|
||
|
|
|
|
||
|
||
|
A MAZE IN ZAZAZA ENTER ZAZAZA ZAZAZAZAZAZAZAAZAZAZAZAZAZAZ ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
WORK DAYS OF GOD Herbert W Morris D.D.circa 1883 Page 22
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium." "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
A HISTORY OF GOD Karen Armstrong The God of the Mystics Page 250 "(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."
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"
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 AT THE THROW OF THE NINTH RAM WHEN IN CONJUNCTION SET THE FAR YONDER SCRIBE MADE RECORD OF THEIR FALL
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."
THE ZED ALIZ ZED AGAIN IMAGES JUST THE RIGHT AMOUNT OF MAGI MAGIC
HAMLET'S MILL AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE AND ITS TRANSMISSION THROUGH MYTH Giorgio De Santillana and Hertha Von Dechend 1969 Intoduction Page 1 (number omitted) " The unbreakable fetters which bound down the Great Wolf Fenrir had been cunningly forged by Loki from these: the footfall of a cat, the roots of a rock, the beard of a woman, the breath of a fish, the spittle of a bird. The Edda Toute vue des choses qui n'est pas estrange est fausse. VALERY
The figure of Hamlet as a favorable starting point came by chance. Many other avenues offered themselves, rich in strange symbols and beckoning with great images, but the choice went to Hamlet because he led the mind on a truly inductive quest through a familiar landscape-and one which has the merit of its literary setting. Here is a character deeply present to our awareness, in whom ambiguities and uncertainties, tormented self-questioning and dispassionate insight give a presentiment of the modern mind. His personal drama was that he had to be a hero, but still try to avoid the role Destiny assigned him. His lucid intellect remained above the conflict of motives-in other words, his was and is a truly con/ Page 2 / temporary consciousness. And yet this character whom the poet made one of us, the first unhappy intellectual, concealed a past as a legendary being, his features predetermined, preshaped by longstanding myth. There was a numinous aura around him, and many clues led up to him. But it was a surprise to find behind the mask an ancient and all-embracing cosmic power-the original master of the dreamed-of first age of the world. This essay will follow the figure farther and farther afield, from the Northland to Rome, from there to Finland, Iran, and India; he will appear again unmistakably in Polynesian legend. Many other Dominations and Powers will materialize to frame him within the proper order. Amlodhi was identified, in the crude and vivid imagery of the Norse, by the ownership of a fabled mill which, in his own time, ground out peace and plenty. Later, in decaying times, it ground out salt; and now finally, having landed at the bottom of the sea, it is grinding rock and sand, creating a vast whirlpool, the Maelstrom (i.e., the grinding stream, from the verb mala, "to grind"), which is supposed to be a way to the land of the dead. This imagery stands, as the evidence develops, for an astronomical process, the secular shifting of the sun through the signs of the zodiac which determines world-ages, each numbering thousands of years. Each age brings a World Era, a Twilight of the Gods. Great structures collapse; pillars topple which supported the great fabric; floods and cataclysms herald the shaping of a new world. Tradition will show that the measures of a new world had to be procured from the depths of the celestial ocean and tuned with the measures from above, dictated by the "Seven Sages," as they are often cryptically mentioned in India and elsewhere. They turn out to be the Seven Stars of Ursa, which are normative in all cosmological alignments on the starry sphere. These dominant stars of the Far North are peculiarly but systematically linked with those which are considered the operative powers of the cosmos, that is, the planets as they move in different placements and configurations along the zodiac. The ancient Pythagoreans, in their conventional language, called the two Bears the Hands of Rhea (the Lady of Turning Heaven), and called the planets the Hounds of Persephone, Queen of the Underworld. Far away to the south, the mysterious ship Argo with its Pilot star held the depths of the past; and the Galaxy was the Bridge out of Time. These notions appear to have been common doctrine in the age before history-all over the belt of high civilizations around our globe. They also seem to have been born of the great intellectual and technological revolution of the late Neolithic period. The intensity and richness, the coincidence of details, in this cumulative thought have led to the conclusion that it all had its origin in the Near East. It is evident that this indicates a diffusion of ideas to an extent hardly countenanced by current anthropology. But this science, although it has dug up a marvelous wealth of details, has been led by its modern evolutionary and psychological bent to forget about the main source of myth, which was astronomy -the Royal Science. This obliviousness is itself a recent turn of events-barely a century old. Today expert philologists tell us that Saturn and Jupiter are names of vague deities, subterranean or atmospheric, superimposed on the planets at a "late" period; they neatly sort out folk origins and "late" derivations, all unaware that planetary periods, sidereal and synodic, were known and rehearsed / Page 4 / in numerous ways by celebrations already traditional in archaic times. If a scholar has never known those periods even from elementary science, he is not in the best position to recognize them when they come up in his material. Ancient historians would have been aghast had they been told that obvious things were to become unnoticeable. Aristotle was proud to state it as known that the gods were originally stars, even if popular fantasy had later obscured this truth. Little as he believed in progress, he felt this much had been secured for the future. He could not guess that W. D. Ross, his modern editor, would condescendingly annotate: "This is historically untrue." Yet we know that Saturday and Sabbath had to do with Saturn, just as Wednesday and Mercredi had to do with Mercury. Such names are as old as time; as old, certainly, as the planetary heptagram of the Harranians. They go back far before Professor Ross' Greek philology. The inquiries of great and meticulous scholars such as Ideler, Lepsius, Chwolson, BoIl and, to go farther back, of Athanasius Kircher and Petavius, had they only been read carefully, and noted, would have taught several relevant lessons to the historians of culture, but interest shifted to other goals, as can be seen from current anthropology, which has built up its own idea of the "primitive" and what came after. One still reads in that most unscientific of records, the Bible, that God disposed all things by number, weight and measure; ancient Chinese texts say that "the calendar and the pitch pipes have such a close fit, that you could not slip a hair between them." People read it, and think nothing of it. Yet such hints might reveal a world of vast and firmly established complexity, infinitely different from ours. But the experts now are benighted by the current folk fantasy, which is the belief that they are beyond all this-critics without nonsense and extremely wise. In 1959 I wrote: But they are tantalizing fragments of a lost whole. They make one think of those "mist landscapes" of which Chinese painters are masters, which show here a rock, here a gable, there the tip of a tree, and leave the rest to imagination. Even when the code shall have yielded, when the techniques shall be known, we cannot expect to gauge the thought of those remote ancestors of ours, wrapped as it is in its symbols. Their words are no more heard again Through lapse of many ages. . . We think we have now broken part of that code. The thought behind these constructions of the high and far-off times is also lofty, even if its forms are strange. The theory about "how the world began" seems to involve the breaking asunder of a harmony, a kind of cosmogonic "original sin" whereby the circle of the ecliptic (with the zodiac) was tilted up at an angle with respect to the equator, and the cycles of change came into being. This is not to suggest that this archaic cosmology will show any great physical discoveries, although it required prodigious feats of concentration and computing. What it did was to mark out the unity of the universe, and of man's mind, reaching out to its farthest limits. Truly, man is doing the same today. Einstein said: "What is inconceivable about the universe, is that it should be at all conceivable." Man is not giving up. When he discovers remote galaxies by the million, and then those quasi-stellar radio sources billions of light-years away which confound his speculation, he is happy that he can reach out to those depths. But he pays a terrible price for his achievement. The science of astrophysics reaches out on a grander and grander scale without losing its footing. Man as man cannot do this. In the depths of space he loses himself and all notion of his significance. He is unable to fit himself into the concepts of today's astrophysics short of schizophrenia. Modern man is facing the nonconceivable. Archaic man, however, kept a firm grip on the conceivable by framing within his cosmos / Page 6 / an order of time and an eschatology that made sense to him and reserved a fate for his soul. Yet it was a prodigiously vast theory, with no concessions to merely human sentiments. It, too, dilated the mind beyond the bearable, although without destroying man's role in the cosmos. It was a ruthless metaphysics. Not a forgiving universe, not a world of mercy. That surely not. Inexorable as the stars in their courses, miserationis parcissimae, the Romans used to say. Yet it was a world somehow not unmindful of man, one in which there was an accepted place for everything, rightfully and not only statistically, where no sparrow could fall unnoted, and where even what was rejected through its own error would not go down to eternal perdition; for the order of Number and Time was a total order preserving all, of which all were members, gods and men and animals, trees and crystals and even absurd errant stars, all subject to law and measure. This is what Plato knew, who could still speak the language of archaic myth. He made myth consonant with his thought, as he built the first modern philosophy. We have trusted his clues as landmarks even on occasions when he professes to speak "not quite seriously." He gave us a first rule of thumb; he knew what he was talking about. Behind Plato there stands the imposing body of doctrine attributed to Pythagoras, some of its formulation uncouth, but rich with the prodigious content of early mathematics, pregnant with a science and a metaphysics that were to flower in Plato's time. From it come such words