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NUCLEAR FAMILY 19769
THE MAGICALALPHABET
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
https://en.wikipedia.org/wiki/Oedipus Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus accidentally fulfilled a prophecy that he would end up killing his father ...
https://en.wikipedia.org/wiki/Oedipus_Rex Oedipus Rex, also known by its Greek title, Oedipus Tyrannus or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC. Written by: Sophocles
Oedipus - Wikipedia Oedipus definition: the son of Laius and Jocasta , the king and queen of Thebes , who killed his father ,...
Oedipus complex definition and meaning | Collins English Dictionary https://www.collinsdictionary.com/dictionary/english/oedipus-complex
https://dictionary.cambridge.org/dictionary/english/oedipus-complex Oedipus complex definition: in psychology (= the study of the human mind), a child's sexual desire for their parent of the opposite sex, especially that of a boy for ...
Orpheus - Wikipedia Mythology - Orpheus is a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on ... Orpheus From Wikipedia, the free encyclopedia Orpheus DSC00355 - Orfeo (epoca romana) - Foto G. Dall'Orto.jpg Abode Symbol Personal Information Born Died Spouse Children Parents Siblings Orpheus (/'??rfi?s, '??rfju?s/; Greek: ??fe??) is a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music, his attempt to retrieve his wife, Eurydice, from the underworld, and his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, film, opera, music, and painting.[1] Orpheus was born as a son of the Muse Kalliope and the Thracian king Oeagrus in a cave between Pimpleia and Leivithra.[2] For the Greeks, Orpheus was a founder and prophet of the so-called "Orphic" mysteries. He was credited with the composition of the Orphic Hymns, a collection of which only two have survived.[3] Shrines containing purported relics of Orpheus were regarded as oracles. Some ancient Greek sources note Orpheus' Thracian origins.[4] Orpheus (left, with lyre) among the Thracians, from an Attic red-figure bell-krater (c. 440 BC)[5] Pindar calls Orpheus "the father of songs"[9] and identifies him as a son of the Thracian king Oeagrus[10] and the Muse Calliope.[11] Greeks of the Classical age venerated Orpheus as the greatest of all poets and musicians; it was said that while Hermes had invented the lyre, Orpheus had perfected it. Poets such as Simonides of Ceos said that Orpheus' music and singing could charm the birds, fish and wild beasts, coax the trees and rocks into dance,[12] and divert the course of rivers. Orpheus was one of the handful of Greek heroes[13] to visit the Underworld and return; his music and song even had power over Hades. Some sources credit Orpheus with further gifts to mankind: medicine, which is more usually under the aegis of Aesculapius or Apollo; writing,[14] which is usually credited to Cadmus; and agriculture, where Orpheus assumes the Eleusinian role of Triptolemus as giver of Demeter's knowledge to mankind. Orpheus was an augur and seer; he practiced magical arts and astrology, founded cults to Apollo and Dionysus[15] and prescribed the mystery rites preserved in Orphic texts. Pindar and Apollonius of Rhodes[16] place Orpheus as the harpist and companion of Jason and the Argonauts. Orpheus had a brother named Linus, who went to Thebes and became a Theban.[17] He is claimed by Aristophanes and Horace to have taught cannibals to subsist on fruit, and to have made lions and tigers obedient to him. Horace believed, however, that Orpheus had only introduced order and civilization to savages.[18] Bertrand Russell noted:[19] The Orphics were an ascetic sect; wine, to them, was only a symbol, as, later, in the Christian sacrament. The intoxication that they sought was that of "enthusiasm," of union with the god. They believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus. From Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious. Strabo[20] (64 BC – c. AD 24) presents Orpheus as a mortal, who lived and died in a village close to Olympus. "Some, of course, received him willingly, but others, since they suspected a plot and violence, combined against him and killed him." He made money as a musician and "wizard" – Strabo uses agurteúonta (a???te???ta),[21] also used by Sophocles in Oedipus Tyrannus to characterize Teiresias as a trickster with an excessive desire for possessions. Agúrtes (a???t??) most often meant charlatan[22] and always had a negative connotation. Pausanias writes of an unnamed Egyptian who considered Orpheus a mágeuse (µ??e?se), i.e., magician.[23][non-primary source needed] Mythology[edit] Important sites in the life and travels of Orpheus According to Apollodorus[24] and a fragment of Pindar,[25] Orpheus' father was Oeagrus, a Thracian king; or, according to another version of the story, the god Apollo. His mother was the muse Calliope; or, a daughter of Pierus,[26] son of Makednos. His birthplace and place of residence was in Pimpleia,[27][28][29] Olympus. In Argonautica the location of Oeagrus and Calliope's wedding is close to Pimpleia,[30] near Olympus.[29][31] While living with his mother and her eight beautiful sisters in Parnassus,[32] he met Apollo, who was courting the laughing muse Thalia. Apollo, as the god of music, gave Orpheus a golden lyre and taught him to play it. Orpheus' mother taught him to make verses for singing. Strabo mentions that he lived in Pimpleia.[29] He is also said to have studied in Egypt.[33] According to Diodorus Siculus, Musaeus of Athens was the son of Orpheus.[34] Orpheus is said to have established the worship of Hecate in Aegina.[35] In Laconia Orpheus is said to have brought the worship of Demeter Chthonia[36] and that of the Kores Soteiras (Greek,???e? S?te??a?) savior maid.[clarification needed][37] Also in Taygetus a wooden image of Orpheus was said to have been kept by Pelasgians in the sanctuary of the Eleusinian Demeter.[38] Travelling as an Argonaut[edit] Main article: Argonautica The Argonautica (Greek: ?????a?t???) is a Greek epic poem written by Apollonius Rhodius in the 3rd century BC. Orpheus took part in this adventure and used his skills to aid his companions. Chiron told Jason that without the aid of Orpheus, the Argonauts would never be able to pass the Sirens—the same Sirens encountered by Odysseus in Homer's epic poem the Odyssey. The Sirens lived on three small, rocky islands called Sirenum scopuli and sang beautiful songs that enticed sailors to come to them, which resulted in the crashing of their ships into the islands. When Orpheus heard their voices, he drew his lyre and played music that was louder and more beautiful, drowning out the Sirens' bewitching songs. According to 3rd century BC Hellenistic elegiac poet Phanocles, Orpheus loved the young Argonaut Calais, "the son of Boreas, with all his heart, and went often in shaded groves still singing of his desire, nor was his heart at rest. But always, sleepless cares wasted his spirits as he looked at fresh Calais."[39][40] Death of Eurydice[edit] Orpheus with the lyre and surrounded by beasts (Byzantine & Christian Museum, Athens) The most famous story in which Orpheus figures is that of his wife Eurydice (sometimes referred to as Euridice and also known as Argiope). While walking among her people, the Cicones, in tall grass at her wedding, Eurydice was set upon by a satyr. In her efforts to escape the satyr, Eurydice fell into a nest of vipers and suffered a fatal bite on her heel. Her body was discovered by Orpheus who, overcome with grief, played such sad and mournful songs that all the nymphs and gods wept. On their advice, Orpheus travelled to the underworld. His music softened the hearts of Hades and Persephone, who agreed to allow Eurydice to return with him to earth on one condition: he should walk in front of her and not look back until they both had reached the upper world. He set off with Eurydice following, and, in his anxiety, as soon as he reached the upper world, he turned to look at her, forgetting that both needed to be in the upper world, and she vanished for the second time, but now forever. The story in this form belongs to the time of Virgil, who first introduces the name of Aristaeus (by the time of Virgil's Georgics, the myth has Aristaeus chasing Eurydice when she was bitten by a serpent) and the tragic outcome.[41] Other ancient writers, however, speak of Orpheus' visit to the underworld in a more negative light; according to Phaedrus in Plato's Symposium,[42] the infernal gods only "presented an apparition" of Eurydice to him. In fact, Plato's representation of Orpheus is that of a coward, as instead of choosing to die in order to be with the one he loved, he instead mocked the gods by trying to go to Hades to bring her back alive. Since his love was not "true"—he did not want to die for love—he was actually punished by the gods, first by giving him only the apparition of his former wife in the underworld, and then by being killed by women. Ovid says that Eurydice's death was not caused by fleeing from Aristaeus but by dancing with naiads on her wedding day. Virgil wrote in his poem that Dryads wept from Epirus and Hebrus up to the land of the Getae (north east Danube valley) and even describes him wandering into Hyperborea and Tanais (ancient Greek city in the Don river delta)[43] due to his grief. The story of Eurydice may actually be a late addition to the Orpheus myths. In particular, the name Eurudike ("she whose justice extends widely") recalls cult-titles attached to Persephone. According to the theories of poet Robert Graves, the myth may have been derived from another Orpheus legend, in which he travels to Tartarus and charms the goddess Hecate.[44] The myth theme of not looking back, an essential precaution in Jason's raising of chthonic Brimo Hekate under Medea's guidance,[45] is reflected in the Biblical story of Lot's wife when escaping from Sodom. More directly, the story of Orpheus is similar to the ancient Greek tales of Persephone captured by Hades and similar stories of Adonis captive in the underworld. However, the developed form of the Orpheus myth was entwined with the Orphic mystery cults and, later in Rome, with the development of Mithraism and the cult of Sol Invictus. Thracian Girl Carrying the Head of Orpheus on His Lyre by Gustave Moreau (1865) According to a Late Antique summary of Aeschylus' lost play Bassarids, Orpheus, towards the end of his life, disdained the worship of all gods except the sun, whom he called Apollo. One early morning he went to the oracle of Dionysus at Mount Pangaion[46] to salute his god at dawn, but was ripped to shreds by Thracian Maenads for not honoring his previous patron (Dionysus) and buried in Pieria.[15][47] Here his death is analogous with that of Pentheus, who was also torn to pieces by Maenads; and it has been speculated that the Orphic mystery cult regarded Orpheus as a parallel figure to or even an incarnation of Dionysus.[48] Both made similar journeys into Hades, and Dionysus Zagreus suffered an identical death.[49] Pausanias writes that Orpheus was buried in Dion and that he met his death there.[50] He writes that the river Helicon sank underground when the women that killed Orpheus tried to wash off their blood-stained hands in its waters.[51] Ovid recounts that Orpheus .. had abstained from the love of women, either because things ended badly for him, or because he had sworn to do so. Yet, many felt a desire to be joined with the poet, and many grieved at rejection. Indeed, he was the first of the Thracian people to transfer his affection to young boys and enjoy their brief springtime, and early flowering this side of manhood. —?Ovid. trans. A. S. Kline, Ovid: The Metamorphoses, Book X Feeling spurned by Orpheus for taking only male lovers, the Ciconian women, followers of Dionysus,[52] first threw sticks and stones at him as he played, but his music was so beautiful even the rocks and branches refused to hit him. Enraged, the women tore him to pieces during the frenzy of their Bacchic orgies.[53] In Albrecht Dürer's drawing of Orpheus' death, based on an original, now lost, by Andrea Mantegna, a ribbon high in the tree above him is lettered Orfeus der erst puseran ("Orpheus, the first pederast").[54] Death of Orpheus, by Dürer (1494) His head and lyre, still singing mournful songs, floated down the swift Hebrus to the Mediterranean shore. There, the winds and waves carried them on to the Lesbos shore,[55] where the inhabitants buried his head and a shrine was built in his honour near Antissa;[56] there his oracle prophesied, until it was silenced by Apollo.[57] In addition to the people of Lesbos, Greeks from Ionia and Aetolia consulted the oracle, and his reputation spread as far as Babylon.[58] Cave of Orpheus' oracle in Antissa, Lesbos The lyre was carried to heaven by the Muses, and was placed among the stars. The Muses also gathered up the fragments of his body and buried them at Leibethra[59] below Mount Olympus, where the nightingales sang over his grave. After the river Sys flooded[60] Leibethra, the Macedonians took his bones to Dion. Orpheus' soul returned to the underworld where he was reunited at last with his beloved Eurydice. Another legend places his tomb at Dion,[46] near Pydna in Macedon. In another version of the myth, Orpheus travels to Aornum in Thesprotia, Epirus to an old oracle for the dead. In the end Orpheus commits suicide from his grief unable to find Eurydice.[61] Another account relates that he was struck with lightning by Zeus for having lied about the stories and the mysteries of the gods. Orphic poems and rites[edit] Nymphs Finding the Head of Orpheus by John William Waterhouse A number of Greek religious poems in hexameters were attributed to Orpheus, as they were to similar miracle-working figures, like Bakis, Musaeus, Abaris, Aristeas, Epimenides, and the Sibyl. Of this vast literature, only two examples survived whole: a set of hymns composed at some point in the second or third century, and an Orphic Argonautica composed somewhere between the fourth and sixth centuries. Earlier Orphic literature, which may date back as far as the sixth century BC, survives only in papyrus fragments or in quotations. Some of the earliest fragments may have been composed by Onomacritus.[62] Nymphs Listening to the Songs of Orpheus, 1853 by Charles Jalabert The Derveni papyrus, found in Derveni, Macedonia (Greece) in 1962, contains a philosophical treatise that is an allegorical commentary on an Orphic poem in hexameters, a theogony concerning the birth of the gods, produced in the circle of the philosopher Anaxagoras, written in the second half of the fifth century BC. Fragments of the poem are quoted making it "the most important new piece of evidence about Greek philosophy and religion to come to light since the Renaissance".[65] The papyrus dates to around 340 BC, during the reign of Philip II of Macedon, making it Europe's oldest surviving manuscript. The historian William Mitford wrote in 1784 that the very earliest form of a higher and cohesive ancient Greek religion was manifest in the Orphic poems.[66] W. K. C. Guthrie wrote that Orpheus was the founder of mystery religions and the first to reveal to men the meanings of the initiation rites.[67
MORPHEUS - Greek God or Spirit of the Dreams of Kings In Greek mythology Morpheus was the leader of the Oneiroi, the personified spirits (daimones) of dreams. He was a messenger of the gods who appeared in the ... MORPHEUS was the leader of the Oneiroi, the personified spirits (daimones) of dreams. He was a messenger of the gods who appeared in the dreams of kings in human guise. FAMILY OF MORPHEUS PARENTS HYPNOS (Ovid Metamorphoses 11.592) MORPHEUS (Morpheus), the son of Sleep, and the god of dreams. The name signifies the fashioner or moulder, because he shaped or formed the dreams which appeared to the sleeper. (Ov. Met. xi. 635.) CLASSICAL LITERATURE QUOTES "[Hera commands the messenger Iris summon Dream :] ‘Iris (Rainbow), my voice's trustiest messenger, hie quickly to the drowsy hall of Somnus (Sleep) [Hypnos], and bid him send a Dream of Ceyx drowned to break the tidings to [his wife] Alcyone.'
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ORION IS IS ORION
ORION IS IS ORION
the Alpha star of Orion we have to say “Alpha Orionis”, meaning “Alpha of Orion” – “Orionis” be-ing the genitive of Orion. Likewise, Eta of Carina is “Eta ... www.pretoria-astronomy.co.za/pdf/newsletters_august_2008 "If we want to talk about
the Alpha star of Orion we have to say “Alpha Orionis”, meaning “Alpha of Orion” – “Orionis” being
[as genitive] (O·ri·o·nis / ˌôrēˈōnis/ ) used with a preceding letter or numeral to ... Orion is outlined by the prominent stars Betelgeuse (Alpha Orionis. ... www.encyclopedia.com/doc/1O999-orion.html O·ri·on / əˈrīən/ 1. Greek Mythol. a giant and hunter who was changed into a constellation at his death. 2. Astron. a conspicuous constellation (the Hunter), said to represent a hunter holding a club and shield. It lies on the celestial equator and contains many bright stars, including Rigel, Betelgeuse, and a line of three that form Orion's belt. ∎ [as genitive] (O·ri·o·nis / ˌôrēˈōnis/ ) used with a preceding letter or numeral to designate a star in this constellation: the multiple star Theta Orionis.
