THENUCLEAR FAMILY 19769
THE
MAGICALALPHABET
..................
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THE RAINBOW LIGHT |
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3 |
THE |
33 |
15 |
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7 |
RAINBOW |
82 |
37 |
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5 |
LIGHT |
56 |
29 |
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171 |
81 |
9 |
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1+4 |
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1+5 |
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1+7+1 |
8+1 |
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THIS IS THE SCENE OF THE SCENE UNSEEN
THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
3 |
THE |
33 |
15 |
6 |
4 |
MIND |
40 |
22 |
4 |
2 |
OF |
21 |
12 |
3 |
9 |
HUMANKIND |
95 |
41 |
5 |
18 |
First Total |
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1+8 |
Add to Reduce |
1+8+9 |
9+0 |
1+8 |
9 |
Second Total |
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Reduce to Deduce |
1+8 |
- |
- |
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Essence of Number |
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THE DIVINE COMEDY
OF
DANTE ALIGHIERI (1265-1321)
THE FLORENTINE
CANTICA I
HELL
(L'INFERNO)
INTRODUCTION
Page 9
"Midway this way of life we're bound upon
I woke to find myself in a dark wood,
Where the right road was wholly lost and gone."
M |
= |
4 |
- |
6 |
MIDWAY |
75 |
30 |
3 |
T |
= |
2 |
- |
4 |
THIS |
56 |
20 |
2 |
W |
= |
5 |
- |
3 |
WAY |
49 |
13 |
4 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
L |
= |
3 |
- |
4 |
LIFE |
32 |
23 |
5 |
W |
= |
5 |
- |
4 |
WE'RE |
51 |
24 |
6 |
B |
= |
2 |
- |
5 |
BOUND |
56 |
20 |
2 |
U |
= |
3 |
- |
4 |
UPON |
66 |
21 |
3 |
- |
- |
30 |
- |
32 |
- |
406 |
163 |
28 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
W |
= |
5 |
- |
4 |
WOKE |
54 |
18 |
9 |
T |
= |
2 |
- |
2 |
TO |
35 |
8 |
8 |
F |
= |
6 |
- |
4 |
FIND |
33 |
24 |
6 |
M |
= |
4 |
- |
6 |
MYSELF |
80 |
26 |
8 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
D |
= |
4 |
- |
4 |
DARK |
34 |
16 |
7 |
W |
= |
5 |
- |
4 |
WOOD |
57 |
21 |
3 |
- |
- |
45 |
- |
28 |
- |
326 |
137 |
56 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
W |
= |
5 |
- |
5 |
WHERE |
59 |
32 |
5 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
R |
= |
9 |
- |
5 |
RIGHT |
62 |
35 |
8 |
R |
= |
9 |
- |
4 |
ROAD |
38 |
20 |
2 |
W |
= |
5 |
- |
3 |
WAS |
43 |
7 |
7 |
W |
= |
5 |
- |
6 |
WHOLLY |
95 |
32 |
5 |
L |
= |
3 |
- |
4 |
LOST |
66 |
12 |
3 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
G |
= |
7 |
- |
4 |
GONE |
41 |
23 |
5 |
- |
- |
46 |
- |
37 |
- |
456 |
186 |
42 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
121 |
- |
97 |
First Total |
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- |
- |
1+2+1 |
- |
9+7 |
Add to Reduce |
1+1+8+8 |
4+8+6 |
1+2+6 |
Q |
- |
4 |
|
16 |
Second Total |
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- |
- |
- |
|
1+6 |
Reduce to Deduce |
1+8 |
1+8 |
- |
- |
- |
4 |
- |
|
Essence of Number |
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9 |
THE DIVINE COMEDY
OF
DANTE ALIGHIERI (1265-1321)
THE FLORENTINE
CANTICA I
HELL
(L'INFERNO)
INTRODUCTION
Page 9
"Power failed high fantasy here; yet, swift to move
Even as a wheel moves equal, free from jars,
Already my heart and will were wheeled by love,
The Love that moves the sun and other stars."
P |
= |
7 |
- |
5 |
POWER |
77 |
32 |
5 |
F |
= |
6 |
- |
6 |
FAILED |
37 |
28 |
1 |
H |
= |
8 |
- |
4 |
HIGH |
32 |
32 |
5 |
F |
= |
6 |
- |
7 |
FANTASY |
86 |
23 |
5 |
H |
= |
8 |
- |
4 |
HERE |
36 |
27 |
9 |
Y |
= |
7 |
- |
3 |
YET |
50 |
14 |
5 |
S |
= |
1 |
- |
5 |
SWIFT |
77 |
23 |
5 |
T |
= |
2 |
- |
2 |
TO |
35 |
8 |
8 |
M |
= |
4 |
- |
4 |
MOVE |
55 |
19 |
1 |
- |
- |
49 |
- |
40 |
First Total |
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- |
- |
4+9 |
- |
4+0 |
Add to Reduce |
4+8+5 |
2+0+6 |
4+4 |
Q |
- |
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- |
4 |
Second Total |
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- |
- |
1+3 |
- |
- |
Reduce to Deduce |
1+7 |
- |
- |
- |
- |
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- |
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Essence of Number |
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E |
= |
5 |
- |
4 |
EVEN |
46 |
19 |
1 |
A |
= |
1 |
- |
2 |
AS |
20 |
2 |
2 |
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
W |
= |
5 |
- |
5 |
WHEEL |
53 |
26 |
8 |
M |
= |
4 |
- |
5 |
MOVES |
74 |
20 |
2 |
E |
= |
5 |
- |
5 |
EQUAL |
56 |
20 |
2 |
F |
= |
6 |
- |
4 |
FREE |
34 |
25 |
7 |
F |
= |
6 |
- |
4 |
FROM |
52 |
25 |
7 |
J |
= |
1 |
- |
4 |
JARS |
48 |
12 |
3 |
- |
- |
34 |
- |
34 |
First Total |
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- |
- |
3+4 |
- |
3+4 |
Add to Reduce |
3+8+4 |
1+5+0 |
3+3 |
Q |
- |
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- |
7 |
Second Total |
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- |
- |
- |
- |
- |
Reduce to Deduce |
1+5 |
- |
- |
- |
- |
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- |
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Essence of Number |
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A |
= |
1 |
- |
7 |
ALREADY |
66 |
30 |
3 |
M |
= |
4 |
- |
2 |
MY |
38 |
11 |
2 |
H |
= |
8 |
- |
5 |
HEART |
52 |
25 |
7 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
W |
= |
5 |
- |
4 |
WILL |
56 |
20 |
2 |
W |
= |
5 |
- |
4 |
WERE |
51 |
24 |
7 |
W |
= |
5 |
- |
7 |
WHEELED |
62 |
35 |
8 |
B |
= |
2 |
- |
2 |
BY |
27 |
9 |
9 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
- |
- |
34 |
- |
38 |
First Total |
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- |
- |
3+4 |
- |
3+8 |
Add to Reduce |
4+2+5 |
1+8+2 |
4+7 |
Q |
- |
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- |
11 |
Second Total |
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- |
- |
- |
- |
1+1 |
Reduce to Deduce |
1+1 |
1+1 |
1+1 |
- |
- |
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- |
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Essence of Number |
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T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
T |
= |
2 |
- |
4 |
THAT |
49 |
13 |
4 |
M |
= |
4 |
- |
5 |
MOVES |
74 |
20 |
2 |
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
S |
= |
1 |
- |
3 |
SUN |
54 |
9 |
9 |
A |
= |
1 |
- |
3 |
AND |
19 |
10 |
1 |
O |
= |
6 |
- |
5 |
OTHER |
66 |
30 |
3 |
S |
= |
1 |
- |
5 |
STARS |
77 |
14 |
5 |
- |
- |
22 |
- |
35 |
First Total |
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- |
- |
2+2 |
- |
3+5 |
Add to Reduce |
4+5+9 |
1+4+4 |
4+5 |
Q |
- |
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- |
8 |
Second Total |
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- |
- |
- |
- |
- |
Reduce to Deduce |
1+8 |
- |
- |
- |
- |
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- |
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Essence of Number |
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3 |
THE |
33 |
15 |
6 |
4 |
HOLY |
60 |
24 |
6 |
7 |
MESSAGE |
- |
- |
- |
2 |
M+E |
18 |
9 |
9 |
1 |
S |
19 |
10 |
1 |
3 |
S+A+G |
27 |
18 |
9 |
1 |
E |
5 |
5 |
5 |
7 |
MESSAGE |
69 |
42 |
24 |
14 |
Add |
162 |
81 |
36 |
1+4 |
Reduce |
1+6+2 |
8+1 |
3+6 |
5 |
Deduce |
9 |
9 |
9 |
THE
FAR YONDER SCRIBE
AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE
THE
ZED ALIZ ZED
IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS
AT THE THROW OF THE NINTH NUMBER WHEN IN CONJUNCTION SET
THE
FAR YONDER SCRIBE
MADE RECORD OF THEIR FALL
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5 |
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18 |
18 |
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2 |
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35 |
8 |
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3 |
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25 |
7 |
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4 |
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5 |
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76 |
22 |
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4 |
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48 |
21 |
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6 |
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55 |
28 |
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2 |
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2 |
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27 |
9 |
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9 |
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10 |
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133 |
61 |
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9 |
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121 |
49 |
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9 |
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2 |
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23 |
14 |
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1 |
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9 |
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65 |
29 |
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First Total |
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3+5 |
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5+8 |
Add to Reduce |
6+2+6 |
2+6+6 |
5+9 |
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1+4 |
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1+8 |
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Second Total |
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1+3 |
Reduce to Deduce |
1+4 |
1+4 |
1+0 |
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Essence of Number |
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26 |
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I |
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R |
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8 |
9 |
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5 |
6 |
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1 |
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6 |
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8 |
+ |
= |
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4+3 |
= |
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= |
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= |
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8 |
9 |
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14 |
15 |
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19 |
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24 |
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26 |
+ |
= |
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1+1+5 |
= |
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= |
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= |