as "theorem," "theory," and "philosophy." This in its turn rests on what might be called a proto-Pythagorean phase, spread all over the East but with a focus in Susa. And then there was something else again, the stark numerical computing of BabyIon. From it all came that strange principle: "Things are numbers." Once having grasped a thread going back in time, then the test of later doctrines with their own historical developments lies in their congruence with tradition preserved intact even if half understood. For there are seeds which propagate themselves along the jetstream of time. Page 7 And universality is in itself a test when coupled with a firm design. When something found, say, in China turns up also in Babyionian astrological texts, then it must be assumed to be relevant, for it reveals a complex of uncommon images which nobody could claim had risen independently by spontaneous generation. Take the origin of music. Orpheus and his harrowing death may be a poetic creation born in more than one instance in diverse places. But when characters who do not play the lyre but blow pipes get themselves flayed alive for various absurd reasons, and their identical end is rehearsed on several continents, then we feel we have got hold of something, for such stories cannot be linked by internal sequence. And when the Pied Piper turns up both in the medieval German myth of Hamelin and in Mexico long before Columbus, and is linked in both places with certain attributes like the color red, it can hardly be a coincidence. Generally, there is little that finds its way into music by chance. Again, when one finds numbers like 108, or 9 x 13, reappearing under several multiples in the Vedas, in the temples of Angkor, in Babylon, in Heraclitus' dark utterances, and also in the Norse Valhalla, it is not accident. There is one way of checking signals thus scattered in early data, in lore, fables and sacred texts. What we have used for sources may seem strange and disparate, but the sifting was considered, and it had its reasons. Those reasons will be given later in the chapter on method. I might call it comparative morphology. The reservoir of myth and fable is great, but there are morphological "markers" for what is not mere storytelling of the kind that comes naturally. There is also wonderfully preserved archaic material in "secondary" primitives, like American Indians and West Africans. Then there are courtly stories and annals of dynasties which look like novels: the Feng Shen Yen I, the Japanese Nihongi, the Hawaiian Kumulipo. These are not merely fantasy-ridden fables. In hard and perilous ages, what information should a well-born man entrust to his eldest son? Lines of descent surely, but what else? The memory of an ancient nobility is the means of preserving the / Page 8 / arcana imperii, the arcana legis and the arcana mundi, just as it was in ancient Rome. This is the wisdom of a ruling class. The Polynesian chants taught in the severely restricted Whare-wananga were mostly astronomy. That is what a liberal education meant then. Sacred texts are another great source. In our age of print one is tempted to dismiss these as religious excursions into homiletics, but originally they represented a great concentration of attention on material which had been distilled for relevancy through a long period of time and which was considered worthy of being committed to memory generation after generation. The tradition of Celtic Druidism was delivered not only in songs, but also in tree-lore which was much like a code. And in the East, out of complicated games based on astronomy, there developed a kind of shorthand which became the alphabet. As we follow the clues-stars, numbers, colors, plants, forms, verse, music, structres-a huge framework of connections is revealed at many levels. One is inside an echoing manifold where everything responds and everything has a place and a time assigned to it. This is a true edifice, something like a mathematical matrix, a World-Image that fits the many levels, and all of it kept in order by strict measure. It is measure that provides the countercheck, for there is much that can be identified and redisposed from rules like the old Chinese saying about the pitch pipes and the calendar. When we speak of measures, it is always some form of Time that provides them, starting from two basic ones, the solar year and the octave, and going down from there in many periods and intervals, to actual weights and sizes. What modern man attempted in the merely conventional metric system has archaic precedents of great complexity. Down the centuries there comes an echo of Al-Biruni's wondering a thousand years ago, when that prince of scientists discovered that the Indians, by then miserable astronomers, calculated aspects and events by means of stars-and were not able to show him anyone star that he asked for. Stars had become items for them, as they were to become again for Leverrier and Adams, who never troubled to look at Neptune in their life although they had computed and discovered it in 1847. The Mayas and the Aztecs in their / Page 9 / unending calculations seem to have had similar attitudes. The connections were what counted. Ultimately so it was in the archaic universe, where all things were signs and signatures of each other, inscribed in the hologram, to be divined subtly. And Number dominated them all (appendix # I ). This ancient world moves a little closer if one recalls two great transitional figures who were simultaneously archaic and modern in