RANKING STARS IN A CONSTELLATION Or, for constellations not ending in "-us," add "-is" (e.g., Orion becomes Orionis). For your convenience, the genitive case is indicated at the top of the ... homepage.mac.com/kvmagruder/bcp/aster/constellations/alpha.htm "Lift your eyes and look to the heavens: Who created all these? Stars within a given constellation are usually ranked according to relative brightness by the Greek alphabet. The brightest star is alpha, the second-brightest beta, the third-brightest gamma, and so forth. There are some exceptions, when an especially common constellation (such as Ursa Major or Crux) is numbered according to its linear sequence, like a dot-to-dot diagram. Star names have two parts; the first is the Greek letter indicating its brightness. The second part of a star name indicates its constellation. To obtain this constellation part of the star name, the letter of the Greek alphabet which indicates a star's brightness is conjoined with the Latin genitive case of the name of the constellation. For example, the brightest star of the constellation Centaurus is "alpha-Centauri," which happens to be the star nearest to our own Sun (though it is actually a multiple star system). "Centauri" is the Latin genitive case of "Centaurus." In general, the genitive case is obtained by changing the suffix "-us" to "-i," (e.g., Taurus becomes Tauri). Or, for constellations not ending in "-us," add "-is" (e.g., Orion becomes Orionis). As to why it's Orionis rather than Orion, etc.—these are just the genitive (possessive) cases of the Latin names/words for the constellations. ... www.astro.cornell.edu/research/projects/CAS/faq.html Cornell Astronomical Society 7) What do these names like "Delta Orionis" mean? Why is it "Orionis" and not "Orion?" Some stars have their own proper names, like Rigel (in Orion), Vega (in Lyra), or Polaris (in Ursa Minor). These are either prominent, bright stars, or they occupy particular places in the constellations. (For example, two fun star names are Zubenelgenubi and Zubeneschamali, Arabic names meaning "The Southern Claw" and "The Northern Claw," respectively; the stars are in Libra, the Balance. Libra used to be part of Scorpius, the Scorpion; these stars were its two claws.) Most stars, however, don't have special names. For those such stars visible to the eye, we use a system developed by Johann Bayer in the 17th century. He ranked stars in constellations in order from brightest to dimmest, using letters of the Greek alphabet: Alpha is the brightest star of a constellation, Beta the second brightest, etc. When the Greek alphabet has been exhausted, numbers are used. This latter system was devised by the 17th century British astronomer John Flamsteed, who assigned numbers even to stars that Bayer had given letter designations; most people only use the Flamsteed numbers for stars that do not have proper names or Greek letters. As to why it's Orionis rather than Orion, etc.—these are just the genitive (possessive) cases of the Latin names/words for the constellations. Thus, "Delta Orionis" is "4th brightest star of the constellation Orion." While you need to learn Latin for the details (and it's very useful to know Latin, so you should consider it!), for nearly all the constellations the rules are: 1) if the name ends in "a" (Lyra, Andromeda,...), the genitive will end in "ae" (Lyrae, Andromedae,...); 2) if the name ends in "us" or "um" (Cygnus, Cepheus, Scutum,...), the genitive will end in "i" (Cygni, Cephei, Scuti,...); 3) anything else (Orion, Virgo,...) is likely a "3rd declension noun," which indicates a sort of kitchen-sink situation re whether/how the base portion of the noun changes—simple answer is, memorize the genitive versions.
9 Jun 2008 ... is designated R followed by the genitive of the constellation name (eg. ... At maximum light, FU Orionis stars are of spectral type A - G after which the spectral ... For more information, see: Orion variable stars ...
Variable star - encyclopedia - Citezendium FU Orionis stars Named after the prototype of this class, FU Orionis (GCVS code: FU), these stars are characterized by a slow outburst in which the brightness of the star increases up to 6 magnitudes over a number of months and stays at maximum brightness for up to several years after which a slow decline sets in that dims the star by a couple of magnitudes. During an outburst the spectral type of the stars can change significantly and an emission spectrum develops as well. At maximum light, FU Orionis stars are of spectral type A - G after which the spectral type becomes later. All FU Orionis stars are associated with reflecting nebulae.[2][3] FU Orionis stars are pre-main sequence stars somewhat similar to T Tauri stars. The prototype was first discovered in 1939 by A. Wachmann when the star increased some 100-fold in brightness. FU Orionis was studied in depth by George Herbig in the 1960s and 1970s.[2] There are some 10 stars known of this type.
ORION IS IS ORION
ORIONIS ORIONIS OSIRION ORIONIS OSIREION
Osireion - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Osireion The Osirion or Osireon is located at Abydos at the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th ... From Wikipedia, the free encyclopedia The Osirion at the rear of the temple of Seti I at Abydos, the underground entry to the Osireion is at the top of the picture, see image below
Osireion - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Osireion The Osirion or Osireon is located at Abydos at the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th ... From Wikipedia, the free encyclopedia The Osirion at the rear of the temple of Seti I at Abydos, the underground entry to the Osireion is at the top of the picture, see (image omitted) below The Osirion or Osireon is located at Abydos at the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th Dynasty Valley of the Kings tomb. [1] It was discovered by archaeologists Flinders Petrie and Margaret Murray who were excavating the site in 1902-3. The Osirion was originally built at a considerably lower level than the foundations of the temple of Seti, who ruled from 1294 - 1279 BC [2]. While there is disagreement as to its true age, despite the fact that it is situated at a lower depth than the structures nearby, that it features a very different architectural approach, and that it is frequently flooded with water which would have made carving it impossible had the water level been the same at the time of construction, Peter Brand says it "can be dated confidently to Seti's reign."[3]
OSIRION
ORION OSIRIS SIRIUS IRIS ISIS ISIS IRIS SIRIUS OSIRIS ORION 69965 619991 199931 9991 9191 9191 9991 199931 619991 69965 ORION OSIRIS SIRIUS IRIS ISIS ISIS IRIS SIRIUS OSIRIS ORION
Daily Mail Monday February 23, 2009 ANSWERS TO CORRESPONDENTS Compiled by Charles Legge Page 57 ORION, the giant huntsman of Greek mythology whom Zeus placed among the stars as the constellation, has three stars of apparently similar brightness and colour (bluish-white) in his belt, given the Arabic names (from left to right) Alnitak, Alnilam and Mintaka. In fact, Alnitak is 800 light years away from us, Alnilam 1,300 light years and Mintaka 900 light years. They appear in a straight line only in our line of sight. It's believed the three stars, and several other equally hot and luminous stars in the constellation Orion, were formed together as a close cluster. The passage of time has seen them drift apart. Such luminous stars use up hydrogen at a prodigious rate so they're only a few million years old and have no more than a few million years to live before blowing themselves up in a supernova explosion. These timescales are short in astronomical terms. Our Sun, with its far lower luminosity and lower fuel consumption, has shone for five billion years and is expected to shine steadily for the same amount of time before it, too, dies, in a much more sedate fashion than a supernova explosion. The five billion years that our Sun has been around has meant that life has had time to develop on one of its planets — Earth. Norman Wallace, Sutton Coldfield, W Mids.
HERA HERE HER RHEA RATHER RHEA RATHER RHEA HER HERE HERA ZEUS SEE US I ME YOU SEE ZEUS ME I ME ZEUS SEE YOU ME I US SEE ZEUS
A STAR LIGHT STAR STORY A STARRY RIDE A RIDE STARRY I AM ALL STARRY STARRY EYED AM I ME I AM ALL STARRY STARRY EYED AM I I AM ALL STARRY STARRY I'D AM I ME I AM ALL STARRY STARRY I'D AM I I AM ALL STARRY STARRY IDEA AM I ME I AM ALL STARRY STARRY IDEA AM I I AM ALL STARRY STARRY LIGHT AM I ME I AM ALL STARRY STARRY LIGHT AM I A STAR STARE STAR HELLO SAY I ME I SAY HELLO
ALNI TAK ALNILAM MINTAKA
ALNITAK ALNILAM MINTAKA
ALNI TAK ALNI LAM MIN TAKA I ME I ME I ALNI TAK ALNI LAM MIN TAKA
ALNITAK ALNILAM MINTAKA ALNI TAK ALNI LAM MIN TAKA 1+3+5+9 2+1+2 1+3+5+9 3+1+4 4+9+5 2+1+2+1 ALNI TAK ALNI LAM MIN TAKA ALNITAK ALNILAM MINTAKA
ALNITAK (Zeta Orionis). With brilliant Betelgeuse and Rigel dominating great Orion, we pay little heed to the individual stars of the Hunter's belt except ... www.astro.uiuc.edu/~kaler/sow/alnitak.html
ALNITAK (Zeta Orionis). With brilliant Betelgeuse and Rigel dominating great Orion, we pay little heed to the individual stars of the Hunter's belt except as a group, the trio the Arabs called the "string of pearls." All second magnitude, Johannes Bayer seems to have named the stars Delta, Epsilon, and Zeta from right to left. The name of the left hand star, Alnitak (Zeta Orionis), stands in for the whole string, and comes from a phrase that means "the belt of al jauza," "al jauza" the Arabs female "central one." Separate Alnitak from the belt and it becomes a most remarkable star in its own right, the brightest class O star in the sky, a hot blue supergiant. Tucked right next to it is a companion, a blue class B hydrogen-fusing star about three seconds of arc away, the pair orbiting each other with a period estimated to be thousands of years long. The region around Alnitak is remarkable as well, containing several dusty clouds of interstellar gas, including the famed "Horsehead Nebula" to the south. Alnitak approaches first magnitude even though at a distance of 800 light years. To the eye (ignoring the companion), it is 10,000 times more luminous than the Sun. However, its 31,000 Kelvin surface radiates mostly in the ultraviolet where the eye cannot see, and when that it taken into account, Alnitak's luminosity climbs to 100,000 times solar. A planet like the Earth would have to be 300 times farther from Alnitak than Earth is from the Sun (8 times Pluto's distance) for life like ours to survive. Such brilliance can only come from a star of great mass, Alnitak's estimated to be about 20 times solar (its dimmer companion's about 14 times solar). Like all O stars, Alnitak is a source of X-rays that seem to come from a wind that blows from its surface at nearly 2000 kilometers per second, the X- rays produced when blobs of gas in the wind crash violently into one another. Massive stars use their fuel quickly and do not live very long. Alnitak is probably only about 6 million years old (as opposed to the Sun's 4.5 billion year age) and it has already begun to die, hydrogen fusion having ceased in its core. The star will eventually become a red supergiant somewhat like Betelgeuse and almost certainly will explode as a supernova, leaving its companion orbiting a hot, madly spinning neutron star. (Thanks to Monica Shaw, who helped research this star.) Written by Jim Kaler. Return to STARS.
ALNILAM (Epsilon Orionis). Three brilliant stars mark the belt of Orion the Hunter, from right to left (west to east) Mintaka, Alnilam, and Alnitak. ... www.astro.uiuc.edu/~kaler/sow/alnilam.html
ALNILAM (Epsilon Orionis). Three brilliant stars mark the belt of Orion the Hunter, from right to left (west to east) Mintaka, Alnilam, and Alnitak. The names of all three refer to the whole set. The outer two are named after the "belt" of the Arabs "Central One (a mysterious feminine figure), while Alnilam comes from an Arabic word that aptly means "the String of Pearls," which the trio so well represents. The brightest of the Belt stars (which Bayer lettered in alphabetic order, again from right to left, Delta, Epsilon, and Zeta), and ranking fourth in the whole constellation, Alnilam shines at bright second magnitude (1.70). Though all three stars have similar colors, classes, and temperatures, Alnilam, a hot B (B0) bright supergiant, is notably the most luminous: it is brightest even though farthest away, half again farther than the other two (which lie at nearly the same distance, about 870 light years). From Alnilam's measured (though rather uncertain) distance of 1340 light years, it spectacularly radiates (after correction for its great amount of ultraviolet light) 375,000 solar luminosities from its 25,000 Kelvin surface, and is so hot that it illuminates its own (faint) nebulous cloud from the surrounding interstellar gases. Alnilam has served for many years as a "standard star" against which to compare others. Its brilliant blue and relatively simple spectrum also provides a fine background against which to study the gases of the intervening interstellar space. Like most supergiants, Alnilam is losing mass. A powerful wind blows from the star's surface at speeds up to 2000 kilometers per second, the flow rate two millionths of a solar mass per year (20 million times that from the Sun). Though seemingly single, which disallows direct measure of mass by means of a double-star orbit, the luminosity tells of an evolving star with a mass some 40 times solar. Currently only 4 or so million years old, its internal hydrogen fusion is shutting down, if it has not done so already. The star will shortly turn into a magnificent red supergiant far more luminous than nearby (on the sky) Betelgeuse, its only fate someday to explode. Written by Jim Kaler. Return to STARS.