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26 |
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I |
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R |
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1 |
2 |
3 |
4 |
5 |
6 |
7 |
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1 |
2 |
3 |
4 |
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7 |
8 |
9 |
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2 |
3 |
4 |
5 |
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7 |
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+ |
= |
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8+3 |
= |
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1+1 |
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= |
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1 |
2 |
3 |
4 |
5 |
6 |
7 |
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10 |
11 |
12 |
13 |
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16 |
17 |
18 |
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20 |
21 |
22 |
23 |
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25 |
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+ |
= |
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2+3+6 |
= |
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1+1 |
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= |
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26 |
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I |
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R |
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1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
10 |
11 |
12 |
13 |
14 |
15 |
16 |
17 |
18 |
19 |
20 |
21 |
22 |
23 |
24 |
25 |
26 |
+ |
= |
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3+5+1 |
= |
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= |
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= |
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1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
9 |
1 |
2 |
3 |
4 |
5 |
6 |
7 |
8 |
+ |
= |
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1+2+6 |
= |
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= |
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= |
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26 |
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R |
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1 |
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1 |
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1 |
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+ |
= |
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occurs |
x |
3 |
= |
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2 |
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2 |
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2 |
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+ |
= |
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occurs |
x |
3 |
= |
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3 |
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3 |
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3 |
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+ |
= |
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occurs |
x |
3 |
= |
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4 |
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4 |
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4 |
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+ |
= |
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occurs |
x |
3 |
= |
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1+2 |
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5 |
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5 |
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5 |
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+ |
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occurs |
x |
3 |
= |
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1+5 |
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6 |
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6 |
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6 |
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+ |
= |
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occurs |
x |
3 |
= |
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1+8 |
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7 |
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7 |
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7 |
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+ |
= |
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occurs |
x |
3 |
= |
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2+1 |
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8 |
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8 |
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8 |
+ |
= |
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occurs |
x |
3 |
= |
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2+4 |
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9 |
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9 |
- |
- |
- |
- |
- |
- |
- |
- |
+ |
= |
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occurs |
x |
2 |
= |
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1+8 |
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26 |
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I |
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THE ACT OF CREATION
EHT NAMUH 1973
AFRICAN NIGHTMARE SPECTRE OF FAMINE 1975
EHT NAMUH 1977
THE JOURNEYMAN 1977
FOLLOW
THE
PATH OF PTAH
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I SAW ESAU SITTING ON A SEE SAW HE SAW I SAW HE SAW ME
ZEUS JESUS THAT CHRISTOS THAT JESUS ZEUS.
OF
MYTH AND THE STUFF OF LEGEND R WE.
Joseph of Arimathea - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Joseph_of_Arimathea
Joseph of Arimathea was, according to the Gospels, the man who donated his own prepared tomb for the burial of Jesus after Jesus' Crucifixion.
Gospel references - Veneration - Old Testament prophecy
Joseph of Arimathea
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Saint Joseph of Arimathea
Joseph of Arimathea by Pietro Perugino, a detail from his Lamentation over the Dead Christ
Honored in
Eastern Orthodox Church, Roman Catholic Church, Anglican Communion, Lutheranism
Feast
March 17 in the West, July 31 in the East, August 1 in the Episcopal Church (US)
Patronage
funeral directors[1]
Joseph of Arimathea was, according to the Gospels, the man who donated his own prepared tomb for the burial of Jesus after Jesus' Crucifixion. He is mentioned in all four Gospels.
Contents
[hide] 1 Gospel references
2 Veneration
3 Old Testament prophecy
4 Development of legends 4.1 Gospel of Nicodemus
5 Other medieval texts 5.1 Britain
5.2 Holy Grail
5.3 Other legends
6 Arimathea
7 See also
8 References
9 External links
[edit] Gospel references
A native of Arimathea, in Judea, Joseph was apparently a man of wealth—and probably a member of the Sanhedrin, which is the way bouleutēs, literally "counsellor", Luke 23:50 is most often interpreted. According to Mark 15:43, Joseph was an "honourable counsellor, who waited (or "was searching") for the kingdom of God". In Matthew 27:57 he is not described as a counsellor, but as a rich man and a disciple of Jesus. In John 19:38 he was secretly a disciple of Jesus: as soon as he heard the news of Jesus' death, he "went in boldly unto Pilate, and craved the body of Jesus." R.J. Miller[2] notes this act as "unexpected… Is Joseph in effect bringing Jesus into his family?"
Pilate, reassured by a centurion that the death had taken place, allowed Joseph's request. Joseph immediately purchased fine linen (Mark 15:46) and proceeded to Golgotha to take the body of Jesus down from the cross. There, assisted by Nicodemus, Joseph took the body and wrapped it in the fine linen and applied myrrh and aloes (these are substances which Nicodemus had brought, according to John 19:39). Jesus' body then was conveyed to the place that had been prepared for Joseph's own body, a man-made cave hewn from rock in the garden of his house nearby. This was done speedily, "for the Sabbath was drawing on".
According to Roman law, a close family member could come and take away the body of an executed person. But there was no entitlement for a non-relative. There was a risk that a request from a non-relative would be denied and the body dumped, denying it proper burial. Tradition and sentiment also demanded that the body be interred with those of other family members, and not in the tomb of a stranger.[citation needed]
[edit] Veneration
Joseph of Arimathea is venerated as a saint by the Catholic, Lutheran, Eastern Orthodox and some Anglican churches. His feast-day is March 17 in the West, July 31 in the East and in Lutheran churches.[3] The Orthodox also commemorate him on the Sunday of the Myrrhbearers—the third Sunday of Pascha (second Sunday after Easter)—as well as on July 31. He appears in some early New Testament apocrypha, and a series of legends grew around him during the Middle Ages, which tied him to Britain and the Holy Grail.
[edit] Old Testament prophecy
Tomb of Jesus in the Church of the Holy Sepulchre
Major events in Jesus' life from the Gospels
Nativity of Jesus
Baptism
Temptation
Ministry
Commissioning apostles
Sermon on the Mount
Rejection
Transfiguration
Giving the great commandment
Palm Sunday
Cursing the fig tree
Temple cleansing
Second coming prophecy
Anointing
Last supper Promising a Paraclete
The passion: Arrest
Sanhedrin trial
Pilate's court
Flagellation
Crown of thorns
Crucifixion
Entombment
Resurrection Empty tomb
Resurrection appearances
Great Commission
Ascension
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Christians interpret Joseph's role as fulfilling Isaiah's prediction that the grave of the "Suffering Servant" would be with a rich man (Isaiah 53:9), assuming that Isaiah meant Messiah. The skeptical tradition, which reads the various fulfillment of prophecies in the life of Jesus as inventions designed for that purpose, reads Joseph of Arimathea as a story created to fulfill this prophecy in Isaiah, although the gospel accounts do not claim a prophesied fulfillment at that point. The prophecy in Isaiah chapter 53, is known as the "Man of Sorrows" passage:
He was assigned a grave with the wicked, and with the rich in his death, though he had done no violence, nor was any deceit in his mouth.
The Greek Septuagint text:
And I will give the wicked for his burial, and the rich for his death; for he practised no iniquity, nor craft with his mouth.
In the Qumran community's Great Isaiah Scroll, dated at c. 100 BC, the words are not identical to the Masoretic text:
And they gave wicked ones his grave and [a scribbled word, probably accusative sign "eth"] rich ones in his death although he worked no violence neither deceit in his mouth.
