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THE SIRIUS MYSTERY

Robert K.G..Temple 1976

Page 69

" Back to Anubis. Wallis Budge says of him:26 'His worship is very ancient, and there is no doubt that even in the earliest times his cult was general in Egypt; it is probable that it is older than that of Osiris.' Also he points out here, as elsewhere, that the face of the deceased human becomes identified with Anubis, and it is just the head of Anubis which is symbolically represented by the jackal or dog. I have already pointed out that he is described as the circle or orbit separating the dark Nephthys from the light Isis or Sirius. In other words, I take Anubis to represent the orbit of Sirius B around Sirius A. We also find him described as 'time',27 a particularly intelligent way oflooking
at an orbit as progressive and sequential in time. 'Time the devourer', a motif common to us all, is no stranger to the Egyptians. It should not surprise us that Anubis is also represented as a devourer! More specifically, he is accused of
devouring the Apis bull. The Apis bull is the animal into which the dead Osiris was sewn and transported, according to a late legend which is widely known. But more basically, the 'Apis Bull' (the deity known under the Ptolemies as Serapis) is Asar-I;Iapi. It is Osiris himself! In The Gods of the Egyptians, we read 'Apis is called "the life of Osiris, the lord of heaven" , and 'Apis was, in fact, believed to be animated by the soul of Os iris, and to be Os iris incarnate'. 28
So, consequently, when Anubis devoured Apis, he was eating the husband of Isis! It is very colourfully represented in these dramatic mythological terms, but the meaning is clear.. We read later:29
'Others again are of the opinion that by Anubis is meant Time, and that his denomination of Kuon [the Greek word for 'dog'] does not so much allude to any likeness which he has to the dog, though this be the general rendering of the word, as to that other significance of the term taken from breeding; because Time begets all things out of itself, bearing them within itself, as it were in a womb. But this is one of those secret doctrines which are more fully made known to those who are initiated into the worship of Anubis. '
Exactly. A secret doctrine! What one would give for a fuller account! This is the trouble with most of our sources; they give away little except by inference. Secret doctrines are not scribbled down too frequently and left for posterity. The most secret doctrine" of the Dogon was only revealed with great reluctance after many, many years, and following upon a conference by the initiates. The Egyptians were no fools, and we can hardly expect them to have left papyri or ,texts specifically revealing in so many words what they were not supposed to reveal. We can only try to piece together clues. But we will see our clues eventually turn into a veritable avalanche.
The last passage from Wallis Budge was a quotation by him from Plutarch's 'Isis and Osiris'. Many Egyptologists have remarked on the irony that we have nowhere in Egyptian sources a full, coherent account of Isis and Osiris ­not even in all the sources put together! And we are forced to rely on Plutarch, who did preserve a long account which he wrote in his native Greek. Plutarch is thought to have been a priest himself, and was certainly a Delphic initiate.

Page 70

"He had a talent for befriending priests and priestesses. One of his best friends was the priestess Clea of the oracle at Delphi. His treatise 'Isis and Osiris' is dedicated to Clea and addressed to her. It begins with these words: 'All good things, my dear Clea, sensible men must ask from the gods; and especially do we pray that from those mighty gods we may, in our quest, gain a knowledge of themselves, so far as such a thing is attainable by men.' This gives some indication of what Plutarch was like as a man.
The Introduction to the Loeb edition of Is is and Osiris by F. C. Babbitt says: '[Plutarch] once visited Egypt, but how long he stayed and how much he learned we have no means of knowing. It is most likely that his treatise represents the knowledge current in his day, derived, no doubt, from two sources: books and priests.' It is certain that Plutarch's friend Clea, who was so important at Delphi, would have seen to it that Plutarch had ample introductions to leading priests of Egypt. This sort of thing was standard practice - as with the study of Egyptian religion and astronomy undertaken centuries earlier by the Greek scholar Eudoxus (colleague of Plato and Aristotle), who was given a letter of introduction to the last of the native Pharaohs, Nectanebo, by the Spartan general Agesilaus, and who in turn sent him off to associate with his priests. The fact that Plutarch's treatise is addressed to Cl ea may indicate a debt to her for its preparation as well as common religious enthusiasms. So, no doubt Plutarch did with the Egyptian priests what Griaule and Dieterlen did with the Dogon - drew some secret traditions out of them. It is thus not surprising that Plutarch's essay is more respected by Egyptologists than by classicists.
Plutarch says: 'Some are of the opinion that Anubis is Cronos.'30 Chronos, of course, was the Greek 'time the devourer', spelt with an h. Cronos in Latin is Saturn. There is a considerable debate among scholars whether Cronos (Sa turn), the former chief god prior to Zeus (J u pi ter), has any definite relation to the word chronos spelt with the h and sometimes used as a proper name for Time. From this latter word we derive chronology, chronicle, etc. The Sumerian god Anu is quite similar to the Greek Cronos because both Cronos and Anu were 'old' gods who were displaced by younger blood - by Zeus and Enlil
respectively. Thus another possible link between Anu and Anubis, if one be willing to grant that Cronos and Chronos are not entirely separate words and concepts in ancient pre-classical Greece.
Wallis Budge continues with reference to Plutarch:
Referring to Osiris as the 'common Reason which pervades both the superior and inferior regions of the universe', he [Plutarch] says that it is, moreover, called 'Anubis, and sometimes likewise Hermanubis (i.e. I:Ieru-em-Anpu); the first of these names expressing the relation it has to the superior, as the latter, to the inferior world. And for this reason it is, they sacrifice to him two Cocks, the one white, as a proper emblem of the purity and brightness of things above, the other of a saffron colour, expressive of that mixture and variety which is to found on those lower regions.'
Here is what I take to be a possible reference to the white Sirius A and the
'darker' Sir ius B. But also, the 'lower regions' are the horizons, where white heavenly bodies at their 'births' and 'deaths' become saffron-coloured.
There is a clearer translation by Babbitt in the precise description of Anubis / Page 71 / as 'the combined relation of the things'31 rather than as 'the common Reason which pervades' the light world and the dark world. A circular orbit is just that - 'a combined relation' between the star revolving and the star revolved around. In order to make this more firmly established less as fancy than as fact, I shall cite Plutarch's words from his next paragraph (Babbitt's translation):
'Moreover, they (the Egyptians) record that in the so-called books of Hermes (the Trismegistic literature?) it is written in regard to the sacred names
that they call the power which is assigned to direct the revolution of the Sun Horus . . .'
This is important because we see here that they specifically call the orbit of the sun by a god's name. If they can call the revolution of the sun by a god's name, they can call the revolution of Sirius B (assuming they really knew about it) by a god's name. We are dealing with a precedent. Now we resume this quotation because it is interesting for other reasons: '. . . but the Greeks call it Apollo; and the power assigned to the wind some call Osiris and others Serapis; and Sothis in Egyptian signifies "pregnancy" (cyesis) or "to be pregnant" (cyein): therefore in Greek, with a change of accent, the star is called the Dog-star (Cyon), which they regard as the special star of Isis.'
A further piece of information from Plutarch about Anubis is :32 I 'And when the child (Anubis, child of Nephthys by Osiris) had been found, after great toil and trouble, with the help of dogs which led Isis to it, it was brought up and became her guardian and attendant, receiving the name Anubis, and it is said to protect the gods just as dogs protect men.'
If Anubis is conceived of as an orbit around Sirius, then he would indeed be attendant upon Isis! He would go round and round her like a guard dog.
Plutarch has an interesting tale: 'Moreover, Eudoxus says that the Egyptians have a mythical tradition in regard to Zeus that, because his legs were grown together, he was not able to walk. . .'33 This sounds very like the amphibious Oannes of the Sumerians who had a tail for swimming instead of legs for walking.
Plutarch provides us with an important and crucial clue linking Isis with the Argo and the Argonauts and demonstrating a probable derivation of an idea that has puzzled classicists enormously (and later on we shall see the links between Isis and the Argo considerably elaborated): 'Like these also are the Egyptian beliefs; for they often times call 1sis by the name of Athena, expressive
of some such idea as this, "I came of myself," which is indicative of self­impelled motion. '34
I t must be remembered that the Greek goddess Athena, the goddess of the mind and of wisdom, was reputed to have sprung full-fledged from the brow of Zeus. She was not born. She came of herself. However, the quotation must be continued to make the point:

Typhon, as has been said, is named Seth and Bebon and Smu, and these names would indicate some forcible and preventive check or opposition or reversal.
Moreover, they call the lodestone the bone of Horus, and iron the bone of Typhon, as Manetho records. For, as the iron oftentimes acts as if it were being attracted and drawn toward the stone, and oftentimes is rejected / Page 72 / and repelled in the opposite direction, in the same way the salutary and good and rational movement of the world at one time, by persuasion, attracts and draws towards itself and renders more gentle that harsh and Typhonian movement, and then again it gathers itself together and reverses it and plunges it into difficulties.

The identification of Isis with Athena here in connection with lodes tones and 'self-impelled motion' brings to mind the placing by Athena of a cybernetic* oak timber from the holy sanctuary of Dodona (supposedly founded by Deukalion, the Greek Noah, after his ark landed) in the keel of the Argo. H. W. Parke in his books Greek Oracles and The Oracles of Zeus refers to this: 'Athena when the Argo was built took a timber from the oak tree of Dodona (the oracular centre of Zeus) and fitted it into the keel. This had the result that the Argo itself could speak and guide or warn the Argonauts at critical moments, as it actually is represented as doing in our extant epics on the subject. The original epic is lost, but there is no reason to doubt that this miraculous feature went back to it, and, if so, was at least as old as the Odyssey in which the Argo and its story are mentioned.' Parke then emphasizes most strongly that it is the timber itself that acts as guide. It is self-sufficient and not merely an oracular medium. Thus we see that the Argo had a unique capacity for 'self­impelled motion' which was built into it by Athena (whom Plutarch identifies with Isis). 35
Now is a suitable stage to return to the Sumerians, as in their culture we shall find many significant references to 'fifty heroes', 'fifty great gods', etc. But first we shall leave the fifty Argonauts and their magical ship to turn our attention to what appears to be a rather precise Egyptian description of the Sirius system preserved in an unusual source. The source is G. R. S. Mead (who was a friend of the poet Yeats and is mentioned by his nickname 'Old Crore' in Ezra Pound's Cantos), whose three-volume Thrice Greatest Hermes36 contains a translation of, with extensive prolegomena and notes to, the obscure and generally ignored ancient 'Trismegistic literature' of the Hermetic tradition. These writings are largely scorned by classical scholars who consider them Neoplatonic forgeries. Of course, ever since the wild Neoplatonic boom in the Italian Renaissance period when Marsilio Ficino translated and thereby preserved for posterity (one must grant the Medicis the credit for finding and purchasing the manuscripts!) such Neoplatonists as Iamblichus, as well as these Trismegistic writings, the Neoplatonists have been in the doghouse. The Loeb Classical Library still has not published all of Plotinus even now.
But most readers will not be familiar either with the term 'trismegistic' or with the Neoplatonists. So I had better explain. The Neoplatonists are Greek philosophers who lived long enough after Plato to have lost the name of Platonists as far as modern scholars are concerned (though they were intellectual disciples of Plato and considered themselves Platonists). Modern scholars have added the prefix 'Neo-' to 'Platonist' for their own convenience, in order to / Page 73 / distinguish them from their earlier predecessors, those Platonists who lived within 150 years of Plato himself. The Platonic Academy existed for over nine centuries at Athens. In actuality, scholars talk about 'Middle Platonists', 'Syrian Platonists', 'Christian Platonists', 'Alexandrian Platonists', and so on. I suggest the reader look at my Appendix I, which will tell him a lot about the Neoplatonists and their connection with the Sirius mystery, and which deals primarily with Proclus.
G. R. S. Mead, at the beginning of his work Thrice Greatest Hermes, explains fully what 'the Trismegistic Literature' is. He calls it 'Trismegistic' instead of
by its earlier designation 'Hermetic' (from the name of the Greek god Hermes) in order to distinguish it from other less interesting writings such as the Egyptian Hermes prayers and also the 'Hermetic Alchemical Literature'. The Trismegistic writings are now fragmentary and consist of a large amount of exceedingly strange sermons, dialogues, excerpts by Stobaeus and the Fathers of the Church from lost writings, etc. I hesitate to give a brief summary of them and suggest that the interested reader actually look into this subject himself. There are some matters which defy summary, and I consider this to be one of them. The writings contain some 'mystical' elements and certainly some sublime elements. Old Cosimo de Medici was told by Ficino that he could translate for him either the Hermetic Literature or the dialogues of Plato, but not both at once. Cosimo knew he was dying. He said something like: 'If only I could read the Books of Hermes, I would die happy. Plato would be nice but not as important. Do the Hermes, Ficino.' And Ficino did.
As I explain fully in Appendix I, the Neoplatonists are so thoroughly despised through the bias of the moment, however one cares to define that bias, that "the Trismegistic literature suffers with Neoplatonism under the onus of being considered too far removed from reality and logic and being inclined towards the mystical. This does not fit well with the hard rationalism of an age still bound by the (albeit decaying) fetters of nineteenth-century scientific deterministic prejudice. The sublime irony is, of course, that proven and authentic Egyptian texts are obviously mystical, but that is considered all right. However, as long as there is a belief that the Trismegistic literature is Neoplatonic it will be despised because it is mystical.
The Trismegistic literature may be Neoplatonic. But that does not make what it has to say about Egyptian religion any less valid per se than the 'Isis and Osiris' by the Greek Plutarch, who was only slightly earlier in time than the Neoplatonist Greeks. It is time for scholars to pay some attention to this sadly neglected material. Much of the Trismegistic literature probably goes back to genuine sources or compilations such as Manetho's lost So this. Or the literature may be quite ancient, in which case some of it cannot, in its present form, be earlier than the Ptolemaic period when the Zodiac as we know it was introduced into Egypt by the Greeks who in turn had it from Babylon. (I cannot here discuss the matter of earlier forms of zodiac, such as at Denderah.)
"Mead quotes an Egyptian magic papyrus, this being an uncontested Egyptian document which he compares to a passage in the Trismegistic literature: 'I invoke thee, Lady Isis, with whom the Good Daimon doth unite, He who is Lord in the perfect black. '37
We know that Isis is identified withSirius A, and here we may have a / Page 74 / description of her star-companion 'who is Lord in the perfect black', namely the invisible companion with whom she is united,Sirius B.
Mead, of course, had no inkling of the Sirius question. But he cited this magic papyrus in order to shed comparative light on some extraordinary passages in a Trismegistic treatise he translated which has the title 'The Virgin of the World'. In his comments on the magic papyrus Mead says: 'It is natural to make the Agathodaimon ("the Good Daimon") of the Papyrus refer to Osiris; for indeed it is one of his most frequent designations. Moreover, it is precisely Osiris who is pre-eminently connected with the so-called "under­world", the unseen world, the "mysterious dark". He is lord there. . . and indeed one of the ancient mystery-sayings was precisely, "Osiris is a dark God." ,
'The Virgin of the World' is an extraordinary Trismegistic treatise in the form of a dialogue between the hierophant (high priest) as spokesman for Isis and the neophyte who represents Horus. Thus the priest instructing the initiate is portrayed as Isis instructing her son Horus.
The treatise begins by claiming it is 'her holiest discourse' which 'so speaking Isis doth pour forth'. There is, throughout, a strong emphasis on the hierarchical principle of lower and higher beings in the universe - that earthly mortals are presided over at intervals by other, higher, beings who interfere in Earth's affairs when things here become hopeless, etc. Isis says in the treatise: 'It needs must, therefore, be the less should give place to the greater mysteries.' What she is to disclose to Horus is a great mystery. Mead describes it as the mystery practised by the arch-hierophant. It was the degree (here 'degree' is in the sense of 'degree' in the Masonic 'mysteries', which are hopelessly garbled and watered-down versions of genuine mysteries of earlier times) 'called the "Dark Mystery" or "Black Rite". It was a rite performed only for those who were judged worthy of it after long probation in lower degrees, something of a far more sacred character, apparently, than the instruction in the mysteries enacted in the light.'
Mead adds: 'I would suggest, therefore, that we have here a reference to the most esoteric institution of the Isiac tradition. . .', Isiac meaning of course 'Isis-tradition', and not to be confused with the Book of Isaiah in the Bible (so that perhaps it is best for us not to use the word-form 'Isiac').
It is in attempting to explain the mysterious 'Black Rite' of Isis at the highest degree of the Egyptian mysteries that Mead cited the magic papyrus which I have already quoted. He explains the 'Black Rite' as being connected with Osiris being a 'dark god' who is 'Lord of the perfect black' which is 'the unseen world, the mysterious black'.
This treatise 'The Virgin of the World' describes a personage called Hermes who seems to represent a race of beings who taught earthly mankind the arts of civilization after which: 'And thus, with charge unto his kinsmen of the Gods to keep sure watch, he mounted to the Stars'.
According to this treatise mankind have been a troublesome lot requiring scrutiny and, at rare intervals of crisis, intervention.
After Hermes left Earth to return to the stars there was or were in Egypt someone or some people designated as 'Tat' (Thoth) who were initiates into the celestial mysteries I take this to refer to to the Egyptian priests. However, one of the most significant passages in the treatsie follows immediately upon this / Page 75 / statement, and indicates to me that this treatise must have some genuine Egyptian source, for no late Greek should have been capable of incorporating this. But in order to recognize this one must know about the extraordinary Imhotep, a brilliant genius, philosopher, doctor, and Prime Minister (to use our terms) during the Third Dynasty in Egypt circa 2600 B.O. under King Zoser, whose tomb and temple he constructed and designed himself. (This is the famous step-pyramid at Sakkara, the first pyramid ever built and the world's earliest stone building according to some.) Imhotep was over the centuries gradually transformed into a god and 'a son of Ptah'. One reason why the process of his deification may have been retarded for some thousands of years is that writings by him survived, rather like the survival of the Cathas by Zarathustra (Zoroaster), making it impossible to claim that a man who left writings could in fact have been a god. Just like Mohammed and Zoroaster, Imhotep remained a sort of 'prophet' through his surviving writings.
For the significant passage, now, here is the entire paragraph: 'To him (Hermes) succeeded Tat, who was at once his son and heir unto these knowledges [this almost certainly implies a priesthood] ; and not long afterwards Asclepius­Imuth, according to the will of Ptah who is Hephaestus, and all the rest who were to make enquiry of the faithful certitude of heavenly contemplation, as Foreknowledge (or Providence) willed, Foreknowledge queen of all.'
Now this is a really striking passage. We have the mysterious 'Hermes' succeeded by an Egyptian priesthood of Thoth. Then 'not long afterwards' we have someone called Asclepius-Imuth 'according to the will of Ptah'. This is Imhotep! Ptah, known to the Greeks as Hephaestus, was considered the father of Imhotep in late Egyptian times. In fact, it is interesting that this text avoids the late form 'son of Ptah' to describe Imhotep. Imhotep was known to the Greeks and provided the basis for their god Asclepi us (the Greek god of medicine, corresponding to Imhotep's late form as Egyptian god of medicine). Imhotep is also spelled Imouthes, Imothes, Imutep, etc. Hence the form in this treatise 'Asclepius-Imuth' .
There is absolutely no question that Imhotep is being referred to here. And in the light of that, certain other statements in this passage become quite interesting.
It has already been mentioned that in a treatise like'The Virgin of the World', where gods' names are thrown round like birdseed, the authors were exceedingly restrained to have avoided labelling Asclepius-Imhotep as 'a son of Ptah-Hephaestus'. This may, indeed, point to a genuine early source from the time before that when the Egyptians ceased to regard Imhotep as a mortal.
Hurry says :38
For many years Egyptologists have been puzzled to explain why Imhotep, who lived in the days of King Zoser, ca. 2900 B.O., was not ranked among the full gods of Egypt until the Persian period, dating from 525 B.O. The apotheosis of a man, however distinguished, so many centuries after his life on earth seems mysterious. The explanation appears to be that first
suggested by Erman, viz. that Imhotep, at any rate during a large part of the interval was regarded as a sort of hero or demigod and received semi­divine worship. Erman suggested that this rank of demigod was bestowed / Page 76 / on him at the time of the New Kingdom, i.e. about 1580 B.C., but more recent evidence seems to indicate that this demigod stage was reached at a much earlier period.
Here a bit of chronology helps. 'The Virgin of the World' correctly described Imhotep as 'not long afterwards', following upon the creation of the Egyptian priesthood, presumably in the First Dynasty after Menes, in the form in which it would be known after the unification of Egypt. Imhotep lived in the Third Dynasty, at the beginning of the Old Kingdom. I. E. S. Edwards39 estimates this as commencing about 2686 B.G. He puts the start of the First Dynasty about 3100 B.G. Imhotep is thus literally 'not long afterwards'. Whoever wrote 'The Virgin of the World' knew his Egyptian chronology and also did not call Imhotep 'son of Ptah'.
There is another point. Looking at this statement from 'The Virgin of the World': '. . . and all the rest (i.e. after Imhotep) who were to make enquiry of the faithful certitude of heavenly contemplation. . .', we find that we have a
reference to successors of Imhotep who 'enquired' into the riddles of the universe and also a description of Imhotep's own activities as an 'enquirer'. This also is accurate and reflects considerable knowledge of the subject. For Imhotep is often described as the first genuine philosopher known by name.
And on p. 30 of his book, Hurry refers to apparent successors mentioned in an
Oxyrhyncus papyrus (in Greek, edited by Grenfell and Hunt) which relates that 'Imhotep was worshipped as early as the IVth Dynasty, and his temple was resorted to by sick and afflicted persons'. Hurry further says: 'The other persons are Horus son of Hermes, and Kaleoibis son of Apollo (Imhotep being a son of Pta h) ; it is not known who these were.' Could they have been successors
of Imhotep at 'enquiring'? It seems likely that we shall be learning more of these people as excavations in Egypt proceed. In 1971-2 there came to light at Sakkara a remarkable group of texts written by a man named Hor (from Horus), describing his life at an Egyptian temple in the Ptolemaic period, recounting his dreams and his political encounters. These texts should have been published by 1976 by the Egypt Exploration Society.
Hurry refers to the Trismegistic (Hermetic) literature as follows: 'If the references to Imhotep in Hermetic literature can be trusted, he was also interested in astronomy and astrology, although no special observations are associated with his name. Sethe gives various references to that literature, showing that Imhotep was reputed to have been associated with the god Thoth (Hermes) in astronomical observations.'4o Obviously Imhotep, as chief priest under King Zoser (for he held that office as well), was associated with Thoth
(Tat) in the form of the priesthood previously mentioned who had the 'Dark Rite' as their highest mystery. Here is actual confirmation, then, that it was astronomical matters with which they dealt. In other words, my astronomical interpretation receives some confirmation from this source as well. It is nice when loose ends tie up.
Inscriptions in a temple at Edfu built by Ptolemy In Euergetes I (237 B.G.) describe Imhotep as 'the great priest Imhotep the son of Ptah, who speaks or lectures'. Hurry says 'Imhotep enjoyed the reputation of being "one of the greatest of Egyptian sages" ;41 his fame for wisdom made so deep an impression / Page 77 / on his countrymen that it endured as a national tradition for many centuries.
'As regards his literary activities, he is said to have produced works on medicine and architecture, as well as on more general subjects, and some of his works were extant at the dawn of the Christian era. . . . his eminence as a man of letters led him to be recognized as the "patron of scribes." ,
In other words, he was the first great philosopher. And he obviously 'spoke and lectured' in his lifetime. Perhaps he was the first classical Greek in prototype. We also have something to look forward to - his tomb has yet to be discovered. It is thought to be at Sakkara, and the late Professor Emery more than once thought he had come close to discovering it in his excavations there, which are now being carried on by Professor Smith, who is a man with a strange enough aura about him to convince anyone that he is capable of making a discovery which would be the most important in archaeological history and beside which the minor and later tomb of a boy Pharaoh named Tutankhamen would entirely pale by comparison. But perhaps the most interesting thing about the possible forthcoming discovery of Imhotep's tomb is that it will almost certainly be full of books. Would a man like Imhotep be buried without them?

"Bearing these books in mind (and I am sure they are there waiting under­ground like a time bomb for us), it is interesting to read this passage in 'The Virgin of the World' following shortly upon that previously quoted:
The sacred symbols of the cosmic elements were hid away hard by the secrets of Osiris. Hermes, ere he returned to Heaven, invoked a spell on them, and spake these words: . . . 'O holy books, who have been made by my immortal hands, by incorruption's magic spells. . . (at this point there is a lacuna as the text is hopeless) . . . free from decay throughout eternity remain and incorrupt from time! Become unseeable, unfindable, for every one whose foot shall tread the plains of this land, until old Heaven doth bring forth meet instruments for you, whom the Creator shall call souls.'
Thus spake he; and, laying spells on them by means of his own works, he shut them safe away in their own zones. And long enough the time has been since they were hid away.
In the treatise the highest objective of ignorant men searching for the truth
is described as: '(Men) will seek out. . . the inner nature of the holy spaces which no foot may tread, and will chase after them into the height, desiring to observe the nature of the motion of the Heaven.
'These are as yet moderate things. For nothing more remains than Earth's remotest realms; nay, in their daring they will track out Night, the farthest Night of all.'
We 'will chase out into the height' of space to 'observe the nature of the motions of the Heavens', says this old (indeterminately old) treatise. How correct it was. We have now landed on the moon, which is 'chasing out into the height' with a vengeance. And we are indeed 'observing the nature of the motion of the Heavens'. And the treatise is also right in saying that 'these are yet moderate things'. For, as everyone knows, the people in the space programme feel as if they have only just begun. Man will only pause properly again when he has made the entire solar system his familiar and his own. Then we shall / Page 78 / be faced with the limitations of our solar system and the barrier that separates it from the stars. What then ? Yes, what we have done to date certainly deserves the description of 'yet moderate things'. Vasco da Gama may have congratulated himself on his brilliant navigational accomplishments, but as we can clearly see in his case, a beginning is only a beginning. It is 'yet moderate things'.
According to the treatise, after these moderate things we shall 'in our daring' even learn the greatest secret. . . we shall discover 'Night'. And the meaning of the 'Dark Rite' will become clear. And as this rite and this mystery concern Isis and the star Sirius and by the context of this prophecy clearly concerns the heavens, can we be accused of sensationalism in making the suggestion that nothing would shake up the human race more than having the discovery of intelligent life elsewhere in the universe proven for the first time? And what if the dark companion of Sirius really does hold the answer to this mystery? What if the nearest centre of civilization really is based at the Sirius system and keeps a watchful eye on us from time to time? What if this is proven by our detecting on our radio telescopes actual traces of local radio communica.. tions echoing down those nine light years of space in the vast spreading ripple of disintegrating signals that any culture remotely near to us in development would be bound to dribble forth into the surrounding universe? What if this happens ? It will be like the sky falling in, won't it?

Page 72 Note

"* Norbert Wiener in Cybernetics, the pioneer textbook of computer theory, said: 'We have decided to call the entire field of control and communication theory, whether in the machine or
in the animal) by the name Cybernetics. . . (from the Greek for) steersman.'