Orion Nebula - Wikipedia The Orion Nebula (also known as Messier 42, M42, or NGC 1976) is a diffuse nebula situated in the Milky Way, being south of Orion's Belt in the ... The Orion Nebula is a diffuse nebula situated in the Milky Way, being south of Orion's Belt in the constellation of Orion. It is one of the brightest nebulae and is visible to the naked eye in the night sky. It is 1,344 ± 20 light-years away and is the closest region of massive star formation to Earth. Wikipedia Orion is a prominent constellation located on the celestial equator and visible throughout the world. It is one of the most conspicuous[1] and recognizable constellations in the night sky.[2] It is named after Orion, a hunter in Greek mythology. Its brightest stars are blue-white Rigel (Beta Orionis) and red Betelgeuse (Alpha Orionis). History and mythology In ancient Egypt, the stars of Orion were regarded as a god, called Sah. Because Orion rises before Sirius, the star whose heliacal rising was the basis for the Solar Egyptian calendar, Sah was closely linked with Sopdet, the goddess who personified Sirius. The god Sopdu is said to be the son of Sah and Sopdet. Sah is syncretized with Osiris, while Sopdet is syncretized with Osiris' mythological wife, Isis. In the Pyramid Texts, from the 24th and 23rd centuries BC, Sah is one of many gods whose form the dead pharaoh is said to take in the afterlife.[8] The Armenians identified their legendary patriarch and founder Hayk with Orion. Hayk is also the name of the Orion constellation in the Armenian translation of the Bible.[9] The Bible mentions Orion three times, naming it "Kesil" (????, literally – fool). Though, this name perhaps is etymologically connected with "Kislev", the name for the ninth month of the Hebrew calendar (i.e. November–December), which, in turn, may derive from the Hebrew root K-S-L as in the words "kesel, kisla" (??????, ????????, hope, positiveness), i.e. hope for winter rains.: Job 9:9 ("He is the maker of the Bear and Orion"), Job 38:31 ("Can you loosen Orion's belt?"), and Amos 5:8 ("He who made the Pleiades and Orion"). In ancient Aram, the constellation was known as Nephîla', the Nephilim are said to be Orion's descendants.[10] Greco-Roman antiquity Main article: Orion (mythology) In Greek mythology, Orion was a gigantic, supernaturally strong hunter,[11] born to Euryale, a Gorgon, and Poseidon (Neptune), god of the sea. One myth recounts Gaia's rage at Orion, who dared to say that he would kill every animal on Earth. The angry goddess tried to dispatch Orion with a scorpion. This is given as the reason that the constellations of Scorpius and Orion are never in the sky at the same time. However, Ophiuchus, the Serpent Bearer, revived Orion with an antidote. This is said to be the reason that the constellation of Ophiuchus stands midway between the Scorpion and the Hunter in the sky.[12] The constellation is mentioned in Horace's Odes (Ode 3.27.18), Homer's Odyssey (Book 5, line 283) and Iliad, and Virgil's Aeneid (Book 1, line 535) Middle East In medieval Muslim astronomy, Orion was known as al-jabbar, "the giant".[13] Orion's sixth brightest star, Saiph, is named from the Arabic, saif al-jabbar, meaning "sword of the giant".[14] China In China, Orion was one of the 28 lunar mansions Sieu (Xiu) (?). It is known as Shen (?), literally meaning "three", for the stars of Orion's Belt. (See Chinese constellations) The Chinese character ? (pinyin shen) originally meant the constellation Orion (Chinese: ??; pinyin: shenxiù); its Shang dynasty version, over three millennia old, contains at the top a representation of the three stars of Orion's belt atop a man's head (the bottom portion representing the sound of the word was added later).[15] India The Rigveda refers to the Orion Constellation as Mriga (The Deer).[16] It is said that two bright stars in the front and two bright stars in the rear are The hunting dogs, the one comparatively less bright star in the middle and ahead of two front dogs is The hunter and three aligned bright stars are in the middle of all four hunting dogs is The Deer (The Mriga) and three little aligned but less brighter stars is The Baby Deer. The Mriga means Deer, locally known as Harnu in folk parlance. There are many folk songs narrating the Harnu. The Malay called Orion's Belt Bintang Tiga Beradik (the "Three Brother Star OSIRIS Osiris can be considered the brother of Isis, Set, Nephthys, and Horus the Elder, and father of Horus the Younger.[9] The first evidence of the worship of Osiris was found in the middle of the Fifth Dynasty of Egypt (25th century BC), although it is likely that he was worshiped much earlier;[10] the Khenti-Amentiu epithet dates to at least the First Dynasty, and was also used as a pharaonic title. Most information available on the Osiris myth is derived from allusions contained in the Pyramid Texts at the end of the Fifth Dynasty, later New Kingdom source documents such as the Shabaka Stone and "The Contendings of Horus and Seth", and much later, in narrative style from the writings of Greek authors including Plutarch[11] and Diodorus Siculus.[12] Osiris was the judge of the dead and the underworld, and the agency that granted all life, including sprouting vegetation and the fertile flooding of the Nile River. He was described as "He Who is Permanently Benign and Youthful"[13] and the "Lord of Silence".[14] The kings of Egypt were associated with Osiris in death – as Osiris rose from the dead so they would be in union with him, and inherit eternal life through a process of imitative magic.[15] Through the hope of new life after death, Osiris began to be associated with the cycles observed in nature, in particular vegetation and the annual flooding of the Nile, through his links with the heliacal rising of Orion and Sirius at the start of the new year.[13] Osiris was widely worshipped until the decline of ancient Egyptian religion during the rise of Christianity in the Roman Empire.[16][17] Some Egyptologist believe Osiris may have been a former living ruler - possibly a shepherd who lived in Predynastic times (5500-3100 BC) in the Nile Delta, whose beneficial rule led to him being revered as a god. The accoutrements of the shepherd, the crook and the flail - once insignia of the Delta god Anedjti, with whom Osiris was associated - support this theory. [6] Ptah-Seker (who resulted from the identification of the creator god Ptah with Seker) thus gradually became identified with Osiris, the two becoming Ptah-Seker-Osiris. As the sun was thought to spend the night in the underworld, and was subsequently "reborn" every morning, Ptah-Seker-Osiris was identified as king of the underworld, god of the afterlife, life, death, and regeneration. Ram god?[edit] Osiris' soul, or rather his Ba, was occasionally worshipped in its own right, almost as if it were a distinct god, especially in the Delta city of Mendes. This aspect of Osiris was referred to as Banebdjedet, which is grammatically feminine (also spelt "Banebded" or "Banebdjed"), literally "the ba of the lord of the djed, which roughly means The soul of the lord of the pillar of continuity. The djed, a type of pillar, was usually understood as the backbone of Osiris. The Nile supplying water, and Osiris (strongly connected to the vegetable regeneration) who died only to be resurrected, represented continuity and stability. As Banebdjed, Osiris was given epithets such as Lord of the Sky and Life of the (sun god) Ra. Ba does not mean "soul" in the western sense, and has to do with power, reputation, force of character, especially in the case of a god. Since the ba was associated with power, and also happened to be a word for ram in Egyptian, Banebdjed was depicted as a ram, or as Ram-headed. A living, sacred ram was kept at Mendes and worshipped as the incarnation of the god, and upon death, the rams were mummified and buried in a ram-specific necropolis. Banebdjed was consequently said to be Horus' father, as Banebdjed was an aspect of Osiris. Regarding the association of Osiris with the ram, the god's traditional crook and flail are the instruments of the shepherd, which has suggested to some scholars also an origin for Osiris in herding tribes of the upper Nile. Mythology?[edit] The family of Osiris. Osiris on a lapis lazuli pillar in the middle, flanked by Horus on the left and Isis on the right (Twenty-second Dynasty, Louvre, Paris) Part of a series on Ancient Egyptian religion Eye of Horus [show] [show] [show] [show] [show] [show] [show] In one version of the myth, Isis used a spell to briefly revive Osiris so he could impregnate her. After embalming and burying Osiris, Isis conceived and gave birth to their son, Horus. Thereafter Osiris lived on as the god of the underworld. Because of his death and resurrection, Osiris was associated with the flooding and retreating of the Nile and thus with the yearly growth and death of crops along the Nile valley. Diodorus Siculus gives another version of the myth in which Osiris was described as an ancient king who taught the Egyptians the arts of civilization, including agriculture, then travelled the world with his sister Isis, the satyrs, and the nine muses, before finally returning to Egypt. Osiris was then murdered by his evil brother Typhon, who was identified with Set. Typhon divided the body into twenty-six pieces, which he distributed amongst his fellow conspirators in order to implicate them in the murder. Isis and Hercules (Horus) avenged the death of Osiris and slew Typhon. Isis recovered all the parts of Osiris' body, except the phallus, and secretly buried them. She made replicas of them and distributed them to several locations, which then became centres of Osiris worship.[28][29] Worship?[edit] Annual ceremonies were performed in honor of Osiris[30] in various places across Egypt.[31] Evidences of which were discovered during underwater archaeological excavations of Franck Goddio and his team in the sunken city of Thonis-Heracleion.[32] These ceremonies were fertility rites which symbolised the resurrection of Osiris.[33] Recent scholars emphasize "the androgynous character of [Osiris'] fertility" clear from surviving material. For instance, Osiris' fertility has to come both from being castrated/cut-into-pieces and the reassembly by female Isis, whose embrace of her reassembled Osiris produces the perfect king, Horus.[34] Further, as attested by tomb-inscriptions, both women and men could syncretize (identify) with Osiris at their death, another set of evidence that underlines Osiris' androgynous nature.[35] Death or transition and institution as god of the afterlife?[edit] Osiris-Nepra, with wheat growing from his body. From a bas-relief at Philae.[36] The sprouting wheat implied resurrection.[37] The first phase of the festival was a public drama depicting the murder and dismemberment of Osiris, the search for his body by Isis, his triumphal return as the resurrected god, and the battle in which Horus defeated Set. According to Julius Firmicus Maternus of the fourth century, this play was re-enacted each year by worshippers who "beat their breasts and gashed their shoulders.... When they pretend that the mutilated remains of the god have been found and rejoined...they turn from mourning to rejoicing." (De Errore Profanarum Religionum). The passion of Osiris was reflected in his name 'Wenennefer" ("the one who continues to be perfect"), which also alludes to his post mortem power.[25] Ikhernofret Stela?[edit] Much of the extant information about the rites of Osiris can be found on the Ikhernofret Stela at Abydos erected in the Twelfth Dynasty by Ikhernofret, possibly a priest of Osiris or other official (the titles of Ikhernofret are described in his stela from Abydos) during the reign of Senwosret III (Pharaoh Sesostris, about 1875 BC). The ritual reenactment of Osiris's funeral rites were held in the last month of the inundation (the annual Nile flood), coinciding with Spring, and held at Abydos which was the traditional place where the body of Osiris drifted ashore after having been drowned in the Nile.[40] The part of the myth recounting the chopping up of the body into 14 pieces by Set is not recounted in this particular stela. Although it is attested to be a part of the rituals by a version of the Papyrus Jumilhac, in which it took Isis 12 days to reassemble the pieces, coinciding with the festival of ploughing.[41] Some elements of the ceremony were held in the temple, while others involved public participation in a form of theatre. The Stela of Ikhernofret recounts the programme of events of the public elements over the five days of the Festival: Wheat and clay rituals?[edit] A rare sample of Egyptian terra cotta sculpture which may depict Isis mourning Osiris. The sculpture portrays a woman raising her right arm over her head, a typical gesture of mourning. Musée du Louvre, Paris. In the Osirian temple at Denderah, an inscription (translated by Budge, Chapter XV, Osiris and the Egyptian Resurrection) describes in detail the making of wheat paste models of each dismembered piece of Osiris to be sent out to the town where each piece is discovered by Isis. At the temple of Mendes, figures of Osiris were made from wheat and paste placed in a trough on the day of the murder, then water was added for several days, until finally the mixture was kneaded into a mold of Osiris and taken to the temple to be buried (the sacred grain for these cakes were grown only in the temple fields). Molds were made from the wood of a red tree in the forms of the sixteen dismembered parts of Osiris, the cakes of "divine" bread were made from each mold, placed in a silver chest and set near the head of the god with the inward parts of Osiris as described in the Book of the Dead (XVII). Judgment scene from the Book of the Dead. In the three scenes from the Book of the Dead (version from ~1375 BC) the dead man (Hunefer) is taken into the judgement hall by the jackal-headed Anubis. The next scene is the weighing of his heart against the feather of Ma'at, with Ammut waiting the result, and Thoth recording. Next, the triumphant Hunefer, having passed the test, is presented by the falcon-headed Horus to Osiris, seated in his shrine with Isis and Nephthys. (British Museum) The idea of divine justice being exercised after death for wrongdoing during life is first encountered during the Old Kingdom in a Sixth Dynasty tomb containing fragments of what would be described later as the Negative Confessions performed in front of the 42 Assessors of Ma'at.[42] At death a person faced judgment by a tribunal of forty-two divine judges. If they led a life in conformance with the precepts of the goddess Ma'at, who represented truth and right living, the person was welcomed into the kingdom of Osiris. If found guilty, the person was thrown to the soul-eating demon Ammit and did not share in eternal life.[43] The person who is taken by the devourer is subject first to terrifying punishment and then annihilated. These depictions of punishment may have influenced medieval perceptions of the inferno in hell via early Christian and Coptic texts.[44] Purification for those who are considered justified may be found in the descriptions of "Flame Island", where they experience the triumph over evil and rebirth. For the damned, complete destruction into a state of non-being awaits, but there is no suggestion of eternal torture.[45][46] During the reign of Seti I, Osiris was also invoked in royal decrees to pursue the living when wrongdoing was observed but kept secret and not reported.[47] Greco-Roman era?[edit] Hellenization?[edit] Bust of Serapis. Destruction of cult?[edit] Americas The Seri people of northwestern Mexico call the three stars in the belt of Orion Hapj (a name denoting a hunter) which consists of three stars: Hap (mule deer), Haamoja (pronghorn), and Mojet (bighorn sheep). Hap is in the middle and has been shot by the hunter; its blood has dripped onto Tiburón Island.[24] The same three stars are known in Spain and most of Latin America as "Las tres Marías" (Spanish for "The Three Marys"). In Puerto Rico, the three stars are known as the "Los Tres Reyes Magos" (Spanish for The three Wise Men).[25] Orion is very useful as an aid to locating other stars. By extending the line of the Belt southeastward, Sirius (a CMa) can be found; northwestward, Aldebaran (a Tau). A line eastward across the two shoulders indicates the direction of Procyon (a CMi). A line from Rigel through Betelgeuse points to Castor and Pollux (a Gem and ß Gem). Additionally, Rigel is part of the Winter Circle asterism. Sirius and Procyon, which may be located from Orion by following imaginary lines (see map), also are points in both the Winter Triangle and the Circle.[35] Many of the stars are luminous hot blue supergiants, with the stars of the belt and sword forming the Orion OB1 Association. Standing out by its red hue, Betelgeuse may nevertheless be a runaway member of the same group. Bright stars SIRIUS Sirius - Wikipedia https://en.wikipedia.org › wiki › Sirius Sirius is the brightest star in the night sky. Its name is derived from the Greek word Se????? The star is designated a Canis Majoris, Latinized to Alpha ... Distance: 8.709 ± 0.005 ly; (2.670 ± 0.002 pc) Parallax (p): 374.4896 ± 0.2313 mas Semi-major axis (a): 7.4957 ± 0.0025" Period (P): 50.1284 ± 0.0043 yr ?The Sirius Mystery · ?Sirius in fiction · ?Sirius B (disambiguation) · ?Winter Triangle Sirius (/'s?ri?s/) is the brightest star in the night sky. Its name is derived from the Greek word Se????? (Seirios, lit. 