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Evokation
  
 
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NUCLEAR FAMILY 19769

 

 

 

 

 

 

 

THE

MAGICALALPHABET

 

..................

 

 

-
-
-
-
-
THE RAINBOW LIGHT
-
-
-
T
=
2
-
3
THE
33
15
6
R
=
9
-
7
RAINBOW
82
37
1
L
=
3
-
5
LIGHT
56
29
2
-
-
14
-
15
THE RAINBOW LIGHT
171
81
9
-
-
1+4
-
1+5
-
1+7+1
8+1
-
Q
-
5
-
6
THE RAINBOW LIGHT
9
9
9

 

 

 

 

 

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
189
90
18
1+8
Add to Reduce
1+8+9
9+0
1+8
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

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
1188
486
126
-
-
1+2+1
-
9+7
Add to Reduce
1+1+8+8
4+8+6
1+2+6
Q
-
4
-
16
Second Total
18
18
9
-
-
-
-
1+6
Reduce to Deduce
1+8
1+8
-
-
-
4
-
7
Essence of Number
9
9
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
485
206
44
-
-
4+9
-
4+0
Add to Reduce
4+8+5
2+0+6
4+4
Q
-
13
-
4
Second Total
17
8
8
-
-
1+3
-
-
Reduce to Deduce
1+7
-
-
-
-
4
-
4
Essence of Number
8
8
8

 

 

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
384
150
33
-
-
3+4
-
3+4
Add to Reduce
3+8+4
1+5+0
3+3
Q
-
7
-
7
Second Total
15
6
6
-
-
-
-
-
Reduce to Deduce
1+5
-
-
-
-
7
-
7
Essence of Number
6
6
6

 

 

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
425
182
47
-
-
3+4
-
3+8
Add to Reduce
4+2+5
1+8+2
4+7
Q
-
7
-
11
Second Total
11
11
11
-
-
-
-
1+1
Reduce to Deduce
1+1
1+1
1+1
-
-
7
-
2
Essence of Number
2
2
2

 

 

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
459
144
45
-
-
2+2
-
3+5
Add to Reduce
4+5+9
1+4+4
4+5
Q
-
4
-
8
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
4
-
8
Essence of Number
9
9
9

 

 

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

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
9
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
58
First Total
626
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
6+2+6
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
14
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
1+4
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
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
+
=
351
3+5+1
=
9
=
9
=
9
-
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
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
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
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

STRIKE A LIGHT

LUCIFER MEETS ITS MATCH

 

 

OSIRIS SO IRIS IS

 

 

ENTERS THE NETERS

 

 

THE ELEMENTS OF EGYPTIAN WISDOM

Naomi Ozaniec 1994

THE SACRED SCRIPT - THE MEDU NETERS

Page 80 / The logical mind begins to reel / Page 81 / Language as evocation is immensely powerful. Word play is not finished; Neith can also be written by spelling the 't' with the sign for land, ta, in combination with the sign for water, 'n'. This particular hieroglyph represents ruffled water. By spelling the same name in a different way, we are presented with a different set of ideas. Here is Neith as 'the primeval water which gave birth to the land,' a theologically familiar concept. Once again a brief word encapsulates both divine name and divine function.

Hieroglyphic omitted

Schwaller de Lubicz reminds us repeatedly that we do need to look for a convoluted symbolism. The Medu Neters were chosen in such a way as to really signify all the qualities and functions implicit in the image. We are of course removed from the direct observation of vulture and ibis, crocodile and falcon, It is hard for us to understand the subtleties of movement, habit or life cycle which prompted a recognition deep in the Egyptian mind. It is well known that the humble dung beetle was raised to a sacred status from its simple egg-laying habit. The young emerged from the ball of dung as new life unbegotten. It is less well known that the scarab resembles the human skull, its two wing cases being reminiscent of the two halves of the human skull.

The ability to find the cosmic In the mundane through a correspondence is the hallmark of a mind sensitized through symbolic training. Any contemporary Qabalist recognizes this function for what it is, the inner workings of an esoteric system. These brief examples serve to illustrate the workings of both the Egyptian mind and the Egyptian tradition. Each letter had its own secret; all sacred alphabets are constructed in this way. Moreover a sacred language always serves a double purpose, a written double entendre. To the uninitiated there is no secret to hide. The language functions perfectly well at a purely practical level. To the initiated there exists another level of inner meaning as opposed to the apparent meaning. The inner meaning requires no elaborate subterfuge. It is there all the time, open and blatant. 'It / Page 82 / is hidden from view only because it represents a higher non-cerebral consciousness which simply evades the logical mind.

The Egyptians preserved this double function with astonishing brilliance and clarity over an immensely long period of time. Hebrew still functions as a sacred alphabet.. Each of its letters signifies ideas, numbers and cosmic principles.. A word becomes a code for an abstraction, a metaphysical concept, an esoteric teaching. An outsider cannot penetrate into the labyrinthine maze of meanings without becoming lost in ideas and distracted by elusive possibilities. A guide is always required in such matters - scribal training took place through an apprenticeship system. It is a mistake to think that we might uncover how the scribes viewed individual hieroglyphs by simply applying any meaning that springs to our mind. It is Clear that individual signs and arrangements carried a precise range of corresponding symbols.

Schwaller de Lubicz acts as our guide into the intricacies of an individual hieroglyph in the book Her-Bak.

The letter r is written in the lenticular shape of a half open mouth. Now look. for the ideas, qualities and functions this sign represents. First, its nature. The mouth, ra, is the upper opening of the body, an entrance that communicates by two channels with the lungs and stomach; that is why this hieroglyph is also the generic word for an entrance, ra. The mouth opens and shuts to eat, breathe and speak, as the eye, ar.t, opens and shuts to receive or refuse light. The mouth's function is dual, passive and active, it receives air and food, emits breath and voice. The eye's function is dual, likewise 'the reception of light and expression of organic and emotional response. The mouth's shape changes by the separation of the lips for the performance of its function. Opening, it widens or narrows like the shadow thrown on a disc by another disc which gradually eclipses it. In the partially occulted disc, the lentil or dark mouth is the complement of the crescent still visible. This gradual change of shape produces portions of different size that represents parts of the occulted disc. The characteristic has given the name ra to parts of a whole such as numerical fractions, chapters and so forth.

Page 83

These profound thoughts revolve around a single letter majestic insights might we discover if only someone would serve as our guide through all the hieroglyphic combinations! Here is a way of thinking quite unlike our own, a mind set removed from our utilitarian use of language. This totally symbolic thinking produced completely practical applications, as we see through Egypt's many lasting achievements there is no grounds whatsoever for thinking that this symbolic system produced woolly mindedness. On the contrary it gave rise to a mind that was both extensive and focused, deep and creative, traditonal yet original.