 

 

Page 74

"Mead quotes an Egyptian magic papyrus, this being an uncontested Egyptian document which he compares to a passage in the Trismegistic literature: 'I invoke thee, Lady Isis, with whom the Good Daimon doth unite, He who is Lord in the perfect black. '37
We know that Isis is identified with Sirius A, and here we may have a / Page 74 / description of her star-companion 'who is Lord in the perfect black', namely the invisible companion with whom she is united, Sirius B.
Mead, of course, had no inkling of the Sirius question. But he cited this magic papyrus in order to shed comparative light on some extraordinary passages in a Trismegistic treatise he translated which has the title 'The Virgin of the World'. In his comments on the magic papyrus Mead says: 'It is natural to make the Agathodaimon ("the Good Daimon") of the Papyrus refer to Osiris; for indeed it is one of his most frequent designations. Moreover, it is precisely Osiris who is pre-eminently connected with the so-called "under­world", the unseen world, the "mysterious dark". He is lord there. . . and indeed one of the ancient mystery-sayings was precisely, "Osiris is a dark God." ,
'The Virgin of the World' is an extraordinary Trismegistic treatise in the form of a dialogue between the hierophant (high priest) as spokesman for Isis and the neophyte who represents Horus. Thus the priest instructing the initiate is portrayed as Isis instructing her son Horus.
The treatise begins by claiming it is 'her holiest discourse' which 'so speaking Isis doth pour forth'. There is, throughout, a strong emphasis on the hierarchical principle of lower and higher beings in the universe - that earthly mortals are presided over at intervals by other, higher, beings who interfere in Earth's affairs when things here become hopeless, etc. Isis says in the treatise: 'It needs must, therefore, be the less should give place to the greater mysteries.' What she is to disclose to Horus is a great mystery. Mead describes it as the mystery practised by the arch-hierophant. It was the degree (here 'degree' is in the sense of 'degree' in the Masonic 'mysteries', which are hopelessly garbled and watered-down versions of genuine mysteries of earlier times) 'called the "Dark Mystery" or "Black Rite". It was a rite performed only for those who were judged worthy of it after long probation in lower degrees, something of a far more sacred character, apparently, than the instruction in the mysteries enacted in the light.'
Mead adds: 'I would suggest, therefore, that we have here a reference to the most esoteric institution of the Isiac tradition. . .', Isiac meaning of course 'Isis-tradition', and not to be confused with the Book of Isaiah in the Bible (so that perhaps it is best for us not to use the word-form 'Isiac').
It is in attempting to explain the mysterious 'Black Rite' of Isis at the highest degree of the Egyptian mysteries that Mead cited the magic papyrus which I have already quoted. He explains the 'Black Rite' as being connected with Osiris being a 'dark god' who is 'Lord of the perfect black' which is 'the unseen world, the mysterious black'.
This treatise 'The Virgin of the World' describes a personage called Hermes who seems to represent a race of beings who taught earthly mankind the arts of civilization after which: 'And thus, with charge unto his kinsmen of the Gods to keep sure watch, he mounted to the Stars'.
According to this treatise mankind have been a troublesome lot requiring scrutiny and, at rare intervals of crisis, intervention.
After Hermes left Earth to return to the stars there was or were in Egypt someone or some people designated as 'Tat' (Thoth) who were initiates into the celestial mysteries."

Page 77

"Bearing these books in mind (and I am sure they are there waiting under­ground like a time bomb for us), it is interesting to read this passage in 'TheVirgin of the World' following shortly upon that previously quoted:
The sacred symbols of the cosmic elements were hid away hard by the secrets of Osiris. Hermes, ere he returned to Heaven, invoked a spell on them, and spake these words: . . . 'O holy books, who have been made by my immortal hands, by incorruption's magic spells. . . (at this point there is a lacuna as the text is hopeless) . . . free from decay throughout eternity remain and incorrupt from time! Become unseeable, unfindable, for every one whose foot shall tread the plains of this land, until old Heaven doth bring forth meet instruments for you, whom the Creator shall call souls.'
Thus spake he; and, laying spells on them by means of his own works, he shut them safe away in their own zones. And long enough the time has been since they were hid away.
In the treatise the highest objective of ignorant men searching for the truth
is described as: '(Men) will seek out. . . the inner nature of the holy spaces which no foot may tread, and will chase after them into the height, desiring to observe the nature of the motion of the Heaven.
'These are as yet moderate things. For nothing more remains than Earth's remotest realms; nay, in their daring they will track out Night, the farthest Night of all.'..."

Page 82

"We must note Stecchini's remarks about Delphi as follows :38
The god of Delphi, Apollo, whose name means 'the stone', was identified with an object, the omphalos, 'navel', which has been found. It consisted of an ovoidal stone. . . . The omphalos of Delphi was similar to the object which represented the god Amon in Thebes, the 'navel' of Egypt. In 1966 I presented to the annual meeting of the Archaeological Institute of America a paper in which I maintained that historical accounts, myths, and legends, and some monuments of Delphi, indicate that the oracle was established there by the Pharaohs of the Ethiopian Dynasty.

 

 

SATOR AREPO TENET OPERA ROTAS

 

Sator Square - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Sator_Square

The Sator Square or Rotas Square is a word square containing a Latin palindrome featuring the words SATOR AREPO TENET OPERA ROTAS written in a ...

Translation - Appearances - Christian associations - Magical uses

Sator Square

From Wikipedia, the free encyclopedia

Square in Oppède, France.

Square in St. Peter ad Oratorium.
The Sator Square or Rotas Square is a word square containing a Latin palindrome featuring the words SATOR AREPO TENET OPERA ROTAS written in a square so that they may be read top-to-bottom, bottom-to-top, left-to-right, and right-to-left. The earliest datable square was found in the ruins of Pompeii which was buried in the ash of Mt. Vesuvius in 79 AD. Examples may be carved on stone tablets, or engraved into clay before firing as pottery. Among other interpretations, the square is regarded as a cryptic marker for the outside of an Early Christian house, as the letters resolve into a cross-shape reading PATERNOSTER ("Our Father") both down and across, with two each of A and O, Alpha and Omega in Greek, left over.

Contents
[hide] 1 Translation
2 Appearances
3 Christian associations
4 Magical uses
5 See also
6 References 6.1 Footnotes

7 External links

[edit] Translation
Sator Sower, planter; founder, progenitor (usually divine); originator Arepo (arrepo) (I) creep/move stealthily towards, also trust, or likely an invented proper name; its similarity with arrepo, from ad repo, 'I creep towards', may be coincidental Tenet holds, keeps; comprehends; possesses; masters; preserves Opera (a) work, care; aid, service, (an) effort/trouble Rotas (rota) wheel, rotate; (roto) (I) whirl around, revolve rotate; used in the Vulgate Psalms as a synonym for whirlwind and in Ezekiel as plain old wheels.
One likely translation is "The farmer Arepo has [as] works wheels [a plough]"; that is, the farmer uses his plough as his form of work. Although not a significant sentence, it is grammatical; it can be read up and down, backwards and forwards. C. W. Ceram also reads the square boustrophedon (in alternating directions). But since word order is very free in Latin, the translation is the same. If the Sator Square is read boustrophedon, with a reverse in direction, then the words become SATOR OPERA TENET, with the sequence reversed.[1]

The word arepo is a hapax legomenon, appearing nowhere else in Latin literature. Most of those who have studied the Sator Square agree that it is a proper name, either an adaptation of a non-Latin word or most likely a name invented specifically for this sentence. Jerome Carcopino thought that it came from a Celtic, specifically Gaulish, word for plough. David Daube argued that it represented a Hebrew or Aramaic rendition of the Greek Αλφα ω, or "Alpha-Omega" (cf. Revelation 1:8) by early Christians. J. Gwyn Griffiths contended that it came, via Alexandria, from the attested Egyptian name Ḥr-Ḥp, which he took to mean "the face of Apis". (For more on these arguments see Griffiths, 1971 passim.) In Cappadocia, in the time of Constantine VII, Porphyrogenitus (913-959), the shepherds of the Nativity story are called SATOR, AREPON, and TENETON, while a Byzantine bible of an earlier period conjures out of the square the baptismal names of the three Magi, ATOR, SATOR, and PERATORAS.

If "arepo" is taken to be in the second declension, the "-o" ending could put the word in the ablative case, giving it a meaning of "by means of [arepus]." Thus, "The sower holds the works and wheels by means of water."

[edit] Appearances

Square in Cirencester.

 

Anagram formed by the letters of the sator square
The oldest datable representation of the Sator Square was found in the ruins of Pompeii. Others were found in excavations at Corinium (modern Cirencester in England) and Dura-Europos (in modern Syria). The Corinium example is actually a Rotas Square; its inscription reads ROTAS OPERA TENET AREPO SATOR.

Other Sator Squares are on the wall of the Duomo of Siena and on a memorial.[2]

An example of the Sator Square found in Manchester dating to the 2nd century is considered by some authorities to be one of the earliest pieces of evidence of Christianity in Britain.[3] Like the Corinium square, the Manchester square reads ROTAS OPERA TENET AREPO SATOR. A further example is found in a group of stones located in the grounds of Rivington Church and reads "SATOR AREPO TENET OPERA ROTAS", the stone is one of a group thought to have come from a local private chapel in Anderton, Lancashire.[4]

An example is found inserted in a wall of the old district of Oppède, in France's Luberon.

There is a Sator Square in the museum at Conimbriga (near Coimbra in Portugal), excavated on the site.

The Benedictine Abbey of St. Peter ad Oratorium, near Capestrano, in Abruzzo, Italy, has a marble square inscription of the Sator Square. An example discovered at the Valvisciolo Abbey, also in central Italy, has the letters forming five concentrical rings, each one divided into five sectors.

There is one known occurrence of the phrase on the rune stone Nä Fv1979;234 from Närke, Sweden, dated to the 14th century. It reads "sator arepo tenet" (untranscribed: "sator ¶ ar(æ)po ¶ tænæt).[5] It also occurs in two inscriptions from Gotland (G 145 M and G 149 M), in both of which the whole palindrome is written.[6]

[edit] Christian associations

Around the central Latin letter Ν (en,) a Greek cross can be made that reads both vertically and horizontally the first two words of the 'Pater Noster' (Pater Noster translates as "Our Father", the first words of the Lord's Prayer), each line is surrounded with A and O which represents the Alpha and Omega.[7] The associations indicate the square may have been a safe, hidden way for early Christians to signal their presence to each other in a city without exposing themselves to persecution. The Sator Square uncovered in Manchester has been interpreted as early evidence for the arrival of Christianity in Britain.[citation needed]

The 'Prayer of the Virgin in Bartos' says that Christ was crucified with five nails, which were named Sator, Arepo, Tenet, Opera and Rotas.[8]

Other authorities believe the Sator Square was Mithraic or Jewish in origin because it is not likely that Pompeii had a large Christian population in 79 A.D and the symbolism inferred as Christian and the use of Latin in Christianity is not attested to until later.[9]

[edit] Magical uses

The Sator Square is a four-times palindrome, and some people have attributed magical properties to it, considering it one of the broadest magical formulas in the Occident. An article on the square from The Saint Louis Medical and Surgical Journal vol. 76, reports that palindromes were viewed as being immune to tampering by the devil, who would become confused by the repetition of the letters, and hence their popularity in magical use.

The square has reportedly been used in folk magic for various purposes, including putting out fires (the spell is "TO EXTINGUISH FIRE WITHOUT WATER" in John George Hohman's Long Lost Friend), removing jinxes and fevers,[citation needed] to protect cattle from witchcraft,[10] and against fatigue when traveling.[11] It is sometimes claimed it must be written upon a certain material, or else with a certain type of ink to achieve its magical effect.

[edit] See also
Abracadabra, sometimes written in form of triangle
Cave canem, another Pompeian phrase
Magic square
Memes
Word square

[edit] References

"'Arepo' in the Magic 'Sator' Square'": J. Gwyn Griffiths, The Classical Review, New Ser., Vol. 21, No. 1., March 1971, pp. 6–8.
"A Specimen of Ancient Incidental Roman Epigraphy": Carlos Pérez-Rubin, Documenta & Instrumenta, No. 2 2004, published by the Faculty of Geography and History, Madrid University (Universitas Complutensis)
Shotter, David ([2004] 1993). Romans and Britons in North-West England. Lancaster: Centre for North-West Regional Studies. ISBN 1-86220-152-8.
Ceram, C.W. (1958). The March of Archaeology. New York: Alfred A. Knopt. ISBN L.C.Catalog no. 58-10977.

[edit] Footnotes

1.^ Ceram (1958), p. 30.
2.^ Findagrave.com
3.^ Shotter (2004), pp. 129–130.
4.^ About Rivington, John Rawlinson, Nelson Brothers Limited, Chorley, 1969, p42
5.^ Samnordisk runtextdatabas, Uppsala runforum
6.^ Ibid.
7.^ Robert Milburn; Robert Leslie Pollington Milburn (1988). Early Christian art and architecture. University of California Press. pp. 1–. ISBN 978-0-520-06326-6. Retrieved 22 December 2011.
8.^ James De Quincey Donehoo (1903). The Apocryphal and legendary life of Christ: being the whole body of the Apocryphal gospels and other extra canonical literature which pretends to tell of the life and words of Jesus Christ, including much matter which has not before appeared in English. In continuous narrative form, with notes, Scriptural references, prolegomena, and indices. The Macmillan company. pp. 350–. Retrieved 22 December 2011.
9.^ Everett Ferguson (1 September 2003). Backgrounds of early Christianity. Wm. B. Eerdmans Publishing. pp. 590–. ISBN 978-0-8028-2221-5. Retrieved 22 December 2011.
10.^ Northvegr.org
11.^ The Gentleman's Magazine vol. 258, 1885

[edit] External links

Wikimedia Commons has media related to: Sator Arepo Tenet Opera Rotas

Duncan Fishwick, An Early Christian Cryptogram? (HTML)
Sator Square, inscribed, Article; the article uses: "Rotas square"
"Section of Page and Eloise's Memorial website related to the Sator Square, 1995 (HTML)"
Magic Square Museum: the first Second Life museum about Magic Square. The first flow is about Sator Square. Vulcano (89,35,25)

 

 

THE SPLENDOUR THAT WAS EGYPT

Margaret A. Murray 1951

Page 164
.
"The underlying basic religion and the three great challenges in creed and ritual affected one another. New ideas of God and of the relation between God and man were evolved by the clash or combination of the varying forms of religion, and this growth from a primitive and savage cult to the highest religious ideals can be best studied in the worship and ritual of Osiris.-
The cult of Osiris is also the most important of all the Egyptian cults because it belonged to all classes from the highest to the lowest. It is perhaps the most perfect example of that belief which is found in so many countries, viz. that God is incarnate in man, which belief is usually accompanied by the rite of killing the Divine Man.
The chosen man is almost invariably the king. In him dwells the Spirit of God, and he thus becomes God Incarnate. The indwelling Spirit is that of the Creator, the Giver of Life, and to the Incarnate God was therefore ascribed the power to give fertility to his people and land. In the eyes of his subjects the king was actually God.'" The appeal of such a belief is obvious, God Himself living and moving among His people, visible to their eyes, a man amongst men but at the same time possessing the mystic and mighty power of God. With this belief there went another belief, which to the primitive mind was the logical corollary. The Spirit was not necessarily im-mortal, any more than the body in which it was incarnate; nor was it exempt from the failure of the bodily powers which come with age. If the Divine Man grew old and became weaker, the Spirit within him also grew weaker; if the Divine Man died a natural death or was accidentally killed, the Spirit shared the same fate. If the Creator Spirit, the Force of reproduction, were dead, what.could happen to the worshippers but death and destruction: they themselves and all their belongings were doomed. To prevent so disastrous a fate, some means had to be devised for removing the Spirit from its ageing home and housing it in a younger, stronger body. The only way by which the Divine Spirit could be removed was by the death of the man in whom it was incarnate; and as he could not be allowed to die a natural death, he had to be killed. This had to be done with every kind of precaution, every kind of religious ceremony, for it was equivalent to killing a god. It follows then that while the king was young and active he was sacrosanct, not a finger might be raised against him, and his subjects, literally his worshippers, were ready to die in his defence; but when he showed any sign of age and his time had come, not.a finger could be raised to save him.
In many countries the Divine King was allowed to reign for a term of years only, usually seven or nine or multiples of those numbers.
* See Wainwright, The Sky Religion in Egypt.

 

KILLS THE DIVINE? CULL THE DIVINE

I

DONT THINK SO HAVE ANOTHER THINK COMING!

 

 

A

DOUBLE

CROSS CRUCIFIXION CROSS

ACROSS THAT CROSS O THAT CROSS ACROSS

THOUGHT DIVINE CONSCIENCE 9 9 CONSCIENCE DIVINE THOUGHT

BEAUTIFUL DREAMER COME UNTO ME UNTO ME COME DREAMER BEAUTIFUL

I HAD BEEN DYING TO KNOW ALL MY LIFE DYING TO KNOW ALL MY LIFE I HAD

ASTRIDE THE WIDE OF THE GREAT DIVIDE THE WIDE OF THE GREAT DIVIDE ASTRIDE

NOUGHTS O SOUGHT O THOUGHT O OUGHTS O OUGHTS O THOUGHT O SOUGHT O NOUGHTS

 

 

I

ME

THAT EGO THAT

SELFLESS DEATH IS THAT IS IS THAT IS DEATH SELFLESS

 

 

K
=
5
-
-
KILLS
-
-
-
-
-
-
-
2
K+S
30
12
3
-
-
-
-
1
L
12
3
3
-
-
-
-
1
L
12
3
3
K
=
2
Q
5
KILLS
54
18
9
-
-
-
-
-
-
5+4
3+4
-
K
=
2
Q
5
KILLS
9
9
9
-
-
-
-
-
-
-
-
-
-
-
-
Q
-
-
-
-
-
C
=
5
-
-
CULL
-
-
-
-
-
-
-
2
C
3
3
3
-
-
-
-
2
U
21
3
3
-
-
-
-
1
L
12
3
3
-
-
-
-
1
L
12
3
3
K
=
5
Q
4
CULL
79
34
34
-
-
-
-
-
-
7+9
3+4
3+4
N
=
5
Q
9
CULL
79
34
34
-
-
-
-
-
-
-
-
-
-
-
-
Q
-
-
-
-
-
C
=
3
-
-
CELL
-
-
-
-
-
-
-
1
C
3
3
3
-
-
-
-
1
E
5
5
5
-
-
-
-
1
L
12
3
3
-
-
-
-
1
L
12
3
3
C
=
3
Q
4
CELL
32
14
14
-
-
-
-
-
-
3+2
3+4
3+4
C
=
3
Q
4
CELL
5
5
34
-
-
-
-
-
-
-
-
-
-
-
-
Q
-
-
-
-
-
C
=
5
-
-
FOURTEEN
-
-
-
-
-
-
-
1
F
6
6
6
-
-
-
-
2
O+U
36
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
1
T
20
2
2
-
-
-
-
1
E
5
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
F
=
6
Q
8
FOURTEEN
104
41
41
-
-
-
-
-
-
1+0+4
1+4
1+4
F
=
6
Q
8
FOURTEEN
5
5
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1 + 44
5
5
5
-
-
-
-
-
-
-
-
-
F
=
6
Q
8
FOURTEEN
104
41
41

 

 

THE AGE OF FABLE

Thomas Bullfinch

1994

Page 360

Myth of Osiris and Isis

Osiris and Isis were at one time induced to descend to the earth to bestow gifts and blessings on its inhabitants. Isis showed them first the use of wheat and barley, and Osiris made the instruments of agri- culture and taught men the use of them, as well as how to harness the ox to the plough. He then gave men laws, the institution of marriage, a civil organiza- tion, and taught them how to worship the gods. After he had thus made the valley of the Nile a happy country, he assembled a host with which he went to bestow his blessings upon the rest of the world. He conquered the nations everywhere, but not with weapons, only with music and eloquence. His brother Typhon saw this, and filled with envy and malice sought during his absence to usurp his throne. But Isis, who held the reins of government, frustrated his plans. Still more embittered, he now resolved to kill his brother. This he did in the following manner: Having organized a conspiracy of seventy - two members, he went with them to the feast which was celebrated in honour of the king's return. He then caused a box or chest to be brought in, which had been made to fit exactly the size of Osiris, and declared,that he would give that chest of precious wood to whoso-ever could get into it. The rest tried in vain, but no sooner was Osiris in it than Typhon and his companions closed the lid and flung the chest into the Nile. When Isis heard of the cruel murder she wept and mourned, and then with her hair shorn, clothed in black and beating her breast, she sought diligently for the body of her husband. In this search she was materially assisted by Anubis, the son of Osiris and Nephthys. They sought in vain for some time; for Page361/ when the chest, carried by the waves to the shores of Byblos, had become entangled in the reeds that grew at the edge of the water, the divine power that dwelt in the body of Osiris imparted such strength to the shrub that it grew into a mighty tree, enclosing in its trunk the coffin of the god. This tree with its sacred deposit was shortly after felled, and erected as a column in the palace of the king of Phrenicia. But at length, by the aid of Anubis and the sacred birds, Isis ascer-tained these facts, and then went to the royal city. There she offered herself at the palace as a servant, and, being admitted, threw off her disguise and appeared as the goddess, surrounded with thunder and lightning. Striking the column with her wand, she caused it to split open and give up the sacred coffin. This she seized and returned with it, and concealed it .in the depth of a forest, but Typhon discovered it, and cutting the body into fourteen pieces scattered them hither and thither. After a tedious search Isis found thirteen pieces, the fishes of the Nile having eaten the other. This she replaced by an imitation of sycamore wood, and buried the body at Philoe, which became ever after the great burying-place of the nation, and the spot to which pilgrimages were made from all parts of the country. A temple of surpassing magnificence was also erected there in honour of the god, and at every place where one of his limbs had been found minor temples and tombs were built to commemorate the event. Osiris became after that the tutelar deity of the Egyptians. His soul was supposed always to inhabit the body of the bull Apis, and at his death to transfer itself to his successor.

 

72 x 14 = 1008 1 + 8 = 9

72 x 13 = 936

13 + 14 = 27

 

SYCAMORE 99 36 9 9 36 99 SYCAMORE

 

-
-
-
-
-
SYCAMORE
-
-
-
S
=
1
-
1
S
19
10
1
Y
=
7
-
1
Y
25
7
7
C
=
3
-
1
C
3
3
3
A
=
1
-
1
A
1
1
1
M
=
4
-
1
M
13
4
4
O
=
6
-
1
O
15
6
6
R
=
9
-
1
R
18
9
9
E
=
5
-
1
E
5
5
5
-
-
36
-
-
SYCAMORE
99
45
36
-
-
3+6
-
-
-
9+9
4+5
3+6
-
=
9
-
-
SYCAMORE
18
9
9
-
-
-
-
-
-
1+8
-
-
-
=
9
-
-
SYCAMORE
9
9
9

Page 360

There she offered herself at the palace as a servant, and, being admitted, threw off her disguise and appeared as the goddess, surrounded with thunder and lightning. Striking the column with her wand, she caused it to split open and give up the sacred coffin. This she seized and returned with it, and concealed it .in the depth of a forest, but Typhon discovered it, and cutting the body into fourteen pieces scattered them hither and thither. After a tedious search Isis found thirteen pieces, the fishes of the Nile having eaten the other. This she replaced by an imitation of sycamore wood, and buried the body at Philoe, which became ever after the great burying-place of the nation, and the spot to which pilgrimages were made from all parts of the country.

 

 

JOSEPH AND HIS BROTHERS

Thomas Mann

1875 - 1955

Page 890

8 x 9 x 0 = 72 = 0 x 9 x 8

"In all there were two-and-seventy conspirators privy to the plot. It was a proper and a pregnant number, for there had been just sev-enty-two when red Set lured Usir into the chest. And these seventy-two in their turn had had good cosmic ground to be no more and no less than that number. For it is just that number of groups of five weeks which make up the three hundred and sixty days of the year, not counting the odd days; and there are just seventy-two days in the dry fifth of the year, when the gauge shows that the Nourisher has reached his lowest ebb, and the god sinks into his grave. So where there is conspiracy anywhere in the world it is requisite and custom-ary for the number of conspirators to be seventy-two. And if the plot fail, the failure shows that if this number had not been adhered to it would have failed even worse."

 

 

REMEMBERING

OSIRIS

Tom Hare

Page185 /6

THREE, TWO, ONE, ZERO

O noble ones in the presence of Lord Atum,
Here am I, come before you,
Fear me, in accordance with what you know.
It is I whom the Sole Lord created before there were yet two things in this land,
When he sent forth his sole eye,
When he was alone, going forth from his own mouth,

When his million ka were there, protection for his retinue,
When he spoke with one who comes to being with him, over whom he rules,
When he took Hu upon his speech.
It is I who am the very son of Who-Bore-All, born before he had a mother,

And I am under the protection of the command of the Sole Lord,
It is I who give life to the Ennead,
It is I who act howsoever I like, father of gods, lofty of standard,
who make the gods effective in accordance with the charge of Who-Bore- All,
August god who eats and speaks with his mouth.
I am fallen silent,
I have bowed down,
I am come shod, a Bulls of the Sky,
I am seated, a Bulls of Nut, in this my dignity, Greatest of Lord of Kas, Heritor of Atum,
I have come.
I take my throne.
I gather unto me my dignity.
All is mine, since before you came to being, Gods.
Go down upon your haunches.
I am Magic.

ATUM = 1234 ATUM

1234 =ATUM 1234

ATUM = 1234 ATUM

"O noble ones in the presence of Lord Atum, Here am I, come before you,"

"O noble ones in the presence of Lord 1234, Here am 9, come before 7,"

Page185 /6 Chapter 4

THREE, TWO, ONE, ZERO

O noble ones in the presence of Lord 1234,
Here am 9, come before you,
Fear me, in accordance with what you know.
It is 9 whom the Sole Lord created before there were yet two things in this land,
When he sent forth his sole eye,
When he was alone, going forth from his own mouth,

When his million ka were there, protection for his retinue,
When he spoke with one who comes to being with him, over whom he rules,
When he took Hu upon his speech.
It is 9 who am the very son of Who-Bore-All, born before he had a mother,

And 9 am under the protection of the command of the Sole Lord,
It is 9 who give life to the Ennead,
It is 9 who act howsoever 9 like, father of gods, lofty of standard,
who make the gods effective in accordance with the charge of Who-Bore-All,
August god who eats and speaks with his mouth.
9 am fallen silent,
9 have bowed down,
9 am come shod, a Bulls of the Sky,
9 am seated, a Bulls of Nut, in this my dignity, Greatest of Lord of Kas, Heritor of 1234,
9 have come.
9 take my throne.
9 gather unto me my dignity.
All is mine, since before you came to being, Gods.
Go down upon your haunches.
9 am Magic.