'glowing' or 'scorching'). The star is designated a Canis Majoris, Latinized to Alpha Canis Majoris, and abbreviated Alpha CMa or a CMa. With a visual apparent magnitude of -1.46, Sirius is almost twice as bright as Canopus, the next brightest star. Sirius is a binary star consisting of a main-sequence star of spectral type A0 or A1, termed Sirius A, and a faint white dwarf companion of spectral type DA2, termed Sirius B. The distance between the two varies between 8.2 and 31.5 astronomical units as they orbit every 50 years.[25] Sirius appears bright because of its intrinsic luminosity and its proximity to the Solar System. At a distance of 2.64 parsecs (8.6 ly), the Sirius system is one of Earth's nearest neighbours. Sirius is gradually moving closer to the Solar System, so it is expected to slightly increase in brightness over the next 60,000 years. After that time, its distance will begin to increase, and it will become fainter, but it will continue to be the brightest star in the Earth's night sky for approximately the next 210,000 years.[26] Sirius A is about twice as massive as the Sun (M?) and has an absolute visual magnitude of +1.42. It is 25 times as luminous as the Sun,[13] but has a significantly lower luminosity than other bright stars such as Canopus or Rigel. The system is between 200 and 300 million years old.[13] It was originally composed of two bright bluish stars. The more massive of these, Sirius B, consumed its resources and became a red giant before shedding its outer layers and collapsing into its current state as a white dwarf around 120 million years ago.[13] Sirius is known colloquially as the "Dog Star", reflecting its prominence in its constellation, Canis Major (the Greater Dog).[19] The heliacal rising of Sirius marked the flooding of the Nile in Ancient Egypt and the "dog days" of summer for the ancient Greeks, while to the Polynesians, mostly in the Southern Hemisphere, the star marked winter and was an important reference for their navigation around the Pacific Ocean. The ancient Greeks observed that the appearance of Sirius as the morning star heralded the hot and dry summer and feared that the star caused plants to wilt, men to weaken, and women to become aroused.[29] Due to its brightness, Sirius would have been seen to twinkle more in the unsettled weather conditions of early summer. To Greek observers, this signified emanations that caused its malignant influence. Anyone suffering its effects was said to be "star-struck" (?st??ß???t??, astrobóletos). It was described as "burning" or "flaming" in literature.[30] The season following the star's reappearance came to be known as the "dog days".[31] The inhabitants of the island of Ceos in the Aegean Sea would offer sacrifices to Sirius and Zeus to bring cooling breezes and would await the reappearance of the star in summer. If it rose clear, it would portend good fortune; if it was misty or faint then it foretold (or emanated) pestilence. Coins retrieved from the island from the 3rd century BC feature dogs or stars with emanating rays, highlighting Sirius's importance.[30] The Romans celebrated the heliacal setting of Sirius around 25 April, sacrificing a dog, along with incense, wine, and a sheep, to the goddess Robigo so that the star's emanations would not cause wheat rust on wheat crops that year.[32] Bright stars were important to the ancient Polynesians for navigation of the Pacific Ocean. They also served as latitude markers; the declination of Sirius matches the latitude of the archipelago of Fiji at 17°S and thus passes directly over the islands each sidereal day.[33] Sirius served as the body of a "Great Bird" constellation called Manu, with Canopus as the southern wingtip and Procyon the northern wingtip, which divided the Polynesian night sky into two hemispheres.[34] Just as the appearance of Sirius in the morning sky marked summer in Greece, it marked the onset of winter for the Maori, whose name Takurua described both the star and the season. Its culmination at the winter solstice was marked by celebration in Hawaii, where it was known as Ka'ulua, "Queen of Heaven". Many other Polynesian names have been recorded, including Tau-ua in the Marquesas Islands, Rehua in New Zealand, and Ta'urua-fau-papa "Festivity of original high chiefs" and Ta'urua-e-hiti-i-te-tara-te-feiai "Festivity who rises with prayers and religious ceremonies" in Tahiti.[35] Kinematics?[edit] In 1717, Edmond Halley discovered the proper motion of the hitherto presumed "fixed" stars[36] after comparing contemporary astrometric measurements with those from the second century AD given in Ptolemy's Almagest. The bright stars Aldebaran, Arcturus and Sirius were noted to have moved significantly; Sirius had progressed about 30 arc minutes (about the diameter of the Moon) to the southwest.[37] In 1868, Sirius became the first star to have its velocity measured, the beginning of the study of celestial radial velocities. Sir William Huggins examined the spectrum of the star and observed a red shift. He concluded that Sirius was receding from the Solar System at about 40 km/s.[38][39] Compared to the modern value of -5.5 km/s, this was an overestimate and had the wrong sign; the minus sign (-) means that it is approaching the Sun.[40] Distance?[edit] In his 1698 book, Cosmotheoros, Christiaan Huygens estimated the distance to Sirius at 27664 times the distance from the Earth to the Sun (about 0.437 light years, translating to a parallax of roughly 7.5 arcseconds).[41] There were several unsuccessful attempts to measure the parallax of Sirius: by Jacques Cassini (6 seconds); by some astronomers (including Nevil Maskelyne)[42] using Lacaille's observations made at the Cape of Good Hope (4 seconds); by Piazzi (the same amount); using Lacaille's observations made at Paris, more numerous and certain than those made at the Cape (no sensible parallax); by Bessel (no sensible parallax).[43] Scottish astronomer Thomas Henderson used his observations made in 1832–1833 and South African astronomer Thomas Maclear's observations made in 1836–1837, to determine that the value of the parallax was 0.23 arcseconds, and error of the parallax was estimated not to exceed a quarter of a second, or as Henderson wrote in 1839, "On the whole we may conclude that the parallax of Sirius is not greater than half a second in space; and that it is probably much less."[44] Astronomers adopted a value of 0.25 arcseconds for much of the 19th century.[45] It is now known to have a parallax of 0.3745 ± 0.00023 arcseconds and therefore a distance of 1/0.3745 ? 2.637 parsecs (8.60 light-years) .[10] Discovery of Sirius B?[edit] The visible star is now sometimes known as Sirius A. Since 1894, some apparent orbital irregularities in the Sirius system have been observed, suggesting a third very small companion star, but this has never been confirmed. The best fit to the data indicates a six-year orbit around Sirius A and a mass of 0.06 M?. This star would be five to ten magnitudes fainter than the white dwarf Sirius B, which would make it difficult to observe.[50] Observations published in 2008 were unable to detect either a third star or a planet. An apparent "third star" observed in the 1920s is now believed to be a background object.[51] In 1915, Walter Sydney Adams, using a 60-inch (1.5 m) reflector at Mount Wilson Observatory, observed the spectrum of Sirius B and determined that it was a faint whitish star.[52] This led astronomers to conclude that it was a white dwarf—the second to be discovered.[53] The diameter of Sirius A was first measured by Robert Hanbury Brown and Richard Q. Twiss in 1959 at Jodrell Bank using their stellar intensity interferometer.[54] In 2005, using the Hubble Space Telescope, astronomers determined that Sirius B has nearly the diameter of the Earth, 12,000 kilometres (7,500 mi), with a mass 102% of the Sun's.[55] Colour controversy?[edit] Around the year 150 AD,[56] the Greek astronomer of the Roman period, Ptolemy of Alexandria mapped the stars in Books VII and VIII of his Almagest, in which he used Sirius as the location for the globe's central meridian.[57] He described Sirius as reddish, along with five other stars, Betelgeuse, Antares, Aldebaran, Arcturus and Pollux, all of which are of orange or red hue.[56] The discrepancy was first noted by amateur astronomer Thomas Barker, squire of Lyndon Hall in Rutland, who prepared a paper and spoke at a meeting of the Royal Society in London in 1760.[58] The existence of other stars changing in brightness gave credibility to the idea that some may change in colour too; Sir John Herschel noted this in 1839, possibly influenced by witnessing Eta Carinae two years earlier.[59] Thomas Jefferson Jackson See resurrected discussion on red Sirius with the publication of several papers in 1892, and a final summary in 1926.[60] He cited not only Ptolemy but also the poet Aratus, the orator Cicero, and general Germanicus as calling the star red, though acknowledging that none of the latter three authors were astronomers, the last two merely translating Aratus's poem Phaenomena.[61] Seneca had described Sirius as being of a deeper red than Mars.[62] Not all ancient observers saw Sirius as red. The 1st-century poet Marcus Manilius described it as "sea-blue", as did the 4th century Avienius.[63] It was the standard white star in ancient China, and multiple records from the 2nd century BC up to the 7th century AD all describe Sirius as white.[64][65] In 1985, German astronomers Wolfhard Schlosser and Werner Bergmann published an account of an 8th-century Lombardic manuscript, which contains De cursu stellarum ratio by St. Gregory of Tours. The Latin text taught readers how to determine the times of nighttime prayers from positions of the stars, and a bright star described as rubeola – "reddish" was claimed to be Sirius. The authors proposed this was further evidence Sirius B had been a red giant at the time.[66] Other scholars replied that it was likely St. Gregory had been referring to Arcturus.[67][68] The possibility that stellar evolution of either Sirius A or Sirius B could be responsible for this discrepancy has been rejected by astronomers on the grounds that the timescale of thousands of years is much too short and that there is no sign of the nebulosity in the system that would be expected had such a change taken place.[62] An interaction with a third star, to date undiscovered, has also been proposed as a possibility for a red appearance.[69] Alternative explanations are either that the description as red is a poetic metaphor for ill fortune, or that the dramatic scintillations of the star when rising left the viewer with the impression that it was red. To the naked eye, it often appears to be flashing with red, white, and blue hues when near the horizon.[62] Distant star cluster?[edit] Main article: Gaia 1 In 2017, a massive star cluster was discovered only 10 arcminutes from Sirius, making the two appear to be visually close to one other when viewed from the point of view of the Earth. It was discovered during a statistical analysis of Gaia data. The cluster is over a thousand times further away from us than the star system.[70] Observation?[edit] Sirius (bottom) and the constellation Orion (right). The three brightest stars in this image – Sirius, Betelgeuse (top right), and Procyon (top left) – form the Winter Triangle. The bright star at top center is Alhena, which forms a cross-shaped asterism with the Winter Triangle. File:Szintillation.Sirius.480.webm Twinkling of Sirius (apparent magnitude = -1,1) in the evening shortly before upper culmination on the southern meridian at a height of 20 degrees above the horizon. During 29 seconds Sirius moves on an arc of 7.5 minutes from the left to the right. The orbital motion of the Sirius binary system brings the two stars to a minimum angular separation of 3 arcseconds and a maximum of 11 arcseconds. At the closest approach, it is an observational challenge to distinguish the white dwarf from its more luminous companion, requiring a telescope with at least 300 mm (12 in) aperture and excellent seeing conditions. After a periastron occurred in 1994,[c] the pair moved apart, making them easier to separate with a telescope.[77] Apoastron occurred in 2019,[d] but from the Earth's vantage point, the greatest observational separation will occur in 2023, with an angular separation of 11.333".[78] At a distance of 2.6 parsecs (8.6 ly), the Sirius system contains two of the eight nearest stars to the Sun, and it is the fifth closest stellar system to the Sun.[79] This proximity is the main reason for its brightness, as with other near stars such as Alpha Centauri and in contrast to distant, highly luminous supergiants such as Canopus, Rigel or Betelgeuse.[80] It is still around 25 times more luminous than the Sun.[13] The closest large neighbouring star to Sirius is Procyon, 1.61 parsecs (5.24 ly) away.[81] The Voyager 2 spacecraft, launched in 1977 to study the four giant planets in the Solar System, is expected to pass within 4.3 light-years (1.3 pc) of Sirius in approximately 296,000 years.[82] Stellar system?[edit] The orbit of Sirius B around A as seen from Earth (slanted ellipse). The wide horizontal ellipse shows the true shape of the orbit (with an arbitrary orientation) as it would appear if viewed straight on. A Chandra X-ray Observatory image of the Sirius star system, where the spike-like pattern is due to the support structure for the transmission grating. The bright source is Sirius B. Credit: NASA/SAO/CXC. In 2015, Vigan and colleagues used the VLT Survey Telescope to search for evidence of substellar companions, and were able to rule out the presence of giant planets 11 times more massive than Jupiter at 0.5 AU distance from Sirius A, 6–7 times the mass of Jupiter at 1–2 AU distance, and down to around 4 times the mass of Jupiter at 10 AU distance.[86] Sirius A?[edit] Comparison of Sirius A and the Sun, to scale and relative surface brightness Stellar models suggest that the star formed during the collapsing of a molecular cloud and that, after 10 million years, its internal energy generation was derived entirely from nuclear reactions. The core became convective and used the CNO cycle for energy generation.[88] It is calculated that Sirius A will have completely exhausted the store of hydrogen at its core within a billion (109) years of its formation, and will then evolve away from the main sequence.[91] It will pass through a red giant stage and eventually become a white dwarf.[92] Sirius A is classed as an Am star because the spectrum shows deep metallic absorption lines,[93] indicating an enhancement of its surface layers in elements heavier than helium, such as iron.[81][88] The spectral type has been reported as A0mA1 Va, which indicates that it would be classified as A1 from hydrogen and helium lines, but A0 from the metallic lines that cause it to be grouped with the Am stars.[7] When compared to the Sun, the proportion of iron in the atmosphere of Sirius A relative to hydrogen is given by [ Fe H ] = 0.5 {\displaystyle \textstyle \left[{\frac {{\ce {Fe}}}{{\ce {H}}}}\right]=0.5} {\displaystyle \textstyle \left[{\frac {{\ce {Fe}}}{{\ce {H}}}}\right]=0.5},[15] meaning iron is 316% as abundant as in the Sun's atmosphere. The high surface content of metallic elements is unlikely to be true of the entire star; rather the iron-peak and heavy metals are radiatively levitated towards the surface.[88] Sirius B?[edit] Size comparison of Sirius B and Earth A white dwarf forms after a star has evolved from the main sequence and then passed through a red giant stage. This occurred when Sirius B was less than half its current age, around 120 million years ago. The original star had an estimated 5 M?[13] and was a B-type star (roughly B4–5)[95][96] when it was still on the main sequence. While it passed through the red giant stage, Sirius B may have enriched the metallicity of its companion. This star is primarily composed of a carbon–oxygen mixture that was generated by helium fusion in the progenitor star.[13] This is overlaid by an envelope of lighter elements, with the materials segregated by mass because of the high surface gravity.[97] The outer atmosphere of Sirius B is now almost pure hydrogen—the element with the lowest mass—and no other elements are seen in its spectrum.[98] Apparent third star?[edit] Since 1894, irregularities have been observed in the orbits of Sirius A and B with an apparent periodicity of 6–6.4 years. A 1995 study concluded that such a companion likely exists, with a mass of roughly 0.05 solar masses – a small red dwarf or large brown dwarf, with an apparent magnitude of more than 15, and less than 3 arcseconds from Sirius A.