their habits of thought. The first is Johannes Kepler, who was of the old order in his unremitting calculations and his passionate devotion to the dream of rediscovering the "Harmony of the Spheres." But he was a man of his own time, and also of ours, when this dream began to prefigure the polyphony that led up to Bach. In somewhat the same way, our strictly scientific world view has its counterpart in what John Hollander, the historian of music, has described as "The Untuning of the Sky." The second transitional figure is no less a man than Sir Isaac Newton, the very inceptor of the rigorously scientific view. There is no real paradox in mentioning Newton in this connection. John Maynard Keynes, who knew Newton as well as many of our time, said of him: Newton was not the first of the Age of Reason. He was the last of the magicians, the last of the Babylonians and Sumerians, the last great mind which looked out on the visible and intellectual world with the same eyes as those who began to build our intellectual world rather less than 10,000 years ago. . . Why do I call him a magician? Because he looked on the whole universe and all that is in it as a riddle, as a secret which could be read by applying pure thought to certain evidence, certain mystic clues which God had laid about the world to allow a sort of philosopher's treasure hunt to the esoteric brotherhood. He believed that these clues were to be found partly in the evidence of the heavens and in the constitution of elements (and that is what gives the false suggestion of his being an experimental natural philosopher), but also partly in certain papers and traditions handed down by the brethren in an unbroken chain back to the original cryptic revelation in Babylonia. He regarded the universe as a cryptogram set by the Almighty-just as he himself wrapt the discovery of the calculus in a cryptogram when he communicated with Leibniz. By pure thought, by concentration of mind, the riddle, he believed, would be revealed to the initiate.1 Page 10 Lord Keynes' appraisal, written ca. 1942, remains both unconventional and profound. He knew, we all know, that Newton failed. Newton was led astray by his dour sectarian preconceptions. But his undertaking was truly in the archaic spirit, as it begins to appear now after two centuries of scholarly search into many cultures of which he could have had no idea. To the few clues he found with rigorous method, a vast number have been added. Still, the wonder remains, the same that was expressed by his great predecessor Galileo: But of all other stupendous inventions, what sublimity of mind must have been his who conccived how to communicate his most secret thoughts to any othcr person, though very far distant either in time or place, speaking with those who are in the In dies, 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 arrangement of two dozcn little signs upon paper? Let this be the seal of all the admirable inventions of man. 'Way back in the 6th century A.D., Gregoire de Tours was writing: "The mind has lost its cutting edge, we hardly understand the Ancicnts." So much more today, despite our wallowing in mathematics for the million and in sophisticated technology. Page 2 Note *. The indulgence of specialists is asked for the form of certain transliterations throughout the text; for example, Amlodhi instead of Amlodi, Grotte instead of Grotti, etc. (Ed.) Page 9 Note 1 1 "Newton the Man," in The Royal Society. Newton Tercentenary Celebrations (1947), p. 29.
HAMLET'S MILL AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE AND ITS TRANSMISSION THROUGH MYTH Giorgio De Santillana and Hertha Von Dechend 1969 Page 162 "Finally, there is one remarkable and disturbing coincidence from the same direction. It is known that in the final battle of the gods, the massed legions on the side of "order" are the dead warriors, the "Einherier" who once fell in combat on earth and who have been transferred by the Valkyries to reside with Odin in Valhalla-a theme much rehearsed in heroic poetry. On the last day, they issue forth to battle in martial array. Says the Grimnismal (23): "Five hundred gates and forty more-are in the mighty building of Walhalla-eight hundred 'Einherier' come out of each one gate-on the time they go out on defence against the Wolf."
CITY OF REVELATION John Michell 1972 Page 77 CHAPTER SEVEN 3168, The Perimeter of the Temple "If the numbers of the sacred principles, mentioned by St John in connection with the New Jerusalem, are obtained from the Greek text by the cabalistic method of gematria, it is found that they correspond to the dimensions of the city, set out in Fig 16. (Figure omitted) For example, the perimeter of a hexagon contained within the circle representing the earth, 7920 feet in diameter, measures 2376 feet, and 2376 is the number of (Greek text omitted), the twelve apostles of the Lamb (Revelation 21.14). 2376 x 2 feet is equal to 1746 MY, and 1745 = (Greek text omitted), the twelve apostles. The names of the apostles are said to be in the twelve foundations of the wall of the city. The wall is the circle of diameter 7920 feet and 14,400 cubits in circumference, and the foundations are the twelve corners of the double hexagon inscribed within it, fonowing the customary pattern of an astrological chart. The position of the twelve apostles in the scheme is thus clearly defined. Page 78 The perimeter of the temple is 3168, Lord Jesus Christ, when the temple is measured by the foot, the most sacred unit of ancient metrology. In terms of the megalithic yard (2.72 feet), however, the perimeter measures 1164, because 3168 feet = 1164 MY. Yet this makes no difference to the symbolic interpretation by gematria, for 1164 is the number of another name of Christ, (Greek text omitted) Son of God. As a geodetic or earth-measuring number, 3168 also demonstrates the antiquity and sacred origin of British metrology, for 31,680 ft. = 6 miles. 