[edit] Development of legends
Since the 2nd century, a mass of legendary detail has accumulated around the figure of Joseph of Arimathea in addition to the New Testament references. Joseph is referenced in apocryphal and non-canonical accounts such as the Acts of Pilate,[4] a text often appended to the medieval Gospel of Nicodemus and The Narrative of Joseph, and mentioned in the works of early church historians such as Irenaeus (125–189), Hippolytus (170–236), Tertullian (155–222) and Eusebius (260–340), who added details not found in the canonical accounts. Hilary of Poitiers (300–367) enriched the legend, and Saint John Chrysostom (347–407), the Patriarch of Constantinople, was the first to write[5] that Joseph was one of the Seventy Apostles appointed in Luke 10.
During the late 12th century, Joseph became connected with the Arthurian cycle, appearing in them as the first keeper of the Holy Grail. This idea first appears in Robert de Boron's Joseph d'Arimathie, in which Joseph receives the Grail from an apparition of Jesus and sends it with his followers to Britain. This theme is elaborated upon in Boron's sequels and in subsequent Arthurian works penned by others. Later retellings of the story contend that Joseph of Arimathea himself travelled to Britain and became the first Christian bishop in the Isles.[6]
[edit] Gospel of Nicodemus
The Gospel of Nicodemus, a text appended to the Acts of Pilate, provides additional, though even more mythologized, details about Joseph. For instance, after Joseph asked Pilate for the body of the Christ, and prepared the body with Nicodemus' help, Christ's body was delivered to a new tomb that Joseph had built for himself. In the Gospel of Nicodemus, the Jewish elders express anger at Joseph for burying the body of Christ, saying:
And likewise Joseph also stepped out and said to them: Why are you angry against me because I begged the body of Jesus? Behold, I have put him in my new tomb, wrapping in clean linen; and I have rolled a stone to the door of the tomb. And you have acted not well against the just man, because you have not repented of crucifying him, but also have pierced him with a spear.
—Gospel of Nicodemus. Translated by Alexander Walker.
The Jewish elders then captured Joseph, and imprisoned him, and placed a seal on the door to his cell after first posting a guard. Joseph warned the elders:
The Son of God whom you hanged upon the cross, is able to deliver me out of your hands. All your wickedness will return upon you.
Once the elders returned to the cell, the seal was still in place, but Joseph was gone. The elders later discover that Joseph had returned to Arimathea. Having a change in heart, the elders desired to have a more civil conversation with Joseph about his actions and sent a letter of apology to him by means of seven of his friends. Joseph travelled back from Arimathea to Jerusalem to meet with the elders, where they questioned him about his escape. He told them this story;
On the day of the Preparation, about the tenth hour, you shut me in, and I remained there the whole Sabbath in full. And when midnight came, as I was standing and praying, the house where you shut me in was hung up by the four corners, and there was a flashing of light in mine eyes. And I fell to the ground trembling. Then some one lifted me up from the place where I had fallen, and poured over me an abundance of water from the head even to the feet, and put round my nostrils the odour of a wonderful ointment, and rubbed my face with the water itself, as if washing me, and kissed me, and said to me, Joseph, fear not; but open thine eyes, and see who it is that speaks to thee. And looking, I saw Jesus; and being terrified, I thought it was a phantom. And with prayer and the commandments I spoke to him, and he spoke with me. And I said to him: Art thou Rabbi Elias? And he said to me: I am not Elias. And I said: Who art thou, my Lord? And he said to me: I am Jesus, whose body thou didst beg from Pilate, and wrap in clean linen; and thou didst lay a napkin on my face, and didst lay me in thy new tomb, and roll a stone to the door of the tomb. Then I said to him that was speaking to me: Show me, Lord, where I laid thee. And he led me, and showed me the place where I laid him, and the linen which I had put on him, and the napkin which I had wrapped upon his face; and I knew that it was Jesus. And he took hold of me with his hand, and put me in the midst of my house though the gates were shut, and put me in my bed, and said to me: Peace to thee! And he kissed me, and said to me: For forty days go not out of thy house; for, lo, I go to my brethren into Galilee.
—Gospel of Nicodemus. Translated by Alexander Walker
According to the Gospel of Nicodemus, Joseph testified to the Jewish elders, and specifically to chief priests Caiaphas and Annas that Jesus had risen from the dead and ascended to heaven and he indicated that others were raised from the dead at the resurrection of Christ (repeating Matt 27:52–53). He specifically identified the two sons of the high-priest Simeon (again in Luke 2:25–35). The elders Annas, Caiaphas, Nicodemus, and Joseph himself, along with Gamaliel under whom Paul of Tarsus studied, travelled to Arimathea to interview Simeon's sons Charinus and Lenthius.
[edit] Other medieval texts
Medieval interest in Joseph centered on two themes, that of Joseph as the founder of British Christianity (even before it had taken hold in Rome), and that of Joseph as the original guardian of the Holy Grail.
[edit] Britain
See also: Early centers of Christianity#Roman Britain
Legends about the arrival of Christianity in Britain abounded during the Middle Ages. Early writers do not connect Joseph to this activity, however. Tertullian (AD 155–222) wrote in Adversus Judaeos that Britain had already received and accepted the Gospel in his lifetime, writing of:[7]
… all the limits of the Spains, and the diverse nations of the Gauls, and the haunts of the Britons–inaccessible to the Romans, but subjugated to Christ.
Tertullian does not say how the Gospel came to Britain before AD 222. However, Eusebius of Caesarea, (AD 260–340), one of the earliest and most comprehensive of church historians, wrote of Christ's disciples in Demonstratio Evangelica, saying that "some have crossed the Ocean and reached the Isles of Britain."[8] Saint Hilary of Poitiers (AD 300–376) also wrote that the Apostles had built churches and that the Gospel had passed into Britain.[9]
Hippolytus (AD 170–236), considered to have been one of the most learned Christian historians, puts names to the seventy disciples whom Jesus sent forth in Luke 10, includes Aristobulus of Romans 16:10 with Joseph, and states that he ended up becoming a pastor in Britain.[10]
In none of these earliest references to Christianity’s arrival in Britain is Joseph of Arimathea mentioned. The first literary connection of Joseph of Arimathea with Britain had to wait for the ninth-century Life of Mary Magdalene attributed to Rabanus Maurus (AD 766–856), Archbishop of Mainz; however, the earliest authentic copy of the Maurus text is one housed in the Bodleian Library of Oxford University.[11] Rabanus states that Joseph of Arimathea was sent to Britain, and he goes on to detail who travelled with him as far as France, claiming that he was accompanied by "the two Bethany sisters, Mary and Martha, Lazarus (who was raised from the dead), St. Eutropius, St. Salome, St. Cleon, St. Saturnius, St. Mary Magdalen, Marcella (the maid of the Bethany sisters), St. Maxium or Maximin, St. Martial, and St. Trophimus or Restitutus."[12] Rabanus Maurus describes their voyage to Britain:
Leaving the shores of Asia and favoured by an east wind, they went round about, down the Tyrrhenian Sea, between Europe and Africa, leaving the city of Rome and all the land to the right. Then happily turning their course to the right, they came near to the city of Marseilles, in the Viennoise province of the Gauls, where the river Rhône is received by the sea. There, having called upon God, the great King of all the world, they parted; each company going to the province where the Holy Spirit directed them; presently preaching everywhere…
The route he describes follows that of a supposed Phoenician trade route to Britain, as described by Diodorus Siculus.
William of Malmesbury mentions Joseph's going to Britain in one passage of his Chronicle of the English Kings, written in the 1120s. He says Philip the Apostle sent twelve Christians to Britain, one of whom was his dearest friend, Joseph of Arimathea. William does not mention Joseph by name again, but he mentions the twelve evangelists generally. He claims that Glastonbury Abbey was founded by them; Glastonbury would be associated specifically with Joseph in later literature. Cardinal Caesar Baronius,[13] the Vatican Librarian and historian (d. 1609), recorded this voyage by Joseph of Arimathea, Lazarus, Mary Magdalene, Martha, Marcella and others in his Annales Ecclesiatici, volume 1, section 35.
The accretion of legends around Joseph of Arimathea in Britain, encapsulated by the poem hymn of William Blake And did those feet in ancient time held as "an almost secret yet passionately held article of faith among certain otherwise quite orthodox Christians", was critically examined by A. W. Smith in 1989.[14] In its most developed version, Joseph, a tin merchant, visited Cornwall, accompanied by his nephew, the boy Jesus. C.C. Dobson made a case for the authenticity of the Glastonbury legenda.[15]
[edit] Holy Grail
The legend that Joseph was given the responsibility of keeping the Holy Grail was the product of Robert de Boron, who essentially expanded upon stories from Acts of Pilate. In Boron's Joseph d'Arimathe, Joseph is imprisoned much as in the Acts, but it is the Grail that sustains him during his captivity. Upon his release he founds his company of followers, who take the Grail to Britain. The origin of the association between Joseph and Britain is not entirely clear, but it is probably through this association that Boron attached him to the Grail. In the Lancelot-Grail Cycle, a vast Arthurian composition that took much from Boron, it is not Joseph but his son Josephus who is considered the primary holy man of Britain.