[50] More recent (and accurate) astrometric observations by the Hubble Space Telescope ruled out the existence of such a Sirius C entirely. The 1995 study predicted an astrometric movement of roughly 90 mas (0.09 arcseconds), but Hubble was unable to detect any location anomaly to an accuracy of 5 mas (0.005 arcsec). This ruled out any objects orbiting Sirius A with more than 0.033 solar masses (35 Jupiter masses) orbiting in 0.5 years, and 0.014 (15 Jupiter masses) in 2 years. The study was also able to rule out any companions to Sirius B with more than 0.024 solar masses (25 Jupiter masses) orbiting in 0.5 years, and 0.0095 (10 Jupiter masses) orbiting in 1.8 years. Effectively, there are almost certainly no additional bodies in the Sirius system larger than a small brown dwarf or large exoplanet.[99][12] Star cluster membership?[edit] In 1909, Ejnar Hertzsprung was the first to suggest that Sirius was a member of the Ursa Major Moving Group, based on his observations of the system's movements across the sky. The Ursa Major Group is a set of 220 stars that share a common motion through space. It was once a member of an open cluster, but has since become gravitationally unbound from the cluster.[100] Analyses in 2003 and 2005 found Sirius's membership in the group to be questionable: the Ursa Major Group has an estimated age of 500 ± 100 million years, whereas Sirius, with metallicity similar to the Sun's, has an age that is only half this, making it too young to belong to the group.[13][101][102] Sirius may instead be a member of the proposed Sirius Supercluster, along with other scattered stars such as Beta Aurigae, Alpha Coronae Borealis, Beta Crateris, Beta Eridani and Beta Serpentis.[103] This would be one of three large clusters located within 500 light-years (150 pc) of the Sun. The other two are the Hyades and the Pleiades, and each of these clusters consists of hundreds of stars.[104] Etymology and cultural significance?[edit] See also: Winter Triangle A bust of Sopdet, Egyptian goddess of Sirius and the fertility of the Nile, syncretized with Isis and Demeter Sirius has over 50 other designations and names attached to it.[71] In Geoffrey Chaucer's essay Treatise on the Astrolabe, it bears the name Alhabor and is depicted by a hound's head. This name is widely used on medieval astrolabes from Western Europe.[20] In Sanskrit it is known as Mrgavyadha "deer hunter", or Lubdhaka "hunter". As Mrgavyadha, the star represents Rudra (Shiva).[111][112] The star is referred as Makarajyoti in Malayalam and has religious significance to the pilgrim center Sabarimala.[113] In Scandinavia, the star has been known as Lokabrenna ("burning done by Loki", or "Loki's torch").[114] In the astrology of the Middle Ages, Sirius was a Behenian fixed star,[115] associated with beryl and juniper. Its astrological symbol Sirius - Agrippa.png was listed by Heinrich Cornelius Agrippa.[116] Many cultures have historically attached special significance to Sirius, particularly in relation to dogs. It is often colloquially called the "Dog Star" as the brightest star of Canis Major, the "Great Dog" constellation. Canis Major was classically depicted as Orion's dog. The Ancient Greeks thought that Sirius's emanations could affect dogs adversely, making them behave abnormally during the "dog days", the hottest days of the summer. The Romans knew these days as dies caniculares, and the star Sirius was called Canicula, "little dog". The excessive panting of dogs in hot weather was thought to place them at risk of desiccation and disease. In extreme cases, a foaming dog might have rabies, which could infect and kill humans they had bitten.[30] Homer, in the Iliad, describes the approach of Achilles toward Troy in these words:[117] In Iranian mythology, especially in Persian mythology and in Zoroastrianism, the ancient religion of Persia, Sirius appears as Tishtrya and is revered as the rain-maker divinity (Tishtar of New Persian poetry). Beside passages in the sacred texts of the Avesta, the Avestan language Tishtrya followed by the version Tir in Middle and New Persian is also depicted in the Persian epic Shahnameh of Ferdowsi. Due to the concept of the yazatas, powers which are "worthy of worship", Tishtrya is a divinity of rain and fertility and an antagonist of apaosha, the demon of drought. In this struggle, Tishtrya is depicted as a white horse.[118][119][120][121] In Chinese astronomy Sirius is known as the star of the "celestial wolf" (Chinese and Japanese: ?? Chinese romanization: Tianláng; Japanese romanization: Tenro;[122] Korean and romanization: ?? /Tsonrang) in the Mansion of Jing (??). Many nations among the indigenous peoples of North America also associated Sirius with canines; the Seri and Tohono O'odham of the southwest note the star as a dog that follows mountain sheep, while the Blackfoot called it "Dog-face". The Cherokee paired Sirius with Antares as a dog-star guardian of either end of the "Path of Souls". The Pawnee of Nebraska had several associations; the Wolf (Skidi) tribe knew it as the "Wolf Star", while other branches knew it as the "Coyote Star". Further north, the Alaskan Inuit of the Bering Strait called it "Moon Dog".[123] Several cultures also associated the star with a bow and arrows. The ancient Chinese visualized a large bow and arrow across the southern sky, formed by the constellations of Puppis and Canis Major. In this, the arrow tip is pointed at the wolf Sirius. A similar association is depicted at the Temple of Hathor in Dendera, where the goddess Satet has drawn her arrow at Hathor (Sirius). Known as "Tir", the star was portrayed as the arrow itself in later Persian culture.[124] Sirius is mentioned in Surah, An-Najm ("The Star"), of the Qur'an, where it is given the name ?????????? (transliteration: aš-ši‘ra or ash-shira; the leader).[125] The verse is: "??????? ???? ????? ??????????", "That He is the Lord of Sirius (the Mighty Star)." (An-Najm:49)[126] Ibn Kathir said in his commentary "that it is the bright star, named Mirzam Al-Jawza' (Sirius), which a group of Arabs used to worship".[127] The alternate name Aschere, used by Johann Bayer, is derived from this.[19] In theosophy, it is believed the Seven Stars of the Pleiades transmit the spiritual energy of the Seven Rays from the Galactic Logos to the Seven Stars of the Great Bear, then to Sirius. From there is it sent via the Sun to the god of Earth (Sanat Kumara), and finally through the seven Masters of the Seven Rays to the human race.[128] Dogon?[edit] See also: Nommo The Dogon people are an ethnic group in Mali, West Africa, reported by some researchers to have traditional astronomical knowledge about Sirius that would normally be considered impossible without the use of telescopes. According to Marcel Griaule, they knew about the fifty-year orbital period of Sirius and its companion prior to western astronomers.[129][130] In his pseudoarcheology book The Sirius Mystery, Robert Temple claimed that the Dogon people have a tradition of contact with intelligent extraterrestrial beings from Sirius.[131] Yoonir, symbol of the universe in Serer religion[132][133] Noah Brosch claims that the cultural transfer of relatively modern astronomical information could have taken place in 1893, when a French expedition arrived in Central West Africa to observe the total eclipse on 16 April.[137] Serer religion?[edit] Main articles: Serer religion and Saltigue In the religion of the Serer people of Senegal, the Gambia and Mauritania, Sirius is called Yoonir from the Serer language (and some of the Cangin language speakers, who are all ethnically Serers). The star Sirius is one of the most important and sacred stars in Serer religious cosmology and symbolism. The Serer high priests and priestesses (Saltigues, the hereditary "rain priests"[138]) chart Yoonir in order to forecast rainfall and enable Serer farmers to start planting seeds. In Serer religious cosmology, it is the symbol of the universe.[132][133] Modern significance?[edit] See also: Sirius in fiction Sirius features on the coat of arms of Macquarie University, and is the name of its alumnae journal.[139] Seven ships of the Royal Navy have been called HMS Sirius since the 18th century, with the first being the flagship of the First Fleet to Australia in 1788.[140] The Royal Australian Navy subsequently named a vessel HMAS Sirius in honor of the flagship.[141] American vessels include the USNS Sirius (T-AFS-8) as well as a monoplane model—the Lockheed Sirius, the first of which was flown by Charles Lindbergh.[142] The name was also adopted by Mitsubishi Motors as the Mitsubishi Sirius engine in 1980.[143] The name of the North American satellite radio company CD Radio was changed to Sirius Satellite Radio in November 1999, being named after "the brightest star in the night sky".[144] Sirius is one of the 27 stars on the flag of Brazil, where it represents the state of Mato Grosso.[145] Sirius is a frequent subject in science fiction and related popular culture.[146] It features in Isaac Asimov's Foundation Series novels and Arthur C. Clarke's The Garden of Rama and The Songs of Distant Earth. Voltaire's novella Micromégas recounts the visit of a being from Sirius. In the TV series V the invaders are from Sirius IV. Composer Karlheinz Stockhausen, who wrote a piece called Sirius, is claimed to have said on several occasions that he came from a planet in the Sirius system.[147][148] To Stockhausen, Sirius stood for "the place where music is the highest of vibrations" and where music had been developed in the most perfect way.[149] The eponymous character of the 1944 science fiction novel, Sirius, is named after the star. Astronomer Noah Brosch has speculated that the name of the character Sirius Black from the Harry Potter stories, who has a unique ability to transform into a black dog, might have been inspired by "Sirius B".[150] Sirius has been the subject of poetry.[150] Dante and John Milton reference the star, and it is the "powerful western fallen star" of Walt Whitman's "When Lilacs Last in the Dooryard Bloom'd", while Tennyson's poem The Princess describes the star's scintillation:[151]
SIRIUS STAR OF WONDER STAR OF LIGHT STAR OF ROYAL BEAUTY BRIGHT
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
STAR OF WONDER STAR OF LIGHT STAR OF ROYAL BEAUTY BRIGHT SIRIUS THE DOG STAR
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
Page 250 THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THE LIGHT IS RISING NOW RISING IS THE LIGHT
....
MINTAKA (Delta Orionis). Orion is defined by his great belt, three bright second magnitude stars in a row that the ancient Arabs called "the string of ... www.astro.uiuc.edu/~kaler/sow/mintaka.html
MINTAKA (Delta Orionis). Orion is defined by his great belt, three bright second magnitude stars in a row that the ancient Arabs called "the string of pearls," which is the meaning of the name of the middle star, Alnilam. The two flanking stars, eastern Alnitak and western Mintaka, both come from Arabic phrases that mean "the belt of the Central One," the Central One the Arabic personification of our Orion, a woman lost to history. Though (at magnitude 2.21) Mintaka is the seventh brightest star in Orion, and the faintest of the three belt stars, it still received the Delta designation from Bayer, who lettered the belt stars in order from west to east before dropping down to Orion's lower half to continue the process. Of the sky's brightest stars, first through third magnitude, Mintaka is closest to the celestial equator, only a quarter of a degree to the south, the star rising and setting almost exactly east and west. The star is wonderfully complex. A small telescope shows a seventh magnitude companion separated by almost a minute of arc. At Mintaka's distance of 915 light years (very nearly the same as Alnitak at the eastern end of the belt), the faint companion orbits at least a quarter of a light year from the bright one. In between is a vastly dimmer 14th magnitude component. The bright star we call Mintaka (whose solo magnitude is 2.23) is ALSO double, and consists of a hot (30,000 Kelvin) class B, slightly evolved, giant star and a somewhat hotter class O star, each radiating near 90,000 times the solar luminosity (after correction for a bit of interstellar dust absorption), each having masses somewhat over 20 times the solar mass. This pair is too close to be separated directly. The duplicity is known through the star's spectrum (its rainbow of light), which detects two stars orbiting each other every 5.73 days, and also because the stars slightly eclipse each other, causing a dip of about 0.2 magnitudes. Mintaka is most famed. however, as a background against which the thin gas of interstellar space was first detected, when the German astronomer Johannes Hartmann in 1904 discovered absorptions in the star's spectrum that could not be produced by the orbiting pair. From this discovery, and others that followed, we now know that all of the Galaxy's interstellar space contains an enormously complex medium of gas and dust that is the birthplace of new stars. Mintaka will also, to some distant generation of astronomers, be famed in death, as each of its components is so massive that their only fate is to explode violently as supernovae. Written by Jim Kaler. Return to STARS.
GNOSIS GOD KNOWS THIS THAT THIS KNOWS GOD GNOSIS
CODE DE CODE C+O D+E D+E C+O D+E 9+9+9+9+9 C+O D+E D+E C+O D+E CODE DE CODE
Oh what a tangled web we weave, Sir Walter Scott, Marmion, Canto vi. Stanza 17.
THE HOURS OF HORUS IS
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Page 196 Duality The Splendid Place of the 'First Time' We left the cosmic Horus-King standing in the sky with the solar disc between the 'paws' of the celestial lion, the constellation of Leo - on the spot marked by the star Regulus, In the Pyramid Age Regulus rose at approximately 28 degrees north of due east.59 It is from this spot therefore that the Horus-King in the sky must somehow travel - on one of the 'roads'to Rostau - to reach Orion's belt. Now we transpose again to the Horus-King in his earthly form at Giza, standing between the paws of the great Sphinx. It is the moment of dawn on the summer solstice in the epoch of 2500 BC, with Leo rising at 28 degrees north of due east, and we immediately notice that something is wrong with the sky-ground pattern. The Sphinx gazes due east, i.e. he does not gaze at Leo, his celestial counterpart. And the causeway connecting the central Pyramid to the Sphinx complex is directed 14 degrees south of due east - i.e. far to the right of the spot where the cosmic Horns-King is supposedly at his station between the paws of Leo and ready to travel to Rostau. So why is the sky-image in the 'wrong place' on the eastern horizon? Or to express the problem the right way round, and in the correct dualistic terminology, why is Hor-em-Akhet, Horus-in-the Horizon .: i.e, the Great Sphinx - not in alignment with Horakhti, Horns-of-the-Horizon, i.e.rhe constellation of Leo? Why, too, is the causeway of the Sphinx not-directed to the rising sun was to 'link-up' the Horus-King with his cosmic solar counterpart? There is, it seems, a curious 'dislocation' between the ground and the sky at the summer solstice in the epoch of 2500 BC. Moreover, as the reader will recall from Chapter 8, this sense of the entire arrangement being out of kilter is not confined to the Sphinx and Leo in that epoch but involves the three great Pyramids of Giza as well. It may be the case that the solution to the riddle has all along been staring us in the face. Inscribed on the granite stela that the Sphinx holds between its own heavily eroded paws - a stela that was placed there in honour of Thutmosis IV, a mighty Horus-King of Egypt - we read the following impressive royal titulary: Page 197 The Majesty of Horus, Mighty Bull Begetting Radiance, Favourite of the Two Goddesses, Enduring in Kingship like Atum, Golden Horus, Mighty of Sword, Repelling the Nine Bows; King of Upper and Lower Egypt, Son of Re, Thutmosis ... given life, stability, satisfaction ... for ever. Live the Good God, Son of Atum, Protector of Horakhti, Living Image of the All-Lord, Sovereign ... , beautiful of Face like His Father, who came forth equipped with the form of Horus upon him ... Son of Atum, of his body, Thutmosis ... Heir of Horus Upon His Throne .. :60 Does this sound like a man who did not have a due, as some Egyptologists suggest," as to what the great Sphinx and the other monuments of Giza really represented? Surely not. So what, then, did the majestic Horus-King declare this sacred domain to be?"
ATUM 1234 ATUM HORUS = 9 = HORUS HORAKHTI = 9 = HORAKHTI THUTMOSIS = 9 =THUTMOSIS SPHINX = 9 = SPHINX THE LIONS LOINS Page 198 Duality, In one simple, powerful phrase, as the reader.will recall he stated 'that it was 'The Splendid Place of the "FirstTime" ' 62 Is it not likely, when he uttered these words; that Thutmosis, 'Heir of Horus Upon His Throne' was repeating what every Horus-King before him had dedared the Giza plateau to be? Is it not likely that he called it 'The Splendid Place of the "FirstTime" because that was exactly what it was remembered to be in traditions that 'had been handed down from remotest, almost incomprehensible, antiquity? Could this be why the sky of 2500 BC seems to be so badly out of kilter, somehow skewed and twisted, i.e. 'in the wrong place'? Could it be not so much in the wrong place as at the wrong time? Should we set our computer to search for another-time that might match the monuments to the sky, a time long before Thutmosis, long before Khafre and Khufu, the 'time' when Osiris established his 'kingdom on earth - in other words, the 'FirstTime'? When was the 'FirstTime'?