31,680 furlongs = 3960 miles = radius of the earth. 31,680 miles = perimeter of square containing the terrestrial sphere. 31,680 miles = circumference of circle drawn on the combined diameters of the earth and moon (10,080 miles) Other cosmological correspondences of 3168 are given on page 109. The Stonehenge sarsen circle with circumference of 316.8 feet 3168 in Plato's city 50401 x 2 x 3 x 4 x 5x 6 x 7 39,916,800 = 1 x 2 x 3 x 4 x 5x 6 x 7 x 8 x 9 x.10 x 11 5040, the radius of the circular city, is the product of the numbers1 - 7; 7920, the side of the square city, is the product of numbers 8 - 11. In each case the perimeter of the city is 31,680. In Plato's Republic is the famous, cryptic reference to the 'marriage number', which should be consulted by the guardians of the state in all matters relating to the seasonal union of male and female. There appear to be two numbers involved, adding up to a third, but the riddle is so obscure that no firm solution has been reached despite the vast literature on the subject. For various reasons the number 12,960,000 or 36002 is most commonly proposed, and this would seem appropriate, for 12,960 = 5040 + 7920. 12,960 therefore represents the union of square and circle, symbol of the sacred marriage, and the gematria is also appropriate, for 1296 = (Greek text omitted) Mary mother of Jesus. FIGURE 24 (Figure omitted) Plato's city divided into 5040 rings, Perimeter = 31,680, Areas: A + a = B + b = C + c = 31,680.
"Plato declares that there are certain numbers that link these with each other and with all phenomena capable of being measured. As an example of these numbers, the study of which Plato recommends as the most sanctifying of all pursuits, he gives 5040."
NAMES OF GOD TETRAGRAMMATON The most impotant and most often written name of God in Judaism is the Tetragrammaton, the four-letter name of God. "Tetragrammaton" derives from the Greek prefix tetra- ("four") and gramma http://en.wikipedia.org/wiki/Names of God in Judaism
THE STAIRWAY TO HEAVEN BOOK II THE EARTH CHRONICLES Zecharia Sitchin 1980 Page 72 "In the Book of the Dead nine objects affiliated with the Hieroglyph for Shem were depicted in the division paralleling the shrine of Heliopolis; / Page 73 / it could well be that there were indeed another nine space-related objects or spacecraft parts on display at the shrine."
THE STAIRWAY TO HEAVEN BOOK II THE EARTH CHRONICLES Zecharia Sitchin 1980 Page 189 X Tilmun: Land of the Rocketships " The epic search of Gilgamesh for Immortality has undoubtedly been the fountainhead of the many tales and legends, in subsequent millenia, of kings and heroes who have likewise gone to find everlasting youth. Somewhere on Earth, Mankind's mythified memories held, there was a place where Man could join the gods, and be spared the indignity of death.
The Shem, we have shown, though commonly translated "Name" (that by which one is remembered), was in fact a rocketship: Enoch vanished upon his "Name" as he was taken heavenward. Half a millenium after Gilgamesh, in Egypt, King Teti made an almost identical plea:
"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’.
ENUMA ELISH "The word used for man is lullu" LULLU 33333 LULLU "The word used for man is lullu"
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
THE LULLABY
Tho' much is taken, much abides; and though Ulysses www.victorianweb.org/authors/tennyson/ulyssestext.html
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.
THE PATH OF PTAH
THE STAIRWAY TO HEAVEN BOOK II THE EARTH CHRONICLES Zecharia Sitchin 1980 Page 78 The Gods Who Came to Planet Earth "The interesting point about these earliest drawings is that they showed the boats arriving from a foreign land. When the drawings included people, they showed seated rowers commanded by a tall master, distinguished by the horns protruding from his helmet (Fig. 36)(figure omitted)-the mark of being a Neter. Pictorially, then, the Egyptians affirmed from the very beginning that their gods had come to Egypt from elsewhere. This confirmed the tales of how Egypt began-that the god Ptah, having come from the south, and having found Egypt inundated, performed great works of dyking and land reclamation and made the land habitable. There was a place in Egyptian geography which they called Ta Neter- "Place/Land of the Gods." It was the narrow straits at the southern end of the Red Sea which is now called Bab-el-Mandeb; it was through that strait that the ships bearing the ensign NTR and carrying the horned gods had come to Egypt. The Egyptian name for the Red Sea was the Sea of UR. The term Ta Ur meant the Foreign Land in the East. Henri Gauthier, who compiled the Dictionnaire des Noms Geographiques from all the place names in the hieroglyphic texts, pointed out that the hieroglyph for Ta Ur "was a symbol which designated a nautical element. . . The sign means that 'You have to go by boat, to the left side.'" Looking at the map of the ancient lands (page 19), we see that a turn leftward as one came from Egypt and passed / Page 79 / through the straits of Bab-el-Mandeb, would take the sailor along the Arabian peninsula toward the Persian Gulf.
