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I ME YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART WITH ME
THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 82 The Sacred Fifty "We must return to the treatise 'The Virgin of the World'. This treatise is quite explicit in saying that Isis and Osiris were sent to help the Earth by giving primitive mankind the arts of civilization: 'How was it, mother, then, that Earth received God's Efflux?' And Isis said: 'I may not tell the story of (this) birth; for it is not permitted to describe the origin of thy descent, O Horus (son) of mighty power, lest afterwards the way-of-birth of the immortal gods should be known unto men - except so far that God the Monarch, the universal Orderer and Architect, sent for a little while thy mighty sire Osiris, and the mightiest goddess Isis, that they might help the world, for all things needed them. "Page 73 A Fairy Tale 'I INVOKE THEE, LADY ISIS, WITH WHOM THE GOOD DAIMON DOTH UNITE, HE WHO IS LORD IN THE PERFECT BLACK.'
THE SIRIUS MYSTERY Robert K.G.Temple 1976 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 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 'The Virgin of the World' following shortly upon that previously quoted: Page 82 "We must note Stecchini's remarks about Delphi as follows :38
IN THE BEGINNING WAS THE WORD AND THE WORD WAS WITH GOD AND THE WORD WAS GOD THE SAME WAS IN THE BEGINNING WITH GOD ALL THINGS WERE MADE BY GOD AND WITHOUT GOD WAS NOT ANYTHING MADE THAT WAS MADE IN GOD WAS LIFE AND THE LIFE WAS THE LIGHT OF HUMANKIND AND THE LIGHT SHINETH IN THE DARKNESS AND THE DARKNESS COMPREHENDED IT NOT
I AM ALPHA AND OMEGA THE BEGINNING AND THE END THE FIRST AND THE LAST I AM THE ROOT AND THE OFFSPRING OF DAVID AND THE BRIGHT AND MORNING STAR AND THE SPIRIT AND THE BRIDE SAY COME AND LET THEM THAT HEARETH SAY COME AND LET THEM THAT IS ATHIRST COME AND WHOSOEVER WILL LET THEM TAKE THE WATER OF LIFE FREELY
COLLINS GEM CODES AND CIPHERS 2006 Page 89 Frequency analysis Fequency analysis is the deadly weapon that breaks substitution and transposition ciphers. It was first developed in the 9th century by an Arab religious scholar called Al-Kindi, who was studying sacred texts of previous civilizations. He realized that in any language some letters are used far more often than others, that some only appear rarely, and that this pattern remains consistent. Therefore, in a subtitution cipher, the most commonly occurring ciphertext letters are likely to represent the most common letters in the plaintext language. This allows cryptoanalysists to make informed guesses about the identity of individual letters following statistical analysis of both the plaintext language and the ciphertext.
DAILY MAIL Friday, January 6, 2012 ANSWERS TO CORRESPONDENTS Compiled by Compiled by Charles Legge Page 66 QUESTION A friend once told·me Robert Burns used the modernsounding term 'Wow!' in one of his poems. Is this true? THE exclamation far predates Burns. According to the Oxford English Dictionary, it is a word of Scottish origin that first appeared in literature in 1513. It was an onomatopoeic word variously expressing aversion, surprise or admiration, sorrow or commiseration, much as it does today. The dictionary cites a reference from Gavin Douglas's acclaimed Scots translation of Virgil's Aeneid: Aeneis VI. Prol. 19: 'Out on thir wanderand spiritis, Wow! thow cryis.' There may be a much earlier reference. In the early part of the 15th century, James I of Scotland (1394-1437) is thought to have written the humorous poem Peblis To The Play, having enjoyed the Beltane festival at Peebles. This includes: 'Ane winklot fell and hir taill, Wow! quod malkin hyd.' It means something along the lines' of: 'One wench fell on her backside, Wow! How that crone howled.' But the poem's author ship is disputed and it may date from the 16th century. Andrew Walton, Kippax, W. Yorks.
THE word 'Wow!' can be-found in Tam O' Shanter: A Tale written in 1790 and considered by many to be Burns's greatest work. The expression appears towards the end of the centre part of this epic narrative poem, in the scene where Tam, a drunken farmer making his way home through Alloway on a wild night, sees lights in the derelict, and supposedly, haunted, Alloway Kirk, and goes to investigate. desplte the reluctance of his mare, Maggie. Burns writes: 'But Maggie stood, right sair astonished Till wi' the heel and hand admonished She nentured forward on the light and Wow! Tam saw an unco Sight! Warlocks and witches in a dance Nae cotillion brent-new frae France.' This is followed by a description of the wild dance of the coven members, led by Satan acting as piper, and culminating in the witches spotting Tam and Maggie lurking in the shadows and pursuing them to the bridge, at which point Maggie loses her tail to a last-second lunge by a witch's hand, but manages to escape the chasing coven and bear Tam off safely . David Yule, Bellshill, Lanarkshire. a wow Exclamatory: Robert Burns famously used the word 'wow' (Image omitted)
QUESTION A friend once told me that Robert Burns used the modernsounding term wow!' in one of his poems: Is this true? ,FURTHER.to earlier answers, the respectability of the word 'wow' was confirmed as early as 1638 when the Rev James Row used it in his Red-Shankes sermon delivered to a congregation at St Giles church in Edinburgh: 'What trou ye she (the Kirk of Scotland) is flichtered with, but witha silken ·threed ... and wow but we have taken great delight to be bound'. From the mid-16th century a number of religious tracts.forms of prayers and sermons circulated in Scots in manuscript and printed form. James Row's Red-Shankes and Pockmanty sermons were particularly popular and were still printed in the 18th century. Keith Wallis Selkirk, Borders
Beautiful dreamer, wake unto me, Starlight and dewdrops are waiting for thee; Sounds of the rude world, heard in the day, Lull'd by the moonlight have all pass'd away! Beautiful dreamer, queen of my song, List while I woo thee with soft melody; Gone are the cares of life's busy throng, Beautiful dreamer, awake unto me! Beautiful dreamer, awake unto me! Beautiful dreamer, out on the sea Mermaids are chanting the wild lorelie; Over the streamlet vapors are borne, Waiting to fade at the bright coming morn. Beautiful dreamer, beam on my heart, E'en as the morn on the streamlet and sea; Then will all clouds of sorrow depart, Beautiful dreamer, awake unto me! Beautiful dreamer, awake unto me! Here's a classic American song written by Stephen Foster (the Father of American music) which was posthumously published in 1864. This song is at times also used as a lullaby to lull babies to sleep.
Joni Mitchell - Both Sides Now Rows and flows of angel hair Moons and Junes and Ferris wheels But now it's just another show I've looked at love from both sides now Tears and fears and feeling proud But now old friends are acting strange I've looked at life from both sides now Both Sides Now is an album by Joni Mitchell, released in 2000.
We-de-de-de, de-de-de-de-de de, we-um-um-a-way (drum fill) A wimoweh, a-wimoweh a-wimoweh, a wimoweh In the jungle the mighty jungle the lion sleeps tonight We-de-de-de, de-de-de-de-de de, we-um-um-a-way Near the village the peaceful village the lion sleeps tonight We-de-de-de, de-de-de-de-de de, we-um-um-a-way x2 (A wimoweh, a-wimoweh a-wimoweh, a wimoweh x4) Hush my darling, don't fear my darling. The lion sleeps tonight. A wimoweh, a-wimoweh a-wimoweh, a wimoweh
We-de-de-de A-wimoweh, a-wimoweh In the jungle A-wimoweh, a-wimoweh Near the village A-wimoweh, a-wimoweh Hush, my darling A-wimoweh, a-wimoweh
We-de-de-de
http://www.youtube.com/watch?v=m_eYoGMCZqU
"THE LION SLEEPS TONIGHT" “The Lion Sleeps Tonight” lyrics
-------------------------------------------------------------------------------- Colors: Lead male vocal Translations of Zulu -------------------------------------------------------------------------------- Lala kahle [Sleep well] In the jungle, the mighty jungle (Chorus) Ingonyama ifile [The lion's in peace] Near the village, the peaceful village (Chorus) Ingonyama ilele [The lion sleeps] Hush, my darling, don't fear, my darling He, ha helelemama [He, ha helelemama] (Chorus) Ixesha lifikile [Time has come] Near the village, the peaceful village (Chorus) My little darling Ingonyama ilele [The lion sleeps]
THE DIVINE INVASION Phillip Dick 1981 "The time you have waited for has come. The work is complete; the final world is here. He has been transplanted and is alive." - Mysterious voice in the night.
Page 195 "My name means fairy,' Zina said, 'but that doesn't make me a fairy. Emmanuel means "God with us" but that doesn't make him God.'
THE DIVINE INVASION Phillip Dick 1981 Page 155 'I have a suprise for you, Zina.' he said. 'What?' she said. What is it?' 'Something that you do not know.' Emmanuel paused in his eating. 'This was foredained from the start. I saw it before the universe was. My journey into your land.'
THE DIVINE INVASION Phillip Dick 1981 Page 156 "It has become a random variable, introducing chance.' 'God plays at dice?' Zina said; she raised an eyebrow. 'If necessary,' Emmanuel said . If there is no other way.' "
THE DIVINE INVASION Phillip Dick 1981 Page260 'Belial.' Linda Fox said. She bent to touch the goat; hastily, the goat scrambled back but her fingers grazwd its flanks. The goat creature died."
THE DIVINE INVASION Phillip Dick 1981 "The time you have waited for has come. The work is complete: the final world is here. He has been transplanted and is alive." -Mysterious voice in the night Page 85 'What's wrong?' Elias put his arm around the boy and lifted him up to hold him. 'I've never seen you so upset.' 'He listened to that while my mother was dying!' Emmanuel stared into Elias's bearded face. I remember, Emmanuel said to himself. I am beginning to remember who I am. Elias said, 'What is it?' He held the boy tight. It is happening, Emmanuel realized. At last. That was the first of the signal that I - I myself - prepared. Knowing it would eventually fire. The two of them gazed into each other's faces. Neither the boy nor the man spoke. Trembling, Emmanuel clung to the old bearded man; he did not let himself fall. 'Do not fear,' Elias said. 'Elijah,' Emmanuel said. 'You are Elijah who comes first. Before the great and terrible day.' Elias, holding the boy and rocking him gently, said, 'You have nothing to fear on that day.' 'But he does,' Emmanuel said. 'The Adversary whom' we hate. His time has come. I fear for him, knowing as I do, now, what is ahead.' 'Listen,' Elias said quietly. How you have fallen from heaven, bright morning star, felled to the earth, sprawling helpless across the nations! You thought in your own mind, I will scale the heavens; I will set my throne high above the stars of God, I will sit on the mountain where the gods meet in the far recesses of the north. I will rise high above the cloud-banks and make myself like the Most High. Yet you shall be brought down to Sheol, to the depths of the abyss. Those who see you will stare at you, they will look at you and ponder. . .
Page 86 'You see?' Elias said. 'He is here. This is his place, this little world. He made it his fortress two thousand years ago, and set up a prison for the people as he did in Egypt. For two thousand years the people have been crying and there was no response, no aid. He has them all. He'll thinks he is safe.' Emmanuel, clutching the old man, began to cry. 'Still afraid?' Elias said. Emmanuel said, 'I cry with them. I cry with my mother. I cry with the dying dog who did not cry. I cry for them. And for Belial who fell, the bright morning star. Fell from heaven and began it all.' And, he thought, I cry for myself. I am my mother; I am the dying dog and the suffering people, and I, he thought, am that bright morning star, too. . . even Belial; I am that and what it has become.
I ME IS KNOT IS HUMAN O HUMAN KNOW THAT THAT THAT KNOW LOVE EVOLVE GODS EVOLVE LOVE
C RE ATUM ATUM RE C SEE ATUM RE ATUM RE SEE C RE ATUM ATUM RE C
CREATION SEE REACTION
CREATORS SEE CREATORS
CREATIVE SEE REACTIVE SEE CREATIVE
CREATUM 3951234 CREATUM
CREATUM 3951234 CREATUM
OSIRIS ISISIS OSIRIS ISISIS OSIRIS ISISISISISIS SOIRIS IRIS OSIRIS ISIS SO IRIS ISIS SO OSIRIS ISISIS SO IR IS OSIRIS ISISIS SO IR IS 99 IS IR SO ?
I SAY ALL AM I GODS I AM ALL THOU ART THAT THAT ART THOU
FROM ATLANTIS TO THE SPHINX RECOVERING THE LOST WISDOM OF THE ANCIENT WORLD Colin Wilson 1996 Page 279 Chapter 9 Of Stars and Gods Let me offer an example of Santillana's complex method of argument, Chapter 21, 'The Great God Pan is Dead', begins by recounting Plutarch's story of how a voice from a Greek island called out to the pilot of a ship - an Egyptian named Thamus -'When you come opposite to Palodes, announce that Great Pan is dead.' Since it was, calm and, still as he passed Palodes, Thamus did as he was asked, and there were great cries and lamentations from the shore. The emperor Tiberius, who was interested in mythology, sent for Thamus in order to hear the story from his.own lips. Christians were inclined to interpret the story as meaning that Christ was dead (since Jesus was crucified in the reign of Tiberius), But Santillana goes on to cite many oddly, similar myths. In the Tyrol, there are legends of Fanggen, tree spirits who sometimes enter human homes as servants. In one story collected by Grimm, a man on. his way home hears a voice calling: 'Yoke bearer, yoke bearer, tell them at home that Giki-Gaki is dead.' When he repeats this, the housemaid bursts into tears and vanishes. The 'yoke' referred to, according to Santillana, is the axle of Amlodhi's mill. There are many variants. A man is watching a meeting of cats when one of them jumps on a wall and shouts: 'Tell Dildrum that Doldrum is dead.' When he gets home, he tells his wife what he has seen, and their house cat shouts: 'Then I am king of the cats' and vanishes up the ,chimney. Is it possible, asks Santillana, that Plutarch's ship is the constellation Argo, and that it has the dead body of Osiris on board? And is it chance that the pilot is called Thamus, / Page 280 / like Plato's king who criticised Thoth (the god Mercury) for inventing writing, which made man mentally lazy, and brought an end to an age of 'integral knowledge' of the' universe? He goes on to tell another story of women lamenting the death of a god, this time Tammuz, who figures in Frazer as a grain god who dies with the season. But in this context, the minor god Tammuz is mentioned in context with many important gods; what is he doing in such distinguished company? The answer, says Santillana, appears when we learn the date of the festival of Tammuz. It took place on the night of 19-20 June, the date that marked the beginning of the Egyptian year. On that day, the dog star Sirius rose just before the sun (its 'heliacal rising'). .Now the Egyptians venerated Sirius because over 3000 years, it continued to rise at that date, in defiance of precession of the equinoxes . That sounds impossible, since all stars are affected by precession. But Sirius is, relatively speaking; very close' to Earth - the second closest of all stars - and has a considerable 'proper motion', which enables it to (apparently) defy precession. There was another reason, to do with the fact that the ancient Egyptians used a calendar which, like the Roman Julian calendar, had only 365 days in the year instead of 365.25, and this slight inaccuracy again enabled Sirius apparently to defy precession. So when Sirius also succumbed to precession, as it eventually did, the Great God Pan was dead. It can be seen why Santillana's method of argument baffled the scholars, as he leaps bewilderingly from the Great God Pan to servant girls and tabby cats and Plato, and a dozen other examples that I have forborne to include, to end up with precession and Sirius. . Yet again, it must be stated that it is impossible to understand Hamlet's Mill unless we grasp that it is not just an attempt to argue that ancient myths reflect a knowl-/Page 282 /edge of precession.
Imagine: John Lennon (soundtrack) - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Imagine:_John_Lennon_(soundtrack) Imagine: John Lennon is a soundtrack album of popular music composed by John Lennon for the 1988 documentary film, Imagine: John Lennon. Originally released that year as a double album, it now remains available on one CD. Bridging his two musical phases together, as a member of The Beatles and a solo artist (similar to George Harrison's earlier The Best of George Harrison), Imagine: John Lennon is a career-spanning collection of Lennon's many musical highlights. In addition there are a couple of heretofore unreleased recordings: an acoustic demo of "Real Love" taped in 1979 (an alternate recording of which would be finished by The Beatles for 1996' s Anthology 2) and a rehearsal take of "Imagine" in mid-1971 before the final take was captured. It also features for the first time a clean-intro version of "A Day in the Life", that would appear later on the CD release of The Beatles' 1967–1970 compilation. Imagine: John Lennon, with its wealth of stock Lennon footage and self-narration, proved to be a well-received film and its soundtrack sold well in the US, reaching #31 and going gold. In the UK, the album peaked at #64. The project arrived at a timely juncture and was successful in thwarting the then-released The Lives of John Lennon by Albert Goldman, a controversial and reputation-tarnishing book which many dismissed as fiction, including Ono and Lennon's close friends, as well as the remaining Beatles.