I ME FIRE PYRE FIRE PYRE AMID PYRAMID AMID PYRE
A FIRE PYRE A PYRE FIRE FUNERAL REAL FUN FUN REAL FUNERAL
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock1996 Chapter 14 Space-Time Co-ordinates Becoming equipped Page 232 The Utterances conventionly numbered 471, 472 and 473 in the" ancient Egyptian Pyramid Texts contain information of an extraordinary nature. In view of the importance of this information,we set it out in full below: I am the essence of a god, the son of'a god, the messenger of a god. [says the Horus-King]. The Followers of Horus cleanse me, they bathe me, they dry me, they recite for me the Spell [formula] for Him who is on the Rightway, they recite for me the Spell of Him who Ascends, and I ascend to the sky. I will go aboard this-Bark of Re [the Solar Bark] ... Every god will /Page 233/ rejoice at meeting, me as they rejoice at meeting Re [the-sun] when he ascends from the eastern side of the sky inpeace, in peace. The sky quivers, the earth quakes before me, for I am a magician, I possess magic . . . I have come that I may glorify Orion; that I may set Osiris at the head, that I may set the gods upon their thrones. O Mahaf, Bull of the gods [Taurus-Hyades], bring me this [solar bark] and set me on yonder side . . . The reed-floats of the sky are set down for me by the day-bark that I [the solar Horus-King] may go up to them to Re at the Horizon. The reed floats of the sky are brought down to me by the night bark that I may go up on them to Horakhti at the Horizon. I go up to the eastern side of the sky where the gods are born, and I am born as Horus, as Him of the Horizon . . . I have found the Akhus with their mouths equipped . . . 'Who are you?' say they [the Akhus], with their mouths equipped. I am an Akhu with my mouth equipped,' 'How has this happened to you,' say they, the Akhus with-their with their mouths equipped, 'that you have come to-this place more noble than any place?' 'I have come to this place more noble than any place because: The reed-floats of the sky were set down- for Re [the sun disc and the emblem of the Horus- King] that Re might-cross [the Milky Way] on them to Horakhti at the Horizon . . . '8 These Utterances appear to describe an important part of the HorusKing's initiatory journey - an ordeal of questions and answers based on astronomical science - wrapped.up in esoteric symbols. The inquisitors are the 'Followers of Horus', also .known as the Akhus (the 'Venerables', the 'Shining Ones', the 'Transfigured Spirits', etc., etc.). Moreover, as we would expect, the Horus-Kings cosmic journey begins in the Taurus-Hyades region of the sky, on the right bank of the Milky Way and-proceeds along the ecliptic path to end at Leo i.e. 'Horakhti', at the horizon. Here, at this place more noble than any place', the Akhus greet him - indeed he claims to have become an Akhu himself - and give him the final, instructions or directions that he will need to complete his quest. What we have to consider is the possibility that these, final instructions might somehow have 'equipped' the Horus-King 'to make the necessary journey back in time, to the 'First Time' and-into the cosmic Kingdom of Osiris when sky and ground were united in perfect harmony."
WHO ARE YOU SAY THEY THE AKHUS WITH THEIR MOUTH EQUIPPED ? I AM AN AKHU WITH MY MOUTH EQUIPPED
Page 219 "Akhu, meaning variously, the'Shining Ones', the 'Star people' or the 'Venerables'. In this way they will lead us back to the trail of the 'Followers of Horus' and to the notion that for thousands of years - spanning both the prehistoric and the historic periods - the members of a hidden academy may have been at work behind the scenes in Egypt, observing the stars with scientific rigour and manipulating men and events according to a celestial timetable . . ." Page 244 Secret spell We suspect that for thousands of years before the Pyramid Age, hundreds of generations of Heliopolitan astronomer priests had kept the constellation of' Orion continuously under observation, paying particular attention to its place of meridian-transit - i.e. the altitude above the horizon at which it crossed the celestial meridian. We think that careful records were kept, perhaps written, perhaps orally encoded in the ancient 'mythological' language of precessional astronomy.20 And we suppose that note was taken of Orion's slow precessional drift - the effect of which was that the constellation would have seemed to be slowly drifting northwards along the west 'bank' of the Milky Way. It is our hypothesis that the mythical image of the vast.body of Osiris slowly being.carried to the north, 'i.e.'drifting' on the waters of the Nile, is a specific piece of astronomical terminology coined to describe the long-terrn changes being effected' by precession in Orion's celestial, 'address'. In the Mephite Theology.as the reader will recall, this drift was depicted as havig commenced in the south, symbolically called Abydos (in archaeological 'terms the. most southerly 'shrine' of Osiris), and to have carried the 'body' of'the dead god to a point in the north symbolically called Sokar, i.e. the Memphite necropolis (the most northerly shrine: of Osiris), As we saw in Part III, the Shabaka Texts tell Us that when he reached this point: Osiris was drowned in his water. Isis and Nepthys looked out, beheld him, and attended to him, Horus quickly commanded Isis and Nepthys to grasp Osiris and prevent his [submerging]. They heeded in time and brought him to land. He entered the hidden portals in the glory of the Lords of Eternity. Thus Osiris came.into.the earth at the Royal Fortress [Memphisj, to the north 'Of the land to which he had come [Abydos].21. In the light of what we now know it is hard to-imagine that the reference to Osiris coming 'into the earth' (or down to earth?) could signify anything other than the physical construction of the body of Osiris on the ground' on the west banks of the Nile - in the form of the great Pyramid-fields of the sprawling Memphite necropolis. Since Osiris is Orion the desire to achieve such an effect would more than adequately explain why the, three Pyramids of Giza should have been arranged in the pattern of.the three stars of Orion's belt. Moreover, since we know that the stated goal of the Horus-King's quest was not only to find the astral 'body' of Osiris but to find it as it was in the 'First Time', we should not be .surprised by the fact that the Pyramids, as we saw in Part I, are set out on the ground in the pattern /Page246/that they made at the beginning (i.e. 'southernmost point') of that constellation's upward (i.e. 'northerly') precessional half-cycle. So we wonder whether it is possible that the quest of the Horus King might have had as its ultimate objective the acquisition of knowledge concerning the 'First Time' - perhaps even the acquisition of specific knowledge from that remote epoch when the gods had walked the earth? Several passages in the Pyramid Texts invite such speculation, For example, we.are told that the Horus-King must 'travel upstream' - i.e. must push against the natural drift of 'time' - in order to reach Orion-Osiris in his proper 'First Time' setting: Betake yourself to the Waterway, fare upstream [south], travel about Abydos ill this spirit-form of yours which the gods command to belong to you; may a stairway I road] to the Duat be set up for you to the Place Where Orion Is _ . . . 22 They have found Osiris ... 'When his name became Sokar' [Memphite necropolis).. :. Wake up [Osiris] for Horus . . . raise yourself . .. fare southward [upstream] to the lake, cross over the sea [sky'], for you are he-who stands untiring in the midst of Abydos ... 23 Betake 'yourself to- the Waterway, fare upstream . . .traverse Abydos. The celestial portal to the Horizon is open to you ... may you remove yourself to the sky, for the roads of the celestial expanses which lead up to Horus are cleaned for you . . . for you have traversed. the Winding Waterway [Milky Way] which is in the north of the sky as a star crossing the sea which is beneath the sky _ The Duat has grasped your hand at the Place Where Orion Is . . . 24 Likewise there is a striking passage in the Coffin Texts which refers to some secret 'spell-or formula to allow the deceased' to use the 'path of Rostau' on the land-and in the sky (i.e. the path to the. Giza necropolis on land and to Orion's belt in the sky) in order to 'go down to any sky he wishes to go down to' . . . 26 I have passed on the path of Rostau, whether on water or on land, and these are the paths of Osiris [Orion], they are in the limit of the sky: As for him who knows the spell [formula] for going down into them, he himself is a god in the suite of Thoth [meaning he is as wise as Thoth, 'the controller of the stars'"] [and] he will go down-to any sky he wishes to go down to . . . 26 Page 247 Special numbers We suspect that the phrase to 'go down to any sky' suggests an awareness - and recording - of precessionally induced changes in the positions of the stars over long "periods of time. And we also note its implication that if the chosen initiate was equipped with the correct numerical spell then he would be able to work out - and visualize the correct positions of the stars in any epoch of his choosing, past or future. Once again Sellers stands out amongst Egyptologists for being the first to have entertained such apparently outlandish notions. 'It is possible', she writes, 'that early man encoded in his myths special numbers; numbers that seemed to reveal to initiates an amazing knowledge of the movement of the celestial spheres.' 27· Such numbers, she argues, appear to have been derived from a sustained, scientific study of the cycle of precession and a measurement of its rate and, puzzlingly, turn out to be extremely 'close to the calculations made with today's sophisticated procedures'. Intriguingly, too, there is evidence not only 'that these calculations were made, and conclusions drawn', but.alsothat'they were transmitted to others by secret encoding that was accessible only to an elite few':28 In short, Sellers concludes, 'ancient man Calculated a special number that he believed would bring this threatening cycle [of precession] back to its starting point .. .' 29 The 'special number' to which Sellers is referring to is 25,920 (and multiples and divisions of it) and thus represents the duration, in solar years, of a full precessional cycle or 'Great Year'.30 She shows how it can be derived from a variety of simple combinations of other numbers - 5, 12, 36, 72, 360, 432, 2160, etc., etc. - all of which are in turn derived from precise observations of precession. Most crucially of all, she shows that this peculiar sequence of numbers occurs in the ancient Egyptian myth of Osiris where, notably '72 conspirators' are said to have been-involved with Seth in the murder of the God-King.3' As was shown in Fingerprints of the Gods; the sun's perceived motion through the signs of the zodiac at the vernal equinox proceeds at the rate of one degree every seventy-two years. From this it follows that a movement of the vernal point through 30 degrees will take 2I60 /Page 248/ years to complete, 60 degrees will take 4320 years, and a full 360- degree cycle will require 25,920 years." Curiously enough, as the reader will recall from Part I, the Great Pyramid itself incorporates a record of these precessional numbers - since its key dimensions (its height and the perimeter of its base) appear to have been designed as a mathematical model of the earth's polar radius and equatorial circumference on a scale of 1:43,200. The number 43,200 is, of course, exactly 600 times 72. What we have in - this remarkable monument, therefore, is not just a scale model of a hemisphere of the earth but also one in which the scale involved incorporates a 'special number' derived from one of the key planetary motions of the earth itself - i.e. the rate of its axial precession. In short it seems that secret knowledge is indeed available in the myth of Osiris and in the dimensions of the Great Pyramid. With this secret knowledge, If we wanted to fix a specific date- say 1008 years in the future - and communicateit to other initiates, then we could do so with the special number' 14 (72 x l4 = I008).We would also have to specify the 'zero point' from which they were to make their calculations - i.e the present epoch - and this might be done with some kind of symbolic or mathematical marker to indicate where the vernal point presently is, i.e. moving out.of Pisces and into Aquarius. A similar exercise could likewise be carried out in reverse. By following the 'eastwards' direction along the ecliptic path we can 'find' (calculate, work out) where the vernal point was at any epoch in the past. Thus if today we wished to use the precessional code to direct attention towards the Pyramid' Age we would need to confide to other initiates the 'special number' of 62.5 (72 x 62.5 = 4500 years ago = approximately 2500 BC). Again, we could rule out any ambiguity as to the zero date from which the calculations were to be made if we could find a way to indicate the present position of the vernal point. We have seen that this is what Sneferu appears to have done with the two Pyramids at Dahshur, which map the two sides of the head of the celestial bull - the 'address' of the vernal point in his epoch. And in a sense, though with a great deal more specificity and precision, this could also be exactly what the builders of the Great Pyramid were doing when they deliberately targeted the southern shafts of the King's and Queen's Chambers on the meridian-transits of such /Page 249/ significant stars as Orion and Sirius in the epoch of 2500 BC.To be clear about this, it seems to us well worth investigating the possibility, that by setting up such obvious and precise 'time markers' they. were trying to provide an unambiguous zero point - circa 2500 BC .; for calculations that could only be undertaken by initiates steeped in the mysteries of precession, who were equipped by their training to draw out the hidden portents concealed in certain 'special numbers'. We note in passing' that if the Horus-King could have' been provided with the 'special number' III.III, and had used it in the way described above; it would have led him back to (72 x III.III years =) 7,999.99 years before the specified 'ground zero', i.e. to almost exactly 8000 years before 2500 BC - in short, to 10,500 BC . We know this seems like wishful numerology of the worst sort - i.e, 'factoring in' an arbitrary.value to a set of calculations so as to procure - spurious 'corroboration' for a specific 'desired date (in 'this case the date of 10,500 BC, twelve and a half thousand years before the present, that we have already highlighted in Chapter 3 in connection with the Sphinx and the Pyramids of Giza). The problem, however, is tliat the number III.III may well not be anarbitrary value . At any rate, it has long been recognized that the main numerical factor in the design of the Great Pyramid, and indeed of the Giza necropolis as a whole, is the prime number II - a prime number being one that is only divisible by itself to produce the whole number I. Thus II .divided by II, i.e. the ratio II:II, produces the whole number I (while II divided by anything else," i.e. any other ratio, would, of neccessity, generate a fraction). What is intriguing is the way that the architecture of the Great Pyramid responds to the number rr when it is divided, or multiplied, by other whole numbers. The reader will recall, for example, that its side length of just over 755 feet is equivalent to 440 Egyptian royal cubits - i.e. II times 40 cubits." In addition, its height-to-base ratio is , 7:II.34 The slope ratio of its sides is 14:11 (tan 51 degrees 50').35 And the slope ratio of the southern shaft of the King's Chamber - the shaft that was targeted on Orion's belt in ,2500 BC - is II:II (tan 45 degrees)." Arguably, therefore, the ratio II:II, which integrates with our /Page 250/ 'special number' III.III, could be considered as a sort of mathemati cal key, or 'stargate' to Orion's belt, Moreover,as"we shall see, a movement of III.III degrees 'backwards 'along the ecliptic from 'ground-zero' at the Hyades-Taurus, the head of the celestial bull, would place the vernal point 'underneath' the cosmic lion. Is it not precisely such a location, underneath the Great Sphinx, that the Horus-King is urged to investigate as he stands between its paws 'with his mouth equipped' and faces the questions of the Akhus whose initiations have led' him this far? Indeed, does it not seem probable that the 'quest-journey' devised by the 'Followers of 'Horus' was carefully structured so as to sharpen the mind of the initiate by requiring him to piece together all the clues himself until he finally arrived at the-realization that somewhere underneath the Great Sphinx of Giza was something,(written or pictorial records, artefacts, maps.astronomical charts) that touched on 'the knowledge of a divine origin', that was of 'irnmense importance, and that had been concealed there since the 'First Time'? ,In consideririg such questions, we are reminded of the Hermetic doctrines which transmit a tradition of the wisdom god Thoth who was said to have 'succeeded in understanding the mysteries of the heavens [and to have] revealed them by inscribing them-in sacred books' which he "then hid here on earth, intending that: they should be searched for by future generations but "found only by the fully worthy'37 Do the 'sacred books of 'Thoth', or their equivalent, still lie in the bedrock beneath the Great Sphinx of Giza, and do the 'fuIly worthy' still seek them there? Seekers after truth Other questions, too, have been raised implicitly and explicitly in the foregoing chapters: I Were the Great Sphinx and the great Pyramids of Giza designed to serve as parts of-an immense three-dimensional 'model' of the sky of the 'First Time'? 2 Could other features of the necropolis also be part of this model? 3 If so, then has enough survived for us to compare the model with computer simulations of the skies above Giza in previous epochs /Page 251/ and thus. arrive at an accurate archaeoastronomical dating for the 'First Time', i.e. for.the true .'genesis'of the extraordinary civilization of Egypt? By looking at-simulations of the ancient skies would we not, to use the language of the Egyptian funerary texts, be 'going down to any sky we wished to go down to'? , Is it an accident that so many of these iexts~have survived for thousands of years, or could their compilers have intended them to survive and carefully designed them in such a way that human nature would ensure their copying and recopying down the ages (a process that has been promiscuously resumed 'in the last century and.a half since the decipherment of the ancient Egyptian hieroglyphs, with the Coffin Texts, the Pyramid Texts, the Book of the Dead, etc., etc., now translated and reprinted in dozens of modern languages and editions - and even available on CD-ROM)? 6 In other words, is it not possible in our readingsof the texts, in our analysis of the rituals to which they were linked, that. we have stumbled upon a message of primordial antiquity that was composed not: just for the Pyramid Age, and not just for the Horns-Kings of ancient Egypt, but for all 'seekers after the truth' from any culture, in any epoch, who might-be 'equipped' to put texts and monuments together and to view the skies of former times? Page 252 (number omitted) Chapter 16 Message ina Bottle? 'We have reached this fascinating point in our evolution. . . we have reached the time when we know we can talk to each other across the distances between 'the stars . . . ' Dr John Billingham, NASA Ames Research Center, 1995 Together with the ancient-texts and rituals that are linked to them, could the vast monuments of the Giza necropolis have been designed to transmit a message from one culture to another - a message not across space but across time? Egyptologists reply to-such questions by rolling their eyes and hooting derisively. Indeed they would not be 'Egyptologists' (or at any rate they could not long remain within that profession) if they reacted with anything other than scorn and disbelief to suggestions that the necropolis might be more than a cemetery, that the Great Sphinx might significantly predate the epoch of 2500 BC, and that the Pyramids might not be just 'royal tombs'. By the same token, no selfrespecting Egyptologist 'would be prepared to consider, even for a moment, the outlandish possibility that some sort of mysterious 'message" might have been encoded into the monuments. So whom should we turn to for advice when confronted by what we suspect may be a message from a civilization so far distant from us in time as to be almost unknowable? . Anti-cipher The only scientists actively working on such problems today are those involved in the Search for Extraterrestrial Intelligencec- SETI for /Page253/ short . They endlessly sweep the heavens.for messages from distant civilizations and they have therefore naturally had to give some thought to what might happen if they ever did identify such, a message. According to Dr Philip Morisson of the Massachusetts Institute of Technology: To begin with we would know very.little about it. If we received it we would not understand what we're getting. But we would have an unmistakable signal full of structure, full of challenge. The best people would try to decode it, and it will be easy to do because those who have constructed it would have made it easy to decode, otherwise there's no point. This is anti-cryptography: 'I want to make a message for you, who never got in touch with any symbols of mine. no key no clue, nevertheless you'll be able to read it . . .' I would haveto fill it full of clues and unmistakable clever devices. . . 