 

 

RE = 18+5 = 23 2+3 = 5 = 2+3 23 = 5+18 = RE

RE = 9+5 = 14 1+4 = 5 = 1+4 14 = 5+9 = RE

 

 

ENNEAD 555514 ENNEAD

ENNEAD 55555 ENNEAD

ENNEAD 555514 ENNEAD

 

-
ENNEAD
-
-
-
1
E
5
5
5
1
N
14
5
5
1
N
14
5
5
1
E
5
5
5
2
A+D
5
5
5
6
ENNEAD
43
25
25
-
-
4+3
2+5
2+5
6
ENNEAD
7
7
7

 

 

LOOK AT THE 5'S LOOK AT THE5'S LOOK AT THE 5'S THE5'S THE 5'S

 

 

-
TATENEN
-
-
-
3
T+A+T
41
5
5
1
E
5
5
5
1
N
14
5
5
1
E
5
5
5
1
N
14
5
5
7
TATENEN
79
25
25
-
-
7+9
2+5
2+5
7
TATENEN
16
7
7
-
-
1+6
-
-
7
TATENEN
7
7
7

 

 

TATENEN

T+A+T

2+1+2 = 5 = 2+1+2

5+5+5+5

TATENEN

TATENEN 55555 TATENEN

 

 

Tatenen - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Tatenen -
Tatenen (also Ta-tenen, Tatjenen, Tathenen, Tanen, Tenen, Tanenu, and Tanuu) was the god of the primordial mound in Egyptian Mythology. ...

TatenenFrom Wikipedia, the free encyclopediaJump to: navigation, search
Tatenen (also Ta-tenen, Tatjenen, Tathenen, Tanen, Tenen, Tanenu, and Tanuu) was the god of the primordial mound in Egyptian Mythology. His name means risen land[1] or exalted earth,[2] as well as referring to the silt of the Nile. As a primeval chthonic deity,[3] Tatenen was identified with creation. He was an androgynous protector of nature from the Memphis area, then known as "Men-nefer".

Tatenen represented the Earth and was born in the moment it rose from the watery chaos,[1] analogous to the primeval mound of the benben and mastaba and the later pyramids. He was seen as the source of "food and viands,divine offers, all good things",[4] as his realms were the deep regions beneath the earth "from which everything emerges", specifically including plants, vegetables, and minerals.[3] His father was the creator god Khnum, who made him on his potter's wheel of Nile mud at the moment of creation of Earth.[5] This fortuity granted him the titles of both "creator and mother who gave birth to all gods" and "father of all the gods".[1][6] He also personified Egypt (due to his associations with rebirth and the Nile) and was an aspect of the earth-god Geb, as a source of artistic inspiration,[7] as well as assisting the dead in their journey to the afterlife.[8]

He is first attested in the Coffin Texts, where his name appears as Tanenu or Tanuu, 'the inert land', a name which characterizes him as a god of the primeval condition of the earth. Middle Kingdom texts provide the first examples of the form Tatenen.[3]

With a staff Tatenen repelled the evil serpent Apep from the Primeval Mound. He also had a magical mace dedicated to the falcon, venerated as "The Great White of the Earth Creator".[9] In one interpretation, Tatenen brought the Djed-pillars of stability to the country,[9] although this is more commonly attributed to Ptah.

[edit] Ptah-TatenenBoth Tatenen and Ptah were Memphite gods. Tatenen was the more ancient god, combined in the Old Kingdom with Ptah as Ptah-Tatenen, in their capacity as creator gods.[2] By the Nineteenth dynasty Ptah-Tatenen is his sole form, and he is worshiped as royal creator god. Ptah-Tatenen can be seen as father of the Ogdoad of Hermopolis, the eight gods who themselves embody the primeval elements from before creation.[3]

[edit] PortrayalTatenen's ambiguous portrayal is a result of the ancient nature of the period he was worshipped in, as well as the subsequent confusion when he was merged with Ptah. He was always in human form, usually seated with a pharonic beard, wearing either an Atef-crown (as Ptah-Sokar) or, more commonly, a pair of ram's horns surmounted by a sun disk and two tall feathers.[3] As Tanenu or Tanuu, obviously a chthonic deity, he carried two snakes on his head.[3] He was both feminine and masculine, a consequence of his status as a primeval, creator deity.[1] Some depictions show Tatenen with a green complexion (face and arms), as he had connections to fertility and a chthonic association with plants.[2]

[edit] References1.^ a b c d Tatenen. Retrieved 2009-10-21.
2.^ a b c The Egyptian Gods. Retrieved 2008-10-21.
3.^ a b c d e f Tatenen Retrieved 2009-10-21.
4.^ C. J. Bleeker. Historia Religionum I: Religions of the Past, p.68
5.^ M. Lichtheim: Ancient Egyptian Literature, Vol.3, p.113
6.^ J. H. Breasted: Ancient Records of Egypt, Part Three, § 411
7.^ J. H. Breasted: Ancient Records of Egypt, Part Two, § 91
8.^ Carol Andrews: The Ancient Egyptian Book of the Dead, spell 180
9.^ a b Intersexed and Androgynous Deities in Religion or Mythology. Retrieved 2009-10-21.

 

 

THE GARDEN OF THE GOLDEN FLOWER

THE JOURNEY TO SPIRITUAL FULFILLMENT

Longfield Beatty

1939

Page 203

"I think that is about as far as we dare go, though additional correspondences certainly present specious credentials. But we have all the essentials and can afford to ignore the rest, even including Anubis, the "Opener of the Way," whose nature completely eludes me. Actually we only require the human equation, No.4 on the Table; and so we can leave generalities in favour of the familiar territory of the Hero. The road is plain enough, indeed the composite Osiris / Horus bears nearly all the symbols of the Christ. As in the case of Hercules) / Page 204 / it is as well to use a tabulation, chiefly so as to preserve the sense of distinct attributes.

The Symbols of Osiris / Horus.
1. Horus is conceived of the Spirit (Ra) as well as by human Father (Osiris) and a marvellous Mother (Isis). The Father is a King.

2.. The birth of the Child is miraculous. According to Plutarch the event took place out of time. His version describes Nut as giving birth to Osiris (who is here the Hero-child) on a day made beyond the year. To make this day, light had been "won" from Ra by Silene (Moon). At the time of the birth a voice was heard proclaiming: "The Lord of all the earth is born."

In a less abstract account the Child (now Horus) is conceived from the dead body of Osiris, which had been reintegrated by Isis and vivified by Thoth.

3. The Child (Horus) becomes a Warrior. He seizes the diadem from his Mother's head (overcoming the Mother. . . gaining power over matter). He is in constant battle with the enemy of his Divine Father, though destined to ultimate victory .

4. The Warrior-King (Osiris) is betrayed by Set, whose followers nail him down in a wonderful chest of wood which thus becomes his coffin. The chest is set adrift and is eventually washed ashore in a foreign land. There a tree grew round the chest, completely enclosing it. The tree, which was evidently of peculiar merit (Tree of Life) was taken to the palace of the queen of / Page 205 / the land, Atenais, who may be Istar . . . that Asiatic Mother whose most popular attribute was the annual slaughter of her lover. Indeed, it might well have been the womb (or palace) of the Destroyer which enclosed the Hero (incest), for the Destroyer is an aspect of Isis 1 in her capacity of Dual Mother. It is not surprising, therefore, that Isis found the magical tree and brought it back to Byblos in Egypt where it was at one time worshipped. It was there, presumably, that the Tree of Death became the Tree of Birth and Osiris rose from the dead to become co-equal with Ra.

5. The very important myth of the dismemberment of Osiris should be considered apart from the points just dealt with, since it represents a cosmic rather than a mystical allegory. As I see it, the scattering of the Father's members over the Earth is equivalent to the diffusion of conscious-ness, which has been recognised as the descent of Spirit into Matter. The time when the diffusion is greatest is clearly at the bottom of the descent (" fall "). Thereafter the ascent proceeds through Matter until the Triple Christ is born of a human mother; so that it might be said that the Mother reintegrated the Father so that from him she might bear the Son. The point is the most difficult one which we have yet had to consider, and I have not attempted to treat it fully, partly on that account, and partly because it is not essential to the argument. The implications of the myth in our own terms will / Page 206 / be found a few pages hence under the symbols of Midsummer (q.v.). 1 Nepthys.

From the career of the Hero as it has just been outlined, it is obvious that the peak of the whole system is that of the resurrection, necessarily an abstract and therefore difficult concept. Perhaps for that reason there is a great deal of confusion in the rituals, though beneath trivialities and inconsistencies there is a certain amount of truth which cannot be hidden. After all, it is really of no consequence if whole mountains of falsehood are found in the course of the search for truth. All falsehood together cannot stand in the way of a very little truth. That the Mysteries of Osiris, which formed in their entirety a most elaborate drama, should have included much that is primitive and gross is only to be expected, as Budge himself says:

". . . There was not the smallest action on the part of any member of the men and women who acted the Osiris Drama, and not a sentence in the liturgy which did not refer to some historical happening of vital significance to the follower of Osiris. Many of these happenings dated from the dawn of the cult of Osiris, and the Egyptians of the Dynastic period, not knowing exactly what they were, followed tradition blindly.

(Op. cit., 515.)

With that qualification, I can confidently refer the reader to the standard sources, and for the sake of encouragement will give two quotations the like of which for sheer power in the terms of their faith are scarcely to be matched even in Christianity. . . . Yet, in a real sense, this is Christianity. The first citation is from the Papyrus of Nekht (Brit. Mus. 10471) and is taken from Shorter (op. cit., p. 65)

Page 207

" ADORATION OF RA

by

the

SCRIBE

and

Royal Commander

NEKHT

"He saith, Homage to thee who art brilliant'and mighty

When thou hast dawned in the horizon of the sky there is praise of thee in the mouth of all people. Thou art become beautiful and young as a Disc in the hand of thy Mother. Dawn thou in every place, thy heart being enlarged forever!

"The divinities of the Two Lands come to thee bowing down, they give praise at thy shining forth. Thou dawnest in the horizon of the sky, thou brightenest the Two Lands with Malachite.

"Thou art the Divine Youth. the Heir of Eternity. who begat himself and brought himself forth, King of this land. ruler of the Tuat. Chief of the Districts of the Other World who came forth from the Water. who emerged from Nun. who reared himself and made splendid his children I

"Living God. Lord of Love I All folk live when thou shinest. dawning as King of the Gods. 0 Lord of the Sky. Lord of the Earth. King of Truth. Lord of Eternity. Ruler of Everlasting. Sovereign of all the Gods. Living God who made Eternity. who created the sky and established himself therein!

"The

NINE

are in jubilation at thy shining forth. the earth is in joy at beholding thy beams. the people come forth rejoicing to behold thy beauty every day."

And the next quotation is "relayed" from Budge (op. cit.. p. 52.1). having come from Papyrus No. 10188 (Brit. Mus.). There have been some omissions in order to reinforce as much as possible the particular aspect of it which is our immediate concern. To this end also notes have been added to certain passages of particular importance"

 

 

AGAIN THE WORLD LISTENS TO THAT LOUD AMEN OF THE SISTERS

"THE LAMENT OF THE SISTERS

ISIS

and

NEPTHYS

over the dead

OSIRIS

"Beautiful Youth, come to thy exalted house at once: we see thee not.

"Hail, beautiful boy, come to thy house, draw nigh after thy separation from us

"Beautiful Youth, Pilot of Time, who groweth except at this hour.

"Holy image of his Father, mysterious essence proceeding from Tem.

"The Lord! How much more wonderful is he than his

Father, the first-born son of the womb of his mother.

"Come back to us in thy actual form; we will embrace

thee. Depart not from us, thou Beautiful Face, dearly beloved

one, the image of Tem, Master of Love.

"Come thou in peace, our Lord, we would see thee.

"Great Mighty One among the Gods, the road that thou

travellest cannot be described.

"The Babe, the Child at morn and at eve, except when

thou encirclest the heavens and the earth with thy bodily form.

"Come, thou Babe, growing young when setting, our

Lord, we would see thee.

"Come in peace, Great Babe of His Father, thou art

established in thy house.

"Whilst thou travellest thou art hymned by us, and

life springeth up for us out of thy nothingness. O our Lord,

come in peace, let us see thee.

"Hail Beautiful Boy, come to thy exalted house.; let thy

back be to thy house. The Gods are upon their thrones.

Hail ! come in peace, King.

"Babe! How lovely it is to see thee! Come, come to us,

O Great One, glorify our love.

"O ye gods who are in Heaven.

O ye gods who are in the Tuat.

O ye gods who are in the Abyss.

O ye gods who are in the service of the Deep.

We follow the Lord, the Lord, of Love!"

 

 

THE GARDEN OF THE GOLDEN FLOWER

THE JOURNEY TO SPIRITUAL FULFILMENT

Longfield Beatty 1939

Page 285

"Common language derives from a common source in which is the harmony of all contradictions and the mean- / Page 286 / ing of all symbols. We have tried to demonstrate some of the intellectual fruit of such symbols, chiefly in regard to the individual; but the highest flights of language are fitted for the cosmic rather than the mystic allegory. The sublimation which from Stone made Fire, from Water, Wine, from Behemoth, Christ the King, carries humanity out of the depths of mortality into a " new heaven and a new earth."

"And he shewed me a river of water of life clear as crystal '.- proceeding out of the throne of God and of the Lamb. In the midst of the street of it and on either side of the river was there the Tree of Life. . . . And the leaves of the Tree were for the healing of nations." (Rev. xxii, 1-2.)

But why do the nations require healing and what is the nature of their wound?

"And I stood upon the sand of the sea and saw a beast rise up out of the sea, having upon his heads the name of blasphemy. . . . And power was given him over all kindreds, and tongues, and nations.
cc And all that dwell in the earth shall worship him. . . . And no man might buy and sell save he had the mark, or the name of the beast or the number of his name. And his number is 666."
(Rev. xiii).

For the individual there is a certain "dark night," and for humanity also. The night is hideous with tempest, earthquake, terrible beasts, and fire. But after these is heard a voice, there is found a treasure, and the Golden Flower blooms in the Purple Hall of the City of Jade.
At this time also the Knight of the Quest crosses th glass drawbridge of the Castle of Souls, and is conducted to the Hall of Roses in which the Rich King Fisher and / Page287 / his company are healed by eucharistic magic and the asking of the Question.
All these ideas, however, are included in one, just as the intricate pantheon of Egypt is implicit in the One. For at the end of the night dawns the day" Omega" .
when the Unity itself is known.
" They shall not hurt nor destroy in all my holy mountain: and the earth shall be full of the glory of the Lord as the waters cover the sea."

" Then the eyes of the blind shall be opened,
And the ears of the deaf shall be unstopped,
Then shall the lame man leap as an hart,
And the tongue of the dumb sing. . . .
And an highway shall be there, and a way,
And it shall be called the Way of Holiness;
The unclean shall not pass over it ;
But it shall be for those, the wayfaring men. . . ." (Isaiah.)

In that day man recognises his Father at full stature:
Thou art Ra-Herakhty, the Divine Youth, Heir of Eternity, who begat himself and brought forth himself, King of this land, ruler of the Tuat, chief of the districts of the Other World, who came forth from the water, who emerged from Nun, who reared himself and made splendid his children."
(Papyrus of Nekht, Brit. Mus., No. 10471.)
There is no longer Father and Son but undivided Unity, so that Man proclaims not only the identity of his God, but his own identity also:

" I am the God Atum, I who alone was.
I am the God Re at his first splendour.
I am the great God, self-created, God of Gods,
To whom no other God compares." /Page 288 /

I was yesterday and know to-morrow; the battle-ground of Gods was made when I spoke. . . .
My impurity is driven. away, and the sin which was in me is overcome.
I go on my way to where I wash my head in the sea of the righteous.
I arrive at this land of the glorified and enter through the splendid portal.
Thou, who standest before me, stretch out to me thy hands. It is I, I am become one of thee.
Daily I am together with my Father Atum."
(ERMAN: Aegypten, p. 4°9.)
Quoted more fully on p. 100.
To this tremendous recognition there is a response:
"And let the Spirit and the Bride say, Come.
And let him that heareth say, Come.
And let him that is athirst come.
And whosoever will, let him take of the waters of life freely." (Rev.)

 

 

THE LIFE OF JESUS

An assessment through modern historical evidence

Marcello Craveri 1966

Page 411

After the Resurrection

The dogma of the Resurrection marks the beginning of real Christianity: not the revelation preached by Jesus, which, in essence, was nothing but the enlargement and perfection of the traditional Jewish religion, but rather the cult of the person of Jesus; drawing ever closer to the cults of soteriological deities of, the type worshiped in the Greco-Oriental mysteries: a god who is incarnated, who suffers for humanity's sake, and who returns to Olympus.113

The Resurrection story itself, therefore, has been enriched littIe by little with new features that represent a further developinent of this process of adaptation. Such, for instance, is the tradition that Jesus was resurrected on the third day after his burial. Precisely the same interval is claimed for the ritual cycle in the cults of Orpheus, Osiris, Attis, etc. Such too is the belief that Jesus descended into hell in order to carry salvation to the saints and patriarchs of the Old Testament, just as pagan religion imagined?, that Dionysus had gone down into the lower world to bring back; his mother, Semele; that Orpheus had taken the same journey to rescue his lost Eurydice; that Theseus and Pirithous had don as much to return Persephone to the living.

The first account of the descent of Jesus into hell did appear until the fourth century, when a precise doctrine formulated on the Trinity (using the Nicene symbol). 'How was inactivity of the Divine Logos to be explained during the which his body remained intact in the grave and before ascended to the Father's glory? The doctrine of an extra-terrestrial kingdom, which was also affirmed at this period, appropriate pretext for filling the gap.114 To give the legend greater credibility, the. Church published an apocryphal attributed to Simon Peter, which purported-to guarantee veracity of the story. 115

The choice of Sunday as the day of Resurrection, on the other hand, came from an adaptation of the cult of the sun-god, which when Christianity began to spread, was virtually the religion of the Roman Empire. The deity, whose highest title KUPlOC; (Kurios), or Dominus, had a special day dedicated as "the Lord's day" (dies dominica), which the Christians assimilated as the day of their god. They immediately perceived and accepted the analogy between the gloriously resurrected Christ and the rising sun, and its attributes are frequently /Page412/ transferred to Christ in the writings ofthe early Christians, Even when the author of the Gospel of Mark undertook to depict the Resurrection of Jesus with the detail that the tomb was found opened, he synchronised this discovery with the dawn of the third day after the fatal. Friday : that is, with the sunrise on Sunday.116 The survival of the day's Italian name, domenica, is as indicative of its origin in the solar cult as are its names in English (Sunday) and in German (Sonntag).

Ascension of Jesus into heaven at the instant of his Resurrection also has its parallels in the beliefs of other, religions, those of Uranian origin. It is logical that when a god is identified.with heaven, his acquisition of divinity should become a rite of ascension. In the Middle Ages, this concept was materialized in the image of a ladder that rose out of sight into the infinity of the heavenly vault.117

The Church teaches (this time in contrast with Paul) -that Jesus ascended into.heaven in his physical body, It is useless even.to attempt discusionof the impossibility of such a phenomenon. The theologians reply by fallingback on the supernatural and miraculous essenceof the matter. In any case, it is a ridiculous miracle in the light of the Copernican discoveries that have demonstrated there is no sky above an earth. that stands in the center of the universe, but that the earth hangs in infinite space among innumerable other heavenly bodies and that any geographical delimitation of the sky itself is impossible.

Obviously, the Ascension of Jesus into heaven can be accepted only as a myth: morally it represents his severance fromthe human condition and hence symbolizes the purification of the soul that is released from corporeal materiality; theologically it represents the of reunion of Jesus the Savior with God in order to intercede for his believers.118

The second Adam

The doctrine of Jesus, as an expiatory victim which Paul introduced even though it attached itself (in a way that satisfied even the JewishChristians) to the Biblical tradition, endowed the redeeming mission of Jesus with a universal character far superior to the ethnic-social quality given to it by the Apostles.Paul's, argument, to the extent that it is possible to reconstruct it from his Epistles, is this: God, as the first chapters of Genesis relate, Adam and Eve immortal.and blessed, but when they ate of /Page 413/ the fruit of the tree of knowlege of good and evil them and all their descendants of the gift.of immortality. As by one man [Adam] sin entered into the world, and death by sin,"A Paul wrote, "and so death passed upon all men, for that all have sinned."119 Later it was to be debated whether the final proposition of this passage, which in Greek reads: (Greek text omitted) should not rather be interpreted (as it' fact the Vulgate translates it) to mean "in quo omnes peccaverunt.; " imputing the responsibility for the fault (original sin) to Adam alone, who despoiled mankind of divine benevolence. This modification in interpretation, however, does not alter Paul's thought of the condemnation to death and sin that has burdened humanity since Adam.

It should hardly be necessary to point out how impossible it is for modern man to look on death as a punishment for his own sins, or, worse, for those committed by his ancestors,120 since he knows very well that death is a physiological phenomenon common to all living things, including those of the vegetable kingdom unrelated to guilt. But his aspiration to a state of perfect bliss and innocence (paradise on earth) and his recognition of his 0 limitations are parts of man's eternal anxiety" caught as he .i between his reality as a finite being and his indomitable tendency toward the absolute. 121

Here, then, is the new solution which - Paul says122 - has always: eluded everyone and which he at last has been able to grasp and to reveal to the world: after an interval of forbearance, during which he allowed man's sins to accumulate, God selected Jesus as the "propitiator" (Greek text omitted) through whom he could. finally give proof of his own justice and his own mercy, forgiving mankind and restoring to it the lost gifts of immortality and bliss.l23 The similarity of the two events (condemnation and salvation alike through the work of one man) is such that Jesus can be called the second Adam: as the first plunged humanity into sin and' death, so the second has ransomed it. It does then become clear. that if the loss of immortality was the punishment inflicted by God on sinful man through Adam, the restitution of that immortality will be the reward of men reconciled with God through the virtue of Jesus - only of these, of course; for those who persist' in wickedness there will be "indignation and wrath."124 In fact, Paul tells us the chronological sequence of this marvelous event: /Page 114/ first ("the first fruit") is Jesus; then, with the Parousia, it will be the turn of all the Christians, and immediately afterward the world will end in the destruction of the wicked. Then every hostile force, including death,125 will be wiped out, our earthly bodies will be dissolved, and we shall "be clothed upon with our house which is from heaven"'126 - in other words, we shall be resurrected in spiritual bodies, incorruptible and eternal.127

To define his concept of man's "reconciliation" with God, Paul employs the terminology also used by the mysteriological cults: Paul employs the trminology (Greek text omitted) (lutron), which in the Greek of the time meant the ransom that had to be paid to "redeem" a prisoner or a slave.128 and (Greek text omitted) (apolutrosisis), "release by means of ransom. "This latter word was translated into Latin as redemptio (whence the English "redemption"), which, etymologically, is the same as "purchase." In analogy to what was taught by the mystery cults, for Paul, too, the death of Jesus the Savior was' 'the ransom price" paid for the faithful. .

The identification of Jesus with God (which, as has been observed, was a development accomplished in the fourth century) was to make only slight alterations in Paul's doctrine of "vicarious sacrifice." In the Middle Ages, Anselm of Canterbury was to formulate the doctrine of "satisfaction," which the Church approved. Anselm declared in his Cur Deus homo? that man owes God total obedience. Thus transgressors (and all men since Adam are transgressors) deprive God of a part of what is due to him. To avoid the inevitable punishment of their faults, they should "satisfy"(satisfacerer: restore the losses that they have imposed on God. But how is this to be done? Since all the good that can be done is owed to God, nothing is gained by undoing a wrong once committed. Only a perfect being (and hence personally exempted from the penalty of falling under divine wrath), who agrees to be punished for the sins of other men, can satisfy God. This perfect being - given the fact that man is sinful 'by nature - can be no other than God himself. Therefore, he has agreed to be incarnated, to offer himself, to suffer, and to die for others.

Thus we enter the truly staggering vicious circle of a god who punishes himself in order to be able to forgive the men and women who have offended him!

 

 

Page 408

"Now if Christ be preached that he rose from the dead, how say some among you that there is no resurrection of the dead? But if there be no resurrection of the dead, then is Christ not risen."99

THE SPLENDOUR THAT WAS EGYPT

Margaret A. Murray 1963

Revised Edition

Page 162 (images omitted)

"Pyramids were built in groups (pl xlvii.) The group of nine pyramids at Gizeh is the most celebrated, partly because they have always been easily accessible to visitors to Egypt and partly because being a group they appear important."

 

Eucharist - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Eucharist

The Eucharist also called Holy Communion, the Sacrament of the Altar, the Blessed Sacrament, the Lord's Supper, and other names, is a Christian sacrament or ...

Eucharist
From Wikipedia, the free encyclopedia

Jump to: navigation, search

For Eucharistic liturgies, see Christian liturgy.

"Most Precious Blood" redirects here. For other uses, see Most Precious Blood (disambiguation).

For other uses, see Eucharist (disambiguation).

The institution of the Eucharist has been a key theme in the depictions of the Last Supper in Christian art,[1] as in this 19th century Bouveret painting.

Part of the series on
Communion

also known as
"The Eucharist", "The Lord's Supper",
"Divine Liturgy", or "Blessed Sacrament"

Theology
Real Presence
Transubstantiation
Transignification
Sacramental Union
Memorialism
Consubstantiation
Impanation
Consecration
Words of Institution
Theologies contrasted
Anglican Eucharistic theology
Eucharist (Catholic Church)
Eucharist (Lutheran Church)
Divine Liturgy (Orthodox Church)

Important theologians
Paul · Aquinas
Luther · Calvin
Chrysostom · Augustine
Zwingli · Basil of Caesarea

Related Articles
Christianity
Sacramental bread
Christianity and alcohol
Catholic Historic Roots
Closed and Open Table
Divine Liturgy
Eucharistic adoration
Eucharistic discipline
First Communion
Infant Communion
Mass · Sacrament
Sanctification


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The Eucharist ( /ˈjuːkərɪst/), also called Holy Communion, the Sacrament of the Altar, the Blessed Sacrament, the Lord's Supper, and other names, is a Christian sacrament or ordinance. It is re-enacted in accordance with Jesus' instruction at the Last Supper as recorded in several books of the New Testament, that his followers do in remembrance of Him as when he gave his disciples bread, saying, "This is my body", and gave them wine, saying, "This is my blood".[2][3]

There are different interpretations of the significance of the Eucharist, but according to the Encyclopædia Britannica "there is more of a consensus among Christians about the meaning of the Eucharist than would appear from the confessional debates over the sacramental presence, the effects of the Eucharist, and the proper auspices under which it may be celebrated."[2]

The word Eucharist may refer not only to the rite but also to the consecrated bread (leavened or unleavened) and wine (or unfermented grape juice in some Protestant denominations), used in the rite.[4] In this sense, communicants may speak of "receiving the Eucharist", as well as "celebrating the Eucharist"

 

EUCHARIST CHRIST EUCHARIST

 

E U A 531 = 9 = 531 EUA

A U E 135 = 9 = 135 AUE

U A E 315 = 9 = 315 U A E

A E U 153 = 9 = 153 AEU

 

 

CHRIST

U A CHRIST E CHRIST A U

YOU R A CHRIST A CHRIST R U

EACH R A CHRIST A CHRIST R U

EUCHARIST CHRIST EUCHARIST

 

 

The Prophet

Kahil Gibran 1923

Page 85

" Forget not that I shall come back to you

A

little while, and my longing shall gather dust and foam for another body

A

little while, a moment of rest upon the wind,
and another woman shall bear me"

 

 

THE SUPERGODS

Maurice M Cotterell 1997

"So, the clues all point to a numerical matrix the conclusion of which culminates in 9 9 9 9 9. Taking 9 each of the Maya cycles and also 9 of the 260-day Maya years we arrive at the message of the Temple of Inscriptions: 1,366,560.
The sceptic might argue that 'if we looked hard enough then all of these numbers could have been found somewhere'. The point is, firstly, that we have not looked very hard at all, and secondly, you will be hard pressed to duplicate this matrix using other references inside the pyramid. The only exception might be the 2 figurines and the 22 steps mentioned ear-lier. But, like the beads we shall account for these in due course. Finally, another clue to the matrix can be found on the outside of the steps of the pyramid which supports our analysis (see Appendix one vi).
And this is only the beginning because now we embark upon a journey inside the mind of man, through the triangular door and into the Amazing Lid of Palenque..."