IMAGINE Imagine there's no Heaven Imagine there's no countries You may say that I'm a dreamer Imagine no possessions You may say that I'm a dreamer
Death of John Lennon - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Death_of_John_Lennon Leibovitz's portrait of Lennon and Ono, taken 8 December 1980. On the .... Lennon's murder—considered by some to be an assassination due to his high ... Events preceding his death - Murder - Aftermath - Memorials and tributesJohn Lennon - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/John_Lennon Birth name, John Winston Lennon. Born, 9 October 1940(1940-10-09) Liverpool, England. Died, 8 December 1980(1980-12-08) (aged 40) New York, New York ...
From album "Strip" (2000) I Must have died a thousand times Time is on my side she said I Must have cried a thousand times How time flies Oh no no no no, oh no no no no
Macbeth 1 [iii] Shakespeare, "Thrice to thine and thrice to mine, and thrice again to make up nine" Number 9 The Search for the Sigma code Cecil Balmond Page 45 "Three times three, the trinity of trinities, gains select status then as the doubling and resourcing of special power. From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over. "
3 x 3 = 9 = 3 x 3
Daily Mail, Thursday, December 15, 2011 Page 57 At a formal dinner celebrating the opening of the Watford St Albans branch railway line in 1958 several toasts were drunk 'with three times three'. What does this mean? THE Watford to St Albans branch line, known locally as the Abbey Flyer, opened on May 5, 1858, so the dinner must have been part of the centenary celebrations. The 'three times three' is the traditional three cheers ('Hip, Hip, Hooray!' shouted three times). The origin of the cheer is obscure but it's recorded in 1816 when John Quincy Adams, an envoy to the English court, wrote in his diary that he had attended a dinner given by the Lord Mayor in the Mansion House and that 'every toast was drunk standing with what they call three time three hip! hip! hip! and nine huzzahs'. It is more usual now to proclaim only two hips and 'huzzah' has become 'hooray'. In the 17th and 18th centuries, three huzzahs - two short ones followed by a long sustained one - were given by the British infantry before a charge. It has been suggested 'hurrah' or 'hooray' comes from old Turkic and that the Turks used to shout 'Ur, ah!' meaning 'Come on, hit!". A less likely explanation is that 'hip' dates from the crusades and is an acronym of Hierosolyma est perdita -'Jerusalem is lost'. Equally unlikely is the idea that 'hurrah' is a corruption of the Slavonic hu-raj - paradise. In this scheme, 'Hip Hip Hooray!' would mean 'Jerusalem is lost; paradise here we come!' Barry Saunders, Watford.
Daily Mail, Thursday, November 17, 2011 Page 70 QUESTION The W. B Yeats poem Mad As The Mists and snow name checks Homer, Horace, Cicero and and Tully ('and here is Tully's open page') Who was Tully?
Male Roman citizens typically had three names, their praenomen (given name), their nomen (clan name) and their' cognomen (nickname or family name), but in English classical Latin authors are generally known by a single name, often Anglicised. These sometimes derive from the nomen (for example, Horace's full name was Quintus Horatius Flaccus) and sometimes from the cognomen (as with Gaius Julius Caesar). In Cicero's case, he's today known by his cognomen, but has sometimes in the past been called Tully from his nomen. Despite coming from humble stock, Cicero's skill as an orator saw him rise to the supreme position of state in the Republic, the consulship, in 63BC and he played a key role in the defeat of the Catiline conspiracy. As a result of the rise to power of Julius Caesar, he took a lesser role in his later years, devoting himself to literature Instead. After Caesar's assassination in 44BC, Cicero returned to politics and took a key role in the senatorial opposition to Mark Antony. He was murdered on Antony's orders when he took power. Cicero's surviving letters form a key source for the history of the fall of the Roman Republic and its replacement by the rule of the emperors. David Bradbury, London.
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 21 "The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself" Page 32 Page 282 "By the THE LADDER OF MINERVA we rise from the first to the last..."
MINERV A VERMIN O ERMINE
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 111 MEDIEVAL MEMORY AND THE FORMATION OF IMAGES "Petrarch makes his allusions to the art by introducing examples of men of antiquity famed for good memories and associating these with the classical art. His paragraph on the memories of Lucullus and Hortensius begins thus: - 'Memory is of two kinds, one for things, one for words.' 57 LUCULLUS 33333331 LUCULLUS
Page 175 CHAPTER 8 LULLISM AS AN ART OF MEMORY THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull. Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lullwas like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art. Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.
LULLABY MEMORIES REMEMBERED GODS REMEMBERED MEMORIES LULLABY
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 239 CHAPTER II GIORDANO BRUNO: THE SECRET OF SEALS IT must have been soon after his arrival in England, early in 1583, that Bruno published the massive volume on memory which I refer to as Seals,1 though it really consists of four items, as follows: Ars reminiscendi Triginta sigilli Explanatio triginta sigillorum Sigillus sigillorum The title-page gives no place or date of publication but the book almost certainly appeared early in 1583 and was quite certainly printed by John Charlewood, a London printer,2 The Ars reminiscendi was not a new work but a reprint of the art of memory in Circe,5 published in the preceding year in Paris, where it had followed the terrific incantations of Circe to the seven planets.' These incantations, which made the magical character of the following art of memory obvious to Parisian readers (who could also have read the occult Shadows) are not included in the reprint published in England. The English reprint of the Ars reminiscendi is however followed by new material, namely the 'Thirty Seals', the 'Explanation of the Thirty Seals', and the 'Seal of Seals'. If all readers of Bruno's Shadows have missed the magical memory system, readers of Seals have made even less headway with that work. What are these 'Seals'? As a preliminary to attempting to answer that question I invite the reader to come with me for a page or two to Florence where we will practise the art of memory together. Agostino del Riccio was a Dominican friar of the convent of Santa Maria Novella in Florence.5who wrote in 1595 an Arte delle memoria / Page 240 / locale for the use of 'studious young gentlemen'. This little treatise was never published but the manuscript of it exists in the Biblioteca Nazionale in Florence.5 It is illustrated by seven drawings which are intended to make clear to the young gentlemen of Florence the, principles of the art of memory. 'The King' [Pl. 14a] shows a king who is striking his brow; he represents 'local memory', calling up by this gesture the local memory which is so useful to preachers, orators, students, and all classes of people,6 'The First Counsellor' [Pl. 14b] shows a man touching a globe on which are all places - cities, castles, shops, churches, palaces. He represents the first precept of the art, and the friar gives here the usual place rules. He also gives an example of making memory places in the church of Santa Maria Novella: beginning from the high altar, you may place there Charity; then continuing round the church you will perhaps place on the altar of the Ciodi, Hope on the altar of the Gaddi, Faith, then continue to place on all the other chapel altars, on the holy water stoup, on the tombs, and so on, until you come round to the point at which you started.7 The friar is teaching us the good old-fashioned way of using the art, to remember virtues. 'The Second Counsellor [Pl. 14c] shows a man surrounded by various objects, including a statue, or rather a bust on a pillar. He represents the precept 'use images'. These can be images of real objects, or imaginary, or we may use figures made by sculptors and artists. Signor Niccolo Gaddi has some fine statues in his gallery which are useful for memory images.8 After this glimpse of an artistically furnished memory, we are presented with those alphabetical lists which are such a trying feature of the memory treatises. Riccio's lists include mechanical arts, saints, and Florentine families. 'The First Captain or the Straight Line' shows a man with a vertical line passing down his body. On him are to be placed the twelve signs of the zodiac, in accordance with the parts of the body over whch they rule, and they are to be remembered on these places as a memory system.9 'The Second Captain or the Circular Line' [14d] is a man in a circle with legs and arms extended. On the places of this man's / Page 241 / body we are to remember the four elements and the eleven heavens: earth, feet; water, knee; air, flank; fire, arm; Luna, right hand; Mercury, fore-arm; Venus, shoulder; Sol, head; Mars, left shoulder; Jupiter, left fore-arm; Saturn, left hand; sphere of fixed stars, left shoulder; cristalline sphere, waist; primum mobile, knees; Paradise, under left foot.10 In 'The Third Captain or the Transverse Line' [Pl. 14e] twelve small objects are 'seen, placed on a circle. The friar explains that he memorizes these objects on places in the Via della Scala.11 Those who know Florence will remember that this street still runs into the Piazza Santa Maria Novella. On the Tabernacle in this street he memorizes a religious with his cross (see the cross at the top of the circle); on the door of the first house of the row of old houses, he remembers a star; on the door of Jacopo di Borgho's house, a sun; and so on. He also uses the method in a cell of the Dominican fathers, divided into memory places, memorizing thereby, for example, that fine conceit of Job on the seven miseries of man.12 'The Meal and the Servant' [PI. I4f] presents a man holding food and drink. Local memory is like eating and drinking. If we ate all our food at once we should have indigestion, so we divide it into separate meals. So we should do with local memory; 'two hundred notions a day, or two hundred articles of St. Thomas, if we try to memorize them immediately on rising from bed, we shall strain the memory too much.'13 Therefore take local memory in small doses. Maybe in time we may rise to the heights reached by the famous preacher, Francesco Panigarola, who is said to have used a hundred thousand places.14 This friar has not heard of exciting Renaissance transformations of the art of memory. He belongs to the old order of things. Placing his images of virtues on memory places in the church of Santa Maria Novella - once a centre whence the Dominican movement radiated in such force - he is using the technique in the devotional way. which, when at the height of its intensity, stimulated the proliferation of virtue and vice imagery. No suspicion need be attached to his use of the zodiac, which is automatically mentioned in memory treatises as a possible system; there is no reason at all / Page 242 / why the order of the signs should not be used in a rational way as a memory order. He aims at memorizing the order of the spheres, but in a way which, though puerile, is not magical. He is using the traditional Dominican art, memorizing by the method pious material, including the Summa of Thomas Aquinas. He is an example of the enfeeblement of the art since its great era in the Middle Ages, exhibiting the kind of mentality which is to be found in the late memory treatises. Why then, do I introduce Fra Agostino del Riccio here? Because his idea of presenting the principles and various techniques of the: art through little symbolic pictures, with titles, exactly corresponds to what Bruno does in Seals, where, for example, the principle of association is presented as 'The Joiner', or the use of images as 'Zeuxis the Painter'. This is what the Seals are, statements of the principles and techniques of the art - but magicized, complicated, with Lullism and Cabbalism, blown up into inscrutable mysteries. Bruno was adapting to his own strange purposes a mode of presenting the art which he had learned in his Dominican convent. The Elizabethan reader who attempted to tackle the curious work which had been published, rather clandestinely (no place or date of publication given) in his country, would presumably begin at the, beginning with the Ars reminiscendi.15 Continuing to use his terminology of 'subjects' for memory places and 'adjects' for memory images, Bruno gives in this art the classical rules, expanding them very much after the manner of a normal memory treatise.16 Bruno seems to aim at making a very large number of places. Nothing prevents you when you have been through your house in one, part of the city from using (for making memory places in) another house in another part of the city. When you have finished the last of the Roman places, you can connect it with the first of the Parisian places.17 (One is reminded of Peter of Ravenna's custom. of collecting memory places on his travels.18 Bruno insists that the images must be striking, and associated with one another. He gives a list of thirty ways of forming images to remind of notions through, association 19 (such lists are also given in the normal treatises). He believes that he has a better system for memory for words than / Page 243 / Tullius thought of, quoting here from Ad Herennium as by Tullius, and thus keeping up the old wrong medieval attribution.20 He recommends as place systems what he calls 'semi-mathematical' subjects,21 that is diagrammatical figures which are not mathematical in the normal way, but in some other way. Anyone who had seen a Romberch or a Rossellius would be able to recognize this Ars reminiscendi as belonging into a well known genre, that of the memory treatise. But Bruno claims that, although he uses all the old ways, he has some new and better way of using them. This new way is connected with the 'Song of Circe' 22 (presumably the incantations to the planets in Circe which are not included with the Ars reminiscendi in the English publication). There was therefore some Circaean mystification at the heart of this memory treatise, but what it was exactly the Elizabethan reader might well have been somewhat at a loss to understand. And then he would reach the great barrage of the Thirty Seals, thirty statements of principles and techniques of magic memory, followed by thirty more or less inexplicable 'explanations', some of which are illustrated with more or less insoluble 'semi-mathematical' diagrams. One wonders how many readers ever got through this barrage. The first seal is 'The Field'.23 This field is the memory, or the phantasy, the ample folds of which are to be worked upon by the art of places and images. Brief though obscure summaries of the rules are given here, with insistence that images must have power to move through their striking and unusual character. There is also a reference to 'Solyman the Thalmudist' who had a memory system in twelve divisions marked with the names of the patriarchs. The Second Seal is 'The Heaven' [PI. 15a].24 So that 'the order and the series of the images of heaven may be engraved' a sphere divided in a certain manner will give places and sites. The description of this figure is supplemented by a diagram which is based on the twelve houses of a horoscope. Bruno is using the houses of a horoscope as memory places, or memory rooms, in which the 'images of heaven' will be engraved. The Seal of 'The Chain' 25 emphasizes that memory must proceed from the preceding to what follows as parts of a chain are involved / Page 244 / with the preceding and following links. This sounds like association of ideas, as in the Aristotelianizing of the memory rules. But in the explanation of this Seal we are told that the chain is really the zodiac, the signs of which run on, the one into the other, and he refers to what he has said about this in Shadows, quoting the same Latin poem on the order of the signs which he had quoted there.25 It is at this point that we begin to wonder, in a confused way, whether the Seals, or some of them, are really about the memory system in Shadows. The next three Seals are Lullist. The 'Tree' and the 'Wood'27 are connected with Lull's Arbor scientiae, which is mentioned by name, as a wood all the trees of which, representing all knowledge, are rooted in basic principles common to all. The 'Ladder' 28 gives what is actually the third figure of Lull's Ars brevis showing combinations of letters combined on the Lullian wheels. Again we wonder whether these Seals are giving the principle of using Lullian combinatory systems with the astrologized and magicized classical art of memory, as in Shadows. And these wonderings are turned into a certainty in 'Zeuxis the Painter' (Seal 12) who represents the principle of using images in the art of memory. Here we are told that 'the images of Teucer the Babylonian supply me with the' indications of three hundred thousand propositions'.29 And if any more proof is needed of the connexion of Seals with Shadows there is this further remark in 'Zeuxis the Painter' : Now for the improving of natural memory and the teaching of artificial memory, we know a double picture; the one when we form from strange descriptions images and notae for retaining in memory of which I give examples in the art attached to De umbris idearum; the other by feigning as need requires edifices . . . and images of sensible things which will remind us of non-sensible things to be remembered.30 The 'double picture' of the two kinds of memory consists, I believe, (1) of the memory based on the astral images such as he gave lists of in Shadows and is discussing in Seals (2) of the normal classical memory using places in 'edifices'. But in Bruno's systems the tech- / Page 245 / niques even of normal classical memory are never being used normally, but are always galvanized into magical activity through being affiliated to astral systems. The Seals, though several of them allude to the system in Shadows, are not confined to any one system. On the contrary Bruno states that he is trying every possible way; perhaps something for which he is not looking may emerge out of this, as alchemists who do not succeed in making gold sometimes hit on other important discoveries.31 In the later Seals he is trying variations of astrological arrangements, devices of a Lullist nature (or what he supposes to be Lullist), infiltrations of Cabalist magic in the unending search for a really operative organization of the psyche. And the search always brings in the tricks of the memory trade, the old techniques of which can be recognized in Seal after Seal, though now presented as occult mysteries. My attitude towards the reader of this book has always been the humane one of trying to spare him the more awful ordeals of memory and I shall therefore not enumerate the whole Thirty of the Seals but present only a few selections. Seal 9 'The Table' 32 describes that interesting form of the 'visual alphabet' which consists of remembering letters by images of people 'whose names begin with those letters. Peter of Ravenna, it will be remembered produced the prize example of this method by making Eusebius and Thomas change places to help him to remember ET and TE.33 Bruno mentions Peter of Ravenna with admiration in this Seal. Seal 11, 'The Standard',34 stands for leading images as standard bearers for whole groups of things; thus Plato, Aristotle, Diogenes, a Pyhrronian, an Epicurean, would serve to indicate not merely those individuals but many notions having affinity with them. This is the ancient tradition through which images of notable practitioners of the arts and sciences were regarded as memory images. Seal 14, 'Daedalus',35 gives a list of memory objects to be attached to, or placed on, main images to be used for organizing a cluster of meanings around a main image. Bruno's memory objects belong into the ancient tradition for such lists. Seal 15, 'The Numerator'36 describes how to form images for numbers with objects whose shapes resemble the numbers. This was a notion frequently illus trated in the old memory treatises in which sets of objects-for- / Page 246 / numbers are presented together with the 'visual alphabets', or illustrations of sets of objects resembling letters. Seal 18, 'the Century'37 arranges groups of a hundred friends in a hundred places, a valuable example of the classical precept of making memory images like people we know. Seal 19, 'Squaring the Circle'38 is based on the inevitable horoscope diagram. Bruno solves this ancient problem by using a 'semi-mathematical', that is magical figure as a memory place system. Seal 21, 'The Potter's Wheel' [Pl. I5b]39 is again the horoscope diagram with a bar marked with the initials of the planets revolving within it; this is a very difficult system. Seal 23, 'The Doctor'40 uses different kinds of shops, butcher, baker, barber, and so on, as memory places, as in the method illustrated by one of the cuts [Pl. 6a] in Romberch's book. But Bruno's shops are not as straightforward as that. 