 

 

ESOTERIC = 4 = ESOTERIC

ESOTERIC

I

SECRET

O

ESOTERIC

ESOTERIC = 4 = ESOTERIC

 

 

ESOTERIC 6 SECRET 9 ESOTERIC

ESOTERIC 9 SECRET 6 ESOTERIC

 

 

ESOTERIC ISISIS ESOTERIC

O

SECRET

I

6 SECRET 9

ESOTERIC ISIS ESOTERIC

 

 

SEE RE C THAT C RE SEE

 

 

ESOTERIC = 4 = ESOTERIC

MATTER MIND SPIRIT GODS SPIRIT MIND MATTER

EXOTERIC = 9 9 = EXOTERIC

E MOTION ISISIS NOITOM E

I

THAT AM THAT

TIME EMIT

 

 

I

ME

EGO

CONSCIENCE

THE

CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE

 

 

CIRCLE = 5 O 5 = ELCRIC

 

 

SUNDAY + MONDAY + TUESDAY + WEDNESDAY + THURSDAY + FRIDAY + SATURDAY

639 198 36 9

9

9 36 198 639

 

SATURDAY + FRIDAY + THURSDAY + WEDNESDAY + TUESDAY + MONDAY + SUNDAY

 

 

LANGUAGE LAND ENGAGE LAND LANGUAGE

 

 

 

THE NUCLEAR FAMILY 1969

 

 

 

 

EHT NAMUH 1973

 

 

 

 

AFRICAN NIGHTMARE SPECTRE OF FAMINE 1975

 

 

 

 

EHT NAMUH 1977

 

 

 

 

THE JOURNEYMAN 1977

 

 

WHEN AND WHERE

 

 

ENTERS THE NETERS

 

 

THE ELEMENTS OF EGYPTIAN WISDOM

Naomi Ozaniec 1994

THE SACRED SCRIPT - THE MEDU NETERS

Page 80 / The logical mind begins to reel / Page 81 / Language as evocation is immensely powerful. Word play is not finished; Neith can also be written by spelling the 't' with the sign for land, ta, in combination with the sign for water, 'n'. This particular hieroglyph represents ruffled water. By spelling the same name in a different way, we are presented with a different set of ideas. Here is Neith as 'the primeval water which gave birth to the land,' a theologically familiar concept. Once again a brief word encapsulates both divine name and divine function.

Hieroglyphic omitted

Schwaller de Lubicz reminds us repeatedly that we do need to look for a convoluted symbolism. The Medu Neters were chosen in such a way as to really signify all the qualities and functions implicit in the image. We are of course removed from the direct observation of vulture and ibis, crocodile and falcon, It is hard for us to understand the subtleties of movement, habit or life cycle which prompted a recognition deep in the Egyptian mind. It is well known that the humble dung beetle was raised to a sacred status from its simple egg-laying habit. The young emerged from the ball of dung as new life unbegotten. It is less well known that the scarab resembles the human skull, its two wing cases being reminiscent of the two halves of the human skull.

The ability to find the cosmic In the mundane through a correspondence is the hallmark of a mind sensitized through symbolic training. Any contemporary Qabalist recognizes this function for what it is, the inner workings of an esoteric system. These brief examples serve to illustrate the workings of both the Egyptian mind and the Egyptian tradition. Each letter had its own secret; all sacred alphabets are constructed in this way. Moreover a sacred language always serves a double purpose, a written double entendre. To the uninitiated there is no secret to hide. The language functions perfectly well at a purely practical level. To the initiated there exists another level of inner meaning as opposed to the apparent meaning. The inner meaning requires no elaborate subterfuge. It is there all the time, open and blatant. 'It / Page 82 / is hidden from view only because it represents a higher non-cerebral consciousness which simply evades the logical mind.

The Egyptians preserved this double function with astonishing brilliance and clarity over an immensely long period of time. Hebrew still functions as a sacred alphabet.. Each of its letters signifies ideas, numbers and cosmic principles.. A word becomes a code for an abstraction, a metaphysical concept, an esoteric teaching. An outsider cannot penetrate into the labyrinthine maze of meanings without becoming lost in ideas and distracted by elusive possibilities. A guide is always required in such matters - scribal training took place through an apprenticeship system. It is a mistake to think that we might uncover how the scribes viewed individual hieroglyphs by simply applying any meaning that springs to our mind. It is Clear that individual signs and arrangements carried a precise range of corresponding symbols.

Isha Schwaller de Lubicz acts as our guide into the intricacies of an individual hieroglyph in the book Her-Bak.

The letter r is written.in the lenticular shape of a half open mouth. Now look. for the ideas, qualities and functions this . sign represents. First, its nature. The mouth, ra, is the upper opening of the body, an entrance that communicates by two channels with the lungs and stomach; that is why this hiereglyph is. also the generic word for an entrance, ra. The mouth opens and shuts to eat, breathe and speak, as the eye, ar.t, opens and shuts to receive or refuse light. The mouth's function is dual, passive and active, it receives air and food, emits breath and voice. The eye's function is dual, likewise 'the reception of light and expression of organic and emotional response. The mouth's shape changes by the separation of the lips for the performance of its function. Opening, it widens or narrows like the shadow thrown on a disc by another disc which gradually eclipses it. In the partially occulteddisc, . the lentil or dark mouth is the complement of the crescent still visible. This gradual change of shape produces portions of different size that represents parts of the occulted disc. The characteristic has given the name ra to parts of a whole such as numerical fractions, chapters and so forth.

Page 83

These profound thoughts revolve around a single letter majestic insights might we discover if only someone would serve as our guide through all the hieroglyphic combinations! Here is a way of thinking quite unlike our own, a mind set removed from our utilitarian use of language. This totally symbolic thinking produced completely practical applications, as we see through Egypt's many lasting achievements there is no grounds whatsoever for thinking that this symbolic system produced woolly mindedness. On the contrary it gave rise to a mind that was both extensive and focused, deep and creative, tradittonal yet original.