 

 

THE ELEMENTS OF THE GODDESS

Caitlin Mathews

WE ARE ENTERING THE TIME OF THE NINE-POINTED STAR THE STAR OF MAKING REAL UPON EARTH THE GOLDEN DREAM OF PEACE THAT LIVES WITHIN US

BROOKE MEDICINE EAGLE

Page 72

"THE WAY OF THE DELIVERER IS THAT OF BONDAGE-BREAKER WHATEVER IS TRAPPED DENIED FREEDOM OF MOVEMENT THE DELIVERER PERSONALLY SETS FREE HER METHOD OF LIBERATION IS TO GO TO THE ROOTS OF THE BLOCKAGE AND LITERALLY BLAST IT FREE IN THIS THE DELIVERER BEARS A STRONG RESEMBLANCE TO THE SHAPER OF ALL WHO IS WILLING TO BE BROKEN INTO PIECES

THE SYMBOLIC IMAGE OF THIS TRANSFORMATION IS THAT OF THE BUTTERFLY EMERGING FROM THE CHRYSALIS FROM APPARENT DEATH AND DESTRUCTION ARISES A NEW FORM OF LIFE SO ARE WE BORNE OF THE DELIVERER RESHAPED AND TRANSFORMED TO LIVE MORE EFFECTIVELY WITHIN OUR CHOSEN FIELD OF OPERATION

Page 38

THIS ENNEAD OF ASPECTS IS ENDLESSLY ADAPTABLE FOR IT IS MADE UP OF NINE THE MOST DJUSTABLE 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"

"HOWEVER ONE CHOOSES TO ADD UP MULTIPLES OF NINE FOR EXAMPLE

54 72 108

THEY ALWAYS ADD UP TO NINE"

 

 

Sirius - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Sirius
Sirius is the brightest star in the night sky. With a visual apparent magnitude of -1.46, it is almost twice as bright as Canopus, the next brightest star. The name ...

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Sirius
From Wikipedia, the free encyclopedia
"Sirius B" redirects here. For other uses of Sirius B, see Sirius B (disambiguation). For other uses of Sirius, see Sirius (disambiguation).
Sirius A / B
The position of Sirius (circled).

Observation data
Epoch J2000.0 Equinox J2000.0 (ICRS)
Constellation
Canis Major

Pronunciation

/'s?ri?s/[1]

Right ascension

06h 45m 08.9173s[2][note 1]

Declination
-16° 42' 58.017?[2][note 1]
Apparent magnitude (V)
-1.47 (A)[2] / 8.30 (B)[3]
Characteristics
Spectral type
A1V (A)[2] / DA2 (B)[3]
U-B color index

-0.05 (A)[4] / -1.04 (B)[3]

B-V color index

0.01 (A)[2] / -0.03 (B)[3]
Astrometry

Radial velocity (Rv)

-7.6[2] km/s
Proper motion (µ)

RA: -546.05[2][note 1] mas/yr
Dec.: -1223.14[2][note 1] mas/yr

Parallax (p)

379.21 ± 1.58[2][5] mas
Distance

8.60 ± 0.04 ly
(2.64 ± 0.01 pc)

Absolute magnitude (MV)

1.42 (A)[note 2] / 11.18 (B)[3]

Orbit[6]

Companion

a CMa B
Period (P)

50.090 ± 0.055 yr

Semimajor axis (a)

7.50 ± 0.04"
Eccentricity (e)
0.5923 ± 0.0019
Inclination (i)
136.53 ± 0.43°
Longitude of the node (O)
44.57 ± 0.44°
Periastron epoch (T)
1894.130 ± 0.015
Argument of periastron (?)
(secondary)

147.27 ± 0.54°
Details
a CMa A

Mass
2.02[7] M?

Radius

1.711[7] R?

Luminosity
25.4[7] L?
Surface gravity (log g)
4.33[8]

Temperature
9,940[8] K

Metallicity [Fe/H]
0.50[9] dex
Rotation
16 km/s[10]

Age

2–3 × 108[7] years
a CMa B
Mass
0.978[7] M?
Radius
0.0084 ± 3%[11] R?

Luminosity
0.026[note 3] L?

Surface gravity (log g)
8.57[11]

Temperature
25,200[7] K
Other designations

System: Dog Star, Aschere, Canicula, Al Shira, Sothis,[12] Alhabor,[13] Mrgavyadha, Lubdhaka,[14] Tenrosei,[15] a Canis Majoris (a CMa), 9 Canis Majoris (9 CMa), HD 48915, HR 2491, BD -16°1591, GCTP 1577.00 A/B, GJ 244 A/B, LHS 219, ADS 5423, LTT 2638, HIP 32349.
B: EGGR 49, WD 0642-166.[2][16][17]

Sirius is the brightest star in the night sky. With a visual apparent magnitude of -1.46, it is almost twice as bright as Canopus, the next brightest star. The name "Sirius" is derived from the Ancient Greek: Se????? Seirios ("glowing" or "scorcher"). The star has the Bayer designation Alpha Canis Majoris (a CMa). What the naked eye perceives as a single star is actually a binary star system, consisting of a white main sequence star of spectral type A1V, termed Sirius A, and a faint white dwarf companion of spectral type DA2, called Sirius B. The distance separating Sirius A from its companion varies between 8.1 and 31.5 AU.[18]

Sirius appears bright because of both its intrinsic luminosity and its proximity to Earth. At a distance of 2.6 parsecs (8.6 ly), as determined by the Hipparcos astrometry satellite,[5][19][20] the Sirius system is one of Earth's near neighbors; for Northern-hemisphere observers between 30 degrees and 73 degrees of latitude (including almost all of Europe and North America), it is the closest star (after the Sun) that can be seen with a naked eye. Sirius is gradually moving closer to the Solar System, so it will slightly increase in brightness over the next 60,000 years. After that time its distance will begin to recede, but it will continue to be the brightest star in the Earth's sky for the next 210,000 years.[21]

Sirius A is about twice as massive as the Sun and has an absolute visual magnitude of 1.42. It is 25 times more luminous than the Sun[7] but has a significantly lower luminosity than other bright stars such as Canopus or Rigel. The system is between 200 and 300 million years old.[7] It was originally composed of two bright bluish stars. The more massive of these, Sirius B, consumed its resources and became a red giant before shedding its outer layers and collapsing into its current state as a white dwarf around 120 million years ago.[7]

Sirius is also known colloquially as the "Dog Star", reflecting its prominence in its constellation, Canis Major (Greater Dog).[12] The heliacal rising of Sirius marked the flooding of the Nile in Ancient Egypt and the "dog days" of summer for the ancient Greeks, while to the Polynesians it marked winter and was an important star for navigation around the Pacific Ocean.

Contents
[hide] 1 Observational history 1.1 Kinematics
1.2 Discovery of a companion
1.3 Red controversy

2 Visibility
3 System 3.1 Sirius A
3.2 Sirius B
3.3 Sirius star cluster

4 Etymology and cultural significance 4.1 Dogon
4.2 Serer religion
4.3 Modern legacy

5 See also
6 Notes
7 References 7.1 Cited texts

8 External links

[edit] Observational history

Hieroglyph of
Sirius/Sopdet

Sirius, known in ancient Egypt as Sopdet (Greek: S???? = Sothis), is recorded in the earliest astronomical records. During the era of the Middle Kingdom, Egyptians based their calendar on the heliacal rising of Sirius, namely the day it becomes visible just before sunrise after moving far enough away from the glare of the Sun. This occurred just before the annual flooding of the Nile and the summer solstice,[22] after a 70-day absence from the skies.[23] The hieroglyph for Sothis features a star and a triangle. Sothis was identified with the great goddess Isis, who formed a part of a triad with her husband Osiris and their son Horus, while the 70-day period symbolised the passing of Isis and Osiris through the duat (Egyptian underworld).[23]

The ancient Greeks observed that the appearance of Sirius heralded the hot and dry summer, and feared that it caused plants to wilt, men to weaken, and women to become aroused.[24] Due to its brightness, Sirius would have been noted to twinkle more in the unsettled weather conditions of early summer. To Greek observers, this signified certain emanations which caused its malignant influence. Anyone suffering its effects was said to be astroboletos (?st??ß???t??) or "star-struck". It was described as "burning" or "flaming" in literature.[25] The season following the star's appearance came to be known as the Dog Days of summer.[26] The inhabitants of the island of Ceos in the Aegean Sea would offer sacrifices to Sirius and Zeus to bring cooling breezes, and would await the reappearance of the star in summer. If it rose clear, it would portend good fortune; if it was misty or faint then it foretold (or emanated) pestilence. Coins retrieved from the island from the 3rd century BC feature dogs or stars with emanating rays, highlighting Sirius' importance.[25] The Romans celebrated the heliacal setting of Sirius around April 25, sacrificing a dog, along with incense, wine, and a sheep, to the goddess Robigo so that the star's emanations would not cause wheat rust on wheat crops that year.[27]

Ptolemy of Alexandria mapped the stars in Books VII and VIII of his Almagest, in which he used Sirius as the location for the globe's central meridian. He curiously depicted it as one of six red-coloured stars (see the Red controversy section below). The other five are class M and K stars, such as Arcturus and Betelgeuse.[28]

Bright stars were important to the ancient Polynesians for navigation between the many islands and atolls of the Pacific Ocean. Low on the horizon, they acted as stellar compasses to assist mariners in charting courses to particular destinations. They also served as latitude markers; the declination of Sirius matches the latitude of the archipelago of Fiji at 17°S and thus passes directly over the islands each night.[29] Sirius served as the body of a "Great Bird" constellation called Manu, with Canopus as the southern wingtip and Procyon the northern wingtip, which divided the Polynesian night sky into two hemispheres.[30] Just as the appearance of Sirius in the morning sky marked summer in Greece, so it marked the chilly onset of winter for the Maori, whose name Takurua described both the star and the season. Its culmination at the winter solstice was marked by celebration in Hawaii, where it was known as Ka'ulua, "Queen of Heaven". Many other Polynesian names have been recorded, including Tau-ua in the Marquesas Islands, Rehua in New Zealand, Aa and Hoku-Kauopae in Hawaii,[31] and Ta'urua-fau-papa "Festivity of original high chiefs" and Ta'urua-e-hiti-i-te-tara-te-feiai "Festivity who rises with prayers and religious ceremonies" in Tahiti.[32].

The indigenous Boorong people of northwestern Victoria named Sirius as Warepil.[33]

[edit] Kinematics

In 1718, Edmond Halley discovered the proper motion of the hitherto presumed "fixed" stars[34] after comparing contemporary astrometric measurements with those given in Ptolemy's Almagest. The bright stars Aldebaran, Arcturus and Sirius were noted to have moved significantly, the last of which having progressed 30 arc minutes (about the diameter of the moon) southwards in 1,800 years.[35]

In 1868, Sirius became the first star to have its velocity measured. Sir William Huggins examined the spectrum of this star and observed a noticeable red shift. He concluded that Sirius was receding from the Solar System at about 40 km/s.[36][37] Compared to the modern value of -7.6 km/s,[2] this both was an overestimate and had the wrong sign; the minus means it is approaching the Sun. However, it is notable for introducing the study of celestial radial velocities.

[edit] Discovery of a companion

A simulated image of Sirius A and B using Celestia
In 1844 the German astronomer Friedrich Bessel deduced from changes in the proper motion of Sirius that it had an unseen companion.[38] Nearly two decades later, on January 31, 1862, American telescope-maker and astronomer Alvan Graham Clark first observed the faint companion, which is now called Sirius B, or affectionately "the Pup".[39] This happened during testing of an 18.5-inch (470 mm) aperture great refractor telescope for Dearborn Observatory, which was the largest refracting telescope lens in existence at the time, and the largest telescope in America.[40]

The visible star is now sometimes known as Sirius A. Since 1894, some apparent orbital irregularities in the Sirius system have been observed, suggesting a third very small companion star, but this has never been definitely confirmed. The best fit to the data indicates a six-year orbit around Sirius A and a mass of only 0.06 solar masses. This star would be five to ten magnitudes fainter than the white dwarf Sirius B, which would account for the difficulty of observing it.[41] Observations published in 2008 were unable to detect either a third star or a planet. An apparent "third star" observed in the 1920s is now confirmed as a background object.[42]

In 1915, Walter Sydney Adams, using a 60-inch (1.5 m) reflector at Mount Wilson Observatory, observed the spectrum of Sirius B and determined that it was a faint whitish star.[43] This led astronomers to conclude that it was a white dwarf, the second to be discovered.[44] The diameter of Sirius A was first measured by Robert Hanbury Brown and Richard Q. Twiss in 1959 at Jodrell Bank using their stellar intensity interferometer.[45] In 2005, using the Hubble Space Telescope, astronomers determined that Sirius B has nearly the diameter of the Earth, 12,000 kilometers (7,500 mi), with a mass that is 98% of the Sun.[46][47][48][49]

[edit] Red controversy

Around 150 AD, the Greek astronomer of the Roman period Claudius Ptolemy described Sirius as reddish, along with five other stars, Betelgeuse, Antares, Aldebaran, Arcturus and Pollux, all of which are clearly of orange or red hue.[50] The discrepancy was first noted by amateur astronomer Thomas Barker, squire of Lyndon Hall in Rutland, who prepared a paper and spoke at a meeting of the Royal Society in London in 1760.[51] The existence of other stars changing in brightness gave credence to the idea that some may change in colour too; Sir John Herschel noted this in 1839, possibly influenced by witnessing Eta Carinae two years earlier.[52] Thomas Jefferson Jackson See resurrected discussion on red Sirius with the publication of several papers in 1892, and a final summary in 1926.[53] He cited not only Ptolemy but also the poet Aratus, the orator Cicero, and general Germanicus as colouring the star red, though acknowledging that none of the latter three authors were astronomers, the last two merely translating Aratus' poem Phaenomena.[54] Seneca, too, had described Sirius as being of a deeper red colour than Mars.[55] However, not all ancient observers saw Sirius as red. The 1st century AD poet Marcus Manilius described it as "sea-blue", as did the 4th century Avienus.[56] It is the standard star for the color white in ancient China, and multiple records from the 2nd century BC up to the 7th century AD all describe Sirius as white in hue.[57][58]

In 1985, German astronomers Wolfhard Schlosser and Werner Bergmann published an account of an 8th century Lombardic manuscript, which contains De cursu stellarum ratio by St. Gregory of Tours. The Latin text taught readers how to determine the times of nighttime prayers from positions of the stars, and Sirius is described within as rubeola — "reddish". The authors proposed this was further evidence Sirius B had been a red giant at the time.[59] However, other scholars replied that it was likely St. Gregory had been referring to Arcturus instead.[60][61]

The possibility that stellar evolution of either Sirius A or Sirius B could be responsible for this discrepancy has been rejected by astronomers on the grounds that the timescale of thousands of years is too short and that there is no sign of the nebulosity in the system that would be expected had such a change taken place.[55] An interaction with a third star, to date undiscovered, has also been proposed as a possibility for a red appearance.[62] Alternative explanations are either that the description as red is a poetic metaphor for ill fortune, or that the dramatic scintillations of the star when it was observed rising left the viewer with the impression that it was red. To the naked eye, it often appears to be flashing with red, white and blue hues when near the horizon.[55]

[edit] Visibility

The image of Sirius A and Sirius B taken by the Hubble Space Telescope. The white dwarf can be seen to the lower left.[63] The diffraction spikes and concentric rings are instrumental effects.
With an apparent magnitude of -1.46, Sirius is the brightest star in the night sky, almost twice the brightness of the second brightest star, Canopus.[64] However, it is not as bright as the Moon, Venus, or Jupiter. At times, Mercury and Mars are also brighter than Sirius.[65] Sirius can be seen from almost every inhabited region of the Earth's surface, with only those north of 73 degrees unable to see it. However, it does not rise very high when viewed from some northern cities, reaching only 13° above the horizon from Saint Petersburg.[66] Sirius, along with Procyon and Betelgeuse, forms one of the three vertices of the Winter Triangle to observers in the Northern Hemisphere.[67] Due to its declination of roughly -17°,[2] Sirius is a circumpolar star from latitudes south of 73° S. From the Southern Hemisphere in early July, Sirius can be seen in both the evening where it sets after the Sun, and in the morning where it rises before the Sun.[68] Due to precession (and slightly proper motion), Sirius will move further south. From AD 9000 Sirius won't be visible anymore from northern and central Europe and in AD 14000 (when Vega is close to the North Pole) its declination will be -67º and thus will be circumpolar throughout South Africa and in most parts of Australia.

Sirius can even be observed in daylight with the naked eye under the right conditions. Ideally, the sky should be very clear, with the observer at a high altitude, the star passing overhead, and the Sun low down on the horizon.[69] These observing conditions are more easily met in the southern hemisphere, due to the southerly declination of Sirius.

The orbital motion of the Sirius binary system brings the two stars to a minimum angular separation of 3 arcseconds and a maximum of 11 arcseconds. At the closest approach, it is an observational challenge to distinguish the white dwarf from its more luminous companion, requiring a telescope with at least 300 mm (12 in) aperture and excellent seeing conditions. A periastron occurred in 1994[note 4] and the pair have since been moving apart, making them easier to separate with a telescope.[70]

At a distance of 2.6 parsecs (8.6 ly), the Sirius system contains two of the eight nearest stars to the Solar System[71] and is the fifth closest stellar system to ours.[71] This proximity is the main reason for its brightness, as with other near stars such as Alpha Centauri and in stark contrast to distant, highly luminous supergiants such as Canopus, Rigel or Betelgeuse.[72] However, it is still around 25 times more luminous than the Sun.[7] The closest large neighbouring star to Sirius is Procyon, 1.61 parsecs (5.24 ly) away.[73] The Voyager 2 spacecraft, launched in 1977 to study the four Jovian planets in the Solar System, is expected to pass within 4.3 light-years (1.3 pc) of Sirius in approximately 296,000 years.[74]

[edit] System

A Chandra X-ray Observatory image of the Sirius star system, where the spike-like pattern is due to the support structure for the transmission grating. The bright source is Sirius B. Credit: NASA/SAO/CXC.
Sirius is a binary star system consisting of two white stars orbiting each other with a separation of about 20 astronomical units (3.0×109 km; 1.9×109 mi)[note 5] (roughly the distance between the Sun and Uranus) and a period of 50.1 years. The brighter component, termed Sirius A, is a main-sequence star of spectral type A1V, with an estimated surface temperature of 9,940 K.[8] Its companion, Sirius B, is a star that has already evolved off the main sequence and become a white dwarf. Currently 10,000 times less luminous in the visual spectrum, Sirius B was once the more massive of the two.[75] The age of the system has been estimated at around 230 million years. Early in its lifespan it was thought to have been two bluish white stars orbiting each other in an elliptical orbit every 9.1 years.[75] The system emits a higher than expected level of infrared radiation, as measured by IRAS space-based observatory. This may be an indication of dust in the system, and is considered somewhat unusual for a binary star.[73][76] The Chandra X-ray Observatory image shows Sirius B outshining its bright partner as it is a brighter X-ray source.[77]

[edit] Sirius A

An artist's impression of Sirius A and Sirius B. Sirius A is the larger of the two stars.
Sirius A has a mass double that of the Sun.[7][78] The radius of this star has been measured by an astronomical interferometer, giving an estimated angular diameter of 5.936±0.016 mas. The projected rotational velocity is a relatively low 16 km/s,[10] which does not produce any significant flattening of its disk.[79] This is at marked variance with the similar-sized Vega, which rotates at a much faster 274 km/s and bulges prominently around its equator.[80] A weak magnetic field has been detected on the surface of Sirius A.[81]

Stellar models suggest that the star formed during the collapsing of a molecular cloud, and that after 10 million years, its internal energy generation was derived entirely from nuclear reactions. The core became convective and utilized the CNO cycle for energy generation.[79] It is predicted that Sirius A will have completely exhausted the store of hydrogen at its core within a billion (109) years of its formation. At this point it will pass through a red giant stage, then settle down to become a white dwarf.

Sirius A is classed as an Am star because the spectrum shows deep metallic absorption lines,[82] indicating an enhancement in elements heavier than helium, such as iron.[73][79] When compared to the Sun, the proportion of iron in the atmosphere of Sirius A relative to hydrogen is given by ,[9] which is equivalent to 100.5, meaning it has 316% of the proportion of iron in the Sun's atmosphere. The high surface content of metallic elements is unlikely to be true of the entire star, rather the iron-peak and heavy metals are radiatively levitated towards the surface.[79]

[edit] Sirius B

The orbit of Sirius B around A as seen from Earth (slanted ellipse) and as seen face-on (wide horizontal ellipse).
With a mass nearly equal to the Sun's, Sirius B is one of the more massive white dwarfs known (0.98 solar masses[83]); it is almost double the 0.5–0.6 solar-mass average. Yet that same mass is packed into a volume roughly equal to the Earth's.[83] The current surface temperature is 25,200 K.[7] However, since there is no internal heat source, Sirius B will steadily cool as the remaining heat is radiated into space over a period of more than two billion years.[84]

A white dwarf forms only after the star has evolved from the main sequence and then passed through a red giant stage. This occurred when Sirius B was less than half its current age, around 120 million years ago. The original star had an estimated 5 solar masses[7] and was a B-type star (roughly B4-5)[85][86] when it still was on the main sequence. While it passed through the red giant stage, Sirius B may have enriched the metallicity of its companion.

This star is primarily composed of a carbon–oxygen mixture that was generated by helium fusion in the progenitor star.[7] This is overlaid by an envelope of lighter elements, with the materials segregated by mass because of the high surface gravity.[87] Hence the outer atmosphere of Sirius B is now almost pure hydrogen—the element with the lowest mass—and no other elements are seen in this star's spectrum.[88]

[edit] Sirius star cluster

In 1909, Ejnar Hertzsprung was the first to suggest that Sirius was a member of the Ursa Major Moving Group, based on his observations of the system's movements across the sky. The Ursa Major Group is a set of 220 stars that share a common motion through space and were once formed as members of an open cluster, which has since become gravitationally unbound.[89] However, analyses in 2003 and 2005 found Sirius's membership in the group to be questionable: the Ursa Major Group has an estimated age of 500±100 million years, while Sirius, with metallicity similar to the Sun's, has an age that is only half this, making it too young to belong to the group.[7][90][91] Sirius may instead be a member of the proposed Sirius Supercluster, along with other scattered stars such as Beta Aurigae, Alpha Coronae Borealis, Beta Crateris, Beta Eridani and Beta Serpentis.[92] This is one of three large clusters located within 500 light-years (150 pc) of the Sun. The other two are the Hyades and the Pleiades, and each of these clusters consists of hundreds of stars.[93]

[edit] Etymology and cultural significance

See also: Winter triangle

The most commonly used proper name of this star comes from the Latin Sirius, from the Ancient Greek Se????? (Seirios, "glowing" or "scorcher"),[94] although the Greek word itself may have been imported from elsewhere before the Archaic period,[95] one authority suggesting a link with the Egyptian god Osiris.[96] The name's earliest recorded use dates from the 7th century BC in Hesiod's poetic work Works and Days.[95] Sirius has over 50 other designations and names attached to it.[64] In Geoffrey Chaucer's essay Treatise on the Astrolabe, it bears the name Alhabor, and is depicted by a hound's head. This name is widely used on medieval astrolabes from Western Europe.[13] In Sanskrit it is known as Mrgavyadha "deer hunter", or Lubdhaka "hunter". As Mrgavyadha, the star represents Rudra (Shiva).[97][98] The star is referred as Makarajyoti in Malayalam and has religious significance to the pilgrim center Sabarimala.[citation needed] In Scandinavia, the star has been known as Lokabrenna ("burning done by Loki", or "Loki's torch").[99] In the astrology of the Middle Ages, Sirius was a Behenian fixed star,[100] associated with beryl and juniper. Its astrological symbol was listed by Heinrich Cornelius Agrippa.[101]

Many cultures have historically attached special significance to Sirius, particularly in relation to dogs. Indeed, it is often colloquially called the "Dog Star" as the brightest star of Canis Major, the "Great Dog" constellation.