'The Field and Garden of Circe' (Seal 26)41. is an extremely magical system, evidently only to be achieved after successful invocation to the seven planets. Here the elemental compounds - hot-moist, hot-dry, cold-moist, cold-dry - mutate and move through, places in seven houses to form the changing forms of elemental nature within the psyche. In the 'Peregrinator' (Seal 25),42 memory images peregrinate through memory rooms, each image drawing from the material memorized in the rooms what it needs. In 'The Cabalistic Enclosure' (Seal 28)43 the orders of society both ecclesiastical and temporal, from Popes to Deacons and from Kings to Peasants are represented by memory images, ranged in the order of their rank. This was a well-known memory order, often mentioned in the memory treatises as an easily memorized order figures. But in Bruno's system, the orders perform Cabalistic permutations and combinations among themselves. The last two Seals ('Combiner', 29, and 'Interpreter', 30)44 are respectively Lullist combinations and Cabalist manipulations of the Hebrew alphabet. What is this man trying to do? He is working with two sets of ideas, memory and astrology. The memory tradition taught everything is better remembered through an image, that these images should be striking and emotionally powerful, that they should be linked to one another associatively. Bruno tries to work memory systems based on these principles by linking them to the / Page 247 / astrological system, using magically potent images, 'semi-mathematical' or magical places, and the associative orders of astrology. With this he mixes Lullist combinations and Cabalist magic! The notion of combining memory principles with astral principles is present in Camillo's Theatre. Bruno wants to work this idea out in much more scientific detail. We saw this effort in action in the system in Shadows, to which the Seals often allude, but in Seals Bruno is trying method after method, system after system in pursuit of his aim. The mind machine analogy again suggests itself. Bruno believes that if he can make a system which gets inside the astrological system, which reflects the permutations and combinations of the changing relations of the planets to the zodiac and their influences on the horoscopal houses, he will be tapping the mechan isms of nature herself to organize the psyche. However, as we saw in the last chapter, the view of Bruno's memory systems as magical ancestors of the mind machine is only partially valuable and must not be pressed too far. If we drop the word 'magical' and think of the efforts of an occult memory artist as directed towards drawing out of the psyche combinations of 'archetypal' images we come within range of some major trends of modern psychological thought. However, as with the mind machine analogy, I would not stress a Jungian analogy which might confuse more than it illuminates. I would prefer to keep within the period and try to think of the period aspects of Bruno's memory attempts. One of these aspects connects with Bruno's anti-Aristotelian philosophy of nature. Speaking of the 'standard bearing' images in the memory as related to the astral groupings of nature, he says: All things of nature and in nature, like soldiers in an army, follow leaders assigned to them ... This Anaxagoras knew very well but Father Aristotle could not attain to it . . . with his impossible and fictitious logical segregations of the truth of things." This reveals a root of Bruno's anti-Aristotelianism; the astral groupings in nature contradict Aristotle and a man with an astralIy based memory cannot think on Aristotelian lines in his natural philosophy. Through the magic of his archetypal memory images he sees the / Page 248 / groupings of nature as bound together with magical and associative links. Or if we think of the Renaissance interpretation of the magic of images we find ourselves within another aspect of Bruno's attitude to memory. We saw that the magic of magic images could be inter preted in the Renaissance as an artistic magic; the image became endued with aesthetic power through being endowed with perfect proportions. We would expect to find that in a highly gifted nature, such as that of Giordano Bruno, the intensive inner training of the imagination in memory might take notable inner forms. And in the discussion of 'Zeuxis the painter' and of 'Phidias the Sculptor' in the Seals bearing those titles, Bruno reveals himself as a memory artist of the Renaissance. Zeuxis, the painter, painting the inner images of memory, introduces a comparison of painting with poetry. To painters and poets, says Bruno.. there is distributed an equal power. The painter excels in imaginative power [phantastica virtus]; the poet excels in cogitative power to which he is impelled by an enthusiasm, deriving from a divine afflatus, to give expression. Thus the source of the poet's power is close to that of the painter. Whence philosophers are in some ways painters and poets; poets are painters and philosophers; painters are philosophers and poets. Whence true poets, true painters, and true philosophers seek one another out and admire one another.46 For there is no philosopher who does not mould and paint; whence that saying is not to be feared 'to understand is to speculate with images', and the understanding 'either is the fantasy or does not exist without it'. To come upon the equation of poetry with painting in the con text of the images of the art of memory reminds one that, according to Plutarch, it was Simonides, the inventor of the art of memory, who was the first to make this comparison,47 Bruno is however here recalling the ut pictura poesis, the dictum of Horace on which the Renaissance based its theories of poetry and painting. To this he relates the Aristotelian dictum 'to think is to speculate with images' 48 which had been used in the scholastic conflation of Aristotle with / Page 249 / 'Tullius' on the classical memory 49 and is often repeated in the memory treatises. And thus, through Zeuxis the Painter who is the painter of images in memory, who stands for the classical rule 'use images', he arrives at the vision of the Poet, the Painter, and the Philosopher as all fundamentally the same, all painters of images in the fantasy, like Zeuxis who paints the memory images, expressed by the one as poetry, by the other as painting, by the third as thought. 'Phidias the Sculptor' stands for the sculptor of the memory. moulding memory statues within. Phidias is the former . . . like Phidias the statuary, either moulding in wax, or constructing by addition of a number of small stones, or sculpturing the rough and formless stone as though by subtraction.50 The last phrase reminds one of Michelangelo, chiselling at the formless block of marble to release the form which he has seen within it. So also (Bruno would seem to say) does Phidias the sculptor of the fantasy release the forms from the inform chaos of memory. There is something, to my mind, profound in the 'Phidias' Seal, as though in this inner moulding of significant memory statues, this drawing out of tremendous forms by subtraction of the inessential. Giordano Bruno, the memory artist, were introducing us to the core of the creative act. the inner act which precedes the outer expression. We have rather lost sight of our Elizabethan reader whom we left some pages back wondering whether he could tackle the Thirty Seals. How did he get on? Did he reach 'Zeuxis' and 'Phidias'? If so he would have come upon an exposition of the Renaissance theory of poetry and painting such as had not before been published in England, and he would have found it in the context of the images of occult memory. What was the philosophy on which the magician, artist, poet. philosopher, based the stupendous effort - of the Thirty Seals? That philosophy is given in one phrase which comes in 'The Husbandman' (Seal 8) who is cultivating the field of memory: Page 250 As the world is said to be the image of God, so Trismegistus does not fear to call man the image of the world.51 Bruno's philosophy was the Hermetic philosophy; that man is the 'great miracle' described in the Hermetic Asclepius; that his mens is divine, of a like nature with the star governors of the universe, as described in the Hermetic Pimander. In L'idea del theatro di Giulio Camillo we were able to trace in detail the basis in the Hermetic writing of Camillo's effort to construct a memory theatre reflecting 'the world', to be reflected in 'the world' of memory.52 Bruno works from the same Hermetic principles. If man's mens is divine, then the divine organization of the universe is within it, and an art which reproduces the divine organization in memory will tap the powers of the cosmos, which are in man himself. When the contents of memory are unified there will begin to appear within the psyche (so this Hermetic memory artist believes) the vision of the One beyond the multiplicity of appearances. I was contemplating one knowledge in one subject. For all the principal parts were ordained principal forms ... and all its secondary forms were joined to the principal parts.53 So we read in 'The Fountain and the Mirror' (Seal 22). The parts are coming together, the secondary parts are joining to the principal parts, the frightful labours of the systems are beginning to bear fruit, and we are beginning to contemplate 'one knowledge in one subject'. Here is revealed the religious aim of Bruno's memory efforts. We are now ready for the break through to the Sigillus Sigillorum, or Seal of Seals, which corresponds to the first visionary part of Shadows. In Shadows he began with the unified vision and passed down from thence to the unifying processes of the memory system. Seals reverses this order, beginning with the memory systems and ending with the 'Seal of Seals'. I can only give an abridged and impressionistic account of this extraordinary discourse. It begins with claims to divine inspiration. 'These things a divine spirit insinuated into me: 54 Now that we have followed the life of the celestial gods we are ready to enter the supercelestial circuits. Page 251 And here he names the famous practitioners of the art of memory in antiquity, Carneades, Cineas, Metrodorus 55 and, above all, Simonides, through whose beneficence all things are sought, found and arranged." Simonides has been transformed into a mystagogue, one who has taught us how to unify memory on the celestial grade and will now introduce us to the supercelestial world. All descends from the above, from the fountain of ideas, and to it ascent may be made from below. 'How wonderful would be your work if you were to conform yourself to the opifex of nature . . . if with memory and intellect you understand the fabric of the triple world and not without the things contained therein: 57 These promises of conformity with the opifex of all nature recall the words in which Cornelius Agrippa describes the Hermetic ascent through the spheres as the experience necessary for the formation of a Magus.58 It is to this experience that the art of memory, in its apotheosis in the Seal of Seals: has led. There are remarkable pages on the grades of knowing. Even in these extravagant pages, Bruno is still within sight of the memory treatises in which it was quite usual to outline the faculty psychology, that process by which. in the scholastic psychology, images from sense impressions pass from the sensus communis through other compartments of the psyche. Romberch, for example, has some pages on the faculty psychology, with many quotations from Thomas Aquinas, and illustrated with a diagram of a man's head opened to show the compartments of the faculties [Fig. 9].59 Bruno has in mind such a diagram as this, a normal ingredient of the memory treatise. but his argument is directed against the division of the psyche into the compartments of the faculty psychology. These pages of his 60 are a kind of manifesto of the primacy of the imagination in the cognitive process which he refuses to see as divided among many faculties but as all one. He does distinguish four grades of knowing (influenced here by Plotinus) namely sense, imagination, reason, intellect, but he is careful to open the doors between them by abolishing arbitrary divisions. And in the end he makes it clear that in his view the whole process of cognition is really one, and that it is, fundamentally, an imaginative process. Page 252 Fig.9 (omitted) Diagram of Faculty Psychology. Redrawn from a diagram in Romberch. Congestorium artiticiose memorie Looking back now at 'Zeuxis' and 'Phidias' we realize that he has already made these statements in those Seals on the use of images in memory. The understanding either is the fantasy or does not exist without it. he said in 'Zeuxis'. Hence the painter or sculptor of images in the fantasy is the only thinker. and the thinker the artist, and the poet are all one. 'To think is to speculate with images' Aristotle had said. meaning that the abstracting intellect must work from the images of sense impression. Bruno changes the meaning of the words," There is for Bruno no separate faculty consisting of the abstracting intellect; the mind works only with images. though these images are of different degrees of potency. Since the divine mind is universally present in the world of nature (continues Bruno in the Seal of Seals) 62 the process of coming to know the divine mind must be through the reflection of the images of the world of sense within the mens. Therefore the function of the imagination of ordering the images in memory is an absolutely vital one in the cognitive process. Vital and living images will reflect the vitality and life of the world - and he has in mind both magically vitalized astral images and the living and striking images of the' Ad Herennian' memory rule 63- unify the contents of memory and / Page 253 / set up magical correspondencies between outer and inner worlds. Images must be charged with affects, and particularly with the affect of Love.64 for so they have power to penetrate to the core of both of the outer and the inner worlds - an extraordinary mingling here of classical memory advice on using emotionally charged images. combined with a magician's use of an emotionally charged imagination. combined again with mystical and religious use of love imagery. We are here within range of Bruno's Eroici furori with its love conceits which have power to open 'the black diamond doors' within the psyche.65 Finally. in the Seal of Seals. we reach the fifth grade of knowing which Bruno classifies into fifteen 'contractions'.66 And here he is talking about religious experiences, about good and bad kinds of contemplation, about good and bad kinds of religion. about good 'magical religion' which is the best kind, though it has bad counter feits or counterparts. I have discussed these passages in my other book.67 pointing out that Bruno is following Cornelius Agrippa on magical religion. though elaborating Agrippa in more extreme directions. It is now that he makes his dangerous statements. Thomas Aquinas is equated with Zoroaster and Paul of Tarsus as one who had achieved one of the best kinds of 'contractions',68 Periods of solitude and retirement are necessary for reaching these. From the desert of Horeb, Moses produced wonders before the Magi of Pharaoh. Jesus of Nazareth did not do his wonderful works until after his conflict with the devil in the desert. Ramon Lull after living the life of a hermit showed himself profound in many inventions. Paracelsus who gloried in the title of hermit was the inventor of a new kind of medicine.69 Contemplators among the Egyptians. Babylonians, Druids, Persians. Mohammedans. have achieved the higher contractions. For it is one and the same psychic power which operates in low things and in high things. and which has produced all the great religious leaders with their miraculous powers. And Giordano Bruno presents himself as such a leader. offering a religion. or a Hermetic experience, or an inner mystery cult, the four guides in which are Love by which souls are raised to the divine by a divine furor; Art by which one may become joined to the soul of the world; Mathesis which is a magical use of figures; / Page 254 / Magic, understood as religious magic.?70 Following these guides we may begin to perceive the four objects, the first of which is Light." This is that primal light of which the Egyptians speak (he means the passage in the Hermetic Pimander on the primal light). The Chaldaeans, the Egyptians, the Pythagoreans, the Platonists, all the best contemplators of nature ardently adored that sun, which Plato called the image of the highest God, at whose rising Pythagoras sang hymns, which Socrates saluted in its setting and was seized with ecstasy. The art of memory has become, in Giordano Bruno's occult transformation of it, a magico-religious technique, a way of becoming joined to the soul of the world as part of a Hermetic mystery cult. When the Thirty Seals of memory are broken, this is the 'secret' revealed in the Seal of Seals. A question naturally arises. Were the thirty Seals with all their impenetrably intricate mnemonic advice a kind of barrier set up to protect the Seal of Seals, to prevent all but the initiated from reaching the core of the book? Did Bruno really believe in the art of memory in these impossible forms in which he expounded it? Or was it a cloak, a device for producing an incomprehensible cloud of words under cover of which he propagated his mystery religion? Such a thought comes almost as a relief, suggesting as it does an at any rate partially rational explanation of the Seals. According to this theory, the Seals would be meant to be fundamentally incomprehensible presentations of every type of memory technique, occultized, and given this title of sigilli with its magical connotations, to provide an impenetrable curtain of mystery intervening between an uninitiated reader and the Seal of Seals. Many readers attempting to study the book from the beginning would throw it aside before they reached the end. Is that what they were meant to do? Though it is, I think, probable that the motive of concealment does play a part in the arrangement of Bruno's memory books, this is certainly not the only explanation of them. Bruno was undoubtedly genuinely trying to do something which he thought was possible, trying to find the arrangements of significant images which would work as a way of inner unification. The Art 'by which we / Page 255 / may become joined to the soul of the world' is one of the guides in his religion. It is not a cloak under which to conceal that religion; it is an essential part of it, one of its main techniques. Moreover, as we have seen, Bruno's memory efforts are not isolated phenomena. They belong into a definite tradition, the Renaissance occult tradition to which the art of memory in occult forms had been affiliated. With Bruno, the exercises in Hermetic mnemonics have become the spiritual exercises of a religion. And there is a certain grandeur in these efforts which represent, at bottom, a religious striving. The religion of Love and Magic is based on the Power of the Imagination, and on an Art of Imagery through which the Magus attempts to grasp, and to hold within, the universe in all its ever changing forms, through images passing the one into the other in intricate associative orders, reflecting the ever changing movements of the heavens, charged with emotional affects, unifying, forever attempting to unify, to reflect the great monas of the world in its image, the mind of man. There is surely something which commands