Later authors sometimes mistakenly or deliberately treated the Grail story as truth—John of Glastonbury, who assembled a chronicle of the history of Glastonbury Abbey around 1350, claims that when Joseph came to Britain, he brought with him a wooden cup used in the Last Supper and two cruets, one holding the blood of Christ, and the other his sweat, washed from his wounded body on the Cross. This legend is the source of the Grail claim by the Nanteos Cup on display in the museum in Aberystwyth; however, it should be noted that there is no reference to this tradition in ancient or medieval text. John further claims King Arthur was descended from Joseph, listing the following imaginative pedigree through King Arthur's mother:
Helaius, Nepos Joseph, Genuit Josus, Josue Genuit Aminadab, Aminadab Genuit Filium, qui Genuit Ygernam, de qua Rex Pen-Dragon, Genuit Nobilem et Famosum Regum Arthurum, per Quod Patet, Quod Rex Arthurus de Stirpe Joseph descendit.
Elizabeth I cited Joseph's missionary work in England when she told Roman Catholic bishops that the Church of England pre-dated the Roman Church in England.[16]
[edit] Other legends
When Joseph set his walking staff on the ground to sleep, it miraculously took root, leafed out, and blossomed as the "Glastonbury Thorn". The retelling of such miracles did encourage the pilgrimage trade at Glastonbury until the Abbey was dissolved in 1539, during the English Reformation.
The mytheme of the staff that Joseph of Arimathea set in the ground at Glastonbury, which broke into leaf and flower as the Glastonbury Thorn is a common miracle in hagiography. Such a miracle is told of the Anglo-Saxon saint Etheldreda:
Continuing her flight to Ely, Etheldreda halted for some days at Alfham, near Wintringham, where she founded a church; and near this place occurred the "miracle of her staff." Wearied with her journey, she one day slept by the wayside, having fixed her staff in the ground at her head. On waking she found the dry staff had burst into leaf; it became an ash tree, the "greatest tree in all that country;" and the place of her rest, where a church was afterwards built, became known as "Etheldredestow."
—Richard John King, 1862, in: Handbook of the Cathedrals of England; Eastern division: Oxford, Peterborough, Norwich, Ely, Lincoln.[17]
Medieval interest in genealogy raised claims that Joseph was a relative of Jesus; specifically, Mary's uncle, or according to some genealogies, Joseph's uncle. A genealogy for the family of Joseph of Arimathea and the history of his further adventures in the east provide material for Holy Grail romances Estoire del Saint Graal, Perlesvaus, and the Queste del Saint Graal.[18] Modern speculation initiated by Sabine Baring-Gould, A Book of Cornwall (1899) makes of him a tin merchant, whose connection with Britain came by the abundant tin mines of Cornwall.[19] One version, popular during the Romantic period, even claims Joseph had taken Jesus to Britain as a boy.[20] This was the inspiration for William Blake's mystical hymn Jerusalem.
Another legend, as recorded in Flores Historiarum is that Joseph is in fact the Wandering Jew, a man cursed by Jesus to walk the Earth until the Second Coming.[21]
[edit] Arimathea
Main article: Arimathea
Arimathea itself is not otherwise documented, though it was "a city of Judea" according to Luke 23:51. Arimathea is usually identified with either Ramleh or Ramathaim-Zophim, where David came to Samuel (1 Samuel chapter 19).
[edit] See also
Christian mythology
Myrrhbearers
Seven Sorrows of Mary
[edit] References
1.^ Thomas Craughwell (2005). "A Patron Saint for Funeral Directors". Catholicherald.com. Retrieved September 14, 2011.
2.^ R.J. Miller, Complete Gospels: annotated scholars version, 1994, p. 51
3.^ Kinnaman, Scott A. (2010). Lutheranism 101. St. Louis, MO: Concordia Publishing House. pp. 278. ISBN 978-0-7586-2505-2.
4.^ The Catholic Encyclopedia asserts that "the additional details which are found concerning him in the apocryphal Acta Pilati ("Acts of Pilate"), are unworthy of credence."
5.^ John Chrysostom, Homilies of St. John Chrysostum on the Gospel of John.
6.^ "Likewise fabulous is the legend", continues the Catholic Encyclopedia, "which tells of his coming to Gaul A.D. 63, and thence to Great Britain, where he is supposed to have founded the earliest Christian oratory at Glastonbury. Finally, the story of the translation of the body of Joseph of Arimathea from Jerusalem to Moyenmonstre (Diocese of Toul) originated late and is unreliable."
7.^ Tertullian.org
8.^ Eusebius, Demonstratio Evangelica, Book 3
9.^ Hilary, Tract XIV, Psalm 8
10.^ Wace, "Hippolytus"
11.^ Bodleian Library. "Manuscripts". "MS. Laud 108 of the Bodleian". University of Pennsylvania Medieval archive.
12.^ Schaff-Herzog. "Rhabanus Maurus".
13.^ Venerable Cesare Baronius
14.^ Smith, "'And Did Those Feet...?': The 'Legend' of Christ's Visit to Britain" Folklore 100.1 (1989), pp. 63–83.
15.^ Dobson, Did Our Lord Visit Britain as they say in Cornwall and Somerset? (Glastonbury: Avalon Press) 1936.
16.^ Elizabeth's 1559 reply to the Catholic bishops
17.^ King, Richard John (1862) Handbook of the Cathedrals of England; Eastern division: Oxford, Peterborough, Norwich, Ely, Lincoln. London: John Murray (On-line text)
18.^ C. Scott Littleton, Linda A. Malcor, From Scythia to Camelot: a radical reassessment of the legends of King Arthur, the Knights of the Round Table and the Holy Grail (1994) 2000:310.
19.^ "This story is a relatively recent invention and originates with English hagiographer, antiquarian and author, the Reverend Sabine Baring-Gould, who introduced the idea in 1899 in his Book of Cornwall" (Brian Haughton, Haunted Spaces, Sacred Places: A Field Guide to Stone Circles, Crop Circles, Ancient tombs and supernatural Landscapes 2009:88); no earlier connection of Joseph and tin mining has been identified.
20.^ "Joseph of Arimathea" Catholic Encyclopedia. Retrieved February 5, 2007.
21.^ Percy, Thomas (2001) [1847]. Reliques of Ancient English Poetry. 2. Adamant Media Corporation. p. 246. ISBN 1-4021-7380-6.
