his true love is for him the embodiment of the Muse. As a rule, the power of absolutely falling in love soon vanishes; and, as .a rule, because the woman feels embarrassed by the spell she exercises over her poet-lover and repudiates it; he, in disillusion, turns to Apollo who, at least, can provide him with a livelihood and intelligent entertainment, and reneges before his middle 'twenties. But the real, perpetually obsessed Muse - poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom and love of woman, and the individual woman whom the Goddess may make her instrument for a month, a year, seven years, or even more. The Goddess abides; and /Page 491/ perhaps he will again have knowledge of her through his experience of her as another woman. Being in love does not, and should not, blind the poet to the cruel side of woman's nature - and many Muse - poems attestation of this by men whose love is no longer returned: 'As ye came from the holy land Of Walsinghame, Met you not with my true love By the way as ye came ?'
'How should I know your true love, That have met many a one As I came from the holy land, That have come, that have gone?'
She is neither white nor brown, But as the heavens fair; There is none hath. her divine form In the earth, in the air:
'Such a one did I meet, good sir, Such an angelic face, Who like a nymph, like a queen, did appear In her gait, in her grace:
'She hath left me here alone, All alone, as unknown, Who sometimes did me lead with herself, And me loved as her own:
What's the cause that she leaves you alone And a new way doth. take, That sometime did you love as her own, And her joy did you make ?'
'1 have loved her all my youth, But now am old, as you see: Love likes not the falling fruit, Nor the withered tree:
It will be noticed that the poet who made this pilgrimage to Mary the Egyptian, at Walsinghame, the mediaeval patron saint of lovers, has /Page 492/ adored one woman all his life, and is now old. Why is she not old, too? Because he is describing the Goddess, rather than the individual woman. Or take Wyatt's: They flee from me who sometime did me seek With naked foot stalking within my chamber. . . He writes: 'They flee from me', rather than 'She flees from me': namely, the women who were in turn illumined for Wyatt by the lunar ray that commanded his love -such as Anne Boleyn, later Henry VIII's unfortunate queen. A prophet like Moses, or John the Baptist, or Mohammed, speaks in the name of a male deity, saying: 'Thus saith the Lord!' I am no prophet of the White Goddess, and would never presume to say: 'Thus saith the Goddess!' A simple loving declaration: 'None greater in the universe than the Triple Goddess!' has been made implicitly or explicitly by all true Muse-poets since poetry began.
THE WHITE GODDESS Robert Graves 1948 Page 441 Chapter Twenty - Four THE SINGLE POETIC THEME The acacia is still a sacred tree in Arabia Deserta and anyone who even breaks off a twig is expected to die within the year. The common Classical icon of the Muse whispering in a poet's ear refers to tree-top inspiration: the Muse is the dryad (oak-fairy), or milia (ash-fairy), or melia (quince fairy), or caryatid (nut-fairy), or hamadryad (wood-fairy in general), or heliconian (fairy of Mount Helicon, which took its name as much from helics, the willow-tree sacred to poets, as from the stream which spiralled round it). Nowadays poets seldom use these artificial aids to inspiration; though the sound of wind in the willows or. in a plantation of forest-trees still exercises a strangely potent influence on their minds; and 'inspirationvis therefore applied-to any means whatsoever by which the poetic trance is induced. But a good many of the charlatans or weaklings resort to auto matic writing and spiritism. The ancient Hebrew distinction between legitimate and illegitimate prophecy-'prophecy' meaning inspired poetry,in which future events are not necessarily, hut usually, foretold has much to recommend it. If a prophet went into a trance and was after wards unconscious of what he had been babbling, that was illegitimate; but if he remained in possession of his critical faculties throughout the trance and afterwards, that was legitimate. His powers were heightened by the 'spirit of prophecy', so that his words crystallized immense experience into a single poetic jewel; but he was, by the grace of God, the sturdy author and regulator of this achievement. The spiritistic medium, on thy other hand, whose soul momentarily absented itself so that demonic principalities and powers might occupy his body and speak pipingly through his mouth was no prophet and was 'cut off from the congregation' -if it was found that he had deliberately induced the trance. The ban was presumably extended to automatic writing.
I THAT AM BREATHE THE SPIRIT BREATH
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