 

 

Search ResultsLetter & Word Frequency in English / Other Language FrequenciesThe first twelve letters "e t a o i n s r h l d c", are found in around 80% ... Top Twenty Most Used Words in Spoken English the and I to of a you that in ...
www.letterfrequency.org/

Letter Frequencies / Word ↓"etaoin shrdlu" (eh-tay-oh-in shird-loo), was believed to be the twelve most common letters in the English language. The word came from linotype typesetting machines. The first, left row of six keys on a linotype machine produce the word "etaoin". The second, left row of six keys produce the word "shrdlu". The linotype machine keys are labeled: "etaoin-shrdlu-cmfgyp-wbvkxj-qz". The letter 'h' appears more often in every day speech and writing than it does in a list of dictionary words. The first twelve letters "e t a o i n s r h l d c", are found in around 80% of the words in the English language.

Letter Frequency in the English Language
e t a o i n s r h l d c u m f p g w y b v k x j q z

Letter Frequency in Press Reporting
e t a o n i s r h l d c m u f p g w y b v k j x q z

Letter Frequency in Religious Writings
e t i a o n s r h l d c u m f p y w g b v k x j q z

Letter Frequency in Scientific Writings
e t a i o n s r h l c d u m f p g y b w v k x q j z

Letter Frequency in General Fiction
e t a o h n i s r d l u w m c g f y p v k b j x z q

Letter Frequency in Word Averages
e t a o i n s r h l d c u m f p g w y b v k x j q z

Letter Frequency in Morse Code
e t a i n o s h r d l c u m f w y g p b v k q j x z

Non-Plural Word Letter Frequency
(18584 Common Base Words)
e a i r t o n s l c u p m d h g b y f v w k x z q j

Plural Word Letter Frequency
(45406 Common Words)
e i s a r n t o l c d u g p m h b y f v k w z x j q

Letter Frequency of the Most Common 1st Letter in Words
t o a w b c d s f m r h i y e g l n p u j k

Letter Frequency of the Most Common 2nd Letter in Words
h o e i a u n r t

Letter Frequency of the Most Common 3rd Letter in Words
e s a r n i

Letter Frequency of the Most Common Last Letter in Words
e s t d n r y f l o g h a k m p u w

Letter Frequency of the Most Common Letter to Follow the "e"
r s n d

Words begin with letter frequency:
t a i s o w h b c m f p d r l e g n y u k v j q x z

More than half of all words end with: e t d s
e s t d n r y o f g a l h m u k i w p c x b z v j q

Computer QWERTY Keyboard Key Frequency:
Space e t Shift a o i n s r h Del l d c u Enter
m f p g w y b , . v k ( ) _ ; " = ' - Tab x / 0 $ *
1 j : { } > q [ ] 2 z ! < ? 3 + 5 \ 4 # @ | 6 & 9 8 7 % ^ ~ `

UK English Language Letter Frequency:
e t a o i n s r h l d c u m f p g w y b v k x j q z

Spanish Language Letter Frequency:
e a o s r n i d l c t u m p b g y í v q ó h f z j é á ñ x ú ü w k

German Language Letter Frequency:
e n i s r a t d h u l c g m o b w f k z v ü p ä ß j ö y q x

French Language Letter Frequency:
e s a i t n r u l o d c m p é v q f b g h j à x è y ê z ç ô ù â û î œ w k ï ë ü æ ñ

Italian Language Letter Frequency:
e a i o n l r t s c d u p m v g h f b q z ò à ù ì é è ó y k w x j ô

Dutch Language Letter Frequency:
e n a t i r o d s l g h v k m u b p w j c z f x y (ë é ó) q

Greek Language Letter Frequency:
α ο ι ε τ σ ν η υ ρ π κ μ λ ω δ γ χ θ φ β ξ ζ ψ

Russian Language Letter Frequency:
o e a и н т с в л р к д м п у ë я г б з ч й х ж ш ю ц щ e ф (ъ ы ь)

Turkish Language Letter Frequency:
a e i n r l ı d k m u y t s b o ü ş z g ç h ğ v c ö p f j w x q

Polish Language Letter Frequency:
i a e o z n s c r w y ł d k m t p u j l g ę b ą h ż ś ó ć ń f ź v q x

Esperanto Language Letter Frequency:
a i e o n l s r t k j u d m p v g f b c ĝ ĉ ŭ z ŝ h ĵ ĥ w y x q

Swedish Language Letter Frequency:
e a n t r s l i d o m g k v ä h f u p å ö b c j y x w z é q (à è)


Portuguese: a e o s r i n m d u t l c p h v q g f b ã z ç j á é x ó õ ê ô à y í è ú o` (kw)


Norwegian: e r n t s i l a k o d g m v f u p b h ø j y a a æ c w z x (q)


Icelandic: a n r i e s t u dh l g m k f h v o á th í d j ó b y æ ú ö p é ý c x w z q


Hungarian: e a t l n s k o m z r i g á é y d b v h j o: f u p ö ó c u: í ú ü x w (q)


Slovak: a o e s n i t r v l k d m c u p z y h j g f b (q w x)


Finnish: e n a t r s i l d o k g m v f aa u p h ä c b ö j y x z w (q)


Danish: e n a d t r s l g i o h m k v u f b p ø ae j y c é x q w è z ü à ó ê ç aa ë ä


Czech: o e a n t i v l s r d k u p í m c h á z y j b ř ê é ĉ ž ý ŝ ũ g f ú ň w ď ó x ť (q)


Hawaiian: a i k o' e n u h l m â p ô w ê û î (b c d f g j q r s t v x y z)


Maori: a i k e t o n u h r m w g p (b c d f j l q s v x y z)


Latin: e i t u a s r n o m c p l d q b g v f h x y k (z) (j w)


Irish: a i h n r e t s c o l d g u m b á f í é ú ó p v j w y k q z (x)


Welsh: a y n d r e i l o g h w t f u s c m b p â ô y^ w^ j ï ê á q v î (k x z)


Gaelic: a i h n d e r c s g l o u t m b à f p o` ù é i` è ó (j k q v w x y z)


Japanese Language Letter Frequency
20 most common Kanji (Chinese characters):
日一十二人大年会国三本長中五出事社市者月

Word Frequencies / Letter ↑

Digraph Frequency
th he an in er on re ed nd ha at en es of nt ea ti to io le is ou ar as de rt ve

Trigraph Frequency
the and tha ent ion tio for nde has nce tis oft men

Double Letter Frequency
ss ee tt ff ll mm oo

Top Twenty Most Used Words in Written English
the of to in and a for was is that on at he with by be it an as his

Top Twenty Most Used Words in Spoken English
the and I to of a you that in it is yes was this but on well he have for

Two Letter Word Frequency
of to in it is be as at so we he by or on do if me my up an go no us am