respect in an attempt so vast in its scope. What kind of impression can this extraordinary work have made upon the Elizabethan reader? He would have known what the art of memory in its more normal forms was like. In the earlier years of the sixteenth century there had been a growing lay interest in the art, as elsewhere. In Stephen Hawes's Pastime of Pleasure (1509), Dame Rhetoric describes the places and images, perhaps the first account of the art of memory , in English. The 1527 edition of Caxton's Mirrour of the World contains a discussion of 'Memory Artyfycyall', The continental memory treatises spread to England, and an English translation (1548) of the Phoenix of Peter of Ravenna was published.72 In the early Elizabethan period, the memory text-book fashion is represented by WiIIiam Fulwood's The Castel of Memorie,73 a translation of a treatise by GugIielmo Gratarolo. The third edition of this work (1573) was dedicated to PhiIip Sidney's uncle, Robert Dudley, Earl of Leicester - an indication that that Italianate nobleman did not exclude memory from his interests. The treatise cites Cicero, Metrodorus (mentioning his zodiacal system) and Thomas Aquinas. Page 256 But in the Elizabethan world of 1583, the Protestant educational authorities, and probably public opinion generally, were against the art of memory. The influence of Erasmus on English humanism was very strong, and Erasmus, as we have seen, did not encourage the art. The Protestant educationalist, Melanchthon, who was much admired in England, had banished the art from rhetoric. And for the Puritan Ramists, who were extremely powerful and vocal at this time, the imageless 'dialectical order' was the only art of memory. There would therefore have been strong opposition in influential quarters in England to any attempt to reintroduce the art of memory in its more normal forms. What, then, can have been the reactions to the extreme occult form of the art to be found in Seals? A first impression on an Elizabethan reader attempting to tackle Seals might well have been that here was someone come back out of the old Popish past. Both the arts of which this strange Italian spoke, the art of memory and the Art of Lull, were old medieval arts, particularly associated with the friars, the one with the Dominicans, the other with the Franciscans. When Bruno came to England, there were no Black Friars wandering in the streets of London choosing places for their memory systems, like Fra Agostino in Florence. The doctors of the modern Oxford and Cambridge were not turning the wheels of the Lullian Art nor memorizing its diagrams. The friars had been swept away and their great houses were expropriated or in ruins. The impression of medievalism which Bruno and his Art may have given in Seals would have been confirmed by the passages in his Italian dialogues, published in the following year, in which he defends the frairs of the old Oxford, now despised by their succes sors, and deplores the destruction of the buildings and foundations of Catholic times in Protestant England.74 The art of memory in its medieval transformation had formed an integral part of medieval civilization in England, as elsewhere in Europe.75 The English friars, with their memory 'pictures', had certainly practised it.76 But although Bruno associates himself and his art with the name of Thomas Aquinas,it is obviously not with the medieval and scholastic form of the art with which Seals is concerned, but with the Renaissance occult form. As we have seen, in Italy the Renaissance form develops out of the medieval form and is artistically enshrined in Camillo's Theatre. No such development had taken place in England, as far as I know. A character who never developed in England, owing to the re ligious convulsions through which she passed, was the Renaissance friar. When one thinks of Francesco Giorgio, the Venetian Francis can, infusing Renaissance Hermetic and Cabalist influences into the medieval tradition of world harmony in his De harmonia mundi." one realizes that Renaissance friars such as he never existed in England, unless possibly as characters in plays. The English friar receded into the Gothic past, perhaps lamented by those secretly in sympathy with that past, or feared by the superstitious who doubted what might be the consequences of the destruction of the old magic, but not a contemporary character, like the Jesuit. A stay-at-home Elizabethan Englishman might well never have met a Renaissance friar - until the wild ex-friar, Giordano Bruno, burst suddenly upon the scene with a Hermetic magico-religious technique developed out of the old arts of memory of the friars. The only English, or rather Welsh, character who might have acted as some preparation for the arrival of Bruno is John Dee.78 Dee was saturated in the Renaissance occult influences, and an ardent practitioner, like Bruno, of the magical recipes in Cornelius Agrippa's De occulta philosophia. He was also deeply interested in the Middle Ages and a collector of the despised manuscripts of the medieval past. Dee was attempting - alone and unaided and with out the support of mystical academies such as flourished in Venice - to effect in England that Renaissance transformation of medieval traditions which belonged naturally into Italian Renaissance 'Neo platonism'. Dee may well have been the only representative in sixteenth-century England of the Renaissance revival of Lullism. There were Lullist manuscripts in his library, listed promiscuously with Pseudo-Lullian alchemical works; 79 he no doubt shared the Renaissance assumptions about Lull. And Dee is the kind of person whom one would expect to have been interested in the cognate subject of the art of memory in Renaissance transformations. Dee's Monas hieroglyphica 80 is a sign composed out of the characters of the seven planets. His excitement at his discovery of this composite sign seems incomprehensible. It may be suggested that /Page 258 / his monas was perhaps, in his eyes, a unified arrangement of significant signs, infused with astral power, which he would believe to have a unifying effect on the psyche, composing it into a monas or One, reflecting the monas of the world. Though Dee does not use the places and images of the art of memory for this effort, the assumption underlying it may be not dissimilar, as I have suggested earlier,81 to the assumption made by Camillo when he bases the Theatre on the images and characters of the planets, and to Bruno's assumptiond that astral images and characters are potent for unifying the s memory. It is therefore possible that those who had been trained under John Dee, and perhaps initiated by him into the Hermetic mysteries of the monas, would have had some idea of the kind of thing that Bruno was driving at in his memory systems. We know that Philip Sidney, together with his friends Fulke Greville and Edward Dyer, chose Dee for their teacher in philosophy. It was to Sidney that Bruno addressed himself, dedicating to him two of the works which he published in England; and he twice mentioned Fulke Greville by name. We do not know what Sidney thought of Bruno; no evidence of that from Sidney's side has come down to us. But Bruno himself speaks in terms of passionate admiration of Sidney in his dedications, and he evidently hoped that it was by Sidney and his circle that he would be understood. Did Sidney wrestle with Seals one wonders? Did he get as far as 'Zeuxis', painting the memory images within and expounding the Renaissance theory of ut pictura poesis? Sidney himself expounds that theory in his Defence of Poetrie - a defence of the imagination against the Puritans - which he may have been writing during the time that Bruno was in England. As we have seen, Seals is very closely related to the two works published in France, Shadows and Circe. The Ars reminiscendi in Seals would probably have been reprinted by John Charlewood from a copy of Circe, and much of the rest of Seals may have been printed from unpublished manuscripts which Bruno had written in France and brought with him to England. He states that the 'Seal of Seals' forms part of his Clavis Magna,82 the work to which he so frequently / Page 258 / refers in the books published in France. Seals was therefore, in the main, a repetition of an amplification of the 'secret' which Bruno, successor to Giulio Camillo, had brought to a King of France. The French connexion is kept up in the dedication of the book to Mauvissiere, the French ambassador at whose house in London Bruno was living.83 And the new orientation of the 'secret' towards England is shouted aloud in the address to the Vice-Chancellor and doctors of the University of Oxford." For Seals, that apotheosis of Renaissance occult memory, was flung at Elizabethan Oxford in an address in which the author describes himself as 'the waker of sleeping souls, tamer of presumptuous and recalcitrant ignorance, proclaimer of a general philanthropy'. It was in no unobtrusive or secretive way that Bruno presented his secret to the Elizabethan public, but in the most provocative way possible, announcing himself as one emboldened and empowered to speak from a non-sectarian standpoint, neither Protestant nor Catholic, one with a new message for the world. Seals was the first act of the drama of Bruno's career in England. This is the work which must be studied first, before the dialogues in Italian which he published later, for it represents the mind and the memory of the Magus from whom those works issued. The visit to Oxford, the controversy with the Oxford doctors, the reflection of that controversy in the Cena de le ceneri and the De la causa, the outline of the Hermetic moral reforms and the announcement of the imminent return of Hermetic religion in the Spaccio della bestia trionfante, the mystical ecstasies of the Eroici furori - all these future developments are already implicit in Seals. In its setting in Paris, where Camillo's Theatre was remembered, where a mystical King was leading some abstruse kind of ostensibly Catholic religious movement, Bruno's secret had been in an atmosphere more congenial to it than that which it encountered when suddenly thrown, like a bomb, at Protestant Oxford.
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
I hereby name it Babylon, home of the great gods. The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’. ENUMA ELISH
"The word used for man is lullu" LULLU 33333 LULLU "The word used for man is lullu"
I AM ART AT R AT ART AM I ALL IS ART 123456789987654321 ART IS ALL ART AT R ART R AT ART ZERO123456789987654321ZERO
THE DIVINE INVASION Philip K Dick 1981 Page 130 When Herb Asher awoke he was told perplexing facts. 'He had spent - not weeks - but years in cryonic suspension. The doctors could not explain why it had taken so ,long to obtain replacement organs. Circumstances, they told him, beyond our control. Procedural problems. He said, 'What about Emrnanuel?' Dr Pope, who looked older and greyer and more distinguished than before, said, 'Someone-broke into the hospital and removed your.son from the synthowomb.' 'When?' 'Almost at once. The foetus was in the synthowomb for only a day, according to our records.' 'Do you know who did it?' 'According to our video tapes - we monitor our synthowombs constantly - it was an elderly bearded man,' After a pause Dr Pope added, 'Deranged in appearance. You. ,must face the very high probability factor that your son is dead, has in fact been dead for ten years, either from natural causes, which is to say from being taken out of his synthowomb . . . ' or due to the actions of the elderly bearded man.' Either deliberate or accidental. The police could not locate either of them. I'm sorry.' Elias Tate, Herb said to himself. Spiriting Emmanuel away, to safety. He shut his eyes and felt overwhelming g:ratitude. 'How do you feel Dr Pope inquired. 'I dreamed. I didn't know that people in cryonic suspension were conscious. Page 131 'You weren't.' 'I dreamed again and again about my wife.' He felt bitter grief hover over him and then descend on him, filling him; the grief was too much. 'Always I found. myself back there with her. When we met, before we met. The trip to Earth. "Little things. Dishes of spoiled' food . . . she was sloppy.' 'But you do have your son.' 'Yes,' he said. He wondered 'how he would be able to find Elias and Emmanuel. They will have to find me, he realized. For a month he remained at the hospital, undergoing remedial therapy to build up his strength, and then, on a cool morning in mid-March, the hospital discharged him. Suitcase in hand he walked down the front steps, shaky and afraid but happy to be free. Every day during his therapy he had expected the authorities to come swooping down on him. They did not. He wondered why. As he stood with a throng of people trying to flag down a flycar Yellow cab he noticed a blind beggar standing off to one side, an 'ancient, white-haired, very large man wearing soiled clothing; the old man held a cup. 'Elias,' Herb Asher said. Going over to him he regarded his old friend. Neither of them spoke for a time then Elias Tate said, 'Hello, ' Herbert.' 'Rybys told me you often take the form of a beggar,' Herb Asher said. He reached out to put his arms around the old man, but Elias shook his head. 'It is Passover,' Elias said. 'And I am here. The power of my spirit is too great; you should not touch me. It is all my spirit, now, at this moment.' 'You are 'not a man,' Herb Asher said; awed. Page 132 'I am many men,' Elias said. 'It's good to see you again. Emmanuel said you would be released today.' 'The boy is.all right?' 'He is beautiful.' 'I saw him,' Herb Asher said. 'Once a while ago. In a vision, that - ' He paused. 'Jehovah sent to me. To help me.' 'Did you dream?' Elias asked. 'About Rybys. And about you as well. About everything that happened. I lived it over and over again.' 'But now you are alive again,' Elias said. 'Welcome back, Herbert Asher. We have much.to do.' :Do we have a chance? Do we have any real chance?' 'The boy is ten years old,' Elias said. 'He has confused their wits, scrambled up their thinking. He has made them forget. But - ' Elias was silent a moment. 'He, too, has forgotten. You will see. A few years ago he began to remember; he heard a song and some of his memories came back. Enough, perhaps, or maybe not enough. You may bring back more. He programmed himself, originally, before the accident.' . With extreme difficulty Herb Asher said, 'He was injured, then? In the accident?' Elias nodded. Somberly. 'Brain damage,' Herb Asher said; he saw the expression on his friend's face. Again the old man nodded, the elderly beggar with the cup. The immortal Elijah, here at Passover. As always. The eternal, helping friend of man. Tattered and shabby, and very wise. ' Zina said, 'Your father is coming, isn't he?' Together they sat on a bench in Rock Creek Park, near the frozen-over water. Trees shaded them with bare, stark / Page 133 / branches. The air had turned cold, and both children wore heavy -clothing. But the sky overhead was clear. Emmanuel gazed up for a time. 'What does your slate say?' Zina asked. 'I don't have to consult my slate.' 'He isn't your father.' Emmanuel said, 'He's a good person. It's not his fault that my mother died. I'll be happy to see him once more. I've missed him.' He thought, It's been a long time. According to-the scale by which they reckon here in the Lower Realm. What a tragic realm this is, he reflected. Those down here are prisoners, and the ultimate tragedy is that they don't know it; they think they are free because they have never been free, and do not understand what it means. This is a prison, and few men have guessed. But I know, he said to himself. Because that is why I am here. To burst the walls, to tear down the metal gates, to break each chain. Thou shalt not muzzle the ox as he treadeth out the corn, he thought, remembering the Torah. You will not imprison a free creature; you will not bind it. Thus says the Lord your God. Thus I say. They do not know whom they serve. This is the heart of their misfortune: service in error to a wrong thing. They are poisoned as if with metal, he thought. Metal confining them and metal in their blood; this is a metal world. Driven by cogs, a machine that grinds along, dealing out suffering and death . . . They are so accustomed to death, he realized, as if death, too, were natural. How long it has been since they knew the Garden? The place of resting animals and flowers. When can I find for them that place again? There are two realities, he said to himself. The Black Iron Prison, which is called the Cave of Treasures, in / Page 134 / which they now live, and the Palm Tree with its enormous spaces, its' light, where they originally dwelt. Now they are literally, blind, he thought. Literally unable to see more than a short distance; faraway objects are invisible to them now. Once in a while one of them guesses that formerly they had faculties now gone; Once in a while one of them discerns the truth, that .they are not now what they were and not now where they were. But they forget again, exactly as I forgot. And I still forget somewhat, he realized. I still have only a partial vision. I am occluded, too. But l will not be, soon. 'You want a Pepsi,' Zina said. "It's' too cold. I just want to sit.' 'Don't be unhappy.' She put her mittened hand on his arm. 'Be.joyful.' Emmanuel said I'rn tired. I'll be okay. There's a lot that has to be done. I'm sorry. It weighs on me.' 'You're not afraid, are you?' 'Not any more,' Emmanuel said. 'You are sad.' He nodded. Zina said, 'You'll feel better when you see Mr Asher again.' I see him now,' Emmanuel said. 'Very good,' she said, pleased. 'And even without your slate;' "I use it less and less,' he said, 'because the knowledge is progressively more and more in me. As you know. And you know why.' To,that, Zina said nothing. 'We are close, 'you and I,', Emmanuel said. 'I have always loved you the most. I always will. You are going to stay on with me and advise me, aren't you?' He knew / Page 135 / the answer; he knew she would, She had been him from the beginning - as she said, his darling and delight. And her delight, as Scripture said, was in mankind. So, through, her, he himself loved mankind; it was his delight as well. 'We could get something hot to drinks' Zina said. He murmured, 'I just want to sit.' I shall sit here until it is time to go to meet Herb Asher, he said to himself, He can tell me about Rybys; his many memories of her will give me joy; the joy that, right now, I lack. I love him, he realized. I love my mother's husband, my legal father. Like other men he is a good human being. He is a man of merit, and to be cherished. But, unlike other men, Herb Asher knows who I am. Thus I can talk openly with him, as I do with Elias. And with Zina. It will help, he thought. I will be less weary. No longer as I am now pinned by my cares; weighed down. The burden, to some extent, will lift. Because it will be shared. And, he thought, there is still so, much that I do not remember. I am not as I was. Like them, like the people, I have fallen. The bright morning star which fell did not fall alone, it tore down everything else with it, including me. Part of my own being fell with it, and I am that fallen being now. But then, as he sat there on the bench with Zina, in the park, on this cold day so near the vernal equinox, he thought, but Herbert Asher lay dreaming in his bunk, dreaming of a phantom life with Linda Fox; while mother struggled to survive. Not once did he try to help her; not once did he inquire into her trouble and seek remedy. Not until I, I myself', forced him to go to her, not. until then did, he do anything. I do not love the man, he / Page 136 / said to himself. I know the man and he forfeited his right to my love, he lost my love because he did not care. ,I cannot, thereupon, care about him. In response. Why should I help any of them? he asked himself, They do what is right only when forced to, when there is no alternative. They fell of their own accord and are fallen now, of their own accord, by what they have voluntarily done. My mother is dead because of them; they murdered her. They would murder me if they could figure out where I am; only because I have confused' their wits do they leave me alone. High and low they seek my life, just as Ahab sought Elijah's life, so long ago. They are a worthless race, and I do not care if they fall. I do not care at all. To save them I must fight what they themselves are. And have always been. 