I
HAVE ASKED THEE THREE TIMES
SPEAKEST THOU WITH THINE OWN VOICE
OR
SPEAKEST THOU WITH THE VOICE OF ANOTHER
HAVING ASKED THAT QUESTION THREE TIMES
SPEAKEST THOU SPEAKEST
WITH THE MOUTH OF ANOTHER I CANNOT ASK YOU AGAIN
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INTERDEPENDENCE |
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4+0 |
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1+8 |
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INTERDEPENDENCE |
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1+5 |
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INTERDEPENDENCE |
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1 |
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8 |
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1 |
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14 |
5 |
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1 |
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1 |
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5 |
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1 |
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14 |
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1 |
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1 |
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9 |
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18 |
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INTERDEPENDENCE |
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1+4+1 |
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4+0 |
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1+8 |
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INTERDEPENDENCE |
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1+5 |
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1+5 |
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INTERDEPENDENCE |
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1 |
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20 |
2 |
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1 |
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3 |
3 |
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1 |
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4 |
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1 |
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4 |
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1 |
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14 |
5 |
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1 |
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5 |
5 |
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1 |
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5 |
5 |
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1 |
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5 |
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1 |
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5 |
5 |
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1 |
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14 |
5 |
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1 |
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5 |
5 |
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1 |
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16 |
7 |
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1 |
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9 |
9 |
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1 |
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18 |
9 |
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INTERDEPENDENCE |
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7+8 |
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1+5 |
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1+4+1 |
7+8 |
7+8 |
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4+0 |
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1+8 |
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INTERDEPENDENCE |
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1+5 |
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1+5 |
1+5 |
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INTERDEPENDENCE |
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11 |
IMAGINATIVE |
- |
- |
- |
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I |
9 |
9 |
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|
M+A+G |
21 |
12 |
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I |
9 |
9 |
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N+A+T |
35 |
8 |
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I |
9 |
9 |
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V+E |
27 |
9 |
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11 |
IMAGINATIVE |
110 |
56 |
47 |
1+1 |
|
1+1+0 |
5+6 |
4+7 |
2 |
IMAGINATIVE |
2 |
11 |
11 |
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1+1 |
1+1 |
2 |
IMAGINATIVE |
2 |
2 |
2 |
|
IMAGINES |
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1 |
I |
9 |
9 |
9 |
7 |
ENIGMAS |
68 |
32 |
5 |
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IMAGINES |
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7+7 |
4+1 |
1+4 |
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IMAGINES |
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1+4 |
- |
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IMAGINES |
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IMAGINE |
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- |
1 |
I |
9 |
9 |
9 |
6 |
ENIGMA |
49 |
31 |
4 |
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IMAGINE |
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- |
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5+8 |
4+0 |
1+3 |
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IMAGINE |
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- |
- |
1+3 |
- |
- |
|
IMAGINE |
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4 |
MAKE |
30 |
12 |
3 |
7 |
BELIEVE |
60 |
33 |
6 |
11 |
Add to Reduce |
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|
1+1 |
Reduce to Deduce |
9+0 |
4+5 |
- |
2 |
Essence of Number |
|
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- |
- |
- |
- |
|
THE FIVE SENSES OF PERCEPTION
|
- |
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T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
S |
= |
1 |
- |
6 |
SENSES |
81 |
45 |
9 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
``- |
- |
22 |
- |
|
THE FIVE SENSES OF PERCEPTION
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- |
- |
2+2 |
- |
2+5 |
- |
2+9+8 |
1+5+4 |
2+8 |
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
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- |
- |
- |
- |
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- |
1+9 |
1+0 |
1+0 |
- |
- |
4 |
- |
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THE FIVE SENSES OF PERCEPTION
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- |
- |
- |
- |
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- |
1+0 |
- |
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- |
- |
4 |
- |
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THE FIVE SENSES OF PERCEPTION
|
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- |
- |
- |
- |
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THE FIVE SENSES OF PERCEPTION
|
- |
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- |
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T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
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F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
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- |
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S |
= |
1 |
- |
6 |
SENSES |
81 |
49 |
4 |
- |
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O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
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- |
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P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
- |
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``- |
- |
22 |
- |
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THE FIVE SENSES OF PERCEPTION
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- |
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- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
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- |
- |
- |
- |
- |
THE |
- |
- |
- |
- |
- |
|
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T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
|
|
|
|
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|
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
- |
|
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E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
- |
- |
15 |
- |
3 |
THE |
33 |
15 |
15 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
FIVE |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
F |
= |
6 |
4 |
1 |
F |
6 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
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I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
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|
|
|
|
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|
V |
= |
4 |
6 |
1 |
V |
22 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
E |
= |
5 |
7 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
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|
5 |
|
|
|
|
- |
- |
36 |
- |
8 |
FIVE |
42 |
24 |
24 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
SENSES |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
S |
= |
1 |
8 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
9 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
N |
= |
5 |
10 |
1 |
N |
14 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
S |
= |
1 |
11 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
12 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
S |
= |
1 |
13 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
64 |
- |
11 |
SENSES |
81 |
49 |
18 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
OF |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
O |
= |
6 |
14 |
1 |
O |
15 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
F |
= |
6 |
15 |
1 |
F |
6 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
- |
- |
12 |
- |
3 |
OF |
21 |
12 |
12 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
PERCEPTION |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
E |
= |
5 |
17 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
R |
= |
9 |
18 |
1 |
R |
18 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
C |
= |
3 |
19 |
1 |
C |
3 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
E |
= |
5 |
20 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
P |
= |
7 |
21 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
T |
= |
2 |
22 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
|
|
|
|
|
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
O |
= |
6 |
24 |
1 |
O |
15 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
N |
= |
5 |
25 |
1 |
N |
14 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
- |
- |
19 |
- |
3 |
PERCEPTION |
121 |
58 |
19 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
19 |
- |
3 |
PERCEPTION |
121 |
58 |
19 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
THE FIVE SENSES OF PERCEPTION
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
4+0 |
2+4 |
1+4 |
|
6+3 |
F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
6 |
SENSES |
81 |
45 |
9 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
|
|
|
|
|
|
|
|
|
|
P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
|
|
|
|
|
|
|
|
|
|
``- |
- |
22 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
2+2 |
- |
2+5 |
- |
2+9+8 |
1+5+4 |
2+8 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
1+9 |
1+0 |
1+0 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
1+0 |
- |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
1 |
- |
|
SRI KRISHNA'S REMEMBERING
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
THE FIVE SENSES OF PERCEPTION
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
|
- |
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
6 |
SENSES |
81 |
49 |
4 |
- |
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
|
- |
|
|
|
|
|
|
|
|
P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
- |
|
|
|
|
|
|
|
|
|
``- |
- |
22 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
THE |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
|
|
|
|
|
|
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
- |
|
|
|
|
|
|
|
|
E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
F |
= |
6 |
4 |
1 |
F |
6 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
V |
= |
4 |
6 |
1 |
V |
22 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
E |
= |
5 |
7 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
S |
= |
1 |
8 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
E |
= |
5 |
9 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
N |
= |
5 |
10 |
1 |
N |
14 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
E |
= |
5 |
12 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
S |
= |
1 |
13 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
14 |
1 |
O |
15 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
F |
= |
6 |
15 |
1 |
F |
6 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
E |
= |
5 |
17 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
R |
= |
9 |
18 |
1 |
R |
18 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
C |
= |
3 |
19 |
1 |
C |
3 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
E |
= |
5 |
20 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
P |
= |
7 |
21 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
T |
= |
2 |
22 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
|
|
|
|
|
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
O |
= |
6 |
24 |
1 |
O |
15 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
N |
= |
5 |
25 |
1 |
N |
14 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
- |
- |
19 |
- |
3 |
PERCEPTION |
121 |
58 |
58 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
THE FIVE SENSES OF PERCEPTION
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
4+0 |
2+4 |
1+4 |
|
6+3 |
F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
6 |
SENSES |
81 |
45 |
9 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
|
|
|
|
|
|
|
|
|
|
P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
|
|
|
|
|
|
|
|
|
|
``- |
- |
22 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
2+2 |
- |
2+5 |
- |
2+9+8 |
1+5+4 |
2+8 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
1+9 |
1+0 |
1+0 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
1+0 |
- |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
1 |
- |
|
SRI KRISHNA'S REMEMBERING
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 8 = 40
the letter E
According to the data, the most common letter in the English language is the letterE
Etypically takes first place regardless of which analysis method is used.
What's The Most Common Letter Used In English?
Thesaurus.com
https://www.thesaurus.com › ways-to-say › most-commo...
Letter Erequencies in the English Language is the letter E
- |
- |
- |
- |
|
THE FIVE SENSES OF PERCEPTION
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
|
|
|
|
|
F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
|
- |
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
6 |
SENSES |
81 |
49 |
4 |
- |
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
|
- |
|
|
|
|
|
|
|
|
P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
- |
|
|
|
|
|
|
|
|
|
``- |
- |
22 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
THE |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
S |
= |
1 |
8 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
11 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
13 |
1 |
S |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
T |
= |
2 |
1 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
|
|
|
|
|
|
T |
= |
2 |
22 |
1 |
T |
20 |
2 |
2 |
- |
- |
2 |
- |
|
|
|
|
|
|
C |
= |
3 |
19 |
1 |
C |
3 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
V |
= |
4 |
6 |
1 |
V |
22 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
E |
= |
5 |
3 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
E |
= |
5 |
7 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
E |
= |
5 |
9 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
N |
= |
5 |
10 |
1 |
N |
14 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
E |
= |
5 |
12 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
E |
= |
5 |
17 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
E |
= |
5 |
20 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
N |
= |
5 |
25 |
1 |
N |
14 |
5 |
5 |
- |
- |
|
|
|
5 |
|
|
|
|
F |
= |
6 |
4 |
1 |
F |
6 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
O |
= |
6 |
14 |
1 |
O |
15 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
F |
= |
6 |
15 |
1 |
F |
6 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
O |
= |
6 |
24 |
1 |
O |
15 |
6 |
6 |
- |
- |
|
|
|
|
6 |
|
|
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
P |
= |
7 |
21 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
H |
= |
8 |
2 |
1 |
H |
8 |
8 |
8 |
- |
- |
|
|
|
|
|
|
|
|
I |
= |
9 |
5 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
R |
= |
9 |
18 |
1 |
R |
18 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
PERCEPTION |
- |
- |
- |
|
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
THE FIVE SENSES OF PERCEPTION
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
- |
|
|
|
|
4+0 |
2+4 |
1+4 |
|
6+3 |
F |
= |
6 |
- |
4 |
FIVE |
42 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
S |
= |
1 |
- |
6 |
SENSES |
81 |
45 |
9 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
|
|
|
|
|
|
|
|
|
|
P |
= |
7 |
- |
10 |
PERCEPTION |
121 |
58 |
4 |
|
|
|
|
|
|
|
|
|
|
``- |
- |
22 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
2+2 |
- |
2+5 |
- |
2+9+8 |
1+5+4 |
2+8 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
1+9 |
1+0 |
1+0 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
4 |
- |
|
THE FIVE SENSES OF PERCEPTION
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
|
- |
1+0 |
- |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
1 |
- |
|
SRI KRISHNA'S REMEMBERING
|
|
|
|
|
|
|
|
|
|
|
|
|
|
SO READ ME ONCE AND READ ME TWICE AND READ ME ONCE AGAIN ITS BEEN A LONG LONG TIME
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
2 |
|
34 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
4 |
|
37 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
7 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
5 |
|
60 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
4 |
|
28 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
4 |
|
37 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
5 |
|
32 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
14 |
3 |
|
48 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
4 |
|
26 |
17 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
4 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
19 |
4 |
|
47 |
20 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7+7 |
|
6+4 |
Add to Reduce |
5+9+4 |
2+9+7 |
7+2 |
|
|
|
|
|
|
|
|
|
2+7 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+4 |
|
1+0 |
Reduce to Deduce |
1+8 |
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
H |
= |
8 |
= |
5 |
HUMAN |
57 |
21 |
3 |
A |
= |
1 |
= |
3 |
ALL |
25 |
7 |
7 |
T |
= |
2 |
= |
3 |
TOO |
50 |
14 |
5 |
H |
= |
8 |
= |
5 |
HUMAN |
57 |
21 |
3 |
|
|
19 |
|
16 |
First Total |
|
|
|
|
|
1+9 |
|
1+6 |
Add to Reduce |
1+8+9 |
6+3 |
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
|
|
|
|
Essence of Number |
|
|
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
Mea culpa
From Wikipedia, the free encyclopedia
For other uses, see Mea Culpa (disambiguation).