Three Letter Word Frequency
the and for are but not you all any can had her was one our out day get has him his how man new now old see two way who boy did its let put say she too use

Four Letter Word Frequency
that with have this will your from they know want been good much some time very when come here just like long make many more only over such take than them well were

Word Frequency for the Most Common Words
the of and to in a is that be it by are for was as he with on his at which but from has this will one have not were or all their an i there been many more so when had may today who would time we about after dollars if my other some them being its no only over very you into most than they day even made out first great must these can days every found general her here last new now people public said since still such through under up war well where while years before between country debts good him interest large like make our take upon what

100 Most Frequently Used Words
about after all am an and are as at back be because been big but by came can come could day did do down first for from get go going got had has have he her here him his I if in into is it just like little look made make me more my no not now of off on one only or our out over said saw see she so some that the their them then there they this to two up very was we well went were what when where which who will with would you your

50 Most Frequently Used UK Operators
come get give go keep let make put seem take be do have say see send may will about across after against among at before between by down from in off on over through to under up with as for of till than a the all any every no other some such that this I he you who and because but or if through while how when where why again ever far forward hear near now out still there then together well almost enough even little much not only quite so very tomorrow yesterday north south east west please yes

50 Most Frequently Used UK General Things
account act addition adjustment advertisement agreement air amount amusement animal answer apparatus approval argument art attack attempt attention attraction authority back balance base behavior belief birth bit bite blood blow body brass bread breath brother building burn burst business butter canvas care cause chalk chance change cloth coal color comfort committee company comparison competition condition connection control cook copper copy cork cotton cough country cover crack credit crime crush cry current curve damage danger daughter day death debt decision degree design desire destruction detail development digestion direction discovery discussion disease disgust distance distribution division doubt drink driving dust earth edge education effect end error event example exchange existence expansion experience expert fact fall family father fear feeling fiction field fight fire flame flight flower fold food force form friend front fruit glass gold government grain grass grip group growth guide harbor harmony hate hearing heat help history hole hope hour humor ice idea impulse increase industry ink insect instrument insurance interest invention iron jelly join journey judge jump kick kiss knowledge land language laugh law lead learning leather letter level lift light limit linen liquid list look loss love machine man manager mark market mass meal measure meat meeting memory metal middle milk mind mine minute mist money month morning mother motion mountain move music name nation need news night noise note number observation offer oil operation opinion order organization ornament owner page pain paint paper part paste payment peace person place plant play pleasure poison point polish porter position powder power price print process produce profit property prose protest pull punishment purpose push quality question rain range rate ray reaction reading reason record regret relation religion representative request respect rest reward rhythm rice river road roll room rub rule run salt sand scale science sea seat secretary selection self sense servant sex shade shake shame shock side sign silk silver sister size sky sleep slip slope smash smell smile smoke sneeze snow soap society son song sort sound soup space stage start statement steam steel step stitch stone stop story stretch structure substance sugar suggestion summer support surprise swim system talk taste tax teaching tendency test theory thing thought thunder time tin top touch trade transport trick trouble turn twist unit use value verse vessel view voice walk war wash waste water wave wax way weather week weight wind wine winter woman wood wool word work wound writing year

50 Most Frequently Used UK Picturable Things
angle ant apple arch arm army baby bag ball band basin basket bath bed bee bell berry bird blade board boat bone book boot bottle box boy brain brake branch brick bridge brush bucket bulb button cake camera card carriage cart cat chain cheese chest chin church circle clock cloud coat collar comb cord cow cup curtain cushion dog door drain drawer dress drop ear egg engine eye face farm feather finger fish flag floor fly foot fork fowl frame garden girl glove goat gun hair hammer hand hat head heart hook horn horse hospital house island jewel kettle key knee knife knot leaf leg library line lip lock map match monkey moon mouth muscle nail neck needle nerve net nose nut office orange oven parcel pen pencil picture pig pin pipe plane plate plough pocket pot potato prison pump rail rat receipt ring rod roof root sail school scissors screw seed sheep shelf ship shirt shoe skin skirt snake sock spade sponge spoon spring square stamp star station stem stick stocking stomach store street sun table tail thread throat thumb ticket toe tongue tooth town train tray tree trousers umbrella wall watch wheel whip whistle window wing wire worm

50 Most Frequently Used UK Qualities
able acid angry automatic beautiful black boiling bright broken brown cheap chemical chief clean clear common complex conscious cup deep dependent early elastic electric equal fat fertile first fixed flat free frequent full general good great grey hanging happy hard healthy high hollow important kind like living long male married material medical military natural necessary new normal open parallel past physical political poor possible present private probable quick quiet ready red regular responsible right round same second separate serious sharp smooth sticky stiff straight strong sudden sweet tall thick tight tired true violent waiting warm wet wide wise yellow young

50 Most Frequently Used UK Opposites
awake bad bent bitter blue certain cold complete cruel dark dead dear delicate different dirty dry false feeble female foolish future green ill last late left loose loud low mixed narrow old opposite public rough sad safe secret short shut simple slow small soft solid special strange thin white wrong

American Heritage Word Frequency Book
the of and a to in is you that it he for was on are as with his they at be this from I have or by one had not but what all were when we there can an your which their said if do will each about how up out them then she many some so these would other into has more her two like him see time could no make than first been its who now people my made over did down only way find use may water long little very after words called just where most know get through back much before go good new write out used me man too any day same right look think also around another came come work three word must because does part even place well such here take why things help put years different away again off went old number great tell men say small every found still between name should Mr. home big give air line set own under read last never us left end along while might next sound below saw something thought both few those always looked show large often together asked house don't world going want school important until 1 form food keep children feet land side without boy once animals life enough took sometimes four head above kind began almost live page got earth need far hand high year mother light parts country father let night following 2 picture being study second eyes soon times story boys since white days ever paper hard near sentence better best across during today others however sure means knew it's try told young miles sun ways thing whole hear example heard several change answer room sea against top turned 3 learn point city play toward five using himself usually

Poetic Annex to Basic English Words
angel arrow beast blind bow breast bride brow bud calm child cross crown curse dawn delight dew dove dream eagle eternal evening evil fair faith fate feast flock flow fountain fox gentle glad glory God grace grape grief guest hawk heaven hell hill holy honey honor image ivory joy lamb lark life lion lord meadow melody mercy noble passion perfume pity pool praise prayer pride priest purple rapture raven robe rock rose rush search shining shower sorrow soul spear spirit storm strength sword their tower travel valley veil vine violet virtue vision wandering wealth weariness weeping wisdom wolf wonder

 

 

English alphabet - Wikipedia, the free encyclopedia

The letters þ and ð are still used in present-day Icelandic. ...
en.wikipedia.org/wiki/English_alphabet

English alphabet

From Wikipedia, the free encyclopedia
Jump to: navigation, search

The modern English alphabet is a Latin-based alphabet consisting of 26 letters[1] – the same letters that are found in the Basic modern Latin alphabet:

Majuscule Forms (also called uppercase or capital letters

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Miniscule Forms (also called lowercase or small letters)

a b c d e f g h i j k l m n o p q r s t u v w x y z

 

The exact shape of printed letters varies depending on the typeface. The shape of handwritten letters can differ significantly from the standard printed form (and between individuals), especially when written in cursive style. See the individual letter articles for information about letter shapes and origins (follow the links on any of the uppercase letters above).