'You look so downcast,' Zina said. 'What is.this for?' he said, 'They are what they are. I grow more and more weary. And I care less and less, as I begin to remember. For ten years I have lived on this world, now, and for ten years they have hunted me. Let them die. Did I not say to them the talion law: "An eye for ,an eye, a tooth for a tooth"? Is that not in the Torah? They drove me off this world two thousand years ago; I return; they wish me dead .. Under the talion law I should wish them dead. It is the sacred law' of Israel. It is my law, my word.' Zina was silent. 'Advise me,' Emmanuel said. 'I have always listened to your advice,' Zina said: One day Elijah the prophet appeared to Rabbi Baruka in the' market of Lapet. Rabbi Baruka asked him, 'Is there anyone among the people of this market who is destined to share in the / Page Page 137 / world to come?' .. Two men appeared on the scene and Elijah said, 'These two will share in the world to come.' Rabbi.Baruka asked them, 'What is your occupation?' They said, 'We ,are merrymakers. When we see a man who is downcast, we cheer him up. When we see two people quarreling with one another, we endeavor to make peace between them.' 'You make me less sad,' Emmanuel said. 'And less weary. As you always have. As Scripture, says of you: Then I was at his side every day, his darling and delight, playing in his presence continually, playing on the earth, when he had finished it, while my delight was in mankind. 'And Scripture says: Wisdom I loved; I sought her out when I was young and longed to win her for my bride, and I fell in love with her beauty. 'But that was Solomon, not me. So I determined to bring her home to live with me, knowing that she would be my counsellor in prosperity and my comfort in anxiety and grief.' 'Solomon was a wise man, to love you so.' Beside him the girl smiled. She said nothing, but her dark eyes shone. 'Why are you smiling?' he asked. 'Because you have shown the truth of Scripture when it says: I will betroth you to Me forever. I will betroth, you to Me in righteousness and injustice, in love and in mercy. I will betroth you to Me in faithfulness, and you shall love the Lord. Page 138 'Remember-that. you made the covenant with man. And you made man in your own image.. You cannot break the Covenant you.have made man that promise, that you will never break'it.' Emmanuel said, 'That is so. You advise me well.' He thought, And you cheer my heart. you above all else, you who came before creation. Like, the two merrymakers, he, thought, who Elijah said would be saved. Your dancing, your singing and the sound of bells. 'I know,' he said, 'what your name means.' 'Zina?' she said. 'It's just a name.' 'It. is the Roumanian word for - ' He ceased speaking; the girl had trembled visibly, and her eyes were now wide. 'How long have you known it?' she said. 'Years. Listen: I know a bank where the wild thyme blows, Where ox lips and the nodding violet grows; Quite over-canopied with luscious woodbine, With sweet musk-roses, and with eglantine: There sleeps Titania sometime of the night, Lull'd in these flowers with dances and delight; And there the snake throws her enamell'd skin,' Weed wide enough 'I will finish; listen: To wrap a fairy in. 'And I have known this,' he finished, 'all this tirne.' Staring at him, Zina said, 'Yes, Zina' means fairy.' 'You are not Holy Wisdom,' he said, 'you are Diana, the fairy queen;' Cold wind rustled the' branches of the trees. And, across the frozen creek, a few dry leaves scuttled. 'I see,' Zina said. Page 139 "About the two of them the wind rustled as if speaking; He could hear the wind as words. And the wind said; BEWARE! He wondered if she heard it, too. But they were still friends. Zina told Emanuel about an early identity that she had once had. Thousands of years ago, she said, she had been Ma'at, the Egyptian goddess who .represented the cosmic order and-justice. When someone died his heart was' weighed; against Ma'at's ' ostrich feather. By this the person's burden of sins was determined. The principle by which the sinfulness of the person was determined consisted of the degree of his truthfulness. To the extent that he was truthful the judgement went in his favor. This judgement was presided over by Osiris, but since Ma'at was the goddess of truthfulness, then it followed that the determination was hers to make. 'After that,' Zina said, ' the idea of the judgement of human souls passed over into Persia.' In the ancient Persian religion, Zoroastrianism, a sifting bridge had to be crossed by the newly dead person. If he was evil the bridge got narrower and narrower until he toppled off; and plunged into the fiery pit of hell. Judaism in its later stages and Christianity had gotten their ideas of the Final Days from this. The good person, who managed to; cross the sifting bridge, was met by the spirit of his religion a be:a:utiful young woman with superb, large breasts-However, if the person was evil the spirit of his religion consisted of a dried-up old hag with sagging paps. You could tell at a glance, therefore, which category you belonged to. /Page 140 Were you the spirit of religion for the good persons?' Emmanuel asked. 'Zina did not answer the question; she passed on to another matter which she was more anxious to communicate to him. 'In these judgements of the dead, stemming from Egypt and Persia, the scrutiny was pitiless and the sinful soul was de facto. doomed. Upon your death the books listing your good deeds and bad deeds closed, and no one, even the gods, could alter the tabulation. In a sense the procedure of judgement was mechanical. A bill of particulars, in essence, had been drawn up against you, compiled during your lifetime, and now this bill of particulars was fed into. a mechanism of retribution. Once the mechanism received the list, it, was all over for you. The mechanism ground you to shreds, and the gods merely watched, impassively. But one day (Zina said) a new figure made its appearance at the.path leading to. the sifting bridge. This was an enigmatic.figure who. seemed to. consist of a shifting succession of aspects or roles. Sometimes he was called Comforter. Sometimes Advocate. Sometimes . BesideHelper. Sometimes Support. Sometimes Advisor. No one knew where he had come from. For thousands of years he had not been there, and then one day he had appeared. He stood at the edge .of the busy path, and as the souls made their way to. the sifting bridge this complex figure - who.sometitnes, but rarely, seemed to. be a woman signaled to the persons, each in turn, to attract' their attention. It was essential-that the Beside-Helper got their attention before they stepped, onto the sifting' bridge, because after that.it was too late. 'Too late for what?' Emmanuel said. Zina said, 'The Beside-Helper upon stopping a person /Page 141/ approaching the, sifting. bridge, asked him if he wished to be represented in the testing which was to come.' 'By the-Beside-Helper?' The Beside-Helper, she explained, assumed.his role of Advocate; he offered to. speak on the person's behalf. But the Beside-Helper offered something more. He offered to. present his own bill of particulars to. the retribution mechanism in place of the bill of particulars of the person. If the person were innocent this would make no difference, but, for the guilty, it would yield up a sentence of exculpation rather than guilt. 'That's not fair,' Emmanuel said. 'The guilty should be punished.' ' 'Why?' Zina said. 'Because it is the law," Emmanuel said. 'Then there is no. hope for the guilty.' Emrnanuel said, 'They deserve no. hope.' 'What if everyone is guilty?' He ,had not thought of that. 'What does the BesideHelper's bill of particulars list?' he asked. 'It is blank,' Zina .said, 'A perfectly-white piece of paper. A document on which nothing is inscribed.' 'The retributive machinery could not process that.' Zina said, 'It would process it. It would imagine that it had received a compilation of a totally spotless person.' 'But it couldn't act. It would have no input data.' 'That's the whole point.' 'Then the machinery of justice has been bilked.', 'Bilked out of a victim,' Zina said. 'Is that not to be desired? Should there be victims' What is gained if there, is an unending, procession of victims? Does that right the wrongs they have committed?' - 'No', he said. 'The idea,' Zina said, is to. feed mercy into the circuit. Page 142 The Beside-Helper is an- amicus curiae, a friend of the court. He advises the court by its perrnission, that the case before it constitutes an exception.' The general rule of punishment does not apply.' 'And he does this for everyone? Every guilty person?' 'For every guilty person who accepts his offer of advocacy and help.' 'But then you'd have an endless procession of excep tions. Because no guilty person in his right mind would reject such an offer; everysingle guilty person would wish to be judged as an exception, as a case involving mitigating circumstances.' Zina said, 'But the person would have to accept the fact that he was, on-his own, guilty. He could of course wager that he was innocent, in which case he would not , need the advocacy of the Beside-Helper.' After a moment of pondering, Emmanuel said, "That would be a foolish choice. He might be wrong. And he loses nothing by accepting the assistance' of the Beside-Helper.' 'In practice, however,' Zina said, 'most souls about to be judged reject the offer of advocacy by the BesideHelper.' 'On what basis?' He could not fathom their reasoning. Zina said, 'On the basis that" they are sure they are - innocent. To receive this help the person must go with the pessimistic assumption that he is guilty, even though his own assessment of himself is.one of innocence. The truly innocent need no Beside-Helper, just as the physically healthy need no physician. In a situation of this kind the optimistic assumption is perilous. It's the bail-out theorem that little creatures employ when they construct a burrow. If they are wise they build a second exit to their burrow, operating on.the pessimistic assumption that the first one /Page 143/ will be found by a predator. All creatures who did not use their theorem are no longer with us.' Emmanuel said, 'It is-degrading to a man that he must consider himself sinful. ' 'It's degrading to a gopher to have to admit that his burrow may not be perfectly built, that a predator may, find it.' 'You are talking about an adversary situation. Is divine justice an adversary situation? Is there a prosecutor?' 'Yes, there is a prosecutor of man in the divine court: it.is Satan. There is the Advocate who defends the accused human, and Satan who impugns and indicts him.The Advocate,standing beside the man, defends him and! speaks for him; Satan, confronting the man, accuses him. Would you wish man to have an accuser and not a defender? Would that seem just?' 'But innocence must be presumed.' The girl's eyes gleamed. 'Precisely the point made 'by the Advocate in each trial that takes place.' Hence he substitutes his own blameless record for that of his client; and justifies the man by surrogation.' 'Are you this Beside-Helper?' Emmanuel asked. 'No,' she said. 'He is a far more puzzling figure than I. If you are having difficulty with me, in determining - ' 'I am,' Emmanuel said. 'He is a latecomer into this world,' Zina said. 'Not found in earlier aeons. He represents an evolution in the divine strategy. One by which the primordial -damage is repaired. One of many, but a main one.' 'Will I ever-encounter him?' 'You will not be judged,' Zina said. 'So perhaps not But all humans will see him standing by the busy road, offering his help. Offering it in time - before the person starts across the sifting bridge and is judged. The /Page 144/ Beside Helper's intervention always comes in time. It is part of his nature to be there soon enough. ' Emmanuel said, 'I would like to meet-him.' 'Follow the travel pattern of any human;' Zina said, 'and you will arrive at the point where that human encounters him. That is how I know about him. I, too, am not judged.' She pointed to the slate that she had given him'. 'Ask it for more information about the Beside Helper.' The slate-read: TO CALL 'Is that all you can tell me?' Emmanuel asked it. A new word formed, a Greek word: PARAKALEIN He wondered about this, wondered greatly, at this new entity who had come into the world . . . who could be called on by those in need, those who stood in danger of negative judgement: It was one more of the mysteries presented to him by Zina. There had been So many, now. enjoyed them. But he was puzzled. To call to aid: parakalein. Strange, he thought, The world evolves even as it falls more and more. There are two distinct movements: the falling, and then,at the same time, the upward-rising work of repair. Antithetical , movements, in the form of a dialectic of all creation and the powers contending behind it. Suppose Zina beckoned to the parts that fell? Beckoned them, seductively, to fall farther. About this he could not yet tell.
THE PHOENIX AND THE MIRROR Avram Davidson 1969 Page 268 THE PHOENIX AND THE MIRROR "And if I do admit it," she asked, "will you protect me?" He felt in the muscles of neck and shoulders the weight of heavyburdens, "You have admitted it," he said. "And I have protected you." Even now her eagerness and relief were mixed with fear. "But will you continue to protect me?" she demanded. "It's not my life alone I fear to lose, for what is the pleasure of this life here compared to that oflife hereafter in the Islands of the Blest? I would do anything for himvanything but lose my self inside himself, anything but vanish behind his own overpowering person. For that-don't you see?-that is the real source, I didn't know, it before but now I do, that is the real source of the Phoenix's immortality and strength: he assumes his woman, he consumes his woman, he becomes He plus She, but the She vanishes utterly as soul and person, and only the He-soul and -person is reborn. The She has given ... and then she is quite gone. " "I know." Fear diminished but did not vanish. If he knew this, then he knew what it was she feared, what the deadly danger really was. And she repeated, "Will you protect me? Will you? Forever? Forever?" Her eyes sought his. A look came over her face, which became tender and almost haunting in its affection. "You will, then. I know." Her voice sank, she gestured him near. "And I know why, And I know what reward you really want. You shall have it. Forever." . She reached for his hand. "Come, then," she said."
THE DIVINE INVASION Phillip Dick 1981 "The time you have waited for has come. The work is complete: the final world is here. He has been transplanted and is alive." -Mysterious voice in the night Page 85 'What's wrong?' Elias put his arm around the boy and lifted him up to hold him. 'I've never seen you so upset.' 'He listened to that while my mother was dying!' Emmanuel stared into Elias's bearded face. I remember, Emmanuel said to himself. I am beginning to remember who I am. Elias said, 'What is it?' He held the boy tight. It is happening, Emmanuel realized. At last. That was the first of the signal that I - I myself - prepared. Knowing it would eventually fire. The two of them gazed into each other's faces. Neither the boy nor the man spoke. Trembling, Emmanuel clung to the old bearded man; he did not let himself fall. 'Do not fear,' Elias said. 'Elijah,' Emmanuel said. 'You are Elijah who comes first. Before the great and terrible day.' Elias, holding the boy and rocking him gently, said, 'You have nothing to fear on that day.' 'But he does,' Emmanuel said. 'The Adversary whom' we hate. His time has come. I fear for him, knowing as I do, now, what is ahead.' 'Listen,' Elias said quietly. How you have fallen from heaven, bright morning star, felled to the earth, sprawling helpless across the nations! You thought in your own mind, I will scale the heavens; I will set my throne high above the stars of God, I will sit on the mountain where the gods meet in the far recesses of the north. I will rise high above the cloud-banks and make myself like the Most High. Yet you shall be brought down to Sheol, to the depths of the abyss. Those who see you will stare at you, they will look at you and ponder. . .
Page 86 'You see?' Elias said. 'He is here. This is his place, this little world. He made it his fortress two thousand years ago, and set up a prison for the people as he did in Egypt. For two thousand years the people have been crying and there was no response, no aid. He has them all. He'll thinks he is safe.' Emmanuel, clutching the old man, began to cry. 'Still afraid?' Elias said. Emmanuel said, 'I cry with them. I cry with my mother. I cry with the dying dog who did not cry. I cry for them. And for Belial who fell, the bright morning star. Fell from heaven and began it all.' And, he thought, I cry for myself. I am my mother; I am the dying dog and the suffering people, and I, he thought, am that bright morning star, too. . . even Belial; I am that and what it has become.
I = 9 NINE 9 = I IS WISE AZ IS IS AZ WISE IS WISE W IS E WISE WISDOM W IS DOM WISDOM
I ME CREATORS TRUTH OUR TRUTH IS WISE AZ IS IS AZ WISE IS WISE W IS E WISE WISDOM W IS DOM WISDOM
I ME CREATORS TRUTH OUR TRUTH IS WISE AZ IS IS AZ WISE IS WISE W IS E WISE WISDOM W IS DOM WISDOM DIVINE THOUGHT GODS THOUGHT DIVINE
I ME CREATORS TRUTH OUR TRUTH IS 5IS5 AZ IS IS AZ 5IS5 IS 5IS5 5IS5 5IS5 5IS5 5IS5 5IS5 1 2 3 4 5 6 7 8 99 8 7 6 5 4 3 2 1 DIVINE THOUGHT GODS THOUGHT DIVINE 12345678987654321 I THAT AM THAT THAT THAT AM THAT I
THAT SONG THAT "Wicked Game" Chris Isaack 1989
No, I don't want to fall in love (This world is only gonna break your heart) What a wicked game to play, to make me feel this way. I want to fall in love (This world is only gonna break your heart) The world was on fire and no one could save me but you. No, I want to fall in love (This world is only gonna break your heart) Nobody loves no one. http://www.youtube.com/watch?v=D6S0iLcA-ggthat
DAILY MAIL Wednesday, March 12, 2008 Allison Pearson Page 15 "It's a bleak picture that brings to mind W.B. Yeats's great poem about a world where the natural order of things has catastrophically broken down: 'Things fall apart; the centre cannot hold;/Mere anarchy is loosed, and everywhere/The ceremony of innocence is drowned,'
"And now, things fall apart. The centre cannot hold. ... What W. B. Yeats’s ‘Second Coming’ Really Says About the Iraq War - New York Times ... en.wikipedia.org/wiki/The_Second Coming_(poem) From Wikipedia, the free encyclopedia"The Second Coming" is a poem by William Butler Yeats first printed in The Dial (November 1920) and afterwards included in his 1921 verse collection Michael Robartes and the Dancer. The poem uses religious symbolism to illustrate Yeats' anguish over the apparent decline of Europe's ruling class, and his occult belief that Western civilization (if not the whole world) was nearing the terminal point of a 2000-year historical cycle. The poem was written in 1919 in the aftermath of the First World War.[1] The various manuscript revisions of the poem also have references to the French and Irish Revolutions as well as to Germany and Russia. It is highly doubtful that the poem was solely inspired by the Russian Revolution of 1917, which some claim Yeats viewed as a threat to the aristocratic class he favored .[citation needed] Early drafts also included such lines as: "And there's no Burke to cry aloud no Pitt," and "The good are wavering, while the worst prevail."[citation needed] The sphinx or sphinx-like beast described in the poem had long captivated Yeats' imagination. He wrote the Introduction to his play The Resurrection, "I began to imagine [around 1904], as always at my left side just out of the range of sight, a brazen winged beast which I associated with laughing, ecstatic destruction", noting that the beast was "Afterwards described in my poem 'The Second Coming'". Critic Yvor Winters has observed, "…we must face the fact that Yeats' attitude toward the beast is different from ours: we may find the beast terrifying, but Yeats finds him satisfying – he is Yeats' judgment upon all that we regard as civilized. Yeats approves of this kind of brutality." Manuscript variations can be found in Yeats, William Butler. Michael Robartes and the Dancer Manuscript Materials. Thomas Parkinson and Anne Brannen, eds. Ithaca, NY: Cornell University Press, 1994.