Mea culpa /?me?.?'k?l.p?/ is a phrase originating from Latin that means my fault or my mistake and is an acknowledgment of having done wrong.[1] The expression is used also as an admission of having made a mistake that should have been avoided and, in a religious context, may be accompanied by symbolically beating the breast when uttering the words.
The phrase comes from a Western Christian prayer of confession of sinfulness, known as the Confiteor, used in the Roman Rite at the beginning of Mass or when receiving the sacrament of Penance. Grammatically, mea culpa is in the ablative case, with an instrumental meaning.
Religious use
At the sight of the crucifixion of Jesus in the Gospels, "the whole crowd who came together to that sight, seeing what had been done, beat their breasts and returned".[2]
In the present form of the Confiteor as used in the celebration of Mass, mea culpa is said three times, the third time with the addition of the adjective maxima ("very great", usually translated as "most grievous"), and is accompanied by the gesture of beating the breast.
Confíteor Deo omnipoténti
et vobis, fratres,
quia peccávi nimis
cogitatióne, verbo,
ópere et omissióne:
mea culpa, mea culpa,
mea máxima culpa.
Ideo precor beátam Maríam semper vírginem,
omnes angelos et sanctos,
et vos, fratres,
oráre pro me ad Dóminum Deum nostrum.
I confess to almighty God
and to you, my brothers [and sisters],
that I have greatly sinned,
in my thoughts and in my words,
in what I have done and in what I have failed to do,
through my fault, through my fault,
through my most grievous fault;
therefore I ask blessed Mary ever-Virgin,
all the Angels and Saints,
and you, my brothers,
to pray for me to the Lord our God.[3]
The Latin phrase mea culpa was used, even in an English context, earlier than that. Geoffrey Chaucer's 14th-century Troilus and Criseyde uses it in a way that shows it was already a traditional religious phrase: "Now, mea culpa, lord! I me repente."[4]
Although the Confiteor was not then part of the Mass, it was used in administering the sacrament of Penance. In some forms it already included the phrase mea culpa. Thus the 9th-century Paenitentiale Vallicellanum II had a thrice-repeated mea culpa (without maxima) in its elaborate form of the Confiteor.[5]
In about 1220, the rite of public penance in Siena for those who had committed murder required the penitent to throw himself on the ground three times, saying: Mea culpa; peccavi; Domine miserere mei ("Through my fault. I have sinned. Lord, have mercy on me").[6]
mea culpa, mea culpa,
mea máxima culpa.
through my fault, through my fault,
through my most grievous fault;
- |
- |
- |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
|
|
M |
= |
4 |
- |
8 |
MEA CULPA |
72 |
27 |
9 |
M |
= |
4 |
- |
8 |
MEA CULPA |
72 |
27 |
9 |
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
``- |
- |
19 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
- |
1+9 |
- |
3+0 |
- |
2+7+7 |
1+0+6 |
3+4 |
- |
- |
10 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
- |
1+9 |
- |
|
- |
1+6 |
- |
|
- |
- |
1 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
- |
- |
- |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
``- |
- |
25 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
- |
2+4 |
- |
3+0 |
- |
2+7+7 |
1+0+6 |
3+4 |
- |
- |
7 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
- |
- |
- |
|
- |
1+6 |
- |
|
- |
- |
7 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
- |
- |
- |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
- |
|
|
|
|
|
|
|
|
``- |
- |
19 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MEA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
1 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
E |
= |
5 |
2 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
3 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
15 |
- |
3 |
MEA |
19 |
10 |
10 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
CULPA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
C |
= |
3 |
4 |
1 |
C |
3 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
U |
= |
3 |
5 |
1 |
U |
21 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
L |
= |
3 |
6 |
1 |
L |
12 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
P |
= |
7 |
7 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
8 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
27 |
- |
5 |
CULPA |
53 |
17 |
17 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MEA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
9 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
E |
= |
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
15 |
- |
3 |
MEA |
19 |
10 |
10 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
CULPA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
C |
= |
3 |
12 |
1 |
C |
3 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
U |
= |
3 |
13 |
1 |
U |
21 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
L |
= |
3 |
14 |
1 |
L |
12 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
P |
= |
7 |
15 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
16 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
27 |
- |
5 |
CULPA |
53 |
17 |
17 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MEA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
17 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
E |
= |
5 |
18 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
19 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
15 |
- |
3 |
MEA |
19 |
10 |
10 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MAXIMA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
20 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
A |
= |
1 |
21 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
X |
= |
6 |
22 |
1 |
X |
24 |
6 |
6 |
- |
- |
- |
|
|
|
|
|
|
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
24 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
- |
4 |
|
|
|
|
|
A |
= |
1 |
25 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
27 |
- |
|
MAXIMA |
61 |
25 |
257 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
CULPA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
C |
= |
3 |
7 |
1 |
C |
3 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
U |
= |
3 |
7 |
1 |
U |
21 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
L |
= |
3 |
7 |
1 |
L |
12 |
3 |
3 |
- |
- |
- |
3 |
|
|
|
|
|
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
- |
|
|
|
|
|
|
|
- |
- |
27 |
- |
5 |
CULPA |
53 |
17 |
17 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
|
|
|
2+0 |
1+5 |
|
2+1 |
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
25 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
2+5 |
- |
1+7 |
|
2+7+7 |
1+0+6 |
3+4 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+7 |
|
1+6 |
- |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
7 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
- |
- |
- |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
- |
|
|
|
|
|
|
|
|
``- |
- |
19 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MEA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
1 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
E |
= |
5 |
2 |
1 |
E |
5 |
5 |
5 |
- |
- |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
3 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
C |
= |
3 |
4 |
1 |
C |
3 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
U |
= |
3 |
5 |
1 |
U |
21 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
L |
= |
3 |
6 |
1 |
L |
12 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
P |
= |
7 |
7 |
1 |
P |
16 |
7 |
7 |
- |
- |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
8 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
M |
= |
4 |
9 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
E |
= |
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
- |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
C |
= |
3 |
12 |
1 |
C |
3 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
U |
= |
3 |
13 |
1 |
U |
21 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
L |
= |
3 |
14 |
1 |
L |
12 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
P |
= |
7 |
15 |
1 |
P |
16 |
7 |
7 |
- |
- |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
16 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
M |
= |
4 |
17 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
E |
= |
5 |
18 |
1 |
E |
5 |
5 |
5 |
- |
- |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
19 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
M |
= |
4 |
20 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
A |
= |
1 |
21 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
X |
= |
6 |
22 |
1 |
X |
24 |
6 |
6 |
- |
- |
2 |
|
|
|
|
|
8 |
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
2 |
|
|
|
|
|
8 |
|
M |
= |
4 |
24 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
A |
= |
1 |
25 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
C |
= |
3 |
7 |
1 |
C |
3 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
U |
= |
3 |
7 |
1 |
U |
21 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
L |
= |
3 |
7 |
1 |
L |