Written English also uses a number of digraphs, but they are not considered to be part of the alphabet.

Contents
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[edit] History

[edit] Old English

The English language was first written in the Anglo-Saxon futhorc runic alphabet, in use from the 5th century. This alphabet was brought to what is now England, along with the proto-form of the language itself, by Anglo-Saxon settlers. Very few examples of this form of written Old English have survived, these being mostly short inscriptions or fragments.

The Latin alphabet, introduced by Christian missionaries, began to replace the Anglo-Saxon futhorc from about the 7th century, although the two continued in parallel for some time. Futhorc influenced the Latin alphabet by providing it with the letters thorn (Þ þ) and wynn (Ƿ ƿ). The letter eth (Ð ð) was later devised as a modification of dee (D d), and finally yogh (Ȝ ȝ) was created by Norman scribes from the insular gee in Old English and Irish, and used alongside their [[Carolingian gee]].

The a-e ligature ash (Æ æ) was adopted as a letter its own right, named after a futhorc rune æsc. In very early Old English the o-e ligature ethel (Œ œ) also appeared as a distinct letter, likewise named after a rune, œðel. Additionally, the v-v or u-u ligature double-u (W w) was in use.

In the year 1011, a writer named Byrhtferð ordered the Old English alphabet for numerological purposes.[2] He listed the 24 letters of the Latin alphabet (including ampersand) first, then 5 additional English letters, starting with the Tironian note ond (⁊) an insular symbol for and:

A B C D E F G H I K L M N O P Q R S T V X Y Z & ⁊ Ƿ Þ Ð Æ

[edit] Modern English

In the orthography of Modern English, thorn (þ), eth (ð), wynn (ƿ), yogh (ȝ), ash (æ), and ethel (œ) are obsolete. Latin borrowings reintroduced homographs of ash and ethel into Middle and Early Modern English, though they are not considered to be the same letters[citation needed] but rather ligatures, and in any case are somewhat old-fashioned. Thorn and eth were both replaced by th, though thorn continued in existence for some time, its lowercase form gradually becoming graphically indistinguishable from the minuscule y in most handwriting. Y for th can still be seen in pseudo-archaisms such as “Ye Olde Booke Shoppe”. The letters þ and ð are still used in present-day Icelandic. Wynn disappeared from English around the fourteenth century when it was supplanted by uu, which ultimately developed into the modern w. Yogh disappeared around the fifteenth century and was typically replaced by gh.

The letters u and j, as distinct from v and i, were introduced in the 16th century, and w assumed the status of an independent letter, so that the English alphabet is now considered to consist of the following 26 letters:

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

The variant lowercase form long s (ſ) lasted into early modern English, and was used in non-final position up to the early 19th century.

The ligatures æ and œ are still used in formal writing for certain words of Greek or Latin origin, such as encyclopædia and cœlom. Lack of awareness and technological limitations (such as their absence from the standard qwerty keyboard) have made it common to see these rendered as "ae" and "oe", respectively, in modern, non-academic usage. These ligatures are not used in American English, where a lone e has mostly supplanted both (for example, encyclopedia for encyclopædia, and fetus for fœtus).

[edit] Diacritics

Diacritic marks mainly appear in loanwords such as naïve and façade. As such words become naturalised there is a tendency to drop the diacritics, as is now often the case with the two mentioned; but, automatic spell-check, as in Microsoft Office, also oftentimes adds the diacritics back in, which has slowed their disappearance in recent years. Words that are still perceived as foreign tend to retain them; for example, the only spelling of soupçon found in English dictionaries (the OED and others) uses the diacritic. Diacritics are also more likely to be retained where there would otherwise be confusion with another word (for example, résumé rather than resume), and, rarely, even added (as in maté, from Spanish yerba mate, but following the pattern of café, from French).

Occasionally, especially in older writing, diacritics are used to indicate the syllables of a word: cursed (verb) is pronounced with one syllable, while cursèd (adjective) is pronounced with two. Similarly, while in chicken coop the letters -oo- represent a single vowel sound (a digraph), in zoölogist and coöperation, they represent two. An acute, grave or diaerisis may also be placed over an 'e' at the end of a word to indicate that it is not silent, and to show how it should be pronounced instead. These devices, are, however, optional, and are in practice now rarely used even where they would serve to alleviate some degree of confusion.

[edit] Ampersand

The ampersand (&) has sometimes appeared at the end of the English alphabet, as in Byrhtferð's list of letters in 1011.[2] Properly speaking the figure is a ligature for the letters Et. In English it is used to represent the word and and occasionally the Latin word et, as in the abbreviation &c (et cetera).

[edit] Apostrophe

The apostrophe, while not considered part of the English alphabet, is used to abbreviate English words. A few pairs of words, such as its (belonging to it) and it's (it is or it has), were (plural of was) and we're (we are), and shed (to get rid of) and she'd (she would or she had) are distinguished in writing only by the presence or absence of an apostrophe. The apostrophe also distinguishes the possessive endings -'s and -s' from the common plural ending -s, a practice introduced in the 18th century; before, all three endings were written -s, which could lead to confusion (as in, the Apostles words).

[edit] Letter names

The names of the letters are rarely spelled out, except when used in derivations or compound words (for example tee-shirt, deejay, emcee, okay, aitchless, wye-level, etc.), derived forms (for example exed out, effing, to eff and blind, etc.), and in the names of objects named after letters (for example em (space) in printing and wye (junction) in railroading). The forms listed below are from the Oxford English Dictionary. Vowels stand for themselves, and consonants usually have the form consonant + ee or e + consonant (e.g. bee and ef). The exceptions are the letters aitch, jay, kay, cue, ar, ess (but es- in compounds ), wye, and zed. Plurals of consonants end in -s (bees, efs, ems) or, in the cases of aitch, ess, and ex, in -es (aitches, esses, exes). Plurals of vowels end in -es (aes, ees, ies, oes, ues); these are rare. Of course, all letters may stand for themselves, generally in capitalized form (okay or OK, emcee or MC), and plurals may be based on these (aes or As, cees or Cs, etc.)