The Poem
Origins of terms The word gyre used in the poem's first line is drawn from Yeats's book A Vision, which sets out a theory of history and metaphysics which Yeats claimed to have received from spirits. The theory of history articulated in A Vision centers on a diagram composed of two conical spirals, one situated inside the other, so that the widest part of one cone occupies the same plane as the tip of the other cone, and vice versa. Around these cones he imagined a set of spirals. Yeats claimed that this image (he called the spirals "gyres") captured contrary motions inherent within the process of history, and he divided each gyre into different regions that represented particular kinds of historical periods (and could also represent the psychological phases of an individual's development). Yeats believed that in 1921 the world was on the threshold of an apocalyptic moment, as history reached the end of the outer gyre (to speak roughly) and began moving along the inner gyre. In his own notes, Yeats explained: "The end of an age, which always receives the revelation of the character of the next age, is represented by the coming of one gyre to its place of greatest expansion and of the other to that of its greatest contraction. At the present moment the life gyre is sweeping outward, unlike that before the birth of Christ which was narrowing, and has almost reached its greatest expansion. The revelation which approaches will however take its character from the contrary movement of the interior gyre. All our scientific, democratic, fact-accumulating, heterogeneous civilization belongs to the outward gyre and prepares not the continuance of itself but the revelation as in a lightning flash, though in a flash that will not strike only in one place, and will for a time be constantly repeated, of the civilization that must slowly take its place...when the revelation comes it will not come to the poor but to the great and learned and establish again for two thousand years prince and vizier." The lines "The best lack all conviction, while the worst / Are full of passionate intensity" are a paraphrase of one of the most famous passages from Percy Bysshe Shelley's Prometheus Unbound, a book which Yeats, by his own admission, regarded from his childhood with religious awe:
In the early drafts of the poem, Yeats used the phrase "the Second Birth", but substituted the phrase "Second Coming" while revising. His intent in doing so is not clear. The Second Coming described in the Biblical Book of Revelation is here anticipated as gathering dark forces that would fill the population's need for meaning with a ghastly and dangerous sense of purpose. Though Yeats's description has nothing in common with the typically envisioned Christian concept of the Second Coming of Christ, it fits with his view that something strange and heretofore unthinkable would come to succeed Christianity, just as Christ transformed the world upon his appearance. The "spiritus mundi" (literally "spirit of the world") is a reference to Yeats' belief that each human mind is linked to a single vast intelligence, and that this intelligence causes certain universal symbols to appear in individual minds.
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT PLANETS STARS AND LIFE Page 24 A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'
Similar -Bible Codes: Daniel 5, "The Writing on the Wall." - 9:48pm
25 And this is the writing that was inscribed: MENE, MENE, TEKEL, UPHARSIN. 26 This is the interpretation of the thing: MENE; God hath numbered thy kingdom, ...
Text of Daniel 5,
Daniel 5, (ASV) Belshazzar the king made a great feast to a thousand of his lords, and drank wine before the thousand.
----- Original Message ----- LOVE PEACE AND LIGHT THOUGHTS FOR A NEW YEAR A NEW DECADE DAVE D x 9
----- Original Message ----- LOVE PEACE AND LIGHT THOUGHTS FOR A NEW YEAR A NEW DECADE DAVE D X 9
----- Original Message ----- LOVE PEACE AND LIGHT THOUGHTS FOR A NEW YEAR A NEW DECADE DAVE D X 9
THE PATH OF PTAH PEACE BE UNTO YOU BELOVED CHILDREN OF THE RAINBOW LIGHT
I SAY IS 1-1-2010 0102-1-1 FIRST OF JANUARY TWO THOUSAND AND TEN ONE, ONE TWO ZERO ONE ZERO THE DECADE TEN YEARS 10 YEARS TEN MAKE OR BREAK TIME FOR HUMANKIND ?
"The Final Countdown" is a rock song by the Swedish band Europe released in 1986. Written by Joey Tempest, it was the first single from the band's third studio
The Final Countdown by Europe We're leaving together It's the final countdown Ohh It's the final countdown The final countdown, Ooh It's the final countdown
http://www.youtube.com/watch?v=7_IKcMl_a9A
I SAY HUMAN BEING HUMAN BE IN GOD IN GOD IN BE
I SAY GOD BE WITH YOU I ME GODS ME I YOU WITH BE GOD
La Belle Dame Sans Merci by John Keats La Belle Dame Sans Merci (The Beautiful Lady Without Mercy/Pity) was dashed off, then, and largely dismissed by Keats himself. It was first published in the ...
There are two versions of this very famous ballad. The first version is from the original manuscript and the second version is its first published form. The first is generally considered the best; it was altered upon publication. We do not know who did the alteration. The original version is found in a letter to Keats's brother, George, and dated Weds 21 April 1819. Keats typically wrote a running commentary to George and his wife Georgiana in America, then loosely grouped the pages together as one long letter. The letter which contains La Belle spans almost three months, from 14 February to 3 May 1819. It also contains other famous poems, including 'Why did I laugh tonight?' which ends, prophetically enough, 'Verse, fame and Beauty are intense indeed / But Death intenser - Death is Life's high mead.' Also included are 'To Sleep' and 'On Fame.' The letter ends with the beautiful Ode to Psyche, of which Keats wrote: 'The following Poem - the last I have written is the first and the only one with which I have taken even moderate pains - I have for the most part dash'd of[f] my lines in a hurry - ' La Belle Dame Sans Merci (The Beautiful Lady Without Mercy/Pity) was dashed off, then, and largely dismissed by Keats himself. It was first published in the Indicator on 10 May 1820 and has since become one of his most celebrated poems. Note: In 1893, the pre-Raphaelite painter John William Waterhouse was inspired by La Belle Dame Sans Merci to create one of his most famous works. Click here to view the painting. -------------------------------------------------------------------------------- Original version of La Belle Dame Sans Merci, 1819 Oh what can ail thee, knight-at-arms, Oh what can ail thee, knight-at-arms, I see a lily on thy brow, I met a lady in the meads, I made a garland for her head, I set her on my pacing steed, She found me roots of relish sweet, She took me to her elfin grot, And there she lulled me asleep I saw pale kings and princes too, I saw their starved lips in the gloam, And this is why I sojourn here -------------------------------------------------------------------------------- Published version of La Belle Dame Sans Merci, 1820 Ah, what can ail thee, wretched wight, Ah, what can ail thee, wretched wight, I see a lily on thy brow, I met a lady in the meads I set her on my pacing steed, I made a garland for her head, She found me roots of relish sweet, She took me to her elfin grot, And there we slumber'd on the moss, I saw pale kings, and princes too, I saw their starv'd lips in the gloam And this is why I sojourn here
AUGERIES OF INNOCENCE
William Blake 1757 - 1827
I ME I SAY OSIRIS BELOVED OSIRIS O LOVER OF ISIS QUEEN OF THE NIGHT COME WEAVE THY WEB WITH PERFECT LIGHT
I THAT AM THAT I THAT AM I SAY O HOLY ONES HOLY ONLY ONE ONE ONLY WHOLE ART THOU UNTO THYSELVES ALL ONE ALL I SAY BELOVED ISIS QHEEN OF THE NIGHT COME WEAVE THY WEB WITH RAPID LIGHT
GREETINGS
O
NAMUH
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
11 11 2011 ELEVENTH OF NOVEMBER TWO THOUSAND AND ELEVEN
SOUND THE QUESTION I ME I ME I QUESTION THE SOUND WHITHER GOEST THOU GOEST WHITHER GODS GODDESSES ALWAYS LOVE BALANCING LOVE ALWAYS GODS GODDESSES
THE ARMISTICE AMEN THE NAME 1918 THE ELEVENTH HOUR OF THE ELEVENTH DAY OF THE ELEVENTH MONTH
THE
ELEVENTH OF NOVEMBER TWO THOUSAND AND ELEVEN
ELEVEN ELEVEN ELEVEN ELEVEN ELEVEN
9 9 9 9 9
ELEVEN ELEVEN ELEVEN ELEVEN ELEVEN
I SAW A NEW HEAVEN AND A NEW EARTH
IN REMEMBRANCE OF GODS CREATORS DIVINE CREATORS DIE I DIE 999 DIE I DIE SHOCK AND AWE RAW WAR SHOCK AND AWE AWFUL WAR MICRO AND MACRO LIFE FORM I FORM LIFE MACRO AND MICRO
GUARDIAN
O9 NOVEMBER 2011
The event to which Peter McKinney refers (Letters, 7 November) occurs every 100 years. A rarer event occurred in the reigh of Henry I, when there wasc a second in in time which was 11:11:11/11 1111.
Dr Jeremy Ludford
Salisbury Wiltshire
The 4 Unusual Dates of 2011 | BWP - Blog With Praba blogwithpraba.blogspot.com/2011/03/4-unusual-dates-of-2011.
This year 2011, we will experience four unusual dates: ... 9th October the date will be --> 9-10-11 (ascending order); 1st November the dated will be --> 1-11-11 ...
The 4 Unusual Dates of 2011 This year 2011, we will experience four unusual dates:
•1/1/11
•1/11/11 •11/1/11 •11/11/11 Now, here’s something interesting: Take the last two digits of your birthday year plus your age this year. The sum is 111. For example, if your birth year is 1950, you will be turning 61 this year. Add 50 and 61 and you get 111. The equation applies to all birthdays. Try it!
I already tried it. My birth year is 1986 and I'm turning 25 this year, that would be 86+25=111. Amazing! isn't it?..try it.
This phenomena comes again after hundred years. Similar special dates occurred in 1911 calendar while it may repeat in the year 2111.
•1st January the date will be --> 1-1-11 (all ones) •11th January the date will be --> 11-1-11 (all ones) •11th February the date will be -->11-02-2011 (2011 in reverse) •9th October the date will be --> 9-10-11 (ascending order) •1st November the dated will be --> 1-11-11 (all ones) •11th November the date will be --> 11-11-11 (unique number) •20th November the date will be -->20-11-2011 (year repeats) •22nd November the date will be --> 22-11-11(date=Month+Year) •13th December the date will be --> 13-12-11 (descending order) This year has plenty of unusual dates... Let's see what in store for us on this dates..why wont we do something special on the dates mention?..
What do you think guys?
by Prabaz Ponnambalam at 1:35 pm
----- Original Message -----
From: Lisa Ford To:dave@denizen7.freeserve.co.uk Sent: Friday, November 11, 2011 9:20 AM
Subject: FW: Birthday girl Hi Dave
Good morning.
You asked me to let you know my details so you could add something to the site
Tomorrow 11-11- 11 I will be celebrating my 45th birthday.
See you soon
Lisa
----- Original Message -----
From: Charles - Direct Marketing Ltd To: Dave Denison Sent: Friday, November 11, 2011 9:06 AM Subject: 11 11 11 SUNSET Welcome to the world day of interconnectedness on 11.11.11.
11-11-11 (2011) - Trailer - YouTube Sports Chat Place - 50 related articlesWhat will happen in 11-11-2011 ? - Yahoo! Answers answers.yahoo.com › ... › Society & Culture › Religion & Spirituality 16 Nov 2009 – Asker's Rating: 5 out of 5; Asker's Comment: Well, nothing special you mean? I suggest that all people in the world should do something special ... IMDb - 11-11-11 (2011) After the death of his wife and child, an author travels to Barcelona to see his estranged brother and dying father, where he learns that his life is plagued by events that occur on 11/11/11.
Directed by Darren Lynn Bousman. Starring Timothy Gibbs, Michael Landes, Brendan Price. Journey to Awaken: 11:11, 2011, Duality and Oneness lindalubin.blogspot.com/2011/.../1111-2011-duality-and-oneness.ht... 4 Jul 2011 – The date 11/11/11 will serve as a triple portal, a tri-fold activation. ... In other words, 11/11/11 is a day to pay close attention to and understand ...
Asteroid yu55 East Asia on 11/11/2011 : Asteroids and Comets ... 2012predictions.org/asteroid-yu55-east-asia-2011-t2565.html 5 posts - 2 authors - Last post: 31 Oct
Asteroid yu55 East Asia at risk on 11/11/2011 New predictions Shaul Mofaz ( Antichrist ) in the September-October- 2011 Israeli Prime Minister ... Get more discussion results BBC iPlayer - Morning Briefing: 11/11/2011 2 hours ago – Colin Kelly presents Morning Briefing - all you need to know to start your day.
Get more results from the past 24 hours Emergence 11-11-11 Lightworker is a place for spiritually evolving humans offering information to shift comfortably into the higher vibrations of the New Planet Earth.
US Dollar / Canadian Dollar - 11/11/2011 07:22 GMT - Forex 2 hours ago – US Dollar / Canadian Dollar. Weekly, Daily, Hourly. Trends. Resistances, 1.0265, 1.0245, 1.0205. Supports, 1.0075, 1.012, 1.016. Our strategy ...
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----- Original Message ----- From: Rob Bell To: Dave Denison Sent: Monday, February 06, 2006 5:47 PM
Subject: Thought u might like this Dave....
This is actually really freeky!! (mainly the end part, but read it all first)
1) New York City has 11 letters 2) Afghanistan has 11 letters. 3) Ramsin Yuseb (The terrorist who threatened to destroy the Twin Towers in 1993) has 11 letters. 4) George W Bush has 11 letters. This could be a mere coincidence, but this gets more interesting: 1) New York is the 11th state. 2) The first plane crashing against the Twin Towers was flight number 11. 3) Flight 11 was carrying 92 passengers. 9 + 2 = 11 4) Flight 77 which also hit Twin Towers, was carrying 65 passengers. 6 + 5 = 11 5) The tragedy was on September 11, or 9/11 as it is now known. 9 + 1 + 1 = 11 6) The date is equal to the US emergency services telephone number 911. 9 + 1 + 1 = 11. Sheer coincidence..?! Read on and make up your own mind: 1)The total number of victims inside all the hi-jacked planes was 254. 2 + 5 + 4 = 11. 2)September 11 is day number 254 of the calendar year. Again 2 + 5 + 4 = 11. 3)The Madrid bombing took place on 3/11/2004. 3 + 1 + 1 + 2 + 4 = 11. 4) The tragedy of Madrid happened 911 days after the Twin Towers incident. Now this is where things get totally eerie: The most recognised symbol for the US, after the Stars & Stripes, is the Eagle. The following verse is taken from the Quran, the Islamic holy book: "For it is written that a son of Arabia would awaken a fearsome Eagle. The wrath of the Eagle would be felt throughout the lands of Allah and lo, while some of the people trembled in despair still more rejoiced :for the wrath of the Eagle cleansed the lands of Allah and there was peace." That verse is number 9.11 of the Quran. uncovinced about all of this Still ..?! Try this and see how you feel afterwards, it made my hair stand on end: Open Microsoft Word and do the following: 1. Type in capitals Q33 NY. This is the flight number of the first plane to hit one of the Twin Towers. 2. Highlight the Q33 NY. 3. Change the font size to 48. 4. Change the actual font to the WINGDINGS What do you think now?!! Something to get those fine teeth of yours into Mr D
Rob
I THAT AM THAT THAT THAT THAT ISISIS HEAREST THAT THAT THAT HEAREST THAT THOU OF THEE THEE OF THAT THOU ART OF WISDOM UNIVERSAL WISDOM OF GODS GODS AS YE DO SO SHALL YE RECEIVE RECEIVE YE SHALL SO DO YE AS MAAT ISISIS ISISIS MAAT UNIVERSAL IS THAT LAW OF CREATIVE GODS GODS CREATIVE OF LAW THAT IS UNIVERSAL AZ YE SOW HA HA HA SO SHALL YE REAP HA HA HA REAP YE SHALL SO HA HA HA SOW YE AZ HEARKEN THEE ALL THIS LAUGHTER AMIDST ALL THIS SLAUGHTER WE ARE THE DEAD SHORT TIME AGO WE LIVED SAW DAWN FELT SUNSETS GLOW LIVED AND WERE LOVED AND NOW ?