It was classically depicted as Orion's dog. The Ancient Greeks thought that Sirius's emanations could affect dogs adversely, making them behave abnormally during the "dog days," the hottest days of the summer. The Romans knew these days as dies caniculares, and the star Sirius was called Canicula, "little dog." The excessive panting of dogs in hot weather was thought to place them at risk of desiccation and disease. In extreme cases, a foaming dog might have rabies, which could infect and kill humans whom they had bitten.[25] Homer, in the Iliad, describes the approach of Achilles toward Troy in these words:

Sirius rises late in the dark, liquid sky
On summer nights, star of stars,
Orion's Dog they call it, brightest
Of all, but an evil portent, bringing heat
And fevers to suffering humanity.[102]

In Iranian mythology, especially in Persian mythology and in Zoroastrianism, the ancient religion of Persia, Sirius appears as Tishtrya and is revered as a divinity. Beside passages in the sacred texts of the Avesta, the Avestan language Tishtrya followed by the version Tir in Middle and New Persian is also depicted in the Persian epic Shahnameh of Ferdowsi. Due to the concept of the yazatas, powers which are "worthy of worship", Tishtrya is a divinity of rain and fertility and an antagonist of apaosha, the demon of drought. In this struggle, Tishtrya is beautifully depicted as a white horse.[103][104][105][106]

In Chinese astronomy the star is known as the star of the "celestial wolf" (Chinese and Japanese: ??; ; Chinese romanization: Tianláng; Japanese romanization: Tenro;[107] in the Mansion of Jing (??). Farther afield, many nations among the indigenous peoples of North America also associated Sirius with canines; the Seri and Tohono O'odham of the southwest note the star as a dog that follows mountain sheep, while the Blackfoot called it "Dog-face". The Cherokee paired Sirius with Antares as a dog-star guardian of either end of the "Path of Souls". The Pawnee of Nebraska had several associations; the Wolf (Skidi) tribe knew it as the "Wolf Star", while other branches knew it as the "Coyote Star". Further north, the Alaskan Inuit of the Bering Strait called it "Moon Dog".[108]

Several cultures also associated the star with a bow and arrows. The Ancient Chinese visualized a large bow and arrow across the southern sky, formed by the constellations of Puppis and Canis Major. In this, the arrow tip is pointed at the wolf Sirius. A similar association is depicted at the Temple of Hathor in Dendera, where the goddess Satet has drawn her arrow at Hathor (Sirius). Known as "Tir", the star was portrayed as the arrow itself in later Persian culture.[109]

Sirius is mentioned in Surah, An-Najm ("The Star"), of the Qur'an, where it is given the name ?????????? (transliteration: aš-ši‘ra or ash-shira; the leader).[110] The verse is: "??????? ???? ????? ??????????", "That He is the Lord of Sirius (the Mighty Star)." (An-Najm:49)[111] Ibn Kathir said in his commentary "Ibn 'Abbas, Mujahid, Qatada and Ibn Zayd said about Ash-Shi`ra that it is the bright star, named Mirzam Al-Jawza' (Sirius), which a group of Arabs used to worship."[112] The alternate name Aschere, used by Johann Bayer, is derived from this.[12]

In Theosophy, it is believed the Seven Stars of the Pleiades transmit the spiritual energy of the Seven Rays from the Galactic Logos to the Seven Stars of the Great Bear, then to Sirius. From there is it sent via the Sun to the god of Earth (Sanat Kumara), and finally through the seven Masters of the Seven Rays to the human race.[113]

[edit] Dogon

See also: Nommo

The Dogon people are an ethnic group in Mali, West Africa, reported to have traditional astronomical knowledge about Sirius that would normally be considered impossible without the use of telescopes. According to Marcel Griaule's books Conversations with Ogotemmêli and The Pale Fox they knew about the fifty-year orbital period of Sirius and its companion prior to western astronomers. They also refer to a third star accompanying Sirius A and B. Robert Temple's 1976 book The Sirius Mystery, credits them with knowledge of the four Galilean moons of Jupiter and the rings of Saturn. This has been the subject of controversy and speculation. According to a 1978 Skeptical Inquirer article it is possibly the result of cultural contamination.[114] Some have suggested the contaminators to have been the ethnographers themselves.[115][116] Others see this explanation as being too simplistic.[117]

Yoonir, symbol of the Universe in Serer religion.[118][119]
[edit] Serer religion

Main articles: Serer religion and Saltigue

In the religion of the Serer people of Senegal, the Gambia and Mauritania, Sirius is called Yoonir from the Serer language (and some of the Cangin language speakers, who are all ethnically Serers). The star Sirius is one of the most important and sacred stars in Serer religious cosmology and symbolism. The Serer high priests and priestesses, (Saltigues, the hereditary "rain priests"[120]) chart Yoonir in order to forecast rain fall and enable Serer farmers to start planting seeds. In Serer religious cosmology, it is the symbol of the universe.[118][119]

[edit] Modern legacy

See also: Sirius in fiction

Sirius is frequently a subject used in science fiction and related popular culture,[121] and even the subject of poetry.[122] Sirius is featured on the coat of arms of Macquarie University, and is the name of its alumnae journal.[123] The name of the North American satellite radio company, Satellite CD Radio, Inc., was changed to Sirius Satellite Radio in November 1999, being named after "the brightest star in the night sky".[124] Composer Karlheinz Stockhausen has been claimed to have said on several occasions that he came from a planet in the Sirius system.[125][126] Astronomer Noah Brosch has speculated that the name of the character Sirius Black from the Harry Potter stories might have been inspired by "Sirius B", and notes that the wizard has the ability to transform into a dog.[122] In the BBC Doctor Who series, the Doctor reveals the star actually consists of two smaller ones.

Sirius is one of the 27 stars on the flag of Brazil, where it represents the state of Mato Grosso.[127]

Seven ships of Great Britain's Royal Navy have been called HMS Sirius since the 18th century, with the first being the flagship of the First Fleet to Australia in 1788.[128] The Royal Australian Navy subsequently named a vessel HMAS Sirius in honor of the flagship.[129] American vessels include the USNS Sirius as well as a monoplane model—the Lockheed Sirius, the first of which was flown by Charles Lindbergh.[130] The name was also adopted by Mitsubishi Motors for the Mitsubishi Sirius engine in 1980.[131]

[edit] See also

Star portal

List of brightest stars
List of nearest stars
Sothic cycle

[edit] Notes

1.^ a b c d Astrometric data, mirrored by SIMBAD from the Hipparcos catalogue, pertains to the center of mass of the Sirius system. See §2.3.4, Volume 1, The Hipparcos and Tycho Catalogues, European Space Agency, 1997, and the entry for Sirius in the Hipparcos catalogue (CDS ID I/239.)
2.^ For apparent magnitude m and parallax p, the absolute magnitude Mv of Sirius A is given by: See: Tayler, Roger John (1994). The Stars: Their Structure and Evolution. Cambridge University Press. p. 16. ISBN 0-521-45885-4.
3.^ Bolometric luminosity of Sirius B calculated from L=4pR2sTeff4. (This simplifies to Ls=(Rs)^2*(Ts)^4, where Ls, Rs and Ts are Luminosity, Radius and Temperature all relative to solar values) See: Tayler, Roger John (1994). The Stars: Their Structure and Evolution. Cambridge University Press. p. 16. ISBN 0-521-45885-4.
4.^ Two full 50.09-year orbits following the periastron epoch of 1894.13 gives a date of 1994.31.
5.^ 1 light year = 63,241 AU; semi-major axis = distance × tan(subtended angle) = 8.6 × 63,241 × tan(7.56?) = 19.9 A.U., approximately

[edit] References

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[edit] Cited texts
Brosch, Noah (2008). Sirius Matters. Springer. ISBN 1-4020-8318-1
Holberg, J.B. (2007). Sirius: Brightest Diamond in the Night Sky. Chichester, UK: Praxis Publishing. ISBN 0-387-48941-X

[edit] External links

Look up dog days in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Sirius

Professor Kaler's webpage on Sirius
Astronomy Picture of the Day of Sirius B in x-ray
Discussion on Dogon issue
Sirius time
Barker, Tho.; Stukeley, W. (1760). "Remarks on the Mutations of the Stars". Philosophical Transactions 51 (0): 498–504. doi:10.1098/rstl.1759.0049. JSTOR 105393.

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Nearest star systems

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Nearest bright star systems
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Stars of Canis Major

Coordinates: 06h 45m 08.9173s, -16° 42' 58.017?

Categories: Bayer objects
Binary stars
Canis Major (constellation)
Flamsteed objects
Henry Draper Catalogue objects
Hipparcos objects
HR objects
Gliese and GJ objects
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A-type main sequence stars
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Daily Mail

Monday February 23, 2009

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 57

QUESTION Are the three stars that make up Orion's belt a similar distance from the Earth or do they just appear that way?

ORION, the giant huntsman of Greek mythology whom Zeus placed among the stars as the constellation, has three stars of apparently similar brightness and colour (bluish-white) in his belt, given the Arabic names (from left to right) Alnitak, Alnilam and Mintaka.

In fact, Alnitak is 800 light years away from us, Alnilam 1,300 light years and Mintaka 900 light years. They appear in a straight line only in our line of sight.
Despite this, the three stars appear to be closely associated. Each is a luminous, hot supergiant having luminosities at least 100,000 times that of the Sun, and surface temperatures exceeding 25,000c (our Sun is 5,500c).

It's believed the three stars, and several other equally hot and luminous stars in the constellation Orion, were formed together as a close cluster. The passage of time has seen them drift apart.

Such luminous stars use up hydrogen at a prodigious rate so they're only a few million years old and have no more than a few million years to live before blowing themselves up in a supernova explosion.

These timescales are short in astronomical terms. Our Sun, with its far lower luminosity and lower fuel consumption, has shone for five billion years and is expected to shine steadily for the same amount of time before it, too, dies, in a much more sedate fashion than a supernova explosion.

The five billion years that our Sun has been around has meant that life has had time to develop on one of its planets — Earth.
It seems most unlikely that any hypopthetical planet around a star in Orion's belt could have developed sort of life when the history of the star, from birth to death, is only a few million years.

Norman Wallace, Sutton Coldfield, W Mids.

 

ENTERS THE NETERS

 

NETERS 81 ENTERS

ENTERS 27 NETERS

NETERS 9 ENTERS

 

 

The elements of egyptian wisdom

naomi ozaniec 1994

Page 101

7 · THE RITES FOR THE DEAD - NETER XERT

The mummies of ancient Egypt are living symbols of the transformative process of living and dying.
Normandie Ellis, Return to Egypt

Everyone is familiar with the egyptian mummy. The word is derived from the Persian word 'moumia' meaning bitumen. A degree of desiccation naturally occurred in the hot dry sands. This simple observation was refined from the earliest primitive burials through time into the high skill of the embalmer's art. From ordinary and uninspiring beginnings, circular pits and preserved bodies, came the magnificant rock­cut tombs and the lavish cult of the dead.
We who bury our dead quickly and with little ceremony find it difficult to comprehend the motives of a people who bestowed stich care on the dead. Contemporary funeral liturgy expresses our belief in the resurrection and the life to come. Individually we seem very uncertain about such matters. We hope for a resurrection, so we abandon the body quickly. The life of the body has finished. The Egyptians believed in the after-life but they could not abandon the body. It too was divine.
We cannot begin to comprehend the Egyptian cult of the / Page 102 / dead until we establish the Egyptian view of life. The funeral customs of a nation always reflect its philosophical stance. It is in the rites for the dead that we may assess the value placed on the living. The Egyptian cult of the dead shows us complexity, beauty and total commitment towards the life to come.

The Egyptians recognized a level of complexity in the human being that eludes our generally materialistic and rational outlook. We might grudgingly concede a polarity between body and soul, attributing the former to earthly existence and the latter to a heavenly existence. However even this simple duality exhausts the metaphysical vocabulary of a secularized society. By contrast the Egyptians held a complex metaphysical system. The divine and the human were reconciled in flesh.
At the most material level the Egyptians conceived of the aufu. the flesh body. This composed and integrated all other more subtle bodies. The divine was believed to be present in matter. The corporeal remains were referred to as the khat. This alone was without consciousness. The shadow -or shade was referred to as khabit. The sahu was the body of gold. At the mental and emotional realms, the Egyptians - described sekhem the will, ren the name and ab the heart, .e seat of conscience. At spiritual levels we find the ka, ,6 animating spirit, the ba, the immortal soul and khu, the ivine intelligence. This hierarchy of being, from the physical to thespiritual, is not unlike that found in other metaphysical systems such as Qabalah.
The complexity takes us right into the burial chamber, the ho-use of gold, where it was customary to place sarcopha­gus within sarcophagus, vehicle within vehicle. The mum­mified body of Thtankhamun, Strong-Bull-fitting-of-created-
forms, Dynamic-of-Laws, Who-Calms-the-Two-Lands, Who­Propitiates-all-the-Gods, was laid in three coffins, a sarcopha­gus and four shrines.

The tomb of Tutankhamun gives us a glimpse of a splen­dour and glory beyond our imagining. This boy-king was an insignificant ruler, a pharaoh in the making; who was buried in a tomb originally prepared for another. His death was / /Page 103 / untimely, his funeral was unexpected. We can only imagine what glories tomb robbers have taken for ever. Yet in the tomb of a minor pharaoh we find exquisite beauty and craftsmanship beyond compare. This single complete tomb has shown us more than we could ever have hoped for. Here Tutankhamun rested within successive shrines, surrounded by the beautiful artefacts from everyday life and the symbols and images which promised resurrection.
Four shrines embraced the king's sarcophagus; each articu­lated the Egyptian belief in the life to come, through the sacred language of symbol and funerary text. Winged discs, symbols of liberation and rebirth, decorated the roof of the outermost shrine along with royal birds, the vulture and the falcon. The tet knot of Isis and the djed pillar of Osiris spoke of resurrection and well-being. Extracts from the Chapters of Coming Forth by Day were designed to empower the deceased. Underworld guardians were depicted to represent the forthcoming journey and its trials. The great funerary god­desses Isis and Nephthys stretched their wings in protective embrace.
These themes were continued upon the sarcophagus. Its roof showed a winged sun, a border of tet knots and djed pillars were inscribed around the base, the four protective goddesses Isis, Nephthys, Selkis and Neith stood in high relief, their wings outstretched to encompass the sides.
It is recorded that a gasp went up from the crowd of assem­bled dignitaries as the two sheets of covering linen were rolled back to reveal the outer coffin. Here was the face of Egypt in death. The coffin of cypress wood was modelled in relief with a thin layer of gesso overlaid with gold foil. Yet this was not the last resting place but only the first of three. The second coffin lay under floral offerings and proved to be even more magnificent than the first. It was inlaid with opaque glass to simulate carnelian, lapis lazuli and turquoise. The king held the crook and flail and wore the uraeus serpent crown along with the nemes head-dress, the traditional blue and gold striped headclotll. The third coffin was covered in a red linen shroud folded three times. The breast had been decorated with a collar of blue glass beads and various leaves and flowers. As / Page 104 / the mummy itself was unwrapped 150 pieces of jewellery were revealed. These were fashioned and positioned according to the Chapters of Coming Forth by Day. Here were the ritual symbols, the scarab, the serpent, the falcon and the vulture in a glorious evocation of the transformation from the human to the divine.

The gold mask of the pharaoh is arguably the most beautiful artefact in the world. The many contents of this tomb, its magical items and personal effects, its royal regalia and ritual jewellery are not the trappings of morbidity but a celebration of life. There is no doubt that the Egyptians -envisaged an after-life. In truth the physical life and the after-life were seen as a continuous thread unbroken at death. The tomb is a testament to the wholeness of life. It contains the familiar symbols of life in dazzling combination. In death the Egyptians show us beauty beyond compare. In death we see the total commitment to life. Nothing that had known life was dispensed ungraciously. Two tiny foetuses who never knew the fullness of life were placed in the tomb, each in a tiny mummy case. If the funeral rites of a society truly offer a reflected image what might future generations learn about the times in which we live?

In the Treasury was a second gilded shrine standing on a sled. This was the canopic shrine which contained the internal organs of the king. This elaborate and beautiful sirrine with its protective goddesses has the inescapable air or a hallowed piece of work - even the individual organs were hallowed.

 

TUTANKHAMUN 144 TUTANKHAMUN

TUTANKHAMUN 36 TUTANKHAMUN

TUTANKHAMUN 9TUTANKHAMUN

 

 

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

/'o?z?r?s?f/) or Osarsiph ( play /'o?z?r?s?f/) is a legendary figure of Ancient Egypt who has been equated with Moses. His story was recounted by the ...

Osarseph

From Wikipedia, the free encyclopedia

Osarseph ( /'o?z?r?s?f/) or Osarsiph ( /'o?z?r?s?f/) is a legendary figure of Ancient Egypt who has been equated with Moses. His story was recounted by the Ptolemaic Egyptian historian Manetho in his Aigyptiaca (first half of the 3rd century BC); Manetho's work is lost, but the 1st century AD Jewish historian Josephus quotes extensively from it.

The story depicts Osarseph as a renegade Egyptian priest who leads an army of lepers and other unclean people against a pharaoh named Amenophis;[disambiguation needed] the pharaoh is driven out of the country and the leper-army, in alliance with the Hyksos (whose story is also told by Manetho) ravage Egypt, committing many sacrileges against the gods, before Amenophis returns and expels them. Towards the end of the story Osarseph changes his name to Moses.[1]

Also much debated is the question of what, if any, historical reality might lie behind the Osarseph story. The story has been linked with anti-Jewish propaganda of the 2nd and 1st centuries BCE as an inversion of the Exodus story, but an influential study by Egyptologist Jan Assmann has suggested that no single historical incident or person lies behind the legend, and that it represents instead a conflation of several historical traumas, notably the religious reforms of Ahkenaton (Amenophis IV).[2]

Story

Josephus's Against Apion[3] gives two long quotations from Manetho's Aigyptiaca.[4] The first is Manetho's account of the expulsion of the Hyksos (the name is given by Manetho) and their settlement in Judea, where they found the city of Jerusalem. Josephus then draws the conclusion that Manetho's Hyksos were the Jews of the Exodus, although Manetho himself makes no such connection.[5]

The second, set some two hundred years later, tells the story of Osarseph. According to Josephus, Manetho described Osarseph as a tyrannical high priest of Osiris at Heliopolis. Pharaoh Amenophis had a desire to see the gods, but in order to do so he first had to cleanse Egypt of lepers and other polluted people, setting 80,000 of them to work in the stone quarries, and then confining them to Avaris, the former Hyksos capital in the Eastern Delta. There Osarseph became their leader and ordered them to give up the worship of the gods and eat the meat of the holy animals. The Osarsephites then invited the Hyksos back into Egypt, and together with their new allies drove Amenophis and his son Ramses into exile in Nubia and instituted a 13-year reign of religious oppression: towns and temples were devastated, the images of the gods destroyed, the sanctuaries turned into kitchens and the sacred animals roasted over fires, until eventually Amenophis and Rameses returned to expel the lepers and the Hyksos and restore the old Egyptian religion. Towards the end of the story Manetho reports that Osarseph took the name "Moses".[6]

[edit] Interpretations

Three interpretations have been proposed for the story: the first, as a memory of the Amarna period; the second, as a memory of the Hyksos; and the third, as an anti-Jewish propaganda. Each explanation has evidence to support it: the name of the pharaoh, Amenophis, and the religious character of the conflict fit the Amarna reform of Egyptian religion; the name of Avaris and possibly the name Osarseph fit the Hyksos period; and the overall plot is an apparent inversion of the Jewish story of the Exodus casting the Jews in a bad light. No one theory, however, can explain all the elements. An influential proposition by Egyptologist Jan Assmann[7] suggests that the story has no single origin but rather combines numerous historical experiences, notably the Amarna and Hyksos periods, into a folk memory.[8] (An alternative theory that identifies Osarseph as the historical figure of Chancellor Bay, identified as Irsu, an alleged Syrian usurper of the Egyptian throne after the Nineteenth Dynasty died out, is generally rejected;[9] a theory that Osarseph's name is based on the biblical Joseph, as a combination of Osiris and Joseph, remains open but unproven.)[10] It has also been suggested that Osarseph, may be a memory of Irsu, the self made man castigated in the Harris Papyrus.

Some modern scholars have suggested that the Osarseph story, or at least the point at which Osarseph changes his name to Moses, is a later alteration to Manetho's original history made in the 1st century BCE, a time when anti-Jewish sentiment was running high in Egypt; without this, Manetho's history has no mention of the Jews at all. If the story is an original part of Manetho's history of Egypt, as many other scholars believe, the question arises of where he would have heard it, as the Greek Septuagint translation of the Hebrew Torah (i.e., the Exodus narrative) had not been made when he was writing. It is therefore supposed that he had an oral (Jewish) informant, or possibly an otherwise unknown pre-Septuagint translation.[11]

[edit] See also
Joseph and His Brothers
Judaism and ancient Egyptian religion

[edit] References

1.^ Shmuel Safrai, Shemuel Safrai, M. Stern, (eds), "The Jewish people in the first century" (Van Gorcum Fortress Press, 1976) p.1113
2.^ Jan Assmann, Andrew Jenkins, "The mind of Egypt: history and meaning in the time of the Pharaohs" p.227
3.^ Translation of "Against Apion"
4.^ Jan Assmann, "Moses the Egyptian: The Memory of Egypt in Western Monotheism" (First Harvard University Press, 1997)p.30
5.^ Arthur J. Droge, Josephus Between Greeks and Barbarians, in Louis H. Feldman and John R. Levison (eds), "Josephus' Contra Apionem: studies in its character and context..." (Brill, 1996) p.135-6, and fn.14 on p.136
6.^ Shmuel Safrai, Shemuel Safrai, M. Stern, (eds), "The Jewish people in the first century" (Van Gorcum Fortress Press, 1976) p.1113
7.^ Jan Assmann, "Moses the Egyptian: The Memory of Egypt in Western Monotheism" (First Harvard University Press, 1997)
8.^ Jan Assmann, Andrew Jenkins, "The mind of Egypt: history and meaning in the time of the Pharaohs" p.227
9.^ Rainer Albertz, Bob Becking, "Yahwism after the exile: perspectives on Israelite religion in the Persian era", pp.71-71
10.^ Louis H. Feldman, "Josephus's interpretation of the Bible", (University of California Press, 1998) p.342 fn.14
11.^ John Granger Cook, "The interpretation of the Old Testament in Greco-Roman paganism", pp.6-11

Categories: Ancient Egyptian priests
Moses

This page was last modified on 6 August 2012 at 20:05.

 

 

Myths of the World: The Tale of Osarsiph
mythsoftheworld.blogspot.com/2011/10/tale-of-osarsiph.html
1 Oct 2011 – The story of Osarsiph is an excerpt of an account written by the Egyptian historian Manetho. Manetho equates Osarsiph with Moses, the great ...

The Tale of Osarsiph

Adapted from William Whiston's 1737 translation of Flavius Josephus's Against Apion. The story of Osarsiph is an excerpt of an account written by the Egyptian historian Manetho. Manetho equates Osarsiph with Moses, the great law-giver of Jewish history, a claim which Josephus vehemently denies.

There once lived a king of Egypt whose name was Amenophis. This king desired to become a spectator of the gods, as had Orus, a previous king, also desired before him. He communicated that desire to his namesake Amenophis, who was the son of Papis, and one who seemed to possess wisdom and the knowledge of future events.

Amenophis told the king that he might see the gods if he cleared the whole country of lepers and other impure people. The king was pleased with this advice, and gathered all those who had bodily defects out of Egypt. These people numbered eighty thousand, and he sent them to the quarries on the east side of the Nile, to put them to work and separate them from the rest of the Egyptians.

Some of the learned priests were afflicted with leprosy, and Amenophis, the wise man and prophet, was afraid that the gods would be angry at the violence done to these priests. He foresaw that certain people would come to the assistance of the captives, and would conquer Egypt, ruling for thirteen years. He feared to tell the king, so he wrote down his prophecy, then slew himself.

After the captives had labored in the quarries for a long time, the people requested the king set aside for their habitation and protection the city of Avaris, which was then left desolate from the Hyksos, a request which he granted. When these men had taken possession of the city, the found the place fit for a revolt. They appointed one of the priests of Heliopolis, use name was Osarsiph, to be their ruler, and they took oaths that they would be obedient to him in all things.

Osarsiph made a law that they should not worship the Egyptian gods, nor abstain from eating any of their sacred animals. He ordered them to rebuild the walls about their city, and make themselves ready for a war with Amenophis. Osarsiph and the other leprous priests sent ambassadors to the shepherds in Jerusalem, informing them of his own affairs and the state of those with him. He desired that they would come to his assistance in their war against Egypt, and promised to bring them back to their ancient city Avaris. He promised to provide for the multitude of their people and protect and fight for them as occasion should require, subduing the country to their rule. The shepherds were pleased with his message and came with two hundred thousand men to Avaris.

Amenophis was informed of the invasion, and assembled the multitude of the Egyptians. He called for the sacred animals to brought to him, and charged the priests to hide the images of their gods with the utmost care. He also sent his son Sethos, who was also named Ramesses after Amenophis's father Rhampses, being but five years old, to a friend of his. He then brought an army of three hundred thousand of the most warlike Egyptians against the enemy, but did not engage. The army returned back and came to Memphis, where Amenophis took Apis and the other sacred animals and marched into Ethiopia.

The king of Ethiopia was under an obligation to Amenophis, and took care of the multitude that was with him, supplying all that was necessary for the food of the men. He allotted cities and villages for the Egyptian exiles and sent and army of Ethiopians to guard the borders of Egypt. After thirteen years, Amenophis returned from Ethiopia with a great army, and his son Ahampses also brought a great army. They joined battle with the shepherds and polluted people, slaying a great many of them, and pursued them to the bounds of Syria.

 

 

Have Canadian archaeologists unearthed one of the Exodus mysteries ...

www.abovetopsecret.com/forum/thread104328/pg1

2 posts - 2 authors - 12 Oct 2004
The first is about Osarsiph and the enslaved Jews. ... For 113 years, the descendents of Osarsiph: kings; Beon, Apachnas, Apophis and Assis, ...

 

Heliopolis og Egypt
alvidk.tripod.com/id46.html
Manetho records that Osarsiph - Moses then told the " impure people " to stop ... Manrtho tells us that Osarsiph - Moses belonged to an elite religious group ...
Osarsiph
forums.atenism.net/profile/689618/
Akhetaten Fellowship is dedicated to the revival of the religion Atenism as a worldwide faith.


VI. Exodus - katapi BIBLE RESOURCE PAGES
www.katapi.org.uk/BAndS/ChVI.htm
This Osarsiph thereupon changed his name to Moses [!], and enacted a ... and Osarsiph-Moses ruled over the whole land of Egypt for fourteen years. Finally the ...

 

 

P
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Nectanebo I

From Wikipedia, the free encyclopedia

Nectanabo I

Stela of Nectanebo I

Pharaoh of Egypt Reign 380–362 BC, 30th Dynasty

Predecessor Nefaarud II

Successor Teos

Nectanebo I - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Nectanebo_I

Nectanabo (or more properly Nekhtnebef) was a pharaoh of the Thirtieth dynasty of Egypt. In 380 BC, Nectanebo deposed and killed Nefaarud II, starting the last...

--------------------------------------------------------------------------------

Nectanabo (or more properly Nekhtnebef) was a pharaoh of the Thirtieth dynasty of Egypt.

In 380 BC, Nectanebo deposed and killed Nefaarud II, starting the last dynasty of Egyptian kings. He seems to have spent much of his reign defending his kingdom from Persian reconquest with the occasional help of troops from Athens or Sparta.

Sphinx of Nectanebo I at the entrance of the Luxor temple
He is also known as a great builder who erected many monuments and temples throughout his long and stable 18-year reign. Nectanebo I restored numerous dilapidated temples throughout Egypt and erected a small kiosk on the sacred island of Philae which would become one of the most important religious sites in Ancient Egypt.[1] This was the first phase of the temple of Isis at Philae; he also built at Elkab, Memphis and the Delta sites of Saft el-Hinna and Tanis.[2] He also significantly erected a stela before a pylon of Ramesses II at Hermopolis.[3] He also built the first pylon in the temple of Karnak. From about 365 BC, Nectanebo was a co-regent with his son Teos, who succeeded him. When he died in 362 BC, Teos succeeded his father on the throne for two short years.

 

 

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en.wikipedia.org/wiki/Nectanebo_II

Nectanebo II (Manetho's transcription of Egyptian Nakhthorheb (Nḫht-Ḥr-Ḥbyt, "Strong is Horus of Hebit"), ruled in 360—342 BC) was the third and last pharaoh ...

Nectanebo II

From Wikipedia, the free encyclopedia

Nectanebo II

Nakhthorheb

Head of Nectanebo II, Museum of Fine Arts of Lyon

Pharaoh of Egypt

Reign

360–342 BC[b], 30th Dynasty

Predecessor

Teos

Successor

Artaxerxes III

Royal titulary[show]

--------------------------------------------------------------------------------

Father

Tjahepimu

Nectanebo II (Manetho's transcription of Egyptian Nakhthorheb[1][a] (Nḫht-Ḥr-Ḥbyt, "Strong is Horus of Hebit"[2]), ruled in 360—342 BC[b]) was the third and last pharaoh of the Thirtieth dynasty, as well as the last native ruler of Ancient Egypt.[3] Under Nectanebo II, Egypt prospered. During his reign, the Egyptian artists delivered a specific style that left a distinctive mark on the relief sculpture of the Ptolemaic era.[4] Like his indirect predecessor Nectanebo I, Nectanebo II showed enthusiasm for nearly every Egyptian cult and more than a hundred Egyptian sites bear evidence of his attentions.[5] Nectanebo II, however, undertook more constructions and restorations than Nectanebo I, commencing in particular the enormous temple of Isis (Iseum).