THE STAIRWAY TO HEAVEN BOOK II THE EARTH CHRONICLES Zecharia Sitchin 1980 Page 57 ". . . he journeyeth where there is no stream and where / Page 58 / there are none to tow him; he performeth this by words of power" which proceed from the mouth of a god. who are divine in flesh, whose magical powers have come into being. . . who are united into your stars, who rise up for Ra . . . In this division, there are also present two companies of gods associated with the Ben-ben, the mysterious object of Ra that was kept at his temple in the city of An (Heliopolis). They "are those who possess the mystery," guarding it inside the Het-Benben (The Ben-ben House); and eight who guard outside but also "enter unto the Hidden Object." Here there are also nine objects, set up in a row, representing the symbol Shem which hieroglyphically meant "Follower." The king has indeed arrived in parts of the Duat associated with An, after whom Heliopolis was named. In the Ninth Hour, he sees the resting place of the twelve "Divme Rowers of the Boat of Ra," they who operate Ra's celestial "Boat of Millions of Years." In the Tenth Hour, passing through a gate, the king enters a place astir with activity. The task of the gods there is Passing from the tenth to the eleventh division, the affinity to the heavens rapidly increases. Gods bear the Celestial Disk and star emblems. There are eight goddesses with star emblems "who have come from the abode of Ra." The king sees the "Star Lady" and the "Star Lord," and gods whose task it is to provide "power for emerging" from the Duat, "to make the Object of Ra advance to the Hidden House in the Upper Heavens." In this place there are also gods and goddesses whose task it is to equip the king for a celestial trip "over the sky." Together with some gods he is made to enter a "serpent" inside which he is to "shed the skin" and emerge "in the form of a rejuvenated Ra." Some of the terms here employed in the texts are still not understood, but the process is clearly explained: the king, / Page 59 / having entered dressed as he came, emerges as a falcon, "equipped as a god": the king "lays down on the ground the Mshdt-garment"; he puts on his back the "Mark-garment"; he "takes his divine Shuh-vestment" and he puts on "the collar of beloved Horus" which is like "a collar on the neck of Ra." Having done all that, "the king has established himself there as a god, like them." And he tells the god who is with him: "If thou goest to Heaven, so will the king go to Heaven." The illustrations in the ancient texts depict here a group of gods dressed in unusual garb, like tightly fitting overalls adorned with circular collar bands (Fig. 21) (figure omitted). They are led or directed by a god with the emblem of the Celestial Disk upon his head, who stands with outstretched arms between the wings of a serpent with four human legs. Against a starry background, the god and the serpent face another serpent which, though wingless, clearly flies as it carries aloft a seated Osiris. (Fig. 22). (figure omitted). Having been properly equipped, the king is led to an opening in the center of a semi-circular wall. He passes the hidden door. Now he moves within a tunnel which is "1300 cubits long" called "Dawn at the End." He reaches a vestibule; the emblems of the Winged Disk are seen everywhere. He encounters goddesses "who shed light upon the road of Ra" and a magical scepter representing "Seth, the Watcher." This cavern is the broad hall of Osiris Wherein the wind is brought; It is now the twelfth division, the final Hour of the king's subterranean journey. It is "the uttermost limit of the thick darkness." The point which he has reached is named "Mountain of the Ascent of Ra." The king looks up and is startled: the celestial boat of Ra looms in front of his eyes, in all its awesome majesty. He has reached an object which is called "The Ascender to the Sky." Some texts suggest that Ra himself prepared the Ascender for the king, "that the king may ascend upon it to the heavens"; other texts say that the Ascender was made or set up by several other gods. It is "the Ascender which had carried Seth" heavenward. Osiris could not reach the Firmament of Heaven except by means of such an Ascender; thus the king too requires it in order to be translated, as Osiris, to eternal life. The Ascender or Divine Ladder was not a common ladder. It was bound together by copper cables; "its sinews (like those) of the Bull of Heaven." The "uprights at its sides" were covered over tightly with a kind of "skin"; its rungs were "Shesha-hewn" (meaning unknown); and "a great support (was) placed under it by He Who binds." Page 60 Figures 21/22/23 omitted) Page 61