Letter Letter name Pronunciation
A a /eɪ/[3]
B bee /biː/
C cee /siː/
D dee /diː/
E e /iː/
F ef (eff as a verb) /ɛf/
G gee /dʒiː/
H aitch /eɪtʃ/
haitch[4] /heɪtʃ/
I i /aɪ/
J jay /dʒeɪ/
jy[5] /dʒaɪ/
K kay /keɪ/
L el /ɛl/
M em /ɛm/
N en /ɛn/
O o /oʊ/
P pee /piː/
Q cue /kjuː/
R ar /ɑr/[6]
S ess (es-)[7] /ɛs/
T tee /tiː/
U u /juː/
V vee /viː/
W double-u /ˈdʌbəljuː/ in careful speech[8]
X ex /ɛks/
Y wy or wye /waɪ/
Z zed[9] /zɛd/
zee[10] /ziː/
izzard[11] /ˈɪzərd/

Some groups of letters, such as pee and bee, or em and en, are easily confused in speech, especially when heard over the telephone or a radio communications link. Spelling alphabets such as the ICAO spelling alphabet, used by aircraft pilots, police and others, are designed to eliminate this potential confusion by giving each letter a name that sounds quite different from any other.

[edit] Phonology

Main article: English phonology

The letters A, E, I, O, U are considered vowel letters, since (except when silent) they represent vowels; the remaining letters are considered consonant letters, since when not silent they generally represent consonants. However, Y commonly represents vowels as well as a consonant, as very rarely does W. (See Words without vowels.)

[edit] Letter frequencies

Main article: Letter frequency

The letter most frequently used in English is E. The least frequently used letter is Z.

The list below shows the frequency of letter use in English.[12]

Letter Frequency
A 8.17%
B 1.49%
C 2.78%
D 4.25%
E 12.70%
F 2.23%
G 2.02%
H 6.09%
I 6.97%
J 0.15%
K 0.77%
L 4.03%
M 2.41%
N 6.75%
O 7.51%
P 1.93%
Q 0.10%
R 5.99%
S 6.33%
T 9.06%
U 2.76%
V 0.98%
W 2.36%
X 0.15%
Y 1.97%
Z 0.07%

[edit] See also

[edit] Footnotes

  1. ^ See also the section on Ligatures
  2. ^ a b Michael Everson, Evertype, Baldur Sigurðsson, Íslensk Málstöð, On the Status of the Latin Letter Þorn and of its Sorting Order
  3. ^ Sometimes /æ/ in Hiberno-English
  4. ^ sometimes in Australian and Irish English, and usually in Indian English (although often considered incorrect, particularly in Britain)
  5. ^ in Scottish English
  6. ^ /ɔr/ (/ɔər/?) in Hiberno-English
  7. ^ in compounds such es-hook
  8. ^ Especially in American English, the el is not often pronounced in informal speech. (Merriam Webster's Collegiate Dictionary, 10th ed). Common colloquial pronunciations are /ˈdʌbəjuː/, /ˈdʌbəjə/, and /ˈdʌbjə/, especially in terms like www.
  9. ^ in British and Commonwealth English
  10. ^ in American English
  11. ^ in Scottish English
  12. ^ Lewand, Robert (2000). Cryptological Mathematics. The Mathematical Association of America. p. 36. ISBN 978-0883857199. http://books.google.com/books?id=CyCcRAm7eQMC&pg=PA36.  Table also available from [1]
 

 

 

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4
WISE
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
E
5
5
5
4
WISE
56
20
11
-
-
5+6
2+0
1+1
4
WISE
11
2
2
-
-
1+1
-
-
4
WISE
2
2
2

 

W IS E = 5 IS 5 = W IS E

 

-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
+
=
10
1+0
=
1
=
1
=
1
-
-
-
9
19
-
+
=
28
2+8
=
10
1+0
1
=
1
-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
+
=
10
1+0
=
1
=
1
=
1
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-
23
-
-
5
+
=
28
2+8
=
10
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1
=
1
-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
23
9
19
5
+
=
56
5+6
=
11
1+1
2
=
2
-
-
5
9
1
5
+
=
20
2+0
=
2
=
2
=
2
-
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
6
TWO
6
-
-
-
-
-
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
20
4
W
I
S
E
-
-
15
-
-
6
-
20
-
20
2+0
-
-
9
-
-
-
-
1+5
-
-
-
-
2+0
-
1+1
2
4
W
I
S
E
-
-
6
-
-
6
-
2
-
2
-
-
5
9
1
5
-
-
-
-
-
-
-
-
-
-
2
4
W
I
S
E
-
-
6
-
-
6
-
2
-
2

 

W IS E = 5 IS 5 = W IS E

 

4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
+
=
10
1+0
=
1
=
1
=
1
-
-
9
19
-
+
=
28
2+8
=
10
1+0
1
=
1
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
+
=
10
1+0
=
1
=
1
=
1
-
23
-
-
5
+
=
28
2+8
=
10
1+0
1
=
1
4
W
I
S
E
-
-
-
-
-
-
-
-
-
-
-
23
9
19
5
+
=
56
5+6
=
11
1+1
2
=
2
-
5
9
1
5
+
=
20
2+0
=
2
=
2
=
2
4
W
I
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E
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
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1
occurs
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1
=
1
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5
-
-
5
-
-
5
occurs
x
2
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1+0
1
-
-
9
-
-
-
-
9
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1
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9
=
9
4
W
I
S
E
-
-
15
-
-
6
-
20
-
20
-
-
9
-
-
-
-
1+5
-
-
-
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2+0
-
1+1
4
W
I
S
E
-
-
6
-
-
6
-
2
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5
9
1
5
-
-
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-
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-
-
-
-
4
W
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E
-
-
6
-
-
6
-
2
-
2

 

W IS E = 5 IS 5 = W IS E

 

4
WISE
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
E
5
5
5
4
WISE
56
20
11
-
-
5+6
2+0
1+1
4
WISE
11
2
2
-
-
1+1
-
-
4
WISE
2
2
2

 

W IS E = 5 IS 5 = W IS E

 

-
4
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9
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2
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THREE
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8
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occurs
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4
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5
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1
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2
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2

 

W IS E = 5 IS 5 = W IS E

 