12 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
- |
- |
27 |
- |
5 |
CULPA |
53 |
17 |
17 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
|
|
|
2+0 |
1+5 |
|
2+1 |
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
25 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
2+5 |
- |
1+7 |
|
2+7+7 |
1+0+6 |
3+4 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+7 |
|
1+6 |
- |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
7 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
- |
- |
- |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
|
|
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
- |
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
- |
|
|
|
|
|
|
|
|
``- |
- |
19 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MEA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
A |
= |
1 |
3 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
8 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
16 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
19 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
21 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
25 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
2 |
|
|
|
|
|
8 |
|
C |
= |
3 |
4 |
1 |
C |
3 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
U |
= |
3 |
5 |
1 |
U |
21 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
L |
= |
3 |
6 |
1 |
L |
12 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
C |
= |
3 |
12 |
1 |
C |
3 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
U |
= |
3 |
13 |
1 |
U |
21 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
L |
= |
3 |
14 |
1 |
L |
12 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
C |
= |
3 |
7 |
1 |
C |
3 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
U |
= |
3 |
7 |
1 |
U |
21 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
L |
= |
3 |
7 |
1 |
L |
12 |
3 |
3 |
- |
- |
2 |
3 |
|
|
|
|
8 |
|
M |
= |
4 |
1 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
M |
= |
4 |
9 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
M |
= |
4 |
17 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
M |
= |
4 |
20 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
M |
= |
4 |
24 |
1 |
M |
13 |
4 |
4 |
- |
- |
2 |
- |
4 |
|
|
|
8 |
|
E |
= |
5 |
18 |
1 |
E |
5 |
5 |
5 |
- |
- |
2 |
|
|
|
|
|
8 |
|
E |
= |
5 |
2 |
1 |
E |
5 |
5 |
5 |
- |
- |
2 |
|
|
|
|
|
8 |
|
E |
= |
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
- |
2 |
|
|
|
|
|
8 |
|
X |
= |
6 |
22 |
1 |
X |
24 |
6 |
6 |
- |
- |
2 |
|
|
|
|
|
8 |
|
P |
= |
7 |
7 |
1 |
P |
16 |
7 |
7 |
- |
- |
2 |
|
|
|
|
|
8 |
|
P |
= |
7 |
15 |
1 |
P |
16 |
7 |
7 |
- |
- |
2 |
|
|
|
|
|
8 |
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
2 |
|
|
|
|
|
8 |
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
2 |
|
|
|
|
|
8 |
|
- |
- |
27 |
- |
5 |
CULPA |
53 |
17 |
17 |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
|
|
|
2+0 |
1+5 |
|
2+1 |
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
25 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
2+5 |
- |
1+7 |
|
2+7+7 |
1+0+6 |
3+4 |
- |
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
1+7 |
|
1+6 |
- |
|
- |
|
|
|
|
|
|
|
|
|
- |
- |
7 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
- |
- |
- |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
|
|
- |
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
- |
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
- |
|
|
|
|
|
|
``- |
- |
19 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
|
- |
|
|
|
|
|
|
- |
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
- |
- |
- |
- |
- |
MEA |
- |
- |
- |
- |
- |
|
|
|
|
|
|
A |
= |
1 |
3 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
|
|
A |
= |
1 |
8 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
|
|
A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
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|
A |
= |
1 |
16 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
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|
A |
= |
1 |
19 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
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|
A |
= |
1 |
21 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
|
|
A |
= |
1 |
25 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
|
|
|
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A |
= |
1 |
11 |
1 |
A |
1 |
1 |
1 |
- |
1 |
|
|
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C |
= |
3 |
4 |
1 |
C |
3 |
3 |
3 |
- |
- |
3 |
|
|
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|
U |
= |
3 |
5 |
1 |
U |
21 |
3 |
3 |
- |
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3 |
|
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|
L |
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3 |
6 |
1 |
L |
12 |
3 |
3 |
- |
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3 |
|
|
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C |
= |
3 |
12 |
1 |
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3 |
3 |
3 |
- |
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3 |
|
|
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U |
= |
3 |
13 |
1 |
U |
21 |
3 |
3 |
- |
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3 |
|
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L |
= |
3 |
14 |
1 |
L |
12 |
3 |
3 |
- |
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3 |
|
|
|
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|
C |
= |
3 |
7 |
1 |
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3 |
3 |
3 |
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3 |
|
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3 |
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1 |
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3 |
3 |
- |
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3 |
|
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L |
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3 |
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1 |
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12 |
3 |
3 |
- |
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3 |
|
|
|
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|
M |
= |
4 |
1 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
4 |
|
|
|
|
M |
= |
4 |
9 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
4 |
|
|
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4 |
17 |
1 |
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13 |
4 |
4 |
- |
- |
- |
4 |
|
|
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|
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= |
4 |
20 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
4 |
|
|
|
|
M |
= |
4 |
24 |
1 |
M |
13 |
4 |
4 |
- |
- |
- |
4 |
|
|
|
|
E |
= |
5 |
18 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
|
|
|
E |
= |
5 |
2 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
|
|
|
E |
= |
5 |
10 |
1 |
E |
5 |
5 |
5 |
- |
- |
|
|
|
|
|
|
X |
= |
6 |
22 |
1 |
X |
24 |
6 |
6 |
- |
- |
|
|
|
|
|
|
P |
= |
7 |
7 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
P |
= |
7 |
15 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
P |
= |
7 |
16 |
1 |
P |
16 |
7 |
7 |
- |
- |
|
|
|
|
|
|
I |
= |
9 |
23 |
1 |
I |
9 |
9 |
9 |
- |
- |
|
|
|
|
|
|
- |
- |
27 |
- |
5 |
CULPA |
53 |
17 |
17 |
- |
- |
|
|
|
|
|
|
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
|
|
|
|
|
|
|
|
- |
- |
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
- |
- |
- |
- |
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
- |
|
|
2+0 |
1+5 |
|
2+1 |
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
6 |
MAXIMA |
61 |
25 |
7 |
|
|
|
|
|
|
|
|
C |
= |
3 |
- |
5 |
CULPA |
53 |
17 |
8 |
- |
|
|
|
|
|
|
|
- |
- |
25 |
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
- |
- |
2+5 |
- |
1+7 |
|
2+7+7 |
1+0+6 |
3+4 |
- |
|
|
|
|
|
|
|
- |
- |
|
- |
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
|
|
|
|
- |
|
|
|
|
|
|
|
- |
- |
- |
- |
1+7 |
|
1+6 |
- |
|
- |
|
|
|
|
|
|
|
- |
- |
7 |
- |
|
|
|
|
|
- |
|
|
|
|
|
|
|
MEA CULPA MEA CULPA MEA MAXIMA CULPA
through my fault, through my fault,
through my most grievous fault;
THROUGH MY FAULT, THROUGH MY FAULT
THROUGH MY MOPST GRIEVOUS FAULT
T |
|
2 |
|
7 |
THROUGH |
97 |
43 |
7 |
M |
|
4 |
|
2 |
MY |
38 |
11 |
2 |
F |
= |
6 |
- |
5 |
FAULT |
60 |
15 |
6 |
|
|
|
|
|
|
|
|
|
T |
|
2 |
|
7 |
THROUGH |
97 |
43 |
7 |
M |
|
4 |
|
2 |
MY |
38 |
11 |
2 |
F |
= |
6 |
- |
5 |
FAULT |
60 |
15 |
6 |
|
|
|
|
|
|
|
|
|
T |
|
2 |
|
7 |
THROUGH |
97 |
43 |
7 |
M |
|
4 |
|
2 |
MY |
38 |
11 |
2 |
M |
= |
4 |
- |
4 |
MOST |
52 |
16 |
7 |
G |
= |
7 |
- |
9 |
GRIEVOUS |
116 |
44 |
8 |
F |
= |
6 |
- |
5 |
FAULT |
60 |
15 |
6 |
|
|
33 |
|
54 |
|
|
|
|
|
|
3+3 |
|
5+4 |
|
7+5+6 |
2+6+7 |
5+1 |
|
|
6 |
|
|
|
|
|
6 |
|
|
3+3 |
|
4+5 |
|
1+5 |
1+5 |
|
|
|
6 |
|
|
|
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|
|
THE ART OF MEMORY
FRANCIS A. YATES 1979
THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE
Page 135 (number omitted)
"No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line."
"Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)"
"Page 139
He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned.