THE STAIRWAY TO HEAVEN BOOK II THE EARTH CHRONICLES Zecharia Sitchin 1980 The Gods Who Came to Planet Earlh Page 70 The underground chamber is decorated with leopard skins, and this provides a direct link with certain phases in the Pharaoh's Journey to Immortality. The leopard skin was the distinctive garb symbolically worn by the Shem priest as he performed the Opening of the Mouth ceremony. It was the distinctive garb symbolically worn by the gods who towed the Pharaoh through "The Secret Path of the Hidden Place" of the Duat-a symbolism repeated to stress the affinity between the Pharaoh's journey and the rocketship in the underground silo. As the Pyramid Texts make clear, the Pharaoh, in his Translation into an eternal Afterlife, embarked on a journey simulating the gods. Ra and Seth, Osiris and Horus and other gods had ascended to the heavens in this manner. But, the Egyptians also believed, it was by the same Celestial Boat that the Great Gods had come down to Earth in the first place. At the city of An (Heliopolis), Egypt's oldest center of worship, the god Ptab built a special structure-a "Smithsonian Institution," if you will--wherein an actual space capsule could be viewed and revered by the people of Egypt! The secret object-the Ben-Ben-was enshrined in the Het Benben, the "Temple of the Benben." We know from the hieroglyphic depiction of the place's name that the structure looked like a massive launch tower from within which a pointed rocket was poised skyward (Fig. 28). The Ben-Ben was, according to the ancient Egyptians, a solid object that had actually come to Earth from the Celestial Disk. It was the "Celestial Chamber" in which the great god Ra himself had landed on Earth; the term Ben (literally: "That Which Flowed Out") conveying the combined meanings of"to shine" and "to shoot up in the sky." An inscription on the stela of the Pharaoh Pi-Ankhi (per Brugsch, Dictionnaire Geographique de I'Ancienne Egypte) said thus: The king Pi-Ankhi mounted the stairs toward the large window, in order to view the god Ra within the Ben-Ben. The king personally, standing up and being all alone, pushed apart the bolt and opened the two dom... leaves. Then he saw his father Ra in the splendid sanctuary of HetBenben. He saw the Maad, Ra's Barge; and he saw Sektet, the Barge of the Aten. Page 72 The shrine, we know from the ancient texts, was guarded and serviced by two groups of gods. There were those "who are outside the Het-Benben" but were allowed into the shrine's most sacred parts, for it was their task to receive the offerings from the pilgrims and bring them into the temple. The others were primarily guardians, not only of the Ben-Ben itself, but of all "the secret things of Ra which are in Het-Benben." Much as tourists nowadays flock to the Smithsonian to view, admire and even touch the actual vehicles flown in space, so did the devout Egyptians make pilgrimages to Heliopolis, to revere and pray to the Ben-Ben-probably with a religious fervor akin to that of the faithful Muslims who make pilgrimages to Mecca, there to pray at the Qa'aba (a black stone believed to be a replica of God's "Celestial Chamber"). At the shrine, there was a fountain or well, whose waters acquired a reputation for their healing powers, especially in matters of virility and fertility. The term Ben and its hieroglyphic depiction (inscription omitted) in time indeed acquired the connotations virility and reproduction; and could well have been the source of the meaning "male offspring" that Ben has in Hebrew. In addition to virility and reproduction, the shrine also acquired the attributes of rejuvenation; this in turn gave rise to the legend of the Ben bird, which the Greeks who had visited Egypt called the Phoenix. As these legend.; had it, the Phoenix was an eagle with plumage partly red and partly golden; once every 500 years, as it was about to die, it went to Heliopolis and in some manner rose again from the ashes of itself (or of its father). Heliopolis and its healing waters remained venerated until early Christian times; local traditions claim that when Joseph and Mary escaped to Egypt with the child Jesus, they rested by the shrine's well. The shrine at Heliopolis, Egyptian histories tell, was destroyed several times by enemy invaders. Nothing remains of it nowadays; the Ben-Ben is also gone. But it was depicted on Egyptian monuments as a conical chamber within which a god could be seen. Archaeologists have in fact found a stone scale-model of the Ben-Ben, showing a god at its open hatchdoor in a gesture of welcome (Fig. 29). The true shape of the Celestial Chamber was probably accurately depicted in the tomb of Huy (Fig. 27); that modern command modules-the capsules housing the astronauts.atop rockets hips at launching, and in which they splash down back to Earth - Fig. 30 - look so similar to the Ben-Ben, is no doubt a result of similarity of purpose and function. In the absence of the Ben-Ben itself, is there any other physical piece of evidence-and not mere drawings or scale models--left from the Heliopolitan shrine? We have noted above that according to Egyptian texts there were