For several years, Nectanebo II was successful in keeping Egypt safe from the Achaemenid Empire.[6] Betrayed by his former servant Mentor of Rhodes, however, Nectanebo II was ultimately defeated by the combined Persian-Greek forces in the 343 BC Battle of Pelusium. In 342 BC, the Persians occupied Memphis and the rest of Egypt, incorporating the country back into the Achaemenid Empire. Nectanebo fled south and preserved his power for some time; his subsequent fate is unknown.

 

 

 

MAGIC AND MYSTERY IN TIBET

Alexandra David Neel  1931

Page 204

Chapter 8

Psychic Phenomena in Tibet - How Tibetans Explain Them'

"...The fascination exercised by Tibet as an abode of sages and magici-ans dates from a time long back. Even before the Buddha, Indians turned with devout awe to the Himalayas, and many were the extra-ordinary stories about the mysterious, cloud enshrouded northern country extending beyond their mighty snow peaks.    The Chinese also seem to have been impressed by the strangeness of Tibetan wilds. Amongst others, the legend of her great mystic philosopher Laotze relates that, at the end of his long career, the master riding an ox started for the mysterious land, crossed its borders and never returned. The same thing is sometimes told about Boddhidharma and some of his chinese disciples, followers of the Buddhist sect of meditation ( Ts'an sect).
   Even nowadays one may often meet Indian pilgrims on the paths that climb towards the passes through which one enters Tibet, drag-ging themselves along in a dream; hypnotized, it seems, by an overpowering vision. When asked the motive of their journey most of them can only answer that they wish to die on Tibetan ground. And too often the cold climate, the high altitude, fatigue and starva-tion help them to realize their wish.
    How can we explain this magnetic power in Tibet?
    There is no doubt that the reputation enjoyed by the 'Land of Snow' for being a country of wizards and magician, a ground on which miracles daily occur, is the main cause of its attraction over the majority of its worshippers. But now one may ask for what reason Tibet has been credited with being the chosen land of occult law and supernormal phenomena.
     Perhaps the most obvious case is that already mentioned, the extreme remoteness of the country, enclosed between formidable mountain ranges and immense deserts.  

/ Page 205

"... I do not think it is exaggerated to say that its landscapes surpass, in all respects, those imagined by the fanciful architects of gods'and demons worlds.
    No description can convey the least idea of the solemn majesty, the serene beauty, the awe- inspiring wilderness, the entrancing charm of the finest Tibetan scenes.  
     Often, when tramping across these solitary heights, one feels like an intruder. Unconsciously one slackens pace, lowers one's voice and words of apology for one's boldness come to the lips, ready to be uttered at the first sight of a legitimate superhuman master on whose ground one has trespassed.
     Common Tibetan villagers and herdsman, though born amidst such surroundings are strongly influenced by them. Translated by their primitive minds, their impressions take the form of these fantastic demigods and spirits of a hundred kinds with whom they have densely populated the solitude of Tibet, and whose whimsical de-meanour is the inexhaustible theme of a rich folk-lore
    On the other hand, just as the Chaldean shepherds of yore observ-ing the starry sky, on the shore of the Euphrates, laid the foundation of astronomy, so Tibetan anchorites and itinerant shamans have long pondered over the mysteries of their bewitching country and noted the phenomena which there found a favourable ground. Astrange art had its origin in their contemplations and many centuries ago, the magicians from the northern Transhimalayan land were already known and held in high repute in India"
"...It is certain that especially since the introduction of Buddhism, numbers of Indians, Nepalese, Chinese and other travellers have visi-ted Tibet, seen its bewildering sites and heard about the supernormal powers with which its dubtobs are credited. Amongst them, a few have probably approached the lamas or Bonpos magicians and listened to the mystic doctrines of contemplative hermits. Their / Page 206 / travellers' tales, which inevitably grew and amplified as they were circulated, must have greatly contributed, together with the causes I have mentioned and other less apparent ones, to create around Tibet the glamorous atmosphere it now enjoys.
    Must we conclude that the renown of Tibet as the land in which prodigies flourish, is entirely based on delusion? This would be as great an error as the uncritical acceptance of all the native tales, or of those lately conceived by the fertile brains of some facetious West-erners.
    The best way is to be guided by the rather suprising opinion of the Tibetans themselves regarding miraculous events. None in Tibet deny that such events may take place, but no one regards them as miracles, according to the meaning of that term in the West, that is to say as supernatural events.
    Indeed, Tibetans do not recognize any supernatural agent the so-called wonders, they think are as natural as common daily events and depend on the clever handling of little-known laws and forces.
    All facts which, in other countries, are considered miraculousor, in any other way, ascribed to the arbitrary interference of beings be-longing to other worlds, are considered by Tibetan adepts of the secret lore 2 as psychic phenomena.
     In a general way, Tibetans distinguish two categories of psychic phenomena.
1.  The phenomena which are unconsciously produced either by one or by several individuals.
    In that case, the author - or authors - of the phenomenon acting unconsciously, it is obvious that he does not aim at a fixed result.
2   The phenomena produced consciously, with a view of bringing about a prescribed result. These are generally - but not always - the work of a single person.
That 'person' may be a man or may belong to any one of the six classes of sentient beings which lamaists acknowledge as existing in our world. 3  Whosoever be its author, the phenomenon is produced by the same process, in accordance with some natural laws: there is no miracle
     It may be of interest to remark here that Tibetans are staunch determinists. Each volition, they believe, is brought about by a num-ber of causes, of which some are near and others extremely remote.
     I shall not lay stress on that point which is outside the present sub-ject. However the reader must bear in mind that, according to Tib-etans, each phenomenon, consciously or unconsciously generated, as  / Page 207  / well as each of our bodily or mental actions, is the fruit of manifold combined causes.
     Amongst these causes, the first and more easily discernible ones are those which have arisen in the mind of the doer of the action, the conscious will of doing it. To these causes Tibetans assimilate those which, even unknown to the doer, have put into motion some forces which have led him to perform the action. Both kinds are styled gyu, 'immediate or principal cause.'
Then, come the outside-causes, not originating with the doer, which may have helped the accomplish-ment of the action. These are called kyen. 4
     The remote causes are often represented by their 'descendants'5 These 'descendants' are the present conditions which exist as the effects of bodily or mental actions which have been done in the past, but not necessarily, done by the doer of the present act himself.
     So, when concentration of thoughts is mentioned here below as the direct cause of a phenomenon, one must remember: first that according to Tibetan mystics, this concentration is not spontaneous, but determined; and secondly, that besides this direct apparent cause, there exist, in the background, a number of secondary causes which are equally necessary to bring about the phenomenon.
    The secret of the psychic training, as Tibetans conceive it, consists in developing a power of concentration of mind greatly surpassing even that of men who are, by nature the most gifted in this respect.
     Mystic masters affirm that by means of such concentration of mind, waves of energy are produced which can be used in certain ways. The term 'wave'is mine. I use it for clearness' sake and also because, as the reader will see, Tibetan mystics really mean some 'currents' or waves of force. However, they merely say shugs or tsal; that is to say, 'energy.' That energy, they believe, is produced every time that a physical or mental action takes place. -  Action of the mind, of the speech and of the body, according to the Buddhist classification. - The production of psychic phenomena depends upon the strength of that energy and the direction in which it is pointed.
1. An object can be charged by these waves. It then becomes some-thing resembling our electric accumulators and may give back in one way or another, the energy stored in it. For instance, it will increase the vitality of one who touches it, infuse him with courage, etc.       Practices grounded on this theory and aiming at beneficial results are current in Tibet. Numbers of lamas prepare pills, holy water, knotted scarves, charms printed on paper or cloth which are sup- / Page 208 /posed to impart strength and health, or to keep away accidents, evil spirits, robbers, bullets and so on.
     The lama must first purify himself by a proper diet and then con-centrate his thoughts on the object which he means to empower, in order to load it with wholesome influences. Several weeks or months are sometimes deemed necessary for that preparation. However, when it is only a question of charmed scarves, these are often knotted and consecrated in a few minutes.
2.   The energy which is communicated to an object, pours into it a kind of life.  That inanimate object becomes able to move and can perform certain actions at the command of its maker."    The ngagspas are said to resort to these practices, to hurt or kill without arousing any suspicion that they are responsible for the casualty.
   Here is an instance of the way in which the sorceror proceeds. Taking with him the object which is to be animated - let us say a knife destined to kill someone - the ngagspa shuts himself in seclu-sion for a period that may last over several months.
During that time he sits, concentrating his thoughts on the knife in front of him and endevouring to transfer to the inanimate object, his will to kill the particular individual whose death has been planned.
    Various rites are often performed in connection with the ngagspa's concentration of mind. These aim at adding to the energy which the latter is capable of generating and transfusing into the knife.

Page 208

Beings deemed more powerful than the sorcerer are either besought to co-operate willingly with him or coerced and compelled to let their energy flow into the weapon.
    These 'beings' are often of a demoniacal kind, but in the case when the murder is deemed a righteous action, 7 useful to the welfare of many, lofty benevolent entities may be called in as helpers. These are always respectfully implored and no one attempts to coerce them. Some ngagpas think it useful to bring the weapon into touch with the man whom it is meant to kill or with objects habitually used by him.
    Other adepts of the black art scoff at such a childish practice and declare that it discloses utter ignorance regarding the causes which may bring about the killing or hurting that is to appear accidental.
    When the sorceror supposes that the knife is ready to perform its work, it is placed near the man who is to become its victim so that, almost always, he may be led to use it. Then, as soon as he seizes it, the knife moves, gives a sudden impulse to the hand which holds it, and the man whom it has been prepared stabs himself. /

Page 209

It is said that when once the weapon has been animated in that way, it becomes dangerous for the ngagspa who, if he lacks the know-ledge and cleverness required to guard himself, may fall its victim.
     Auto-suggestion is likely to result from the protracted meditation and the elaborate rites performed by the sorcerer while dwelling in seclusion, and it would not be suprising if some accident occurred to him. Nevertheless, apart from the stories of demons and spirits there may be a phenomenon similar to that which is said to occur when the phantom created by a magician breaks away from its maker's control.
   Certain lamas and a few Bonpos have told me that it is a mistake to believe, in such cases as I have just mentioned, that the knife becomes animated and kills the man. It is the man, they said, who acts on auto-suggestion as a result of the sorcer's concentration of thought.
   Though the ngagspa only aims at animating the knife, the man against whom the rites are performed is closely associated in his mind with the idea of the weapon. And so, as that man may be a fit re-ceiver of the occult 'waves' generated by the sorcerer - ( while the knife is not) he falls unconsciously under their influence. Then when touching the prepared knife, the view and touch of the latter put into motion the suggestion existing unknown to him, in the mans mind and he stabs himself.
   Moreover, it is strongly believed that without any material object for transmission, proficient adepts of the secret lore can suggest, even from afar, to men or other beings, the idea of killing themselves in one way or the other.
    All agree in saying that any such attempt cannot be successful against an adept in psychic training because such a one detects the 'waves'  of forces pointed at him and is able to discriminate their nature and thrust back those which he deems harmful.
3.  Without the help of any material object, the energy generated by the concentration of thoughts can be carried to more or less distant points. There this energy may manifest itself in various manners. For instance:
    It can bring about psychic phenomena.
    It can penetrate the goal ascribed to it and thus transfer the power generated elsewhere.

Mystic masters are said to use this process during the angkur rites.
   Much could be said about these rites and the spirit which pervades them. The limited space allowed in an average size volume forbids an exhaustive account of all theories and practices of mystic Lamaism and I have reluctantly had to omit for the present a number of inter-esting subjects . I shall confine myself to a few words.
   Lamaist angkur, literally 'empowerment' is not an 'initiation,' though for lack of other words, I have sometimes used that term in the course of the present book. The various angkurs are not meant  / Page 210  / to reveal esoteric doctrines, as initiations were, among the Greeks and other peoples. They have a decidely psychic character. The theory about them is that 'energy' may be transmitted from the mas-ter - or from some more occult store of forces - to the disciples who is able to tap the psychic waves in transmission.
    According to lamist mystics, during the performance of the ang-kur rite a force is placed within the disciple's reach. The seizing and assimilating of that force is left to his ability.
    In the course of talks I had on this subject with mystic initiates, they have defined angkur 'as a special opportunity'offered to a disciple of empowering himself.
     By the same method , mystic masters are said to be able to dispatch waves of energy which in case of need, cheer, refresh and invigorate, physically and mentally, their distant disciples.
     The process is not always meant to enrich the goal to which the waves are directed. On the contrary, sometimes when reaching that goal, these waves absorb a portion of its energy. Then, returning with this subtly stolen spoil, they pour it into the 'post' from which they have been sent forth, and in which they are reabsorbed."  

    "Some magicians, it is said, gain great strength or prolong their lives by incorporating this stolen energy.
4   Tibetan mystics also affirm that adepts well trained in concentra-tion are capable of visualizing the forms imagined by them and can thus create any kind of phantom: men, deities, animals, inanimate objects, landscapes, and so forth.
     The reader must recall what has been said on this subject in refer-ence to the tulkus 8 and the innumerable phantoms which, according to the Dalai Lama, a Changchub semspa 9  has the power to generate.
      These phantoms do not always appear as impalpable mirages, they are tangible and endowed with all the faculties and qualities naturally pertaining to the beings or things of which they have the appearance.
     For instance, a phantom horse trots and neighs. The phantom rider who rides it can get off his beast, speak with a traveller on the road and behave in every way like a real person. A phantom house will shelter real travellers, and so on.
     Such happenings abound in Tibetan stories and especially in the famous epic of King Gesar of Ling. The great hero multiplies himself. He produces phantom caravans with tents, hundreds of horses, lamas, merchants, servants and each of them plays his part. In battle he creates phantom armies which kill their enemies just as well as if they were authentic warriors.
    All this appears to belong to the realm of fairy tales and one may wisely assume that ninety-nine out of a hundred of these stories are  

/ Note 8 see Chapter 3

       9 In Sanskrit a Bodhisatva. A highly spiritually developed being nearing the perfection of a Buddha.

Page 90  

"... It follows that according to popular belief, a tulku is either the incarnation of a saintly or peculiarly learned departed personality, or the incarnation of a non-human entity."
 
Page 211  

continued  /

purely mythical. Yet disconcerting incidents occur, phenomena are witnessed which it is impossible to deny.Explanations of them are to be found by the observer himself, if he refuses to accept those offered by Tibetans. But often these Tibetan explanations, on account of their vaguely scientific form, attract the inquirer and become them-selves a field of investigation."

Page 214  

"However interested we may feel in the other strange accomplishments with which Tibetan adepts of the secret lore are credited, the creation of thought forms seem the most puzzling.
    We have already seen in the preceding chapter how the novice is trained to build up the form of his tutelary deity, but in that case the aim is a kind of philosophical enlightenment. The goal is different in other cases.
     In order to avoid confusion, we will first consider another kind of phenomena which is often discussed, not only in Tibet, but in various other Eastern countries and even in the West. Some profess to see a certain anology between these and the creation of thought-forms, but, in fact, the process is not at all the same.
     In nearly all countries there are people who believe in a subtle soul or spirit which, while the body lies asleep or in a cataleptic trance, can roam about in various places 14 and perform different deeds, sometimes associating for that purpose with a material body other than that with which it is habitually united."
"... In India, countless legends relate the strange adventures of men, demi-gods, or demons who enter dead bodies, act in guise of the dead man and then revert to their own frame which had meanwhile re-mained unconscious."

Page 216

"...It shows that the belief in the passing of some subtle self  from one body to another, and even in its roaming about disembodied, was current in India.
    Such belief was not infrequent in Tibet, where the 'translation' of the self from one body to another is called trong jug. 18
Possibly the theories regarding trong jug have been imported from India. Milares-pa, in his autobiography, relates that his guru Marpa was not taught the secret of trong jug by his own teacher Narota, but when already old made a journey to India to learn it.
    It is to be noted that believers in the 'translation' of an ethereal self or 'double,' generally depict the body from which it withdraws, as remaining inanimate. Here lies the essential difference between that supposed phenomenon and the apparitions, voluntary or un-consciously created, of a tulpa, 19 either alike or different from its creator.
    In fact, while the translation, as related in Indian or Tibetan stories,  

/ Note 18  Spelt grong hjug.
         19  Tulpa, spelt sprulpa, 'magic, illusory creations.'
 
Page 217  /

may  well be regarded as a fable, the creation of tulpas seems worthy of investigation.
    Phantoms, as Tibetans describe them, and those that I have myself seen do not resemble the apparitions which are said to occur during spiritualist seances.    
     In Tibet, the witnesses of these phenomena have not been especi-ally invited to endeavour to produce them, or to meet a medium known for producing them. Consequently, their minds are not pre-pared and intent on seeing apparitions. There is no table upon which the company lay there hands nor any medium in trance, nor a dark closet in which the latter is shut up. Darkness is not required, sun and open air do not keep away the phantoms.
    As I have said, some apparitions are created on purpose either by a lengthy process resembling that described in the former chapter on the visualization of Yidam or, in the case of proficient adepts, instantaneously or almost instantaneously.
    In other cases, apparently the author of the phenomenon gener-ates it unconsciously, and is not even in the least aware of the apparition being seen by others.
    In connection with these kind of visualization or thought-form creation, I may relate a few phenomena which I have witnessed my-self..."

Page 208 
 
Note 4.  As an instance, the seed is the rgyu of the plant. The soil and the various substances which exist in it, the water, air, sun, the gardener who has sown the seed, etc, are rkyen (pronounced gyu and kyen).
5.  In Tibetan rigs as an instance: the milk is present in the butter or cheese; the seed is present in the tree born from it. Tibetans freely use these illustra-tions
6.  Written rtsal 

 

 

The Death of Forever
Darryl Reanney (1991

Page 26

"A deeper understanding  revealed the quixotic fact that a particle like an electron has only a certain mathematical probability of being found in any one spot.This probability has a ripple or wave-like form, but it is more like a 'crime wave'- a statistical distribution - than a physical undulation.
" The basis of matter , then , when examined intimately, dissolves into a ghostlike intangibility ; the quantum wave is a  mathematical wraith , a ripple of possibilities."
"The quantum wave  only  has this  wraithlike character when it is not being looked at. When an  observer intrudes, when a scientist for example, tries to measure the properties of an electron the, the ghostly wave function collapses.The particle becomes real it can now be specifically assigned a fixed location, with a probability of 1, i.e. a certainty
This is a staggering conclusion .It means that consciousness is not an observer in the dynamics of the universe; it is an active participant. Consciousness , literally and factually, creates reality , by summoning forth material particles,
definable certainties, from the elusive quantum wave .Objective 'reality' in this perspective falters  on the brink of a profound ambiguity. Subject and object; mind  and matter are not separate;  they interact and interlock."

 


Gifts of Unknown Things
Lyall Watson 1976

The Spirit Moves

  Page 216  

"In 1714 the German mathematician Leibniz proposed the existence of nonspatial, indestructible, indivisible entities he called monads. He saw them as wholly psychic in nature -  

/ Page 217   /

made up entirely of the qualities of mind. They were dismissed at the time as hypothetical nonesense, but today they no longer look quite so ridiculous. For his dominant monad, the one in ultimate control, read collective consciousness or universal mind, and situate it somewhere beyond the bounds of space-time in superspace. On the next level of this cosmic hierarchy' in normal space-time comes the matter raising monad we call consciousness or mind. Put this in charge of unfolding physical systems with their infinite numbers of states, make it amenable to some form of democracy or consensus that governs lawful and orderly operation - and you have the makings of a workable system.
      The attractive feature of such a model is that it allows any-thing to happen. If Bohm is right about matter's appearing to move through space by constantly being destroyed and re-created, then it should be no more difficult for the mind monad to bend a spoon than it is for it to bend a finger. If you can think of a bent spoon you can have a bent spoon. If all forms of matter are merely thoughts in the mind monad, then their positions and properties are readily interchangeable. Mate-rialization, dematerialization, teleportation, and levitation be-come simple matters of a change of mind. If consciousness can drop at will out of normal space-time into superspace, where there is no such thing as time and thought travels faster than light, then instant thought transference, precogni-tion, retrocognition, and clairvoyance are all easy. And if con-sciousness can return to space-time at any location, past present, or future and experience these locations, then we have time travel, space travel, and travel out of the body. With such free movement of consciousness, it is of course possible to know every detail of the life of everyone who ever lived, and that takes care of reincarnation.
So it goes. It is all very easy when you can just juggle  

/ Page 218  /

around with ideas like this; anyone can play that kind of academic game. But the wonderful thing about this is that it is strongly supported by much recent scientific theory."
 
Page 37  

" There seem always to have been two ways of looking at the world. One is the everyday way in which objects and events, although they may be related causally and influence each other, are seen to be separate. And the other is a rather special way in which everything is considered to be part of a much greater pattern."
"...There has never been any question of having to choose between the two. They merely represent the extremes of a spectrum of possible response. At one end is a scientist who sees everything in isolation,,and at the other a mystic who experiences only a featureless flow. Both views are restricted and misleading, but there can be a meeting in the middle. When both physicists and mystics are asked for their description of how the world works,they give the same answers. It is almost impossible to distinguish between the two groups of quotations. All agree that are two viable metaphysical systems, and that the truth lies in a reconciliation between them.
    There is nothing new in this notion that all are parts of the whole and that the whole is embodied in all its parts. What is new is that our physical sciences are catching up with us and beginning to reinforce some very old and very basic biological
perceptions.

Page 39

Insight is beginning to substantiate intuition. In traditional physics, the world is thought to be made up of points If you put a lens in front of an object, it will form an image of that object, and there will be a point-to-point correspondence between the two. This kind of relationship has encouraged us to assume that the whole of reality can be analyzed in terms of points, each with a separate existence. But certainty about this kind of concept has been shaken by quantum mechanics and by a new system of recording reality without the use of lenses. By the invention of the hologram.
     If you drop a pebble into a pond, it will produce a series of regular waves that travel outward in concentric circles."

 

 

Fingerprints Of The Gods

Page 490/1

   4 x 90  is 360 Azin 3 + 6 is 9 and 3 x 6 is 18 and 1 + 8 is 9  So said Alizzed Thus writ the scribe

"The novelist Arthur Koestler, who had a great interest in synchronicity, coined the term 'library angel' to describe the unknown agency responsible for the lucky breaks researchers sometimes get which lead to exactly the right information being placed in their hands at exactly the right moment." )

And this is the second Said Zed Aliz again  taken from Fingerprints Of The Gods, and timely reminder.

( Page  354  

"...Acting on impulse, I climbed into the granite coffer and lay down, face upwards, my feet pointed towards the south and my head to the north."
"...I folded my hands across my chest and gave voice to a sustained low-pitched tone -
something I had tried out several times before at other points in the King's Chamber. On these occasions, in the centre of the floor, I had noticed that the walls and ceiling seemed to collect the sound, to gather and to amplify it and project it back at me so that I could sense the returning vibrations through my feet and scalp and skin.
     Now in the sarcophagus I was aware of very much the same effect, although seemingly amplified and concentrated many times over. It was like being in the sound-box of some giant, resonant musical instrument designed to emit for ever just one reverberating note. The sound was intense and quite disturbing. I imagined it rising out of the coffer and bouncing off the red
granite walls and ceiling of the King's Chamber, shooting up through the northern and southern 'ventilation' shafts and spreading across the Giza plateau like a sonic mushroom cloud.
    With this ambitious vision in my mind, and with the sound of my low-pitched note echoing in my ears and causing the sarcophagus to vibrate around me, I closed my eyes." )

 

 

Gifts of Unknown Things
Lyall Watson 1976

Page 38

continued  

" Drop two identical pebbles into the pond at different points and you will get two sets of similar waves that move towards each other. Where the waves meet, they will interfere. If the crest of one hits the crest of the other, they will work together and produce a reinforced wave of twice the normal height. If the crest of one coincides with the trough of the other, they will cancel each other out and produce an isolated patch of calm water. In fact, all possible combinations of the two occur, and the final result is a complex arrangement of ripples known as an interference pattern.
     Light waves behave in exactly the same way. The purest kind of light available to us is that produced by a laser, which sends out a beam in which all the waves are of one frequency, like those made by an ideal pebble in a perfect pond. When two laser beams touch they produce an interference pattern of light and dark ripples that can be recorded on a photo-graphic plate. And if one of the beams, instead of comind directly from the laser, is reflected first off an object such as a human face, the resulting pattern will be very complex indeed, but it can still be recorded. The record will be a hologram of the face.  

/ Page 39  /  

When the place is developed and fixed, it will look like a totally meaningless jumble of very fine light and dark lines, but these can be unraveled. Simply take the plate into a dark room and illuminate it with the same laser. When you do this you cancel out interference and what you get is the original pattern of light from the reflected source. Peering through the plate, you find yourself face to face. You get a very realistic view which is a great deal more than a two-dimensional por-trait. Hologram means "whole record," so what you get is more than face value. You get all the information that light can provide about that face, The plate becomes a window. If you move your head to the side, you see the face in profile. Stand up and you get a view of the hairstyle."
    This three-dimensionality is fascinating, but there is more. If you illuminate only a small part of the plate with a very narrow laser beam, you can still peer through this spot like a keyhole and see the whole face. No matter which part of the plate you choose to use, the view is still the same. This is the momentous thing about a hologram - every part contains the whole.
     Any part of a hologram is a point in space, and yet it contains information about things at other points. Actually the hologram plate is merely a convenient way of recording what is happening in that region of space. What happens is that there is a movement of light there, and it seems that embraced in that movement is a mass of information about events taking place in other spaces. Cameras have always told us that, but what the hologram says is that any old point in space will do they all embrace everything happening everywhere."

 

 

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A possible origin of the western occult practice of creating thought-forms(servitors) is the 'Tulpa'. A Tulpa is a concept from Tibetan Mysticism.

—from the wikipedia:

A tulpa is, in Tibetan mysticism, a being or object which is created through sheer willpower alone. In other words, it is a materialized thought that has taken physical form (a thoughtform).
The concept was brought to the West in the 19th century by Alexandra David-Neel, who claimed to have created a tulpa in the image of a jolly, Friar Tuck-like monk which later developed a life of its own and had to be destroyed. Many authors and artists have since used tulpas in their works, both in the context of fiction and in writing about mysticism. Horror author Clive Barker, for example, envisioned his famous "Candy Man" killer to be nothing more than a myth gone terribly awry in his original story. Additionally, there was a legend that talked about a Mexican shaman by the name of Don Juan Matus, who had taught his student Carlos Castaneda about the true nature of the physical universe and how intense concentration can summon, apport, and even materialize objects out of thin air. It was said that Carlos Castaneda was able to materialize a living squirrel on the palm of Don Juan's hand based on the latter's instruction.