HEAREST ME READEST ME DEAREST DREAMER DREAMER DEAREST ME READEST ME
O HE AZIN SHE THAT IS THEE I ME I THEE IS THAT SHE AZIN HE THIS IS THE SUMMONS IN THE OMEN OF THE MOMENT
I ME ZEN I ZEN I ME DISMEMBER TO REMEMBER REMEMBER TO DISMEMBER ME ALWAYS IN THE INSIDE OUT OF THE OUTSIDE IN ALWAYS THE RIGHTSIDE UP OF THE LEFTSIDE DOWN DROWNING ALWAYS I ME I ALWAYS DROWNING THAT THAT THAT ALWAYS IS THAT IS THAT IS ALWAYS BALANCING NEGATIVE + POSITIVE ALWAYS POSITIVE + NEGATIVE BALANCING ALL DIVINE CREATORS CREATORS DIVINE ALL GODS BALANCING BALANCING GODS THAT THAT THAT ISISIS THAT THAT THAT ISISIS DIVINE THOUGHT ISISISTHAT THAT THAT ISISIS THOUGHT DIVINE ISISIS GODS CREATIVE LAW OF MAATIS ISMAAT OF LAW CREATIVE GODS PERFECTION PERSONIFIED GODS PERSONIFIED PERFECTION THAT THAT THATISISIS ISISIS ISISIS THAT THAT THAT CREATIVE PERFECTION GODS PERFECTION CREATIVE THE CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE FROM AND TO I AND ME AND I TO AND FROM HEAREST THEE THAT ME THAT I AM I AM I THAT ME THAT THEE HEAREST ME THAT I ME THAT I AM I THAT ME I THAT
MEANWHILE MEANTIME SOMEWHERE ANYWHERE SOMEWHERE MEANTIME MEANWHILE ME AND TIME I THAT I AM EMIT TIME I TIME EMIT AM I THAT I TIME AND ME TIME PRESENT TIME PAST TIME FUTURE TIME PAST TIME PRESENT TIME
HOURS OF HORUS ARRIVES SO ARRIVES HORUS OF HOURS
I YOU ME BE AWARE BEWARE I ME I BEWARE AWARE BE ME YOU I
MESSAGE LUCK GOOD GODDESS GODS GODDESS GOOD LUCK MESSAGE MESSAGE LOVE EVOLVE LOVE LOVE LOVE EVOLVE LOVE MESSAGE GO DO GOOD GOD GOOD DO GO GOD DESS GOOD NESS GOOD NESS GOD DESS GODGODDESS GODDESSGOD
I ME EGO CONSCIENCE DIVINE CONSCIENCE GODS GODS CONSCIENCE DIVINE CONSCIENCE EGO ME I
I ME EGO EGO CENTRIC CONSCIENCE CENTRIC EGO EGO ME I DIVINE CONSCIENCE GODS GODS CONSCIENCE DIVINE CONSCIENCE EGO ME I
I ME TARGET THAT THAT TARGET THAT STARGATE CONSCIOUSNESS GODS CONSCIOUSNESS STARGATE LIFE DEATH DEATH LIFE DEATH LIFE LIFE DEATH LIFE DEATH DEATH LIFE KARMAS GODS KARMAS THE CIRCLE OF THE CYCLE OF THE CYCLE OF THE CIRCLE I ME I ME YOU YOU YOU ME I BEING BEING BEING WOMAN BEING BEING BEING BEING MAN BEING BEING BORN BEING BEING BEING DEAD DEAD BEING BEING BORN BEING BEING BEING WHO YOU ARE THAT THAT THAT ARE YOU WHO BEING BEING THAT BEING U R THAT BEING BEING BEING THAT R U BEING THAT THAT O THAT O THAT LIVED IN O WHO AM I BEING BEING BEING I AM WHO BEING THAT BEING IS WHO U R BEING THAT BEING R U WHO IS BEING THAT BEING THAT BEING FROM UR U R R U RU FROM BEING THAT THAT THAT THAT ISISIS OUR MIND OF BEING BEING BEING OF MIND BEING THAT THAT THAT BEING B IN GOD IN B THAT COMETH OUT THE IN OF ZERO COMETH ONE THAT THAT BEING THAT THAT BEING THAT THAT BEING THAT BEING THAT THAT BE IN GOD BEING BEING BEING GOD IN BE THAT BE THAT THAT THAT BE GO DO GOOD GOOD GOOD DO GO
TIMES LITERARY SUPPLEMENT January 17, 2008
Chrysalis
Muriel Spark: introduced by Mick Imlah
I THAT AM THAT THAT THAT THAT ISISIS HEAREST THAT THAT THAT HEAREST THAT THOU OF THEE THEE OF THAT THOU ART OF WISDOM UNIVERSAL WISDOM OF GODS GODS AS YE DO SO SHALL YE RECEIVE RECEIVE YE SHALL SO DO YE AS MAAT ISISIS ISISIS MAAT UNIVERSAL IS THAT LAW OF CREATIVE GODS GODS CREATIVE OF LAW THAT IS UNIVERSAL AZ YE SOW HA HA HA SO SHALL YE REAP HA HA HA REAP YE SHALL SO HA HA HA SOW YE AZ HEARKEN THEE ALL THIS LAUGHTER AMIDST ALL THIS SLAUGHTER WE ARE THE DEAD SHORT TIME AGO WE LIVED SAW DAWN FELT SUNSETS GLOW LIVED AND WERE LOVED AND NOW ?
ELEVENTH OF NOVEMBER TWO THOUSAND AND ELEVEN
HEAREST ME READEST ME DEAREST DREAMER DREAMER DEAREST ME READEST ME
O HE AZIN SHE THAT IS THEE I ME I THEE IS THAT SHE AZIN HE THIS IS THE SUMMONS IN THE OMEN OF THE MOMENT
I ME ZEN I ZEN I ME DISMEMBER TO REMEMBER REMEMBER TO DISMEMBER ME ALWAYS IN THE INSIDE OUT OF THE OUTSIDE IN ALWAYS THE RIGHTSIDE UP OF THE LEFTSIDE DOWN DROWNING ALWAYS I ME I ALWAYS DROWNING
Freiheit - Keeping The Dream Alive lyrics. From the Original Motion Picture ... In my fantasy I remember their faces The hopes we had were much too high ...
Mmm mmm mmm mmm mmm mmm mmm mmm mmm.
THE HOPES WE HAD WE'RE MUCH TWO HIGH WAY OUT OF REACH BUT WE HAVE TO TRY NO NEED TO HIDE NO NEED TO RUN 'CAUSE ALL THE ANSWERS COME ONE BY ONE THE DAY WILL NEVER BE OVER BECAUSE WE 'RE KEEPING THE DREAM ALIVE
THAT THAT THAT ALWAYS IS THAT IS THAT IS ALWAYS BALANCING NEGATIVE + POSITIVE ALWAYS POSITIVE + NEGATIVE BALANCING ALL DIVINE CREATORS CREATORS DIVINE ALL GODS BALANCING BALANCING GODS THAT THAT THAT ISISIS THAT THAT THAT ISISIS DIVINE THOUGHT ISISISTHAT THAT THAT ISISIS THOUGHT DIVINE ISISIS GODS CREATIVE LAW OF MAATIS ISMAAT OF LAW CREATIVE GODS PERFECTION PERSONIFIED GODS PERSONIFIED PERFECTION THAT THAT THATISISIS ISISIS ISISIS THAT THAT THAT CREATIVE PERFECTION GODS PERFECTION CREATIVE THE CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE FROM AND TO I AND ME AND I TO AND FROM HEAREST THEE THAT ME THAT I AM I AM I THAT ME THAT THEE HEAREST ME THAT I ME THAT I AM I THAT ME I THAT
MEANWHILE MEANTIME SOMEWHERE ANYWHERE SOMEWHERE MEANTIME MEANWHILE ME AND TIME I THAT I AM EMIT TIME I TIME EMIT AM I THAT I TIME AND ME TIME PRESENT TIME PAST TIME FUTURE TIME PAST TIME PRESENT TIME
HOURS OF HORUS ARRIVES SO ARRIVES HORUS OF HOURS
I YOU ME BE AWARE BEWARE I ME I BEWARE AWARE BE ME YOU I
MESSAGE LUCK GOOD GODDESS GODS GODDESS GOOD LUCK MESSAGE MESSAGE LOVE EVOLVE LOVE LOVE LOVE EVOLVE LOVE MESSAGE GO DO GOOD GOD GOOD DO GO GOD DESS GOOD NESS GOOD NESS GOD DESS GODGODDESS GODDESSGOD
I ME EGO CONSCIENCE DIVINE CONSCIENCE GODS GODS CONSCIENCE DIVINE CONSCIENCE EGO ME I
I ME EGO EGO CENTRIC CONSCIENCE CENTRIC EGO EGO ME I DIVINE CONSCIENCE GODS GODS CONSCIENCE DIVINE CONSCIENCE EGO ME I
I ME TARGET THAT THAT TARGET THAT STARGATE CONSCIOUSNESS GODS CONSCIOUSNESS STARGATE LIFE DEATH DEATH LIFE DEATH LIFE LIFE DEATH LIFE DEATH DEATH LIFE KARMAS GODS KARMAS THE CIRCLE OF THE CYCLE OF THE CYCLE OF THE CIRCLE
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Return to the Beginning Page 283 'I stand before the masters who witnessed the genesis, who were the authors of their own forms, who walked the dark, circuitous passages of their own becoming. . .
I stand before the masters who witnessed the transformation of the body of a man into the body in spirit, who were witnesses to resurrection when the corpse of Osiris entered the mountain and the soul of Osiris walked out shining. . . when he came forth from death, a shining thing, his face white with heat. . . I stand before the masters who know the histories of the dead, who decide which tales to hear again, who judge the books of lives as either fun or empty, who are themselves authors of truth. And they are Isis and Osiris, the divine intelligences. And when the story is written and the end is good and the soul of a man is perfected, with a shout they lift him into heaven. . .' Ancient Egyptian Book of the Dead (Norrnandi Ellis translation)
I SAY THEREIN WHEREIN WHEREIN THEREIN WITHIN THINE OWN MINDS I IS ANOTHER REALITY THEREIN REVEALED IS REVEALED THERIN THIS IS THE SCENE OF THE UNSEEN SCENE THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SEEN
1 To every thing there is a season, and a time to every purpose under the heaven: 2 A time to be born, and a time to die; a time to plant, and a time to pluck up that which is planted; 3 A time to kill, and a time to heal; a time to break down, and a time to build up; 4 A time to weep, and a time to laugh; a time to mourn, and a time to dance; 5 A time to cast away stones, and a time to gather stones together; a time to embrace, and a time to refrain from embracing; 6 A time to get, and a time to lose; a time to keep, and a time to cast away; 7 A time to rend, and a time to sew; a time to keep silence, and a time to speak; 8 A time to love, and a time to hate; a time of war, and a time of peace. 9 What profit hath he that worketh in that wherein he laboureth? 10 I have seen the travail, which God hath given to the sons of men to be exercised in it. 11 He hath made every thing beautiful in his time: also he hath set the world in their heart, so that no man can find out the work that God maketh from the beginning to the end. 12 I know that there is no good in them, but for a man to rejoice, and to do good in his life. 13 And also that every man should eat and drink, and enjoy the good of all his labour, it is the gift of God. 14 I know that, whatsoever God doeth, it shall be for ever: nothing can be put to it, nor any thing taken from it: and God doeth it, that men should fear before him. 15 That which hath been is now; and that which is to be hath already been; and God requireth that which is past. 16 And moreover I saw under the sun the place of judgment, that wickedness was there; and the place of righteousness, that iniquity was there. 17 I said in mine heart, God shall judge the righteous and the wicked: for there is a time there for every purpose and for every work. 18 I said in mine heart concerning the estate of the sons of men, that God might manifest them, and that they might see that they themselves are beasts. 19 For that which befalleth the sons of men befalleth beasts; even one thing befalleth them: as the one dieth, so dieth the other; yea, they have all one breath; so that a man hath no preeminence above a beast: for all is vanity. 20 All go unto one place; all are of the dust, and all turn to dust again. 21 Who knoweth the spirit of man that goeth upward, and the spirit of the beast that goeth downward to the earth? 22 Wherefore I perceive that there is nothing better, than that a man should rejoice in his own works; for that is his portion: for who shall bring him to see what shall be after him?
Thou Shalt Love Thy Neighbour as Thyself 37 Jesus said unto him, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind.... www.topical-bible-studies.org › Law of God
Thou Shalt Love Thy Neighbour as Thyself Leviticus 19:18 Thou shalt not avenge, nor bear any grudge against the children of thy people, but thou shalt love thy neighbour as thyself: I am the LORD. Leviticus 19:34 But the stranger that dwelleth with you shall be unto you as one born among you, and thou shalt love him as thyself; for ye were strangers in the land of Egypt: I am the LORD your God. Matthew 7:12 Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the law and the prophets. Matthew 19:16 And, behold, one came and said unto him, Good Master, what good thing shall I do, that I may have eternal life? Matthew 22:35 Then one of them, which was a lawyer, asked him a question, tempting him, and saying, Mark 12:28 And one of the scribes came, and having heard them reasoning together, and perceiving that he had answered them well, asked him, Which is the first commandment of all? Luke 6:31 And as ye would that men should do to you, do ye also to them likewise. Luke 10:25 And, behold, a certain lawyer stood up, and tempted him, saying, Master, what shall I do to inherit eternal life? Romans 13:8 Owe no man any thing, but to love one another: for he that loveth another hath fulfilled the law. Galatians 5:14 For all the law is fulfilled in one word, even in this; Thou shalt love thy neighbour as thyself. Ephesians 5:25 Husbands, love your wives, even as Christ also loved the church, and gave himself for it; James 2:8 If ye fulfil the royal law according to the scripture, Thou shalt love thy neighbour as thyself, ye do well:
Matthew 22:35 Then one of them, which was a lawyer, asked him a question, tempting him, and saying,
I ME THE STAR STRUCK STARE OF THE STARING MASTER IS RA EL GODS EL IS RA GOD IS REAL IS REAL IS GOD
HEAR O ISRAEL THE LORD OUR GOD IS ONE GOD THE PEOPLE OF GOD ARE ONE PEOPLE
GOD ONE GOD AND ONE CHOSEN RACE THE HUMAN RACE
HOLY BIBLE Scofield References C 1 V 16 THE ACTS OF THE APOSTLESPage 1148 (Part quoted) "MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Return to the Beginning Page 283 'I stand before the masters who witnessed the genesis, who were the authors of their own forms, who walked the dark, circuitous passages of their own becoming. . .
I stand before the masters who witnessed the transformation of the body of a man into the body in spirit, who were witnesses to resurrection when the corpse of Osiris entered the mountain and the soul of Osiris walked out shining. . . when he came forth from death, a shining thing, his face white with heat. . . I stand before the masters who know the histories of the dead, who decide which tales to hear again, who judge the books of lives as either fun or empty, who are themselves authors of truth. And they are Isis and Osiris, the divine intelligences. And when the story is written and the end is good and the soul of a man is perfected, with a shout they lift him into heaven. . .' Ancient Egyptian Book of the Dead (Norrnandi Ellis translation)
THE HOURS OF HORUS IS ARRIVED HURRAH FOR RAH FOR RAH HURRAH AMEN THAT NAME GODS NAME AMEN RA IN BOW LIGHT GODS LIGHT RA IN BOW THE LIGHT IS RISEN NOW RISEN IS THE LIGHT
Shapash, the Phoenician Sun Goddess--Sapas, Shapshu,sun goddess ...
Phoenician and Canaanite Goddesses--Astarte Ashtart Athirat Anat ...
Shapash (Semitic deity) -- Britannica Online Encyclopedia
Shapash
Shapash (Canaanite goddess) - Wikipedia, the free encyclopedia
Esagila - Wikipedia, the free encyclopedia Esagila In this temple was the cult image inhabited by Marduk, surrounded by cult images of the cities that had fallen under the hegemony of the Babylonian Empire from the 18th century BC; there was also a little lake which was named Abzu by the Babylonian priests. This Abzu was a representantion of Marduk's father, Enki, who was god of the waters and lived in the Abzu that was the source of all the fresh waters. The Esagila complex, completed in its final form by Nebuchadrezzar II (604–562 BC) encasing earlier cores, was the center of Babylon. It comprised a large court (ca. 40×70 sq. meters), containing a smaller court (ca. 25×40 m2), and finally the central shrine, consisting of an anteroom and the inner sanctum which contained the statues of Marduk and his consort Sarpanit. According to Herodotus, Xerxes had a statue removed from the Esagila when he flooded Babylon in 482 BC, desecrated the Esagila and sacked the city. Alexander the Great ordered restorations, and the temple continued to be maintained throughout the second century BC, as one of the last strongholds of Babylonian culture, such as literacy in the cuneiform script, but as Babylon was gradually abandoned under the Parthian Empire, the temple fell into decay in the first century BC. Under the enormous heap of debris that lay over it, Esagila was rediscovered by Robert Koldewey in November 1900, but it did not begin to be seriously examined until 1910. The rising water table has obliterated much of the sun-dried brick and other oldest material. Most of the finds at Babylon reflect the Neo-Babylonian period and later. Data from the Esagila tablet,[2] copied from older texts in 229 BC, have aided in its reconstruction. The tablet, described by George Smith in 1872, disappeared for some time into private hands before it resurfaced and began to be interpreted.
Etemenanki- Wikipedia, the free encyclopedia Esagila
Ruin of Esagila chronicle (BCHP 6)
Enmebaragesi - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/ Enmebaragesi (Me-Baragesi, En-Men-Barage-Si, Enmebaragisi, fl. ca. 2500 BC) was a king of Kish, according to the Sumerian king list. The list states that he...