4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
-
+
=
10
1+0
=
1
=
1
=
1
-
-
-
9
19
-
-
+
=
28
2+8
=
10
1+0
1
=
1
4
W
-
I
S
-
E
-
-
-
-
-
-
-
-
-
-
-
5
-
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5
+
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10
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=
1
=
1
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1
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23
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-
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5
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28
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=
10
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1
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4
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-
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S
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-
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-
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-
-
-
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23
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9
19
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5
+
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5+6
=
11
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2
=
2
-
5
-
9
1
-
5
+
=
20
2+0
=
2
=
2
=
2
4
W
-
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S
-
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
1
occurs
x
1
=
1
=
1
-
5
-
-
-
-
5
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
=
9
4
W
-
I
S
-
E
-
-
15
-
-
6
-
20
-
20
-
-
-
9
-
-
-
-
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-
-
-
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2+0
-
1+1
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2
-
5
-
9
1
-
5
-
-
-
-
-
-
-
-
-
-
4
W
-
I
S
-
E
-
-
6
-
-
6
-
2
-
2

 

W IS E = 5 IS 5 = W IS E

 

4
WISE
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
E
5
5
5
4
WISE
56
20
11
-
-
5+6
2+0
1+1
4
WISE
11
2
2
-
-
1+1
-
-
4
WISE
2
2
2

 

WISE W IS E WISE

WISE W IS E WISE

5IS5 5 IS 5 5IS5

WISE W IS E WISE

WISE W IS E WISE

 

-
WISE
-
-
-
1
W
23
5
5
-
IS
-
-
-
1
E
5
5
5
2
WISE
28
10
10
-
-
2+8
2+0
1+0
2
WISE
10
1
1
-
-
1+0
-
-
2
WISE
1
1
1

 

W IS E = 5 IS 5 = W IS E

W IS D+O+M = 5 IS 5 = W IS D+O+M

 

-
WISDOM
-
-
-
1
W
23
5
5
-
IS
-
-
-
3
D+O+M
32
14
5
4
WISDOM
55
19
10
-
-
5+5
1+9
1+0
4
WISDOM
10
10
1
-
-
1+0
1+1
1+1
4
WISDOM
1
1
1

 

WISDOM W IS DOM WISDOM

WISDOM W IS DOM WISDOM

5IS5 5 IS 5 5IS5

WISDOM W IS DOM WISDOM

WISDOM W IS DOM WISDOM

 

6
WISDOM
-
-
-
-
W
23
5
5
-
IS
28
10
1
-
D+O+M
32
14
5
6
WISDOM
83
29
10
-
-
8+3
2+9
2+0
6
WISDOM
11
11
2
-
-
1+1
1+1
1+1
6
WISDOM
2
2
2

 

W IS D+O+M = 5 IS 5 = W IS D+O+M

 

6
WISDOM
-
-
-
-
W
23
5
5
-
I
9
9
9
-
S+D+O+M
51
15
6
6
WISDOM
83
29
20
-
-
8+3
2+9
2+0
6
WISDOM
11
11
2
-
-
1+1
1+1
1+1
6
WISDOM
2
2
2

 

W IS D+O+M = 5 IS 5 = W IS D+O+M

 

-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
9
1
-
6
-
+
=
16
1+6
=
7
=
7
-
-
-
9
19
-
15
-
+
=
43
4+3
=
7
=
7
-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
5
-
-
4
-
4
+
=
13
1+3
=
4
=
4
-``
-
23
-
-
4
-
13
+
=
40
4+0
=
4
=
4
-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
23
9
19
4
15
13
+
=
83
8+3
=
11
1+1
2
-
-
5
9
1
4
6
4
+
=
29
2+9
=
11
1+1
2
-
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
4
-
4
-
-
4
occurs
x
2
=
8
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
1
=
9
20
6
W
I
S
D
O
M
-
-
25
-
-
6
-
29
2+0
-
-
9
-
-
-
-
-
-
2+5
-
-
-
-
2+9
2
6
W
I
S
D
O
M
-
-
7
-
-
6
-
11
-
-
5
9
1
4
6
4
-
-
-
-
-
-
-
1+1
2
6
W
I
S
D
O
M
-
-
7
-
-
6
-
2

 

W IS D+O+M = 5 IS 5 = W IS D+O+M

 

6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
9
1
-
6
-
+
=
16
1+6
=
7
=
7
-
-
9
19
-
15
-
+
=
43
4+3
=
7
=
7
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
5
-
-
4
-
4
+
=
13
1+3
=
4
=
4
-
23
-
-
4
-
13
+
=
40
4+0
=
4
=
4
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
23
9
19
4
15
13
+
=
83
8+3
=
11
1+1
2
-
5
9
1
4
6
4
+
=
29
2+9
=
11
1+1
2
6
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
4
-
4
-
-
4
occurs
x
2
=
8
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
6
-
-
-
6
occurs
x
1
=
6
-
-
9
-
-
-
-
-
-
9
occurs
x
1
=
9
6
W
I
S
D
O
M
-
-
25
-
-
6
-
29
-
-
9
-
-
-
-
-
-
2+5
-
-
-
-
2+9
6
W
I
S
D
O
M
-
-
7
-
-
6
-
11
-
5
9
1
4
6
4
-
-
-
-
-
-
-
1+1
6
W
I
S
D
O
M
-
-
7
-
-
6
-
2

 

W IS D+O+M = 5 IS 5 = W IS D+O+M

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

 

5
RIVER
-
-
-
-
R
18
9
9
-
I
9
9
9
-
V+E
27
9
9
-
R
18
9
9
5
RIVER
72
36
36
-
-
7+2
3+6
3+6
5
RIVER
9
9
9

 

 

5
IRISH
-
-
-
-
I
9
9
9
-
R
18
9
9
-
I
9
9
9
-
S+H
27
9
9
5
IRISH
63
36
36
-
-
6+3
3+6
3+6
5
IRISH
9
9
9

 

 

5
RISHI
-
-
-
-
R
18
9
9
-
I
9
9
9
-
S+H
27
9
9
-
I
9
9
9
5
RISHI
63
36
36
-
-
6+3
3+6
3+6
5
RISHI
9
9
9

 

 