In the Western mystery tradition this is called an "egregore".

The following is quoted from David-Neel's book:

On the Creation of Tulpas

However interested we may feel in the other strange accomplishments with which Tibetan adepts of the secret lore are credited, the creation of thought forms seems by far the most puzzling.
...
Phantoms, as Tibetans describe them, and those that I have myself seen do not resemble the apparitions, which are said to occur during spiritualist séances.

As I have said, some apparitions are created on purpose either by a lengthy process resembling that described in the former chapter on the visualization of Ydam or, in the case of proficient adepts, instantaneously or almost instantaneously. In other cases, apparently the author of the phenomenon generates it unconsciously, and is not even in the least aware of the apparition being seen by others.

However, the practice is considered as fraught with danger for every one who has not reached a high mental and spiritual degree of enlightenment and is not fully aware of the nature of the psychic forces at work in the process.

Once the tulpa is endowed with enough vitality to be capable of playing the part of a real being, it tends to free itself from its maker¹s control. This, say Tibetan occultists, happens nearly mechanically, just as the child, when his body is completed and able to live apart, leaves its mother¹s womb. Sometimes the phantom becomes a rebellious son and one hears of uncanny struggles that have taken place between magicians and their creatures, the former being severely hurt or even killed by the latter.

Tibetan magicians also relate cases in which the tulpa is sent to fulfill a mission, but does not come back and pursues its peregrinations as a half-conscious, dangerously mischievous puppet. The same thing, it is said, may happen when the maker of the tulpa dies before having dissolved it. Yet as a rule the phantom either disappears suddenly at the death of the magician or gradually vanishes like a body that perishes for want of food. On the other hand, some tulpas are expressly intended to survive their creator and are specially formed for that purpose.
...
Must we credit these strange accounts of rebellious "materializations", phantoms which have become real beings, or must we reject them all as mere fantastic tales and wild products of imagination?

Perhaps the latter course is the wisest. I affirm nothing. I only relate what I have heard from people whom, in other circumstances, I had found trustworthy, but they may have deluded themselves in all sincerity.

Nevertheless, allowing for a great deal of exaggeration and sensational addition, I could hardly deny the possibility of visualizing and animating a tulpa. Besides having had few opportunities of seeing thought-forms, my habitual incredulity led me to make experiments for myself, and my efforts were attended with some success. In order to avoid being influenced by the forms of the lamaist deities, which I saw daily around me in paintings and images, I chose for my experiment a most insignificant character: a Monk, short and fat, of an innocent and jolly type.

I shut myself in tsams and proceeded to perform the prescribed concentration of thought and other rites. After a few months the phantom Monk was formed. His form grew gradually fixed and lifelike looking. He became a kind of guest, living in my apartment. I then broke my seclusion and started for a tour, with my servants and tents.

The Monk included himself in the party. Though I lived in the open, riding on horseback for miles each day, the illusion persisted. I saw the fat tulpa; now and then it was not necessary for me to think of him to make him appear. The phantom performed various actions of the kind that are natural to travelers and that I had not commanded. For instance, he walked, stopped, looked around him. The illusion was mostly visual, but sometimes I felt as if a robe was lightly rubbing against me, and once a hand seemed to touch my shoulder.

The features which I had imagined, when building my phantom, gradually underwent a change. The fat, chubby-cheeked fellow grew leaner, his face assumed a vaguely mocking, sly, malignant look. He became more troublesome and bold. In brief, he escaped my control. Once, a herdsman who brought me a present of butter saw the tulpa in my tent and took it for a living lama.

I ought to have let the phenomenon follow its course, but the presence of that unwanted companion began to prove trying to my nerves; it turned into a "day-nightmare". Moreover, I was beginning to plan my journey to Lhasa and needed a quiet brain devoid of other preoccupations, so I decided to dissolve the phantom. I succeeded, but only after six months of hard struggle. My mind-creature was tenacious of life.

There is nothing strange in the fact that I may have created my own hallucination. The interesting point is that in these cases of materialization, others see the thought-forms that have been created.

Alexandra David-Neel, Magic and Mystery in Tibet, University Books Inc., 1965

 

 

search resultsThoughtforms and phantasms
... we may feel in the other strange accomplishments with which Tibetan adepts ... This is not the opinion of advanced adepts in Tibetan secret lore. ...www.geocities.com/franzbardon/neel.html - Cached

 

The creation of thoughtforms and phantasms
by Alexandra David-Neel
from: Magic and Mystery in Tibet, 1967;
© University Books Inc. 1965

However interested we may feel in the other strange accomplishments with which Tibetan adepts of the secret lore are credited, the creation of thought forms seems by far the most puzzling....

Phantoms, as Tibetans describe them, and those that I have myself seen do not resemble the apparitions which are said to occur during spiritualist seances.

As I have said, some apparitions are created on purpose either by a lengthy process resembling that described in the former chapter on the visualization of Ydam or, in the case of proficient adepts, instantaneously or almost instantaneously. In other cases, apparently the author of the phenomenon generates it unconsciously, and is not even in the least aware of the apparition being seen by others.

However, the practice is considered as fraught with danger for every one who has not reached a high mental and spiritual degree of enlightenment and is not fully aware of the nature of the psychic forces at work in the process.

Once the tulpa is endowed with enough vitality to be capable of playing the part of a real being, it tends to free itself from its maker's control. This, say Tibetan occultists, happens nearly mechanically, just as the child, when his body is completed and able to live apart, leaves its mother's womb. Sometimes the phantom becomes a rebellious son and one hears of uncanny struggles that have taken place between magicians and their creatures, the former being severely hurt or even killed by the latter.

Tibetan magicians also relate cases in which the tulpa is sent to fulfil a mission, but does not come back and pursues its peregrinations as a half-conscious, dangerously mischievous puppet. The same thing, it is said, may happen when the maker of the tulpa dies before having dissolved it. Yet as a rule the phantom either disappears suddenly at the death of the magician or gradually vanishes like a body that perishes for want of food. On the other hand, some tulpas are expressly intended to survive their creator and are specially formed for that purpose....

Must we credit these strange accounts of rebellious "materializations", phantoms which have become real beings, or must we reject them all as mere fantastic tales and wild products of imagination? -

Perhaps the latter course is the wisest. I affirm nothing. I only relate what I have heard from people whom, in other circumstances, I had found trustworthy, but they may have deluded themselves in all sincerity.

Nevertheless, allowing for a great deal of exaggeration and sensational addition, I could hardly deny the possibility of visualizing and animating a tulpa. Besides having had few opportunities of seeing thought-forms, my habitual incredulity led me to make experiments for myself, and my efforts were attended with some success. In order to avoid being influenced by the forms of the lamaist deities, which I saw daily around me in paintings and images, I chose for my experiment a most insignificant character: a Monk, short and fat, of an innocent and jolly type.

I shut myself in tsams and proceeded to perform the prescribed concentration of thought and other rites. After a few months the phantom Monk was formed. His form grew gradually fixed and lifelike looking. He became a kind of guest, living in my apartment. I then broke my seclusion and started for a tour, with my servants and tents.

The Monk included himself in the party. Though I lived in the open, riding on horseback for miles each day, the illusion persisted. I saw the fat trapa, now and then it was not necessary for me to think of him to make him appear. The phantom performed various actions of the kind that are natural to travelers and that I had not commanded. For instance, he walked, stopped, looked around him. The illusion was mostly visual, but sometimes I felt as if a robe was lightly rubbing against me and once a hand seemed to touch my shoulder.

The features which I had imagined, when building my phantom, gradually underwent a change. The fat, chubby-cheeked fellow grew leaner, his face assumed a vaguely mocking, sly, malignant look. He became more troublesome and bold. In brief, he escaped my control. Once, a herdsman who brought me a present of butter saw the tulpa in my tent and took it for a living lama.

I ought to have let the phenomenon follow its course, but the presence of that unwanted companion began to prove trying to my nerves; it turned into a "day-nightmare". Moreover, I was beginning to plan my journey to Lhasa and needed a quiet brain devoid of other preoccupations, so I decided to dissolve the phantom. I succeeded, but only after six months of hard struggle. My mind-creature was tenacious of life.

There is nothing strange in the fact that I may have created my own hallucination. The interesting point is that in these cases of materialization, others see the thought-forms that have been created....

In connection with these kinds of visualization or thought-form creation, I may relate a few phenomena which I have witnessed myself:

1.

A young Tibetan who was in my service went to see his family. I had granted him three weeks' leave, after which he was to purchase a food supply, engage porters to carry the loads across the hills, and come back with the caravan.

Most likely the fellow had a good time with his people. Two months elapsed and still he did not return. I thought he had definitely left me. Then I saw him one night in a dream. He arrived at my place clad in a somewhat unusual fashion, wearing a sun hat of foreign shape. He had never worn such a hat. The next morning, one of my servants came to me in haste. "Wangdu has come back" he told me. "I have just seen him down the hill".

The coincidence was strange. I went out of my room to look at the traveler. The place where I stood dominated a valley. I distinctly saw Wang-du. He was dressed exactly as I had seen him in my dream. He was alone and walking slowly up the path that wound up the hill slope. I remarked that he had no luggage with him and the servant who was next me answered: "Wangdu has walked ahead, the load-carriers bust be following."

We both continued to observe the man. He reached a small chörten, walked behind it and did not reappear. The base of this chörten was a cube built in stone, less than three feet high, and from its needle-shaped top to the ground, the small monument was no more than seven feet high. There was no cavity in it. Moreover, the chörten was completely isolated: there were neither houses, nor trees, nor undulations, nor anything that could provide a hiding in the vicinity.

My servant and I believed that Wangdu was resting for a while under the shade of the chörten. But as the time went by without his reappearing, I inspected the ground round the monument with my field glasses, but discovered nobody. Very much puzzled I sent two of my servants to search for the boy. I followed their movements with the glasses but no trace was to be found of Wangdu nor of anybody else.

That same day a little before dusk the young man appeared in the valley with his caravan. He wore the very same dress and the foreign sun hat which I had seen in my dream, and in the morning vision. Without giving him or the load-carriers time to speak with my servants and bear about the phenomenon, I immediately questioned them. From their answers I learned that all of them had spent the previous night in a place too far distant from my dwelling for anyone to reach the latter in the morning. It was also clearly stated that Wangdu had continually walked with the party.

During the following weeks I was able to verify the accuracy of the men's declarations by inquiring about the time of the caravan's departure, at the few last stages where the porters were changed. It was proved that they had all spoken the truth and had left the last stage together with Wangdu, as they said.

2.

A Tibetan painter, a fervent worshipper of the wrathful deities, who took a peculiar delight in drawing their terrible forms, came one afternoon to pay me a visit. I noticed behind him the somewhat nebulous shape of one of the fantastic beings which often appeared in his paintings.

I made a startled gesture and the astonished artist took a few steps towards me, asking what was the matter. I noticed that the phantom did not follow him, and quickly thrusting my visitor aside, I walked to the apparition with one arm stretched in front of me. My hand reached the foggy form. I felt as if touching a soft object whose substance gave way under the slight push, and the vision vanished.

The painter confessed in answer to my questions that he had been performing a dubthab rite during the last few weeks, calling on the deity whose form I had dimly perceived, and that very day he bad worked the whole morning on a painting of the same deity.

In fact, the Tibetan's thoughts were entirely concentrated on the deity whose help he wished to secure for a rather mischievous undertaking. He himself had not seen the phantom.

In these two cases, the Phenomenon was produced without the conscious co-operation of its author. Or, as a mystic lama remarked, Wangdu and the painter could hardly be termed the authors of the phenomena. They were but one cause - maybe the principal one - amongst the various causes which had brought them about.

3.

The third strange occurrence I have to relate belongs to the category of phenomena which are voluntarily produced. The fact that the apparition appeared in the likeness of the lama who caused it, must not lead us to think that he projected a subtle double of himself. This is not the opinion of advanced adepts in Tibetan secret lore.

According to them such phantoms are tulpas, magic formations generated by a powerful concentration of thoughts. As it has been repeatedly stated in the preceding chapters, any forms may be visualized through that process.

At that time I was camping near Punag ritöd in Kham. One afternoon, I was with my cook in a hut which we used as a kitchen. The boy asked me for some provisions. I answered, 'Come with me to my tent, you can take what you need out of the boxes.'

We walked out and when nearing my tent, we both saw the hermit lama seated on a folding chair next my camp table. This did not surprise us because the lama often came to talk with me. The cook only said 'Rimpoche is there, I must go and make tea for him at once, I will take the provisions later on.'

I replied: 'All right. Make tea and bring it to us.'

The man turned back and I continued to walk straight toward the lama, looking at him all the time while he remained seated motionless. When I was only a few steps from the tent, a flimsy veil of mist seemed to open before it, like a curtain that is slowly pulled aside. And suddenly I did not see the lama any more. He had vanished.

A little later, the cook came, bringing tea. He was surprised to see me alone. As I did not like to frighten him I said: 'Rimpoche only wanted to give me a message. He had no time to stay to tea.' I related the vision to the lama, but he only laughed at me without answering my questions. Yet, upon another occasion he repeated the phenomenon. He utterly disappeared as I was speaking with him in the middle of a wide bare track of land, without tent or houses or any kind of shelter in the vicinity.

 

 

 

 

3
THE
33
15
6
3
SUN
54
18
9
3
GOD
26
17
8
9
Add to Reduce
113
50
23
-
Reduce to Deduce
1+1+3
5+0
2+3
9
Essence of Number
5
5
5

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
9
-
-
-
-
54
18
9
9
-
-
-
-
-
-
-
-
-
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
17
-
-
-
-
26
17
17
8
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
E
=
5
-
3
1
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5
5
5
-
-
-
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5
-
-
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9
S
=
1
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4
1
S
19
10
1
-
1
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9
U
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3
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5
1
U
21
3
3
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3
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-
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9
N
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5
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6
1
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14
5
5
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5
-
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9
G
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7
-
7
1
G
7
7
7
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-
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7
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9
O
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6
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8
1
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15
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6
-
-
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-
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6
-
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9
D
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4
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9
1
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4
4
4
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-
-
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4
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-
-
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9
-
-
-
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-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
4
1
S
19
10
1
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1
-
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9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
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-
-
-
-
9
U
=
3
-
5
1
U
21
3
3
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-
-
3
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9
D
=
4
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9
1
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4
4
4
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9
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5
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1
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5
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9
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6
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15
6
6
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6
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7
1
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7
7
7
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7
-
9
H
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8
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2
1
H
8
8
8
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8
9
-
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-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
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9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

 

 

2
RE
23
14
5
3
THE
33
15
6
3
SUN
54
18
9
3
GOD
26
17
8
11
First Total
136
64
28
1+1
Add to Reduce
1+3+6
6+4
2+8
2
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
2
Essence of Number
1
1
1

 

 

-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
14
-
-
-
-
23
14
14
6
-
-
-
-
-
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
9
-
-
-
-
54
18
9
9
-
-
-
-
-
-
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
17
-
-
-
-
26
17
17
8
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

 

-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
1
1
R
18
9
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Prometheus - Wikipedia, the free encyclopedia
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In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus (disambiguation) - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation).

In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2]

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules).

In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4]

In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).

Contents [hide]
1 Myths and legends 1.1 The oldest legends of Prometheus among the Ancients 1.1.1 Hesiod and the Theogony
1.1.2 Homer, the Iliad, and the Homeric Hymns
1.1.3 Pindar and the Nemean Odes
1.1.4 Pythagoras and the Pythagorean Doctrine

1.2 The Athenian Tradition of Prometheus: Aeschylus and Plato 1.2.1 Aeschylus and the Ancient Literary Aesthetics of Prometheus
1.2.2 Plato and the Philosophical Interpretation of Prometheus
1.2.3 The Athenian tradition of religious dedication and observance
1.2.4 The Aesthetic tradition of Prometheus in Athenian art

1.3 Other authors

2 Religious symbolism in late Roman antiquity
3 The allegorical tradition of the Middle Ages
4 Prometheus in the Renaissance
5 The Post-Renaissance tradition 5.1 The literary Post-Renaissance tradition 5.1.1 Goethe and the Prometheus-Ganymede poems
5.1.2 Percy Bysshe Shelley and Prometheus Unbound
5.1.3 Mary Shelley and Frankenstein: The Modern Prometheus
5.1.4 Prometheus in the Twentieth Century

The oldest legends of Prometheus among the Ancients[edit]

The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.

Hesiod and the Theogony[edit]

The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7]

Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7]

Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone.
Prometheus, in eternal punishment, is chained to a rock in the Caucasus, Kazbek Mountain, where his liver is eaten daily by an eagle,[9] only to be regenerated by night, due to his immortality. The eagle is a symbol of Zeus Himself. Years later, the Greek hero Heracles (Hercules) slays the eagle and frees Prometheus from his chains.[10]

Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope.

Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14]

Homer, the Iliad, and the Homeric Hymns[edit]

The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods.

Pindar and the Nemean Odes[edit]

The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans.

Pythagoras and the Pythagorean Doctrine[edit]

In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22]

The Athenian Tradition of Prometheus: Aeschylus and Plato[edit]

The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime.

Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]

Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24]

Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him.

Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC)
Moreover, Aeschylus anachronistically and artificially injects Io, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story. Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother Gaia of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphoros, a lost tragedy by Aeschylus.

Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus).

The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26]

Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29]

According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30]

In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31]

Plato and the Philosophical Interpretation of Prometheus[edit]

Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36]

The Athenian tradition of religious dedication and observance[edit]

It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38]

Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias
Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar. For the Panathenaic festival, arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos, the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.[39] The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the Acropolis to conclude the festival.[40] These footraces took the form of relays in which teams of runners passed off a flaming torch. According to Pausanias (2nd century AD), the torch relay, called lampadedromia or lampadephoria, was first instituted at Athens in honor of Prometheus.[41] By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena.[42] Prometheus' association with fire is the key to his religious significance[37] and to the alignment with Athena and Hephaestus that was specific to Athens and its "unique degree of cultic emphasis" on honoring technology.[43] The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.[44]

Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36]

The Aesthetic tradition of Prometheus in Athenian art[edit]

Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC.

The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46]

Other authors[edit]

Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD)

Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877)

Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.

Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36]

Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36]

Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50]

Religious symbolism in late Roman antiquity[edit]

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.

As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus.

The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55]

In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57]

In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58]

Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58]

It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58]

Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62]

The allegorical tradition of the Middle Ages[edit]

Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists.

Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas.

Prometheus in the Renaissance[edit]

After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae.

The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.

Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.

The Post-Renaissance tradition[edit]

Mythological narrative of Prometheus by Piero di Cosimo (1515)
See also: Prometheus in popular culture

The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West.

The literary Post-Renaissance tradition[edit]

For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.

Goethe and the Prometheus-Ganymede poems[edit]

"Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.

The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition.

"Prometheus"

The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.

In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.

Percy Bysshe Shelley and Prometheus Unbound[edit]

Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available.

The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71]

Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73]

To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75]

Mary Shelley and Frankenstein: The Modern Prometheus[edit]

The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others.

Prometheus in the Twentieth Century[edit]

Prometheus (1909) by Otto Greiner
Franz Kafka (d. 1924) wrote a short piece on Prometheus, outlining what he saw as his perspective on four aspects of his myth:

According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed.
According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.
According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself.
According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.
There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.[76]

This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस).

In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78]

The artificial element Promethium was named with the myth in mind.

The aesthetic Post-Renaissance tradition[edit]

Classical music, opera, and ballet[edit]

Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84]

An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89]

In film[edit]

The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed.

Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]

 

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

-
-
-
-
-
-
-
-
-
-
-
-
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
8
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
8
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
8
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
8
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
8
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
8
5
6
7
8
9

 

 

B
=
2
-
7
BREATHE
59
32
5
O
=
6
-
2
ON
29
11
2
M
=
4
-
2
ME
18
9
9
B
=
2
-
6
BREATH
54
27
9
O
=
6
-
2
OF
21
12
3
G
=
7
-
3
GOD
26
17
8
B
-
27
-
22
Add to Reduce
207
180
36
-
-
2+7
-
2+2
Reduce to Deduce
2+0+7
1+8+0
3+6
-
-
9
-
4
Essence of Number
9
9
9

 

 

10
PRECESSION
123
69
6
2
OF
21
12
3
3
THE
33
15
6
9
EQUINOXES
129
57
3
24
Add to Reduce
306
153
18
2+4
Reduce to Deduce
3+0+6
1+5+3
1+8
6
Essence of Number
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
G
=
7
-
5
GREAT
51
24
6
P
=
7
-
7
PYRAMID
86
41
5
O
=
6
-
2
OF
21
12
3
G
=
7
-
4
GIZA
43
25
7
-
-
29
-
21
First Total
234
117
27
-
-
2+9
-
2+1
Add to Reduce
2+3+4
1+1+7
2+7
-
-
11
-
3
Second Total
9
9
9
-
-
1+1
-
-
Reduce to Deduce
-
-
-
-
-
2
-
3
Essence of Number
9
9
9

 

WORDS OF POWER

 

 

1
I
9
9
9
2
ME
18
9
9
3
EGO
27
18
9
4
OGRE
45
27
9
10
First Total
99
63
36
1+0
Add to Reduce
9+9
6+3
3+6
1
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
1
Essence of Number
9
9
9
-
-
-
-
-
-
-
-
-
-
3
THE
33
15
6
3
GOD
26
17
8
2
OF
21
12
3
4
SELF
42
15
6
6
ESTEEM
67
22
4
18
First Total
189
81
27
1+8
Add to Reduce
1+8+9
8+1
2+7
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

1
I
11
2
9
2
ME
18
9
9
3
EGO
27
18
9
4
OGRE
45
27
9
10
EGOCENTRIC
99
54
9
10
CONSCIENCE
90
45
9

 

 

--
EGO CENTRIC
-
-
-
3
EGO
27
18
9
7
CENTRIC
72
36
9
10
EGO CENTRIC
99
54
18
1+0
-
9+9
5+4
1+8
1
EGO CENTRIC
18
9
9
-
-
1+8
-
-
1
EGO CENTRIC
9
9
9

 

 

-
1
I
-
-
-
I
-
--
-
-
-
-
9
+
=
9
-
=
9
=
9
-
-
9
+
=
9
-
=
9
=
9
-
3
I
-
-
-
I
-
-
-
-
-
-
9
+
=
9
-
=
9
=
9
-
-
9
+
=
9
-
=
9
=
9
-
1
I
-
-
-
I
-
-
-
-
-
-
9
+
=
9
-
=
9
=
9
-
-
9
+
=
9
-
=
9
=
9
-
1
I
T
-
0
ZERO
-
-
-
0
1
-
-
-
-
1
ONE
-
-
-
1
2
-
-
-
-
2
TWO
-
-
-
2
3
-
-
-
-
3
THREE
-
-
-
3
4
-
-
-
-
4
FOUR
-
-
-
4
5
--
-
-
-
5
FIVE
-
-
-
5
6
-
-
-
-
6
SIX
-
-
-
6
7
-
-
-
-
7
SEVEN
-
-
-
7
8
-
-
-
-
8
EIGHT
-
-
-
8
-
-
9
-
-
9
NINE
x
1
=
9
36
1
I
-
-
36
-
-
1
-
9
3+6
-
9
-
-
3+6
-
-
-
-
-
9
1
I
-
-
9
-
-
1
-
9
-
-
9
-
-
-
-
-
-
-
-
9
1
I
-
-
9
-
-
1
-
9

 

 

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

 

 

-
1
I
-
-
-
-
-
--
-
-
-
-
9
+
=
9
1+8
=
9
=
9
-
-
9
+
=
9
-
=
9
=
9
-
3
I
-
-
-
-
-
-
-
-
-
-
9
+
=
9
1+8
=
9
=
9
-
-
9
+
=
9
-
=
9
=
9
-
1
I
-
-
-
-
-
-
-
-
-
-
9
+
=
9
1+8
=
9
=
9
-
-
9
+
=
9
-
=
9
=
9
-
1
I
T
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
36
1
I
-
-
36
-
-
1
-
9
3+6
-
9
-
-
3+6
-
-
-
-
-
9
1
I
-
-
9
-
-
1
-
9
-
-
9
-
-
-
-
-
-
-
-
9
1
I
-
-
9
-
-
1
-
9

 

 

-
2
M
E
-
-
-
-
-
--
-
-
-
-
13
5
+
=
18
1+8
=
9
=
9
-
-
4
5
+
=
9
-
=
9
=
9
-
2
M
E
-
-
-
-
-
--
-
-
-
-
13
5
+
=
18
1+8
=
9
=
9
-
-
4
5
+
=
9
-
=
9
=
9
-
2
M
E
-
-
-
-
-
--
-
-
-
-
13
5
+
=
18
1+8
=
9
=
9
-
-
4
5
+
=
9
-
=
9
=
9
-
2
M
E
-
-
-
-
-
-
-
-
1
-
--
--
--
--
1
--
--
--
--
--
2
-
--
--
--
--
2
--
--
--
--
--
3
-
--
--
--
--
3
--
--
--
--
--
-
-
4
-
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
5
occurs
x
1
=
5
6
-
--
--
--
--
6
--
--
--
--
--
7
-
--
--
--
--
7
--
--
--
--
--
8
-
--
--
--
--
8
--
--
--
--
--
9
-
--
--
--
--
9
--
--
--
--
--
36
2
M
E
-
-
9
-
-
2
-
9
3+6
-
4
5
-
-
-
-
-
-
-
-
9
2
M
E
-
-
9
-
-
2
-
9
-
-
4
5
-
-
-
-
-
-
-
-
9
2
M
E
-
-
9
-
-
2
-
9

 

 

2
M
E
-
-
-
-
-
--
-
-
-
13
5
+
=
18
1+8
=
9
=
9
-
4
5
+
=
9
-
=
9
=
9
2
M
E
-
-
-
-
-
--
-
-
-
13
5
+
=
18
1+8
=
9
=
9
-
4
5
+
=
9
-
=
9
=
9
2
M
E
-
-
-
-
-
--
-
-
-
13
5
+
=
18
1+8
=
9
=
9
-
4
5
+
=
9
-
=
9
=
9
2
M
E
-
-
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
-
-
5
-
-
5
occurs
x
1
=
5
2
M
E
-
-
9
-
-
2
-
9
-
4
5
-
-
-
-
-
-
-
-
2
M
E
-
-
9
-
-
2
-
9
-
4
5
-
-
-
-
-
-
-
-
2
M
E
-
-
9
-
-
2
-
9

 

 

1
I
9
9
9
2
ME
18
9
9
3
YOU
61
16
7
6
First Total
168
34
25
-
Add to Reduce
8+8
3+4
2+5
6
Second Total
16
7
7
-
Reduce to Deduce
1+6
-
-
6
Essence of Number
7
7
7

 

 