1 In his book, Cosmos, Professor Carl Sagan of Cornell Universersity rnakes much the same point - and does so, curiously enough, with reference to the ancient Egyptian hieroglyphic system. He explains that the 'Egyptian hieroglyphics are, in significant part a simple substitution cipher. But not every hieroglyphic is a letter or symbol. Some are pictographs . . .' When it comes to transhition, this 'mix of letters and pictographs caused some grief for interpreters . . .' In the early nineteenth century, however, a breakthrough was made by the French scholar Champollion who deciphered the famous 'Rosetta Stone', a slab of black basalt bearing identical inscriptions in Egyptian hieroglyphics and in Greek. Since Champollion could read the Greek, all he needed was some kind of 'key' to relate specific hieroglyphs to specific Greek words or letters. This key was provided by the constant repetition in the Greek text of the name of Pharaoh Ptolemy V and an equal number of repetitIons in the Egyptian text of a distinctive oblong enclosure - known as a cartouche containing a repeated group of hieroglyphs. As Sagan comments: The cartouches were the key . . . almost as though the Pharaohs of Egypt had circled their own names to make the going easier for Egyptologists two thousand years in the future. . . What a joy it must have been [for Champollion] to open this one-way communication channel with another civilization, to permit-a culture that had been /Page 254/ mute for millennia to speak of its history, magic, medicine, religion, politics and philosophy.2 Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says: we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood. Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as . possible. But how could they? Is there in any sense an interstellar Rosetta Stone? We :believe there is a common language that all technical civilizations, no matter how .different, must have. That common language is science and mathematics, The laws of Nature are the same everywhere? It seems to us that if there is indeed a very ancient 'message' at Giza then it is likely to be expressed in the language of science and mathematics that Sagan identifies - and for the same reason. Moreover, given its need to continue 'transmitting' coherently across thousands of years (and chasms of cultural change), we think that the composer of such a message would be likely to make use of the Precession of the Equinoxes, the one particular 'law of Nature' that can be said to govern, and measure - and identify - long periods of terrestrial time. Durable vehicles The Pyramids and the Great Sphinx at Giza are, above all else, as elegant, as complex, as internally consistent and as utterly 'alien' as the extraterrestrial intelligence that Sagan envisages (alien in the sense of the tremendous, almost superhuman scale of these structures and of their uncanny - and in our terms apparently unnecessary precision). Moreover, returning briefly to Dr Philip Morisson's remarks quoted earlier, we think that the Giza necropolis also qualifies rather. well for the description 'packed full of clues and unmistakable clever devices'.4 Indeed, it seems to us that a truly astonishing quantum of /Page 255/ ingenuity was invested by the Pyramid builders to ensure that the four fundamental aspects of an 'unmistakable' message were thoroughly elaborated .here: I the creation of durable, unequivocal markers which could serve as beacons.to-inflame the curiosity and-engage the intelligence of future generations of seekers; 2 the use of the 'cominon language' of precessiona astronomy; 3 the use of precessional co-ordinates to signal specific timereferents linking past to present and present to-future; 4 Cunningly. concealed store-rooms-or 'Halls of Records' that could only be found and entered by those who were fully initiated in the 'silent language' and thus could read and follow its clues. In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context.is understood, we have also to consider the amazing profusion of funerary texts that have oome down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources.5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must.follow, We recall a remark made by Giorgio de .Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the'great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual-story-tellers.6 In other words-as long as a myth continues be told true, it will also continue to trailsmit any higher message that may-be concealed within its structure - even if neither the teller or the.hearer understands that message. So, too we suspect, with the ancient Egyptian funerary texts. We would-be surprised if the owners of'many of the coffins and tomb walls onto-which they were copied-had even, the faintest inkling that specific astronomical observations and directions were being duplicated at their expense. What motivated. them was precisely what the texts offered - the lure of immortal life. Yet by taking that lure did they inot-in fact guarantee a kind-of immortality for the textss themelves? Did they not ensure that so many faithful copies would /Page 256/ be made that some at least would-be bound to survive for many thousands of years? We think that there were always people who understood the true 'science of immortality' connected to the texts, and who were able to read the astronomical allegories in which deeper secrets, not granted to the common herd, lay concealed. We presume that these people were once' called the 'Followers of Horus', that they operated as an invisible college behind the scenes in Egyptian prehistory and history, that their primary cult centre was at Giza-Heliopolis, and that they were responsible for the initiation of kings and the realization of blueprints. We also think that the timetables they worked to - and almost everything of significance that they did - was in one way or another written in the stars. Hints and memories The powerfully astronomical character of the" Giza necropolis, although ignored by Egyptologists, has been recognized by openminded and intuitive researchers throughout history. The Hermetic Neoplatonists of Alexandria, for example, appear to have been acutely sensitive to the possibility of a 'message' and were quick to discern the strong astral qualities of the textual material and the monuments.' The scholar Proclus (fifth century AD) also acknowledged that the Great Pyramid was astronomically designed - and with certain specific stars in mind. Indeed, in his commentary on Plato's Timaeus (which deals with the story of the lost civilization of 'Atlantis'), Proclus reported strangely that 'the Great Pyramid was used as an observation for Sirius'." Vague memories of an astronomically constructed 'message' at Giza appear to have filtered down to the Middle Ages. At any rate the Arab chroniclers in this period spoke of the Great Pyramid as 'a temple to the stars'. . ." Page 278 Treasure map We said earlier that in the architectural-astronomical system of the Pyramid builders the position of the vernal point along the ecliptic which denoted the 'Splendid Place of the "First Time'" was considered to be 'controlled' by the position of Osiris-Orion at the meridian: 'slide' Orion's belt up from its location at 2500 BC and the vernal point is 'pushed' westwards around the ecliptic (and forward in time) in the direction Taurus -) Aries Pices - Aquarius; 'slide' it down and the vernal point is pushed 'east', i.e. back in time, in the direction Taurus - Gemini - Cancer - Leo. So in 10,500 BC, with the belt stars fully 'slid down' to their lowest possible altitude above the horizon, how far around the ecliptic has the vernal point been 'pushed? We know it is in Leo. But where in Leo? Computer simulations show that it lay exactly III. III degrees east. of the station that it had occupied at 2500 BC. Then it had been at the head of the Hyades- Taurus close to the right bank of the Milky Way; 8000 years earlier it lay directly under the rear paws of the constellation-of Leo. As we have hinted, this is a location that is likely to have a terrestrial 'double'. The three stars of Orion's belt have their terrestrial doubles in the form of the three Great Pyramids. The constellation of Leo Horakhti has its terrestrial double in the form of Hor-em-Akhet, ie.. the Great Sphinx. The 'Horizon of the Sky' has its terrestrial double in the form of the 'Horizon of Giza'. And the Great Sphinx crouches literally within this 'Horizon'. Page 279 It was to the breast of the Great Sphinx, at the summer solstice in the Pyramid Age, that the quest of the Horus-King led. There he encountered the Akhus: 'How has this happened to you', say they, the Akhus with their mouth equipped, 'that you have come to this place more noble than any other place?' 'I have come . . . because the reed floars.of the sky were set down for Re [the sun-disc and cosmic 'double' of the Horus King] that Re might cross [the Milky Way] on them to Horakhti at the Horizon' 18 In other words, the Horus-King has successfully understood and used the clues provided in the ritual. He has noted and followed the path of the sun during the solar year from its starting point - designated in the texts as being beside the Hyades-Taurus, i.e. 'Bull of the Sky' - and thence across the MilkyWay until the moment of its conjunction with Regulus, the heart-star of Leo. He has then taken this celestial treasure map, transposed its co-ordinates to the ground, made his way across the River Nile and ascended to the Giza plateau, coming eventually to the breast of the Sphinx. We think that he received there the necessary clues or instructions to find the entrance to the terrestrial Duat, to tlie 'Kingdom ofOsiris' on the ground - in short to the 'Splendid Place of the "First Time" ' where he would have to go in order to complete his quest. And we suggest that these clues were designed to encourage him to track the vemal point, just as we have done, to thel ocation that it would have occupied in 10,500 BC when Orion's belt had reached the lowest point - its precessional cycle. In other words it is our hypothesis that the Giza monuments, the past, present and future skies that lie above them, and the ancient funerary texts that interlink them, convey the lineaments of a message. In attempting to read this message we have done no more than follow the initiation 'journey' of the Horus-Kings of Egypt. And the ancient Horns-Kings we, too, have arrived at a most intriguing crossroad. The trail of initiation has guided us, directed us finally lured us to stand in front of the Great Sphinx and, like Oedipus, to confront the ultimate riddles: 'Where did we come from?' are we to go to? 'Page 283 (number omitted) Conclusion Return to the Beginning 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 transformmation 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 full 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 (Normandi Ellis translation) The dictionary tells us that, separately from its modern usage the word, 'glamour' has a traditional meaning roughly equivalent to 'magic.spell or 'charm', and is the Old Scottish variant of: 'grammar . . . hence a magic spell, because occult 'practices were popularly associated with learning.' Is it possible that men and women of great wisdom and learning cast a 'glamour' over the Giza necropolis at some. point in the distant / Page 284/ past? Were they the possessors of as yet unguessed-at secrets that they wished to hide here? And did they succeed in concealing those secrets almost in plain view? For thousands of years, in other words, has the ancient Egyptian royal cemetary at Giza veiled the presence of something else - something of vastly greater significance for the story of Mankind? One thing we are sure of is that unlike the hundreds of Fourth Dynasty mastaba tombs to the west of the Sphinx and clustered around the three great Pyramids, the Pyramids themselves were never designed to serve primarily as burial places. We do not rule out the possibility that the Pharaohs Khufu, Khafre and Menkaure may at one time have- been buried within them - although there is no evidence for this - but we are- now satisfied. that the transcendent effort and skill that went into the construction of these awe-inspiring monuments was motivated by a higher purpose. We think that purpose was connected to the quest for eternal life wrapped up in a complete religious and spiritual system that the ancient Egyptians inherited from unknown predecessors and that they later codified in -their eerie and other-worldly funerary and rebirth texts. We suggest, in short, that it was the goal of immortality , not just for one Pharaoh but for many, that the corridors and passages and hidden chambers and concealed gates.and doorways of the Giza complex were ultimatelydesigned to serve. Depicted in the Book of What is in the Duat as being filled with monsters, these narrow, claustrophobic, terrifying places, hemmed in on all sides by sheer stone walls, were in our view conceived as the ultimate testing ground for initiates. Here they would be forced to face and overcome their most horrible and debilitating fears. Here they would pass through unimaginable ordeals of the spirit and the mind. Here they would learn esoteric wisdom through acts of concentrated intelligence and will. Here they would be prepared, through practice and experience, for the moment of physical death and for the nightmares that would follow it, so that these transitions would not confuse or paralyse them - as they might other, unprepared, souls - and so that they might become 'equipped spirits' able to move as they wished through heaven and earth, 'unfailingly, and regularly and eternally'.1 Such was the lofty goal of the Hems-King's quest and the ancient /Page 285/ Egyptians clearly believed that in order to attain it the initiate would have to participate in the discovery, the unveiling, the revelation, of something of momentous importance - something that would bestow wisdom, and knowledge of the 'First Time', and of the mysteries of the cosmos, and of' Osiris, the Once and Future King. We are therefore reminded of a Hermetic Text, written in Greek but compiled in Alexandria in Egypt some 2000 years ago, that is known as the Kore Kosmu (or Virgin of the World).2 Like other such writings, this text speaks of' Thoth, the ancient Egyptian wisdom-god, but refers to him by his Greek name, Hermes: Such was all-knowing. Hermes,who saw all things, and seeing understood, and understanding had the power both to disclose and to give explanation. For what he knew .he graved on.stone; yet though.he graved them onto stone he hid them mostly . . . The sacred symbols of the cosmic .elements [he] hid. away hard by the secrets of Osiris . . . keeping sure silence, that every younger age of cosmic.time might seek for them..3 The text then tells us that before he retumed to Heaven' Hermes invoked .a spell on the secret writings and knowledge that he had hidden: O holy books, who have been made by my immortal hands, by incorruption's magic spells . . . free from decay throughout eternity remain, and incorrupt from time. Become unseeable, unfindable, for every one whose foot shall tread the plains of this land, until Old Heaven doth bring forth meet instruments for you . . .4 What instruments might lead to the recovery of, 'unseeable and unfindable' secrets concealed at Giza? Our research has persuaded us that a scientific language of processional time and allegorical astronomy was deliberately expressed in the principal monuments there and in the texts that relate to them. From quite an early stage in our investigation, - we hoped that this language might shed new light on the enigmatic civilization of Egypt. We did not at first suspect, however, that it would-also turn out to encode specific celestial co-ordinates or that . . . these. would. transpose onto the ground in the form of an arcane /Page 286/ 'treasure map', directing the attention of seekers to a precise location in the bedrock deep beneath the Sphinx. Nor did we suspect, until we met them, that others such as the Edgar Cayce Foundation and the Stanford Research Institute - see Part II - might already.he looking there. Osiris breathes Throughout this investigation we have tried to stick to the facts, even when the facts have been very strange. When we say that the Sphinx, the three Great Pyramids, the causeways and other associated monuments of the Giza necropolis form a huge diagram we are simply reporting a fact. When we say that this diagram depicts the skies above Giza in 10,500 BC we.are reporting a fact. When we say that the Sphinx bears erosion marks which indicate that itr was carved before the Sahara became a desert we are reporting a fact. When we say that the ancient Egyptians attributed their civilization to 'the gods' and to the 'Followers of Horus' we are reporting facts. When we say that these divine and human,civilizers' were remembered as having come to the Nile Valley in Zep Tep - the 'First Time' - we are reporting a fact. When we say that the ancient Egyptian records tell us this 'First Time' was an epoch in the past were thousands of years before the era of the Pharaohs\we are repotrtin a fact: Our ciivilization has had the scientific wherewithal to get. to grips with the many problems of the Giza necropolis for less than two centuries, and it is only in the last two decades that computer technology has made it possible for us to reconstruct the ancient skies and see the patterns and conjunctions that unfolded there. During this period access to the site, and knowledge about it, has been monopolized. by members of the archaeological and Egyptological professions who have agreed amongst themselves as to the origin, and age, and function of the monuments. New evidence which does not support this scholarly consensus, and which might actively undermine it, has again and again been overlooked, or sidelined,and sometimes even deliberately concealed from the public. This; we assume, is why everything to do with the shafts of'the Great Pyramid /Page 287/ their stellar alignments, the iron plate, the relics, and the discovery - of the' door' - has met with such peculiar and inappropriate responses from Egyptologists and. archaeologists. And. we assume that-. it explains, too, why the same scholars have paid such scant attention to the solid case that geologists have made for the vast antiquity of the Sphinx.5 The Giza monuments are a legacy for Mankind, preserved almost intact over thousands of years, and, outside the privileged circles of, Egyptology and archaeology, there is today a broad-based expectation that they .might be about to reveal a remarkable secret. That expectation may or may not prove to be correct. Nevertheless in an intellectual culture polarized by public anticipation and orthodox reaction, we feel it is only wise that, future explorations at the necropolis should be conducted with complete 'transparency' and accountability. In particular the opening of the 'door' inside the southern shaft of the Queen's Chamber, the videoscopic examination of the northem shaft, and any further remote-sensing: surveys conducted around the Sphinx, should. be carried out under the scrutiny of the international mass media and should not be subjected to bizarre and inexplicable delays. We cannot predict what new discoveries will be made by such research, or even whether any new discoveries will be made. However, after completing our own archaeoastronomical investigation, and following the quest of the Horus-King, we are left with an enhanced sense of the tremendous mystery of this amazing site - a sense that its true story has only just begun to be told. Looking at the awe-inspiring scale and precision of the monuments we.feel, too, that the purpose of the ancient master-builders was sublime, and that they did indeed find a way to initiate those who would come after thousands of years in the future - by making. use of the universal language of the stars. They found a way to send a message across the ages in a code so simple and so self-explanatory that it might rightly be described as an anti-cipher. Perhaps the time has come to listen to that clear, compelling signal that beckons to us out of the darkness of prehistory. Perhaps the time /Page 288 / has come to -seek- the buried treasure of our forgotten genesis and destiny: Stars fade like memory-the instant before dawn. Low-in the east the sun appears, golden as an opening eye, That which can be named must exist. That which is named can be written. That which is written.shall be remembered. That which is remembered lives. In the land of Egypt Os iris breathes.