other secret things of Ra on display or in safekeeping at the shrine. In the Book of the Dead nine objects affiliated with the hieroglyph for Shem were depicted in the division paralleling the shrine of Heliopolis; it could well be that there were indeed another nine space-related objects or spacecraft parts on display at the shrine. Reporting on the discoveries in northern Saqqara Oust south of the great pyramids at Gizah), Walter B. Emery (Great Tombs of the First Dynasty) described the object as a "bowl-like vessel of schist," and remarked that "No satisfactory explanation of the curious design of this object has been forthcoming." The object was carved from a solid block of schist-a rock which is very brittle and which easily splits into thin, irregular layers. If it were put to any use, it would have quickly broken apart; so the particular stone was chosen because the very unusual and delicate shape could best be carved out in such a material-a means to preserve the shape, rather than to actually use it. This has led other scholars, such as Cyril Aldred (Egypt to the End of the Old Kingdom) to conclude that the stone object "possibly imitates a form originally made in metal." But what metal could have been used in the fourth millenium H.C. to produce the object, what process of precision grinding, what skilled metallurgists were then available to create such a delicate and structurally complex design? And, above all, for what purpose?
Middle Eastern Mythology S. H. Hooke 1963 Hebrew Mythology Page 114 Recent Sumerian studies 5 have shown that the conception of a divine garden and of a state when sickness and death did not exist and wild animals did not prey on one anotHer is to be found in Sumerian mythology. The description of this earthly Paradise is contained in the Sumerian poem which Dr Kramer has called the Epic of Emmerkar
The land Dilmun is a pure place, the land Dilmun is a clean place.: The land Dilmun is a clean place, the land Dilmun is a bright place. In Dihnun the raven uttered no cry, The kite uttered not the cry of the kite, The lion killed not, The wolf snatched not the lamb, Unknown was the kid-killing dog, Unknown was the grain-devouring boar ..• The sick-eyed says not 'I am sick-eyed', The sick·headed says not 'I am sick-headed', Its (Dilmun's) old woman says not 'I am an old woman', Its old man says not 'I am an old man', Unbathed is the maid, no sparkling water is poured in the city, Who rosses the river (of death?) utters no ... The wailing priests walk not about him, The singer utters no wail,By the side of the city he utters no lament Later, in the Semitic editing of the Sumerian myths, Dilmun became the dwelling of the immortals, where Utnapishtim and nis wife were allowed to live after the Flood (p. 49). It l.vas apparently located at the mouth of the Persian Gulf. According to the Sumerian myth the only thing which Dilrnun lacked was fresh water; the god Enki (or Ea) ordered Utu, the sun-god, to 'bring up fresh water from the earth to water the garden. Here we may have the source of the Page 114 "mysterious 'ed of which the Yahwist speaks as coming up from the ground to water the garden. In the myth of Enki and Ninhursag it is related that the mother-goddess Ninhursag caused eight plants to grow in the garden of the gods. Enki desired to eat these plants and sent his messenger Isimud to fetch them. Enki ate them one by one, and Ninhursag in her rage pronounced the curse of death upon Enki. As the result of the curse eight of Enki's bodily organs were attacked by disease and he was at the point of death. The great gods were in dismay and Enlil was powerless to help. Ninhursag was induced to return and deal with the situation. She created eight goddesses of healing who proceeded to heal each of the diseased parts of Enki's body. One of these parts was the god's rib, and the goddess who was created to deal with the rib was named Ninti, which means 'the lady of the rib'. But the Sumerian word ti has the double meaning of 'life' as well as 'rib', so that Ninti could also mean 'the lady of life'. We have seen that in the Hebrew myth the woman who was fashioned from Adam's rib was named by him Hawwah, meaning 'Life'. Hence one of the most curious features of the Hebrew myth of Paradise clearly has its origin in this somewhat crude Sumerian myth. Other elements in the Yahwist's form of the Paradise myth have striking parallels in various Akkadian myths. The importance of the possession of knowledge, which is always magical knowledge, is a recurring theme. We have seen that the myth of Adapa and the Gilgamesh Epic are both concerned with the search for immortality and the problem of death and the existence of disease. These and other examples which we have cited will serve to illustrate the point that the Akkadian myths were concerned with the themes which appear in the Yahwist's Paradise story."
|
 |
||
|
|
||
|
|
|
|
|
|
||