Awaiting damnation he calls on Christ, and there comes the famous line
" See see where Christs bloud streames in the firmament.11"
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
155 155 58595 3899121 23634 12951451 95 285 699414552
IS 9 IS
9
IS 9 IS
155 155 58595 3899121 23634 12951451 95 285 699414552
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
S |
|
1 |
|
3 |
SEE |
29 |
11 |
2 |
S |
|
1 |
|
3 |
SEE |
29 |
11 |
2 |
W |
|
5 |
|
5 |
WHERE |
59 |
32 |
5 |
C |
= |
3 |
- |
7 |
CHRISTS |
96 |
33 |
6 |
B |
= |
2 |
- |
5 |
BLOUD |
54 |
18 |
9 |
S |
= |
1 |
- |
8 |
STREAMES |
100 |
28 |
1 |
I |
= |
9 |
|
2 |
IN |
23 |
14 |
5 |
T |
= |
2 |
|
3 |
THE |
33 |
15 |
6 |
F |
= |
6 |
|
9 |
FIRMAMENT |
99 |
45 |
9 |
|
|
33 |
|
45 |
|
|
|
|
|
|
3+3 |
|
4+5 |
|
5+2+2 |
2+0+7 |
4+5 |
|
|
6 |
|
|
|
|
|
|
IS LIFE FOREVER ? FOREVER IS LIFE
GOD IS O IS GOD
LIFE IS EVERLASTINGNESS IS LIFE
....
MARKS THAT 5 FIVE 5 THAT MARKS
NEVEREVERENDINGLOVEEVOLVE
N |
= |
5 |
- |
5 |
NEVER |
64 |
28 |
1 |
E |
= |
5 |
- |
4 |
EVER |
50 |
23 |
5 |
E |
= |
5 |
- |
6 |
ENDING |
53 |
35 |
8 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
E |
= |
5 |
- |
6 |
EVOLVE |
81 |
27 |
9 |
B |
- |
23 |
|
25 |
|
|
|
|
- |
- |
2+3 |
- |
2+5 |
- |
3+0+2 |
6+2 |
3+2 |
- |
- |
5 |
- |
7 |
- |
|
|
|
NEVEREVERENDINGLOVEEVOLVE
|
|
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= |
5 |
|
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- |
|
14 |
5 |
5 |
|
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= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
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|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
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|
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|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
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|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
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NEVER |
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|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
L |
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
O |
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
|
|
|
|
|
|
|
|
|
L |
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
42 |
|
|
25 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+2 |
5+5 |
|
2+5 |
Add to Reduce |
3+0+2 |
6+2 |
3+2 |
|
|
|
|
2+4 |
5+5 |
1+2 |
|
|
2+7 |
- |
- |
42 |
|
|
7 |
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
58 |
Reduce to Deduce |
1+4 |
2+9+7 |
6+3 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
5+1 |
|
|
5+8 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
NEVER EVER ENDING LOVE EVOLVE
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
5 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
1 |
2 |
|
|
|
|
|
8 |
|
L |
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
O |
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
O |
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
L |
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
42 |
|
|
25 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+2 |
5+5 |
|
2+5 |
Add to Reduce |
3+0+2 |
6+2 |
3+2 |
|
|
|
|
2+4 |
5+5 |
1+2 |
|
|
2+7 |
- |
- |
42 |
|
|
7 |
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
58 |
Reduce to Deduce |
1+4 |
2+9+7 |
6+3 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
5+1 |
|
|
5+8 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
NEVER EVER ENDING LOVE EVOLVE
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
L |
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
L |
= |
3 |
|
|
- |
|
12 |
3 |
3 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
4 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
4 |
|
|
- |
|
22 |
4 |
4 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
5 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
14 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
5 |
|
|
- |
|
5 |
5 |
5 |
|
1 |
2 |
|
|
|
|
|
8 |
|
O |
= |
6 |
|
|
- |
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
O |
= |
6 |
|
|
|
|
15 |
6 |
6 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
7 |
|
|
- |
|
7 |
7 |
7 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
18 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
= |
9 |
|
|
- |
|
9 |
9 |
9 |
|
1 |
2 |
|
|
|
|
|
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
42 |
|
|
25 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4+2 |
5+5 |
|
2+5 |
Add to Reduce |
3+0+2 |
6+2 |
3+2 |
|
|
|
|
2+4 |
5+5 |
1+2 |
|
|
2+7 |
- |
- |
42 |
|
|
7 |
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
58 |
Reduce to Deduce |
1+4 |
2+9+7 |
6+3 |
|
|
|
|
|
1+0 |
|
|
|
|
|
|
5+1 |
|
|
5+8 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
NEVER EVER ENDING LOVE EVOLVE
MARKS THAT 5 FIVE 5 THAT MARKS
55V5R5V5R55DI5GLOV55VOLV5
11 x 5 = 55 = 5 x 11
55
5+5
10
1+0
1
MARKS THAT 9 NINE 9 THAT MARKS
N |
= |
5 |
- |
5 |
NEVER |
64 |
28 |
1 |
E |
= |
5 |
- |
4 |
EVER |
50 |
23 |
5 |
E |
= |
5 |
- |
6 |
ENDING |
53 |
35 |
8 |
L |
= |
3 |
- |
4 |
LOVE |
54 |
18 |
9 |
E |
= |
5 |
- |
6 |
EVOLVE |
81 |
27 |
9 |
B |
- |
23 |
|
25 |
Add to Reduce |
|
|
|
- |
- |
2+3 |
- |
2+5 |
Reduce to Deduce |
3+0+2 |
6+2 |
3+2 |
- |
- |
5 |
- |
7 |
Essence of Number |
|
|
|
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 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?'
WHO ARE YOU SAY THEY WITH THEIR MOUTH EQUIPPED
?
I
AM AN AKHU WITH MY MOUTH EQUIPPED
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
A |
= |
1 |
- |
2 |
AM |
14 |
5 |
5 |
A |
= |
1 |
- |
2 |
AN |
15 |
6 |
6 |
A |
= |
1 |
- |
4 |
AKHU |
41 |
15 |
6 |
W |
= |
5 |
- |
4 |
WITH |
60 |
24 |
6 |
M |
= |
4 |
- |
2 |
MY |
38 |
11 |
2 |
M |
= |
4 |
- |
5 |
MOUTH |
77 |
23 |
5 |
E |
= |
5 |
- |
8 |
EQUIPPED |
93 |
48 |
3 |
B |
- |
30 |
|
28 |
First Total |
|
|
|
- |
- |
3+0 |
- |
2+8 |
Add to Reduce |
3+4+7 |
1+4+0 |
4+1 |
- |
- |
3 |
- |
10 |
Second Total |
|
|
|
- |
- |
- |
- |
1+0 |
Reduce to Deduce |
1+4 |
- |
- |
- |
- |
|
- |
1 |
Essence of Number |
|
|
|
|
|
33 |
15 |
|
|
|
66 |
30 |
|
9 |
First Total |
99 |
45 |
45 |
- |
Add to Reduce |
9+9 |
4+5 |
4+5 |
9 |
Second Total |
18 |
9 |
9 |
- |
Reduce to Deduce |
1+8 |
|
|
9 |
Essence of Number |
9 |
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
|
|
20 |
2 |
|
|
H |
8 |
8 |
|
|
|
5 |
5 |
|
|
|
- |
- |
- |
|
F |
6 |
6 |
|
- |
A |
1 |
1 |
1 |
|
|
13 |
4 |
|
|
I |
9 |
9 |
|
|
|
12 |
3 |
|
- |
Y |
25 |
7 |
7 |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
|
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1 |
|
20 |
2 |
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1 |
|
8 |
8 |
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1 |
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5 |
5 |
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1 |
|
6 |
6 |
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1 |
|
1 |
1 |
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1 |
|
13 |
4 |
|
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1 |
|
9 |
9 |
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1 |
|
12 |
3 |
|
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1 |
|
25 |
7 |
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99 |
45 |
45 |
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
9+9 |
4+5 |
4+5 |
|
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|
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|
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|
|
18 |
9 |
9 |
|
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|
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
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1 |
|
1 |
1 |
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1 |
|
20 |
2 |
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1 |
|
12 |
3 |
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1 |
|
13 |
4 |
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1 |
|
5 |
5 |
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1 |
|
6 |
6 |
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1 |
|
25 |
7 |
|
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1 |
|
8 |
8 |
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1 |
|
9 |
9 |
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99 |
45 |
45 |
|
|
|
|
|
|
|
|
|
|
|
|
4+5 |
|
|
|
9+9 |
4+5 |
4+5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
- |
- |
- |
- |
A |
1 |
1 |
1 |
|
|
20 |
2 |
|
|
|
12 |
3 |
|
|
|
13 |
4 |
|
|
|
5 |
5 |
|
|
F |
6 |
6 |
|
- |
Y |
25 |
7 |
7 |
|
H |
8 |
8 |
|
|
I |
9 |
9 |
|
|
|
- |
- |
- |
|
|
- |
- |
- |
9 |
Add to Reduce |
99 |
45 |
45 |
- |
Reduce to Deduce |
9+9 |
4+5 |
4+5 |
9 |
Essence of Number |
18 |
9 |
9 |
FIRST CONTACT 1980