-
3
Y
O
U
-
-
-
-
-
--
-
-
-
-
-
6
-
+
=
6
-
=
6
=
6
-
-
-
15
-
+
=
15
1+5
=
6
=
6
-
3
Y
O
U
-
-
-
-
-
--
-
-
-
-
7
-
3
+
=
10
7+3
=
10
1+0
1
-
-
25
-
21
+
=
46
4+6
=
10
1+0
1
-
3
Y
O
U
-
-
-
-
-
--
-
-
-
-
25
15
21
+
=
61
6+1
=
7
1+5
7
-
-
7
6
3
+
=
16
1+6
=
7
=
7
-
3
Y
O
U
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
-
-
-
-
2
``-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
3
-
-
3
occurs
x
1
=
3
4
-
-
-
-
-
-
4
-
-
-
-
-
5
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
-
-
7
-
-
-
-
7
occurs
x
1
=
7
8
-
-
-
-
-
-
8
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
29
3
Y
O
U
-
-
16
-
-
3
-
16
2+9
-
-
-
-
-
-
1+6
-
-
-
-
1+6
11
3
Y
O
U
-
-
7
-
-
3
-
7
1+1
-
7
6
3
-
-
-
-
-
-
-
-
2
3
Y
O
U
-
-
7
-
-
3
-
7

 

 

3
Y
O
U
-
-
-
-
-
--
-
-
-
-
6
-
+
=
6
-
=
6
=
6
-
-
15
-
+
=
15
1+5
=
6
=
6
3
Y
O
U
-
-
-
-
-
--
-
-
-
7
-
3
+
=
10
7+3
=
10
1+0
1
-
25
-
21
+
=
46
4+6
=
10
1+0
1
3
Y
O
U
-
-
-
-
-
--
-
-
-
25
15
21
+
=
61
6+1
=
7
1+5
7
-
7
6
3
+
=
16
1+6
=
7
=
7
3
Y
O
U
-
-
-
-
-
-
-
-
-
-
-
3
-
-
3
occurs
x
1
=
3
-
-
6
-
-
-
6
occurs
x
1
=
6
-
7
-
-
-
-
7
occurs
x
1
=
7
3
Y
O
U
-
-
16
-
-
3
-
16
-
-
-
-
-
-
1+6
-
-
-
-
1+6
3
Y
O
U
-
-
7
-
-
3
-
7
-
7
6
3
-
-
-
-
-
-
-
-
3
Y
O
U
-
-
7
-
-
3
-
7

 

 

YOU 763 YOU

GOD 764 764 GOD

 

 

-
3
E
G
O
-
-
-
-
-
--
-
-
-
-
-
-
6
+
=
6
-
=
6
=
6
-
-
-
-
15
+
=
15
1+5
=
6
=
6
-
3
E
G
O
-
-
-
-
-
--
-
-
-
-
5
7
-
+
=
12
1+2
=
3
=
3
-
3
E
G
O
-
-
-
-
-
--
-
-
-
-
5
7
15
+
=
27
2+7
=
9
=
9
-
-
5
7
6
+
=
18
1+8
=
9
=
9
-
3
E
G
O
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
-
-
-
-
2
-
-
-
-
-
-
2
-
-
-
-
-
3
-
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
6
-
-
6
occurs
x
1
=
6
-
-
-
7
-
-
-
7
occurs
x
1
=
7
8
-
-
-
-
-
-
8
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
27
3
E
G
O
-
-
18
-
-
3
-
18
2+7
-
-
-
-
-
-
1+8
-
-
-
-
1+8
9
3
E
G
O
-
-
9
-
-
3
-
9
-
-
5
7
6
-
-
-
-
-
-
-
-
9
3
E
G
O
-
-
9
-
-
3
-
9

 

 

3
E
G
O
-
-
-
-
-
--
-
-
-
-
-
6
+
=
6
-
=
6
=
6
-
-
-
15
+
=
15
1+5
=
6
=
6
3
E
G
O
-
-
-
-
-
--
-
-
-
5
7
-
+
=
12
1+2
=
3
=
3
3
E
G
O
-
-
-
-
-
--
-
-
-
5
7
15
+
=
27
2+7
=
9
=
9
-
5
7
6
+
=
18
1+8
=
9
=
9
3
E
G
O
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
-
-
-
6
-
-
6
occurs
x
1
=
6
-
-
7
-
-
-
7
occurs
x
1
=
7
3
E
G
O
-
-
18
-
-
3
-
18
-
-
-
-
-
-
1+8
-
-
-
-
1+8
3
E
G
O
-
-
9
-
-
3
-
9
-
5
7
6
-
-
-
-
-
-
-
-
3
E
G
O
-
-
9
-
-
3
-
9

 

 

11
4
O
G
R
E
-
-
-
-
--
-
-
-
-
6
-
-
-
+
=
6
-
=
6
=
6
-
-
15
-
-
-
+
=
15
1+5
=
6
=
6
11
4
O
G
R
E
-
-
-
-
-
--
-
-
-
-
-
7
9
5
+
=
21
2+1
=
3
=
3
-
-
-
7
18
5
+
=
30
3+0
=
3
=
3
11
4
O
G
R
E
-
-
-
-
-
--
-
-
-
-
15
7
18
5
+
=
45
4+5
=
9
=
9
-
-
6
7
9
5
+
=
27
2+7
=
9
=
9
11
4
O
G
R
E
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
-
-
-
-
-
2
-
-
-
-
-
-
-
2
-
-
-
-
-
3
-
--
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
1
=
5
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
8
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
18
4
O
G
R
E
-
-
27
-
-
4
-
27
1+8
-
-
-
9
-
-
-
2+7
-
-
-
-
2+7
9
4
O
G
R
E
-
-
9
-
-
4
-
9
-
-
6
7
9
5
-
-
-
-
-
-
-
-
9
4
O
G
R
E
-
-
9
-
-
4
-
9

 

 

4
O
G
R
E
-
-
-
-
--
-
-
-
6
-
-
-
+
=
6
-
=
6
=
6
-
15
-
-
-
+
=
15
1+5
=
6
=
6
4
O
G
R
E
-
-
-
-
-
--
-
-
-
-
7
9
5
+
=
21
2+1
=
3
=
3
-
-
7
18
5
+
=
30
3+0
=
3
=
3
4
O
G
R
E
-
-
-
-
-
--
-
-
-
15
7
18
5
+
=
45
4+5
=
9
=
9
-
6
7
9
5
+
=
27
2+7
=
9
=
9
4
O
G
R
E
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
1
=
5
-
6
-
-
-
-
-
6
occurs
x
1
=
6
-
-
7
-
-
-
-
7
occurs
x
1
=
7
-
-
-
9
-
-
-
9
occurs
x
1
=
9
4
O
G
R
E
-
-
27
-
-
4
-
27
-
-
-
9
-
-
-
2+7
-
-
-
-
2+7
4
O
G
R
E
-
-
9
-
-
4
-
9
-
6
7
9
5
-
-
-
-
-
-
-
-
4
O
G
R
E
-
-
9
-
-
4
-
9

 

 

1
I
11
2
9
2
ME
18
9
9
3
EGO
27
18
9
4
OGRE
45
27
9
10
First Total
99
63
27
1+0
Add to Reduce
9+9
6+3
2+7
1
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
1
Essence of Number
9
9
9

 

 

4
MAAT
35
8
8
2
IS
28
19
1
6
DIVINE
63
36
9
10
CONSCIENCE
90
108
9
22
Add to Reduce
216
171
27
2+2
Reduce to Deduce
2+1+6
1+7+1
2+7
4
Essence of Number
9
9
9

 

 

-
THE I OF CONSCIENCE
-
-
-
3
THE
33
15
6
1
I
9
9
9
2
OF
21
12
3
10
CONSCIENCE
90
45
9
16
THE I OF CONSCIENCE
153
81
27
1+6
-
1+5+3
8+1
2+7
7
THE I OF CONSCIENCE
9
9
9

 

 

16
DIVINE CONSCIENCE
153
81
9
16
THE I OF CONSCIENCE
153
81
9

 

 

I
=
9
1
I
9
9
9
T
=
2
5
THINK
62
26
8
T
=
2
9
THEREFORE
100
55
1
I
=
9
1
I
9
9
9
A
=
1
2
AM
14
5
5
-
-
23
18
First Total
194
104
32
-
-
2+3
1+8
Add to Reduce
1+9+4
1+0+4
3+2
-
-
5
9
Second Total
14
5
5
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
5
9
Essence of Number
5
5
5

 

 

18
I THINK THEREFORE I AM
194
104
5
21
I THINK THEREFORE I AM NOT
243
117
9

 

 

I
=
9
1
I
9
9
9
T
=
2
5
THINK
62
26
8
T
=
2
9
THEREFORE
100
55
1
I
=
9
1
I
9
9
9
A
=
1
2
AM
14
5
5
N
=
5
3
NOT
49
13
4
-
-
28
21
Add to Reduce
243
117
36
-
-
2+8
2+1
Reduce to Deduce
2+4+3
1+1+7
3+6
-
-
10
3
Essence of Number
9
9
9
-
-
1+0
-
Reduce to Deduce
-
-
-
-
-
1
3
Essence of Number
9
9
9

 

 

-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
THINK
62
26
8
-
-
-
-
-
-
-
-
-
-
T
=
2
-
9
THEREFORE
100
55
1
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
-
-
-
-
-
-
-
-
-
28
4
21
Add to Reduce
243
117
36
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
1
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
9
-
1
-
9
9
9
-
-
-
-
-
-
-
-
-
-
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
3
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
4
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
K
=
2
6
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
-
-
26
-
5
-
62
26
26
-
-
-
-
-
-
-
-
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
10
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
11
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
12
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
13
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
14
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
55
-
9
-
100
55
55
-
-
-
-
-
-
-
-
-
-
I
=
9
16
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
9
-
6
-
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
M
=
4
18
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
-
-
5
-
2
-
14
5
5
-
-
-
-
-
-
-
-
-
-
N
=
5
19
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
20
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
T
=
2
21
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
13
-
3
-
49
13
13
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
1
8
3
4
25
18
7
16
45
T
=
2
-
5
THINK
62
26
8
-
-
-
-
-
2+5
1+8
-
1+6
4+5
T
=
2
-
9
THEREFORE
100
55
1
-
1
8
3
4
7
9
7
7
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
2
AM
14
5
5
-
1
8
3
4
7
9
7
7
9
N
=
5
-
3
NOT
49
13
4
-
-
-
-
-
-
-
-
-
-
-
-
28
-
21
First Total
243
117
36
-
1
8
3
4
7
9
7
7
9
-
-
2+8
-
2+1
Add to Reduce
2+4+3
1+1+7
3+6
-
-
-
-
-
-
-
-
-
-
-
-
10
-
9
Second Total
9
9
9
-
1
8
3
4
7
9
7
7
9
-
-
1+0
-
1+0
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
Essence of Number
9
9
9
-
1
8
3
4
7
9
7
7
9

 

 

-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
THINK
62
26
8
-
-
-
-
-
-
-
-
-
-
T
=
2
-
9
THEREFORE
100
55
1
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
-
-
-
-
-
-
-
-
-
28
4
21
Add to Reduce
243
117
36
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
1
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
3
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
-
-
26
-
5
-
62
26
26
-
-
-
-
-
-
-
-
-
-
I
=
9
4
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
K
=
2
6
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
10
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
11
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
12
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
13
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
14
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
16
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
M
=
4
18
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
N
=
5
19
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
20
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
T
=
2
21
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
1
8
3
4
25
18
7
16
45
T
=
2
-
5
THINK
62
26
8
-
-
-
-
-
2+5
1+8
-
1+6
4+5
T
=
2
-
9
THEREFORE
100
55
1
-
1
8
3
4
7
9
7
7
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
2
AM
14
5
5
-
1
8
3
4
7
9
7
7
9
N
=
5
-
3
NOT
49
13
4
-
-
-
-
-
-
-
-
-
-
-
-
28
-
21
First Total
243
117
36
-
1
8
3
4
7
9
7
7
9
-
-
2+8
-
2+1
Add to Reduce
2+4+3
1+1+7
3+6
-
-
-
-
-
-
-
-
-
-
-
-
10
-
9
Second Total
9
9
9
-
1
8
3
4
7
9
7
7
9
-
-
1+0
-
1+0
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
Essence of Number
9
9
9
-
1
8
3
4
7
9
7
7
9

 

 

-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
THINK
62
26
8
-
-
-
-
-
-
-
-
-
-
T
=
2
-
9
THEREFORE
100
55
1
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
-
-
-
-
-
-
-
-
-
28
4
21
Add to Reduce
243
117
36
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
17
1
A
1
1
1
-
1
-
3
-
-
-
7
-
-
T
=
2
2
1
T
20
2
2
-
-
2
3
-
-
-
7
-
-
K
=
2
6
1
K
11
2
2
-
-
2
3
-
-
-
7
-
-
T
=
2
7
1
T
20
2
2
-
-
2
3
-
-
-
7
-
-
T
=
2
21
1
T
20
2
2
-
-
2
3
-
-
-
7
-
-
M
=
4
18
1
M
13
4
4
-
-
-
3
4
-
-
7
-
-
N
=
5
5
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
E
=
5
11
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
E
=
5
9
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
E
=
5
15
1
E
5
5
5
-
-
-
3
-
5
-
7
-
-
N
=
5
19
1
N
14
5
5
-
-
-
3
-
5
-
7
-
-
F
=
6
12
1
F
6
6
6
-
-
-
3
-
-
6
7
-
-
O
=
6
13
1
O
15
6
6
-
-
-
3
-
-
6
7
-
-
O
=
6
20
1
O
15
6
6
-
-
-
3
-
-
6
7
-
-
H
=
8
3
1
H
8
8
8
-
-
-
3
-
-
-
7
8
-
H
=
8
8
1
H
8
8
8
-
-
-
3
-
-
-
7
8
-
I
=
9
1
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
I
=
9
4
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
R
=
9
10
1
R
18
9
9
-
-
-
3
-
-
-
7
-
9
R
=
9
14
1
R
18
9
9
-
-
-
3
-
-
-
7
-
9
I
=
9
16
1
I
9
9
9
-
-
-
3
-
-
-
7
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
1
8
3
4
25
18
7
16
45
T
=
2
-
5
THINK
62
26
8
-
-
-
-
-
2+5
1+8
-
1+6
4+5
T
=
2
-
9
THEREFORE
100
55
1
-
1
8
3
4
7
9
7
7
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
2
AM
14
5
5
-
1
8
3
4
7
9
7
7
9
N
=
5
-
3
NOT
49
13
4
-
-
-
-
-
-
-
-
-
-
-
-
28
-
21
First Total
243
117
36
-
1
8
3
4
7
9
7
7
9
-
-
2+8
-
2+1
Add to Reduce
2+4+3
1+1+7
3+6
-
-
-
-
-
-
-
-
-
-
-
-
10
-
9
Second Total
9
9
9
-
1
8
3
4
7
9
7
7
9
-
-
1+0
-
1+0
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
Essence of Number
9
9
9
-
1
8
3
4
7
9
7
7
9

 

 

4
THAT
49
13
4
1
I
9
9
9
2
OF
21
12
3
5
THINE
56
29
2
-
-
-
-
-
3
AND
19
10
1
4
MINE
41
23
5
-
-
-
-
-
2
MY
38
11
2
3
O
52
16
7
2
MY
38
11
2
4
MINE
41
23
5
3
OWN
52
16
7
4
MINDS
59
23
5
1
I
9
9
9
-
-
-
-
-
3
THE
33
15
6
1
I
9
9
9
2
OF
21
12
3
3
MIN
60
24
6
-
-
-
-
-
3
THE
33
15
6
8
DREAMERS
83
38
2
1
I
9
9
9
-
-
-
-
-
4
THAT
49
13
4
1
I
9
9
9
4
THAT
49
13
4
6
THINKS
81
27
9
1
I
9
9
9
1
ME
9
9
9
2
AN
15
6
6
2
AM
14
5
5
2
AN
15
6
6
1
I
9
9
9
1
ME
9
9
9
2
AM
14
5
5
1
I
9
9
9
-
-
-
-
-
4
THAT
49
13
4
1
I
9
9
9
2
OF
21
12
3
5
THINE
56
29
2
3
AND
19
10
1
4
MINE
41
23
5
2
IS
28
10
1
3
KNOW
63
18
9
1
I
9
9
9
2
AT
21
12
3
3
ALL
25
7
7
2
AT
21
12
3
3
ALL
25
7
7

 

 

3
LAW
36
9
9
7
JUSTICE
87
24
6
9
INJUSTICE
110
38
2

 

 

6
KARMAS
63
18
9
3
LAW
36
9
9
2
OF
21
12
3
3
THE
33
15
6
1
I
9
9
9
2
ME
18
9
9
3
DIE
18
9
9
7
REALITY
90
36
9

 

 

10
CURRICULUM
-
-
-
-
C
3
3
3
-
U
21
3
3
-
R
18
9
9
-
R
18
9
9
-
I
9
9
9
-
C
3
3
3
-
U
21
3
3
-`
L
12
3
3
-
U
21
12
3
-
M
13
4
4
10
CURRICULUM
139
58
49
1+0
-
1+3+9
5+8
4+9
1
CURRICULUM
13
13
13
-
-
1+3
1+3
1+3
1
CURRICULUM
4
4
4

 

 

10
CURRICULUM
--
-
-
-
-
-
-
-
C
3
3
3
-
3
-
-
-
U
21
3
3
-
3
-
-
-
R
18
9
9
-
-
-
9
-
R
18
9
9
-
-
-
9
-
I
9
9
9
-
-
-
9
-
C
3
3
3
-
3
-
-
-
U
21
3
3
-
3
-
-
-
L
12
3
3
-
3
-
-
-
U
21
3
3
-
3
-
-
-
M
13
4
4
-
-
4
-
10
CURRICULUM
139
49
49
-
18
4
27
1+0
-
1+3+9
4+9
4+9
-
1+8
-
2+7
1
CURRICULUM
13
13
13
-
9
4
9
-
-
1+3
1+3
1+3
-
-
-
-
1
CURRICULUM
4
4
4
-
9
4
9

 

 

-
-
-
-
-
GENOME
-
-
-
-
-
-
-
1
G
7
7
7
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
O
15
6
6
-
-
-
-
2
M+E
18
9
9
G
=
7
-
6
GENOME
59
32
32
-
-
-
-
-
-
5+9
3+2
3+2
G
=
7
-
6
GENOME
14
5
5
-
-
-
-
-
-
1+4
-
-
G
=
7
-
6
GENOME
5
5
5

 

 

-
-
-
-
-
GENOME
-
-
-
-
-
-
-
1
G
7
7
7
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
-
-
-
-
1
O
15
6
6
-
-
-
-
1
M
13
4
4
-
-
-
-
1
E
5
5
5
G
=
7
-
6
GENOME
59
32
32
-
-
-
-
-
-
5+9
3+2
3+2
G
=
7
-
6
GENOME
14
5
5
-
-
-
-
-
-
1+4
-
-
G
=
7
-
6
GENOME
5
5
5

 

 

-
-
-
-
-
GENOME
-
-
-
-
1
2
3
4
5
6
7
8
9
M
=
4
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
G
=
7
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
32

-

6
GENOME
59
32
32
-
1
2
3
4
15
6
7
8
9
-
-
3+2
-
-
-
5+9
3+2
3+2
-
-
-
-
-
1+5
-
-
-
-
-
-
5
-
6
GENOME
14
5
5
-
1
2
3
4
6
6
7
8
9
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
6
GENOME
5
5
5
-
1
2
3
4
6
6
7
8
9

 

 

-
-
-
-
-
GENOME
-
-
-
-
1
2
3
4
5
6
7
8
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
-
-
32

-

6
GENOME
59
32
32
-
1
2
3
4
15
6
7
8
9
-
-
3+2
-
-
-
5+9
3+2
3+2
-
-
-
-
-
1+5
-
-
-
-
-
-
5
-
6
GENOME
14
5
5
-
1
2
3
4
6
6
7
8
9
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
6
GENOME
5
5
5
-
1
2
3
4
6
6
7
8
9

 

 

3
THE
33
15
6
5
HUMAN
57
21
3
6
GENOME
59
32
5
14
First Total
149
68
14
1+4
Add to Reduce
1+4+9
6+8
1+4
5
Second Total
14
14
5
-
Reduce to Deduce
1+4
1+4
-
5
Essence of Number
5
5
5

 

 

-
-
-

-

3
THE
33
15
6
-
1
2
3
4
5
6
7
8
9
-
-
-
-
5
HUMAN
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
-

-

6
GENOME
59
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
14
First Total
149
68
14
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
-
-
15
-
3
-
33
15
15
-
-
-
-
-
-
-
-
-
9
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
-
-
21
-
3
-
57
21
21
-
-
-
-
-
-
-
-
-
9
G
=
7
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
-
-
32
-
3
-
59
32
32
-
1
2
3
8
25
6
7
16
9
-
-
-

-

3
THE
33
15
6
-
-
-
-
-
2+5
-
-
1+6
-
-
-
-
-
5
HUMAN
57
21
3
-
1
2
3
8
7
6
7
7
9
-
-
-
-
6
GENOME
59
32
5
-
-
-
-
-
-
-
-
-
-
-
-
68
-
14
First Total
149
68
14
-
1
2
3
8
7
6
7
7
9
-
-
1+4
-
1+4
Add to Reduce
1+4+9
6+8
1+4
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Second Total
14
14
5
-
1
2
3
8
7
6
7
7
9
-
-
-
-
-
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
5
5
5
-
1
2
3
8
7
6
7
7
9

 

 

-
-
-

-

3
THE
33
15
6
-
1
2
3
4
5
6
7
8
9
-
-
-
-
5
HUMAN
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
-

-

6
GENOME
59
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
14
First Total
149
68
14
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
G
=
7
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
-
-
-
-
-
-
-
-
-
-
1
2
3
8
25
6
7
16
9
-
-
32

-

3
THE
33
15
6
-
-
-
-
-
2+5
-
-
1+6
-
-
-
3+2
-
5
HUMAN
57
21
3
-
1
2
3
8
7
6
7
7
9
-
-
5
-
6
GENOME
59
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
14
First Total
149
68
14
-
1
2
3
8
7
6
7
7
9
-
-
5
-
1+4
Add to Reduce
1+4+9
6+8
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
Second Total
14
14
5
-
1
2
3
8
7
6
7
7
9
-
-
5
-
-
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
Essence of Number
5
5
5
-
1
2
3
8
7
6
7
7
9

 

 

-
-
-

-

3
THE
33
15
6
-
1
2
3
4
5
6
7
8
9
-
-
-
-
5
HUMAN
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
-

-

6
GENOME
59
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
14
First Total
149
68
14
-
1
2
3
4
5
6
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
9
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
9
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
G
=
7
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
1
2
3
8
25
6
7
16
9
-
-
32
-
3
THE
33
15
6
-
-
-
-
-
2+5
-
-
1+6
-
-
-
3+2
-
5
HUMAN
57
21
3
-
1
2
3
8
7
6
7
7
9
-
-
5
-
6
GENOME
59
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
14
First Total
149
68
14
-
1
2
3
8
7
6
7
7
9
-
-
5
-
1+4
Add to Reduce
1+4+9
6+8
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
Second Total
14
14
5
-
1
2
3
8
7
6
7
7
9
-
-
5
-
-
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
Essence of Number
5
5
5
-
1
2
3
8
7
6
7
7
9

 

 

A
=
1
-
1
A
1
1
1
H
=
8
-
5
HUMAN
57
21
3
G
=
7
-
6
GENOME
59
32
5
-
-
16
-
12
Add to Reduce
117
54
9
-
-
1+6
-
1+2
Reduce to Deduce
1+1+7
5+4
-
-
-
3
-
3
Essence of Number
9
9
9

 

 

H
=
8
-
5
HUMAN
57
21
3
G
=
7
-
6
GENOME
59
32
5
-
-
15
-
11
Add to Reduce
116
53
8
-
-
1+5
-
1+1
Reduce to Deduce
1+1+6
5+3
-
-
-
6
-
2
Essence of Number
8
8
8

 

 

H
=
8
-
5
HUMAN
57
21
3
G
=
7
-
7
GENOMES
78
33
6
-
-
15
-
12
Add to Reduce
135
54
9
-
-
1+5
-
1+2
Reduce to Deduce
1+3+5
5+4
-
-
-
6
-
3
Essence of Number
9
9
9

 

 

T
=
2
3
THE
33
15
6
G
=
7
7
GENETIC
63
36
9
C
=
3
4
CODE
27
18
9
-
-
12
14
First Total
123
69
24
-
-
1+2
1+4
Add to Reduce
1+2+3
6+9
2+4
Q
Q
3
5
Second Total
6
15
6
-
-
-
-
Reduce to Deduce
-
1+5
-
-
-
3
5
Essence of Number
6
6
6

 

 

7
GENETIC
63
36
9
4
CODE
27
18
9
11
Add to Reduce
90
54
18
1+1
Reduce to Deduce
9+0
5+4
1+8
2
Essence of Number
9
9
9

 

 

G
=
7
-
4
GODS
45
27
9
U
=
3
-
9
UNIVERSAL
121
49
4
M
=
4
-
5
MINDS
59
32
5
I
=
9
-
1
I
9
9
9
-
-
14
-
19
First Total
234
117
27
-
-
1+4
-
1+9
Add to Reduce
2+3+4
1+1+7
2+7
-
-
5
-
10
Second Total
9
9
9
-
-
-
-
1+0
Reduce to Deduce
-
-
-
-
-
5
-
1
Essence of Number
9
9
9

 

 

-
-
-
-
A
-
-
-
-
-
-
-
-
T
-
-
-
-
-
-
-
-
O
-
-
-
-
-
-
-
-
N
-
-
-
-
A
T
O
N
E
M
E
N
T
-
-
-
-
M
-
-
-
-
-
-
-
-
E
-
-
-
-
-
-
-
-
N
-
-
-
-
-
-
-
-
T
-
-
-
-

 

 

-
-
-
-
-
A
-
-
-
-
-
-
-
-
-
-
B
-
-
-
-
-
-
-
-
-
-
R
-
-
-
-
-
-
-
-
-
-
A
-
-
-
-
-
-
-
-
-
-
C
-
-
-
-
-
A
B
R
A
C
A
D
A
B
R
A
-
-
-
-
-
D
-
-
-
-
-
-
-
-
-
-
A
-
-
-
-
-
-
-
-
-
-
B
-
-
-
-
-
-
-
-
-
-
R
-
-
-
-
-
-
-
-
-
-
A
-
-
-
-
-

 

 

A
-
-
-
A
-
-
-
-
A
-
B
-
-
-
B
-
-
-
R
-
-
-
R
-
-
R
-
-
B
-
-
-
-
-
A
-
A
-
A
-
-
-
-
-
-
-
C
C
D
-
-
-
-
A
B
R
A
C
A
D
A
B
R
A
-
-
-
-
C
D
D
-
-
-
-
-
-
-
A
-
A
-
A
-
-
-
-
-
R
-
-
B
-
-
B
-
-
-
B
-
-
-
R
-
-
-
R
-
A
-
-
-
A
-
-
-
-
A

 

 

-
ABRACADABRA
-
-
-
2
AB
3
3
3
1
R
18
9
9
4
A+C+A+D
9
9
9
2
A+B
3
3
3
1
R
18
9
9
1
A
1
1
1
11
ABRACADABRA
52
34
34
1+1
-
5+2
3+4
3+4
2
ABRACADABRA
7
7
7

 

 

 
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