King List · Sumer · Longevity traditions
En-men-lu-ana 43,200 · Alalngar 36,000 · Dumuzid the Shepherd 36,000 · Alulim 28,800 · En-men-gal-ana 28,800 · En-sipad-zid-ana 28,800 · En-men-dur-ana 21,000 · Ubara-Tutu 18,600 · Etana 1500 · Jushur 1200 · Barsal-nuna 1200 · Iltasadum 1200 · Lugalbanda 1200 · Kullassina-bel 960 · Kalibum 960 · Zuqaqip 900 · Melem-Kish 900 · Ilku 900 · Enmebaragesi 900 · Puannum 840 · Kalumum 840 · Mashda 840 · Arwium 720 · Nangishlishma 670 · En-me-nuna 660 · Aga of Kish 625 · Atab 600 · Utu-hengal 427 · En-tarah-ana 420 · Enmerkar 420 · Balih 400 · Ur-Zababa 400 · Mamagal 360 · Tuge 360 · Lugalngu 360 · Hadanish 360 · Mesh-ki-ang-gasher 324 · Tizqar 305 · Babum 300 · Enbi-Ishtar 290 · Susuda 201 · Kalbum 195 · Men-nuna 180 · Zamug 140 · Gilgamesh 126 · Lugal-kinishe-dudu 120 · Nanni 120 · Awan dynasty 356 (3 kings)
Names of God in Judaism - Wikipedia, the free encyclopedia
I Am that I Am (Hebrew: אהיה אשר אהיה, pronounced Ehyeh asher ehyeh [ʔehˈje ʔaˈʃer ʔehˈje] is a common English translation (King James Bible ...
The Name of God
The Hebrew Name for God - YHVH
MySpace.com - Ehyeh Asher Ehyeh - 39 - Male - Mississippi - www ...
Kolel's Parasha Study
Ehyeh Asher Ehyeh1
Ehyeh Asher Ehyeh - Greece | Facebook Ehyeh Asher Ehyeh (Greece) is on Facebook. Facebook gives people the power to share and makes the world more open and connected.
[b-hebrew] Ehyeh Asher Ehyeh
YHWH THE BOOK OF KNOWLEDGE: THE KEYS OF ENOCH J.J. Hurtak 1973 Page 578/9 I AM THAT I AM Heb. " EHYEH ASHER EHYEH." 1The highest statement that a mortal can use in this world. It expresses the "covenant" between the human self and the Christed Overself, and a knowing of one's true identity, ones destiny and the keys to the higher thresholds. 2A/ holy mantra/salutation working with the holy Brotherhoods and Hierarchy of YHWH
Alphabetics Commentary on "Immanuel" -- God with us Immanuel Introduction The word Immanuel/Emmanuel means, "God with us." It conveys the idea of God come down in the flesh, mingling alongside mankind, subject to their brutality, while extending his love in bringing their redemption. Looking at the words before and after Immanuel/Emmanuel in Hebrew, Greek and English sheds interesting light on the word as it applies both to the first Messianic advent among the Jews as well as the second Messianic advent among the Gentiles. KEY: Words Around "Immanuel" in Zodhiates' NT Greek Lexicon 1690 embrimaomai To be enraged, indignant, to express indignation against someone; to murmur against, blame. [The Jews were ticked off at Jesus.] 1691 eme The emphatic form of me (3165), I, me, myself. [e.g. God himself -- exclamation point!] 1692 emeo To spit out, vomit. [How the Jews and Gentiles receive their Messiah.] 1693 emmainomai To be mad or furious with or against any person or thing. > 1694 Emmanouel Proper noun transliterated from the Hebrew Immanu'el (6005, OT), God with us. 1695 Emmaous Emmaus. [Resurrected Christ walking in the midst and talking with two disciples who did not recognize him.] 1696 Emmeno To remain, persever in. [(1) to dwell with--Immanuel; (2) Fits the idea of Emmaus, when the disciples said to Jesus, "Abide with me, 'tis eventide."] 1697 Emmor from Hebr. Chamor, An ass. [play on words, depicting how man views those who do the work of God, including God himself, in their midst] 1698 Emoi I, me, mine, my. [God himself.] 1699 Emoi I, mine, my own. [God himself.] 1700 Emou Of me, mine, my. [God himself.] 1701 empaigmos Derision, scoffing, mocking. [e.g. Is how the Jews received Christ, their very God come to dwell in their midst in the flesh.] 1702 empaizo To deride, mock, scoff at. Empaizo is used in the Synoptic Gospels of the mockery of Christ . . . . The word is used prophetically by the Lord of His impending sufferings and of the insults actually inflicted upon Him by the men who were taking Him from Gethsemane; by Herod and his soldiers; by the soliers of the governor; by the chief priests, scribes, and elders. 1703 empaiktes A mocker, scoffer, spoken of impostors, false prophets. [Jesus accused of being a false Messiah, sent to deceive the people.] 1704 emperipateo To walk about in a place, e.g., the earth. Used metaphorically, meaning to walk or live among a people, be habitually conversant with. [Immanuel--God with us.] 1705 empiplemi and empiplao To fill, to fill in or up, to make full. In the NT spoken . . . of food, to fill with food, satisfy, satiate, to fill in regard to one's desire with good. Metaphorically in the pss., to be filled with any person or thing, meaning to enjoy the society or communion of someone. [Immanuel--God with us.] 1706 empipto To fall in. Followed by eis (1519), into, with acc. of place, to fall into. Of persons, to fallin with or among, to meet with. Metaphorically, to fallinto any state or condition, to come into. [The condescension of God: Immanuel--God with us.] 1707 empleko To braid in, interweave, entangle, implicate. [God in our midst, subject to the same rigors and circumstances as are we, hence able to intercede on our behalf.]
Words Around "Immanuel" in OT Hebrew Lexicon The words alphabetically surrounding the Hebrew word for "Immanuel" in the Old Testament Lexicon (Gesenius) further elaborate on the idea of Immanuel: God with us. What is particularly amazing about this series of words is that they contain all of the major elements of Jacob 5:72, which is a key scripture pointing to not just an Immanuel advent of Jesus Christ among the Jews anciently, but of an Immanuel advent among the Gentile husbandmen of the vineyard in these last days. Jacob 5:72 reads: "And it came to pass that the servants did go and labor with their mights; and the Lord of the vineyard labored also with them . . . " It is important to note that in the sequence of Zenos allegory (Jacob 5), this is right toward the end, when the final thrust is made to salvage a corrupt vineyard. The first are gathered last, the last, first. The branches bringing forth the most bitter fruit are removed, as good branches are grafted in. This is not talking about Jesus coming among the Jews anciently, but rather is referring to these last days. It is our day to which the scripture is referring when it says, "the Lord of the vineyard labored also with them." Immanuel. God with us. "And thus will I bring them together again, that they shall bring forth the natural fruit, and they shall be one" (Jacob 5:68.) With this verse and its context in mind now, consider the following series of words in the Old Testament Lexicon, surrounding the word for Immanuel. Again, my comments are in [small brackets]. 5994 deep, figuratively hidden, not to be searched out. [Preface to Jacob 5 reads: ". . . how is it possible that these, after having rejected the sure foundation, can ever build upon it, that it may become the head of their corner? Behold, my beloved brethren, I will unfold this mystery unto you . . ." (4:17,18.)] 5995 a sheaf (a bundle of corn[grain]) [(1) similar to vineyard symbolism; (2) sheaf as metaphor for gathering/dividing wheat & tares; (3) corn as code for Messiah] 5996 "servant of the Almighty" [servant, greatest of all] 5997 (1) fellowhip, i.e. my fellow, companion [the Lord of the vineyard labors along side them]; (2) a neighbour [in our midst] 5998 To labour [by our side, in our midst] 5999, 6000 (1) heavy, wearisome labour; (2) the produce of labour; (3) weariness, trouble, vexation; Isa. 53:11. 6004 (1) to gather together, to collect, to join together. [the mission of Immanuel.] (2) to shut, to close, hence to hide, to conceal; to be hidden. [veiled in the flesh.] > 6005 Immanuel 6006 to take up, to lift, e.g. a stone [(1) after rejecting it, the stone becomes the head stone of their corner (Jacob 4:17); (2) "he (the Stone) shall be exalted and extolled, and be very high" (Isa. 52:13)] 6007 "whom Jehovah carries in his bosom" [(1) "in the shadow of his hand hath he hid me" (Isa. 49:2); (2) For ye are lawful heirs, according to the flesh, and have been hid from the world with Christ in God" (D&C 86:9.)] 6008 "eternal people" [people of God: Israel, Gentiles; first shall be last, last shall be first (Jacob 5)] 6009 To be deep, to be unsearchable. ["I will unfold this mystery unto you" (Jacob 4:18)] Words Around "Immanuel" in the English Dictionary (Web. '71) Again, my comments are in [small brackets]. imbrue To soak or drench in a fluid, as in blood. [e.g. Jesus Christ crucified by his own people, that all might have access to his grace.] imbrute To degrade to the state of a brute. [God condescends to be born into the flesh, which is subject to corruption, in order to show that we, like him, can overcome the brute flesh.] imbue To soak, steep, or tinge deeply; fig. to inspire, impress, or impregnate (the mind); to cause to become impressed or penetrated. [(1) by coming in the flesh, God is able to understand our struggles; (2) realizing God has done this for us has a strong power to deeply impress our souls on many counts] imitate To follow as a model, pattern, or example, to copy or endeavour to copy in acts, manners, or otherwise. ["What manner of men ought ye to be? even as I am."] immaculate Spotless, pure; unstained, undefiled; without blemish [contrast "sterling: exceptional purity," e.g. sterling silver = 92.5% silver; 7.5% tin; e.g. the approximate "A" grade cut-off point: 92.5%] immanent Remaining in or within [i.e. in our midst: God with us]; hence, not passing out of the subject; inherent and indwelling [e.g. Holy Ghost: God with us]; internal or subjective. > Immanuel God with us: an appellation of the Saviour immaterial Not consisting of matter; incorporeal; spiritual [opposite of Immanuel: God in the flesh]; Words Around "Emmanuel" in the English Dictionary
"The word Immanuel/Emmanuel means, "God with us." It conveys the idea of God come down in the flesh, mingling alongside mankind, subject to their brutality, while extending his love in bringing their redemption."
Previous Book:Go to Malachi · Previous Chapter : Go to Matthew 26 ... Matthew 27. 1When the morning was come, all the chief priests and elders of the people. www.biblegateway.com/passage/?search=matthew ... Matthew 27 (King James Version)
Matthew 27
1 When the morning was come, all the chief priests and elders of the people took counsel against Jesus to put him to death:
2 And when they had bound him, they led him away, and delivered him to Pontius Pilate the governor.
3 Then Judas, which had betrayed him, when he saw that he was condemned, repented himself, and brought again the thirty pieces of silver to the chief priests and elders,
4 Saying, I have sinned in that I have betrayed the innocent blood. And they said, What is that to us? see thou to that.
5 And he cast down the pieces of silver in the temple, and departed, and went and hanged himself.
6 And the chief priests took the silver pieces, and said, It is not lawful for to put them into the treasury, because it is the price of blood.
7 And they took counsel, and bought with them the potter's field, to bury strangers in.
8 Wherefore that field was called, The field of blood, unto this day.
9 Then was fulfilled that which was spoken by Jeremy the prophet, saying, And they took the thirty pieces of silver, the price of him that was valued, whom they of the children of Israel did value;
10 And gave them for the potter's field, as the Lord appointed me.
11 And Jesus stood before the governor: and the governor asked him, saying, Art thou the King of the Jews? And Jesus said unto him, Thou sayest.
12 And when he was accused of the chief priests and elders, he answered nothing.
13 Then said Pilate unto him, Hearest thou not how many things they witness against thee?
14 And he answered him to never a word; insomuch that the governor marvelled greatly.
15 Now at that feast the governor was wont to release unto the people a prisoner, whom they would.
16 And they had then a notable prisoner, called Barabbas.
17 Therefore when they were gathered together, Pilate said unto them, Whom will ye that I release unto you? Barabbas, or Jesus which is called Christ?
18 For he knew that for envy they had delivered him.
19 When he was set down on the judgment seat, his wife sent unto him, saying, Have thou nothing to do with that just man: for I have suffered many things this day in a dream because of him.
20 But the chief priests and elders persuaded the multitude that they should ask Barabbas, and destroy Jesus.
21 The governor answered and said unto them, Whether of the twain will ye that I release unto you? They said, Barabbas.
22 Pilate saith unto them, What shall I do then with Jesus which is called Christ? They all say unto him, Let him be crucified.
23 And the governor said, Why, what evil hath he done? But they cried out the more, saying, Let him be crucified.
24 When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water, and washed his hands before the multitude, saying, I am innocent of the blood of this just person: see ye to it.
25 Then answered all the people, and said, His blood be on us, and on our children.
26 Then released he Barabbas unto them: and when he had scourged Jesus, he delivered him to be crucified.
27 Then the soldiers of the governor took Jesus into the common hall, and gathered unto him the whole band of soldiers.
28 And they stripped him, and put on him a scarlet robe.
29 And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee before him, and mocked him, saying, Hail, King of the Jews!
30 And they spit upon him, and took the reed, and smote him on the head.
31 And after that they had mocked him, they took the robe off from him, and put his own raiment on him, and led him away to crucify him.
32 And as they came out, they found a man of Cyrene, Simon by name: him they compelled to bear his cross.
33 And when they were come unto a place called Golgotha, that is to say, a place of a skull,
34 They gave him vinegar to drink mingled with gall: and when he had tasted thereof, he would not drink.
35 And they crucified him, and parted his garments, casting lots: that it might be fulfilled which was spoken by the prophet, They parted my garments among them, and upon my vesture did they cast lots.
36 And sitting down they watched him there;
37 And set up over his head his accusation written, THIS IS JESUS THE KING OF THE JEWS.
38 Then were there two thieves crucified with him, one on the right hand, and another on the left.
39 And they that passed by reviled him, wagging their heads,
40 And saying, Thou that destroyest the temple, and buildest it in three days, save thyself. If thou be the Son of God, come down from the cross.
41 Likewise also the chief priests mocking him, with the scribes and elders, said,
42 He saved others; himself he cannot save. If he be the King of Israel, let him now come down from the cross, and we will believe him.
43He trusted in God; let him deliver him now, if he will have him: for he said, I am the Son of God.
44The thieves also, which were crucified with him, cast the same in his teeth.
45 Now from the sixth hour there was darkness over all the land unto the ninth hour.
46 And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say, My God, my God, why hast thou forsaken me?
47 Some of them that stood there, when they heard that, said, This man calleth for Elias.
48 And straightway one of them ran, and took a spunge, and filled it with vinegar, and put it on a reed, and gave him to drink.
49 The rest said, Let be, let us see whether Elias will come to save him.
50 Jesus, when he had cried again with a loud voice, yielded up the ghost.
51And, behold, the veil of the temple was rent in twain from the top to the bottom; and the earth did quake, and the rocks rent;
52 And the graves were opened; and many bodies of the saints which slept arose,
53 And came out of the graves after his resurrection, and went into the holy city, and appeared unto many.
54 Now when the centurion, and they that were with him, watching Jesus, saw the earthquake, and those things that were done, they feared greatly, saying, Truly this was the Son of God.
55 And many women were there beholding afar off, which followed Jesus from Galilee, ministering unto him:
56 Among which was Mary Magdalene, and Mary the mother of James and Joses, and the mother of Zebedees children.
57 When the even was come, there came a rich man of Arimathaea, named Joseph, who also himself was Jesus' disciple:
58 He went to Pilate, and begged the body of Jesus. Then Pilate commanded the body to be delivered.
59 And when Joseph had taken the body, he wrapped it in a clean linen cloth,
60 And laid it in his own new tomb, which he had hewn out in the rock: and he rolled a great stone to the door of the sepulchre, and departed.
61 And there was Mary Magdalene, and the other Mary, sitting over against the sepulchre.
62 Now the next day, that followed the day of the preparation, the chief priests and Pharisees came together unto Pilate,
63 Saying, Sir, we remember that that deceiver said, while he was yet alive, After three days I will rise again.
64 Command therefore that the sepulchre be made sure until the third day, lest his disciples come by night, and steal him away, and say unto the people, He is risen from the dead: so the last error shall be worse than the first.
65 Pilate said unto them, Ye have a watch: go your way, make it as sure as ye can.
66 So they went, and made the sepulchre sure, sealing the stone, and setting a watch.
Father, forgive them, for they know not what they do. (Luke 23:34) Truly, I say to you, today you will be with me in paradise. (Luke 23:43) ...www.phrases.org.uk/meanings/142050htm - 9k
From the Bible, Luke 23 ( King James Version)
23:33 And when they were come to the place, which is called Calvary, there they crucified him, and the malefactors, one on the right hand, and the other on the left.
23:34 Then said Jesus, Father, forgive them; for they know not what they do. And they parted his raiment, and cast lots. 23:35 And the people stood beholding. And the rulers also with them derided him, saying, He saved others; let him save himself, if he be Christ, the chosen of God. This phrase, which is supposed to be the first of the sayings Jesus uttered on the cross, forms part of a meditation that is used by Christians during the major festivals of the Christian year:
Father, forgive them, for they know not what they do. (Luke 23:34)
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