OSIRIS SO I R IS IS I R SO OSIRIS OS999S SO 9 9 9S 9S 9 9 SO OS999S OSIRIS SO I R IS IS I R SO OSIRIS
OSIRIS THAT SON SETS THAT SON SETS THAT SON OSIRIS THAT SON
OSIRIS THAT SON SETS THAT SON SETS THAT SON OSIRIS THAT SON
SO RISES THAT SUN SO SETS THAT SUN SO SETS THAT SUN SO RISES THAT SUN
SO RISES THAT SUN SO SETS THAT SUN SO SETS THAT SUN SO RISES THAT SUN
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE 95
SO RISES THAT SON SO SETS THAT SON SO SETS THAT SON SO RISES THAT SON
SO IRIS OSIRIS ISIS OSIRIS IRIS SO
ANUBIS A NUMBER IS
SO I RISE SO I SET SO I SET SO I RISE
SET OSIRIS ISIS OSIRIS SET SETS ARISES SETS SO IRIS OSIRIS IRIS SO
THE HOURS OF HORUS LIGHT LIVING HEAT LIVING LIGHT BLACK B LACK OF LIGHT OF LACK B BLACK TWILIGHT TWO IN ONE LIGHT ONE IN TWO TWILIGHT EARTH HEART HEAT R HEAT HEART EARTH TWILIGHT TWO IN ONE LIGHT ONE IN TWO TWILIGHT
TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER
https://skyserver.sdss.org › astro › universe › universe The universe is in a constant state of change. The expanding universe, a new idea based on modern physics, laid to rest the paradoxes that troubled astronomers ... The Expanding Universe For thousands of years, astronomers wrestled with basic questions about the size and age of the universe. Does the universe go on forever, or does it have an edge somewhere? Has it always existed, or did it come to being some time in the past? In 1929, Edwin Hubble, an astronomer at Caltech, made a critical discovery that soon led to scientific answers for these questions: he discovered that the universe is expanding. The ancient Greeks recognized that it was difficult to imagine what an infinite universe might look like. But they also wondered that if the universe were finite, and you stuck out your hand at the edge, where would your hand go? The Greeks' two problems with the universe represented a paradox - the universe had to be either finite or infinite, and both alternatives presented problems. After the rise of modern astronomy, another paradox began to puzzle astronomers. In the early 1800s, German astronomer Heinrich Olbers argued that the universe must be finite. If the Universe were infinite and contained stars throughout, Olbers said, then if you looked in any particular direction, your line-of-sight would eventually fall on the surface of a star. Although the apparent size of a star in the sky becomes smaller as the distance to the star increases, the brightness of this smaller surface remains a constant. Therefore, if the Universe were infinite, the whole surface of the night sky should be as bright as a star. Obviously, there are dark areas in the sky, so the universe must be finite. But, when Isaac Newton discovered the law of gravity, he realized that gravity is always attractive. Every object in the universe attracts every other object. If the universe truly were finite, the attractive forces of all the objects in the universe should have caused the entire universe to collapse on itself. This clearly had not happened, and so astronomers were presented with a paradox. When Einstein developed his theory of gravity in the General Theory of Relativity, he thought he ran into the same problem that Newton did: his equations said that the universe should be either expanding or collapsing, yet he assumed that the universe was static. His original solution contained a constant term, called the cosmological constant, which cancelled the effects of gravity on very large scales, and led to a static universe. After Hubble discovered that the universe was expanding, Einstein called the cosmological constant his "greatest blunder." At around the same time, larger telescopes were being built that were able to accurately measure the spectra, or the intensity of light as a function of wavelength, of faint objects. Using these new data, astronomers tried to understand the plethora of faint, nebulous objects they were observing. Between 1912 and 1922, astronomer Vesto Slipher at the Lowell Observatory in Arizona discovered that the spectra of light from many of these objects was systematically shifted to longer wavelengths, or redshifted. A short time later, other astronomers showed that these nebulous objects were distant galaxies. The Discovery of the Expanding Universe In 1929 Edwin Hubble, working at the Carnegie Observatories in Pasadena, California, measured the redshifts of a number of distant galaxies. He also measured their relative distances by measuring the apparent brightness of a class of variable stars called Cepheids in each galaxy. When he plotted redshift against relative distance, he found that the redshift of distant galaxies increased as a linear function of their distance. The only explanation for this observation is that the universe was expanding. Once scientists understood that the universe was expanding, they immediately realized that it would have been smaller in the past. At some point in the past, the entire universe would have been a single point. This point, later called the big bang, was the beginning of the universe as we understand it today. The expanding universe is finite in both time and space. The reason that the universe did not collapse, as Newton's and Einstein's equations said it might, is that it had been expanding from the moment of its creation. The universe is in a constant state of change. The expanding universe, a new idea based on modern physics, laid to rest the paradoxes that troubled astronomers from ancient times until the early 20th Century. The Heavy Elements Astronomers are not only interested in the fate of the universe; they are also interested in understanding its present physical state. One question they try to answer is why the universe is primarily composed of hydrogen and helium, and what is responsible for the relatively small concentration of the heavier elements. With the rise of nuclear physics in the 1930s and 40s, scientists started to try to explain the abundances of heavier elements by assuming they were synthesized out of primordial hydrogen in the early universe. In the late 1940s, American physicists George Gamow, Robert Herman, and Ralph Alpher realized that long ago, the universe was much hotter and denser. They made calculations to show whether nuclear reactions that took place at those higher temperatures could have created the heavy elements. Unfortunately, with the exception of helium, they found that it was impossible to form heavier elements in any appreciable quantity. Today, we understand that heavy elements were synthesized either in the cores of stars or during supernovae, when a large dying star implodes. Gamow, Herman, and Alpher did realize, though, that if the universe were hotter and denser in the past, radiation should still be left over from the early universe. This radiation would have a well-defined spectrum (called a blackbody spectrum) that depends on its temperature. As the universe expanded, the spectrum of this light would have been redshifted to longer wavelengths, and the temperature associated with the spectrum would have decreased by a factor of over one thousand as the universe cooled.
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LOVELESS HEARTS SHALL LOVE
EVOLVE LOVE EVOLVE
EVOLVE LOVE EVOLVE
99 NAMES OF GOD GOD OF NAMES 99 THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART
GODS SPIRIT GODS ISIS OSIRIS VISHNU SHIVA SHRI KRISHNA SHRISTI RISHI ISHI CHRIST SING A SONG OF NINES OF NINES A SONG SING
THE FATEFUL ENCOUNTER
HAMLET'S MILL AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE AND ITS TRANSMISSION THROUGH MYTH Giorgio De Santillana and Hertha Von Dechend 1969 Page 162 "Finally, there is one remarkable and disturbing coincidence from the same direction. It is known that in the final battle of the gods, the massed legions on the side of "order" are the dead warriors, the "Einherier" who once fell in combat on earth and who have been transferred by the Valkyries to reside with Odin in Valhalla-a theme much rehearsed in heroic poetry. On the last day, they issue forth to battle in martial array. Says the Grimnismal (23): "Five hundred gates and forty more-are in the mighty building of Walhalla-eight hundred 'Einherier' come out of each one gate-on the time they go out on defence against the Wolf."
www.bibliotecapleyades.net/ HAMLET'S MILL AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE AND ITS TRANSMISSION THROUGH MYTH Giorgio De Santillana and Hertha Von Dechend 1969 CHAPTER X The Twilight of the Gods
"Egyptian Book of the Dead, Osiris speaking:
"Hail, Thot! What is it that hath happened to the divine children of Nut? They have done battle, they have upheld strife, they have made slaughter, they have caused trouble: in truth, in all their doing the mighty have worked against the weak. Grant, O might of Thot, that that which the God Atum hath decreed (may be accomplished)! And thou regardest not evil nor art thou provoked to anger when they bring their years to confusion and throng in and push to disturb their months; for in all that they have done unto thee, they have worked iniquity in secret!" [n1 Chapter 175, 1-8, W. Budge trans. The italics are ours.].
Thot is the god of science and wisdom; as for Atum, he precedes, so to speak, the divine hierarchy."
The fateful encounter hypothesis which is what is most commonly accepted is that it was solely by chance that a single mitochondria was taken up by a single ancient bacterial cell that then divided together to give each daughter cell a mitochondria of its own.27 Oct 2014
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The fateful encounter is an earlier more arbitrary term of what biologist now calls the Microbial Eve or the Last Universal Common Ancestor (LUCA).
The fateful encounter of mitochondria with calcium - PubMed by E Carafoli · 2010 · Cited by 117 — The fateful encounter of mitochondria with calcium: how did it happen? Biochim Biophys Acta. Jun-Jul 2010;1797(6-7):595-606. doi: ...
Fateful encounter definition and meaning - Collins Dictionary Fateful encounter definition: An encounter with someone is a meeting with them, particularly one that is unexpected or... | Meaning, pronunciation ... However, the 'fateful encounter' needed to create intelligent life from two simple life forms vastly reduces the odds of any extraterrestrial squeezing its way through this evolutionary bottleneck. fateful encounter
Let there be light Wikipedia Genesis 1 1In the beginning God created the heaven and the earth.
AND GOD SAID LET THERE BE LIGHT AND THERE WAS LIGHT
THE CHRIST MASS' THE CHRISTIAN FESTIVAL OF LIGHT IS
Light! More Light "Light! More light!" - Goethe's last words - Library of Congress
Library of Congress (.gov) "Light! More light!" - Goethe's last words The last words of Johann Wolfgang von Goethe Phrasefinder The German poet, novelist, playwright, courtier, and scientist, Johann Wolfgang von Goethe (1749 – 1832) is widely accepted as being one of the key figures in Western culture. His masterwork, Faust, has had an influence in many fields, notably drama and psychology.hroughout his life, Goethe had a deep fascination for the physical and metaphorical effects of light on humans. Whilst being best remembered now for his literary works, he himself believed the scientific treatise The Theory of Colours, which he published in 1810, to be his most important work. Although a confirmed non-believer for almost all of his life, a year before dying Goethe sided with the eclectic Hypsistarian sect, writing in a letter to a friend that: "A joyous light thus beamed at me suddenly out of a dark age, for I had the feeling that all my life I had been aspiring to qualify as a Hypsistarian." He spent the evening before his death discussing optical phenomena with his daughter-in-law. All of the above might lead us to believe that his celebrated deathbed cry of Mehr Licht! (More light!) was a plea for increased enlightenment before dying.
Johann Wolfgang von Goethe Wikipedia "Mehr Licht! Goethe's Last Words. More Light! German ... Redbubble WordPress.com 2022 — Goethe's Last Words ... The other is the cliché that has connected itself with it. The words Goethe really spoke are perhaps far more apt than the ... SlidePlayer This might lead us to believe that his celebrated deathbed cry was a plea for increased enlightenment before dying - “more illumination, more knowledge, more reality.” What he actually said was:
THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Page 5 "One...two...three....My eye went over the figures. Suddenly I saw something. There were hidden patterns; the old man's story about secret numbers came back to me and I became curious. I started to look into these simple ideas and the more I searched the more fascinated I became. Something was indeed going on underneath the surface of arithmetic and what appeared as a unique calculation to the outside / Page 6 / world was something quite different when viewed from below. Looked at another way, six and six was not necessarily twelve but something much more exciting - the number 3, of a secret code..." Page 5 "...The thing to do is to follow the path until all the clues are in place and let your mind run free. It is only then that you find what the young master saw: the fixed points in the wind." "...it is in this spirit I dedicate the journey to you. Follow the clues, build up the jigsaw piece by piece and make your own investigations; become part of the search. Go back in time and let the free spirit in you enter. Talk to it, play ask the strangest questions.
THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
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Light! More light! "Light! More light!" - Goethe's last words - Library of Congress
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I DELIGHT IN LIGHT IN LIGHT I DELIGHT
I DELIGHT IN LIGHT IN LIGHT I DELIGHT
I DELIGHT IN LIGHT IN LIGHT I DELIGHT LETTERS TRANSPOSED INTO NUMBER REARRANGED INTO NUMERICAL ORDER LOOK AT THE 9S LOOK AT THE 9S LOOK AT THE9S THE 9S THE 9S
I DELIGHT IN LIGHT IN LIGHT I DELIGHT
I DELIGHT IN LIGHT IN LIGHT I DELIGHT 9 x 8 = 72
NINE NINE NINE 5955 5955 5955 NINE NINE NINE
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S 5 x 9 = 45 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 9 = 45 SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
99 NAMES OF GOD GOD OF NAMES 99 THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
THE SUN RED SUN
THE LIGHT IS RISING NOW RISING IS THE LIGHT
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