-
5
R
I
S
H
I
-
-
-
-
-
--
-
-
-
-
-
-
-
9
1
8
9
+
=
27
2+7
=
9
=
9
-
9
-
-
-
9
19
8
9
+
=
45
4+5
=
9
=
9
-
9
-
5
R
I
S
H
I
-
-
-
-
-
--
-
-
-
-
-
-
9
-
-
-
-
+
=
9
-
=
9
=
9
-
9
-
-
18
-
-
-
-
+
=
18
1+8
=
9
=
9
-
9
-
5
R
I
S
H
I
-
-
-
-
-
--
-
-
-
-
-
-
18
9
19
8
9
+
=
63
6+3
=
9
=
9
-
9
-
-
9
9
1
8
9
+
=
36
3+6
=
9
=
9
-
9
-
5
R
I
S
H
I
T
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-``
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
7
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
9
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
27
5
R
I
S
H
I
-
-
18
-
-
5
-
36
-
18
2+7
-
9
9
-
-
9
-
-
1+8
-
-
-
-
3+6
-
1+8
9
5
R
I
S
H
I
-
-
9
-
-
5
-
9
-
9

 

 

5
R
I
S
H
I
-
-
-
-
-
--
-
-
-
-
-
-
9
1
8
9
+
=
27
2+7
=
9
=
9
-
9
-
-
9
19
8
9
+
=
45
4+5
=
9
=
9
-
9
5
R
I
S
H
I
-
-
-
-
-
--
-
-
-
-
-
9
-
-
-
-
+
=
9
-
=
9
=
9
-
9
-
18
-
-
-
-
+
=
18
1+8
=
9
=
9
-
9
5
R
I
S
H
I
-
-
-
-
-
--
-
-
-
-
-
18
9
19
8
9
+
=
63
6+3
=
9
=
9
-
9
-
9
9
1
8
9
+
=
36
3+6
=
9
=
9
-
9
5
R
I
S
H
I
T
-
-
-
-
-
-
-
-
-
-
-
-
1
-``
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
=
8
-
9
9
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
5
R
I
S
H
I
-
-
18
-
-
5
-
36
-
18
-
9
9
-
-
9
-
-
1+8
-
-
-
-
3+6
-
1+8
5
R
I
S
H
I
-
-
9
-
-
5
-
9
-
9

 

 

6
K
R
I
S
N
A
--
-
-
-
-
-
-
11
18
9
19
14
1
+
=
72
7+2
=
9
-
2
9
9
10
5
1
+
=
36
3+6
=
9
-
2
9
9
1
5
1
+
=
27
2+7
=
9
6
K
R
I
S
N
A
--
-
-
-
-
-

 

 

10
KRISNA-HARI
-
-
-
-
HARI
36
27
9
-
KRISNA
72
36
9
10
KRISNA-HARI
108
63
9
1+0
-
1+0+8
6+3
-
1
KRISNA-HARI
9
9
9
-
-
-
-
-
-
-
-
-
-
7
KRISHNA
80
35
8
5
KRSNA
63
18
9

 

 

6
KRISNA
-
-
-
-
K
11
2
2
-
R
18
9
9
-
I
9
9
9
-
SNA
34
16
7
6
KRISNA
72
36
27
-
-
7+2
3+6
2+7
6
KRISNA
9
9
9

 

 

10
SRI-KRISHNA
-
-
-
3
SRI
46
19
1
7
KRISHNA
80
35
8
10
SRI-KRISHNA
126
54
9
1+0
-
1+2+6
5+4
-
1
SRI-KRISHNA
9
9
9

 

 

10
SRI-KRISHNA
-
-
-
1
S
19
10
1
1
R
18
9
9
1
I
9
9
9
1
K
2
2
2
1
R
18
9
9
1
I
9
9
9
2
SH
27
18
9
2
NA
15
6
6
10
SRI-KRISHNA
126
54
9
1+0
-
1+2+6
5+4
-
1
SRI-KRISHNA
9
9
9

 

 

--
4
H
A
R
I
-
-
-
-
-
--
-
-
-
-
-
-
8
-
-
9
+
=
17
1+7
=
8
=
8
=
8
--
4
H
A
R
I
-
-
-
-
-
--
-
-
-
-
-
-
-
1
-
-
+
=
1
-
=
1
=
1
=
1
--
4
H
A
R
I
-
-
-
-
-
--
-
-
-
-
-
-
8
1
18
9
+
=
36
3+6
=
9
=
9
=
9
-
-
8
1
9
9
+
=
27
2+7
=
9
=
9
=
9
-
4
H
A
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
9
9
-
-
9
occurs
x
2
=
18
1+8
9
27
4
H
A
R
I
-
-
18
-
-
4
-
27
-
18
2+7
-
-
-
9
9
-
-
1+8
-
-
-
-
2+7
-
1+8
9
4
H
A
R
I
-
-
9
-
-
4
-
9
-
9
-
-
8
1
9
9
-
-
-
-
-
-
-
-
-
-
9
4
H
A
R
I
-
-
9
-
-
4
-
9
-
9

 

 

--
7
H
A
S
H
I
S
H
-
-
-
-
-
--
-
-
-
-
-
-
8
-
1
8
9
1
8
+
=
35
3+5
=
8
=
8
=
8
-
-
8
-
19
8
9
19
8
+
=
71
7+1
=
8
=
8
=
8
--
7
H
A
S
H
I
S
H
-
-
-
-
-
--
-
-
-
-
-
-
-
1
-
-
-
-
-
+
=
1
-
=
1
=
1
=
1
--
7
H
A
S
H
I
S
H
-
-
-
-
-
--
-
-
-
-
-
-
8
1
19
8
9
19
8
+
=
72
7+2
=
9
=
9
=
9
-
-
8
1
1
8
9
1
8
+
=
36
3+6
=
9
=
9
=
9
-
7
H
A
S
H
I
S
H
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
1
-
-
-
1
occurs
x
3
=
3
=
3
2
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
8
-
-
8
-
-
8
-
-
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
27
7
H
A
S
H
I
S
H
-
-
18
-
-
7
-
36
-
18
2+7
-
-
-
-
-
9
-
-
-
-
1+8
-
-
-
-
3+6
-
1+8
9
7
H
A
S
H
I
S
H
-
-
9
-
-
7
-
9
-
9
-
-
8
1
1
8
9
1
8
-
-
-
-
-
-
-
-
-
-
9
7
H
A
S
H
I
S
H
-
-
9
-
-
7
-
9
-
9

 

 

7
H
A
S
H
I
S
H
-
-
-
-
-
--
-
-
-
8
-
1
8
9
1
8
+
=
35
3+5
=
8
=
8
-
8
-
19
8
9
19
8
+
=
71
7+1
=
8
=
8
7
H
A
S
H
I
S
H
-
-
-
-
-
--
-
-
-
-
1
-
-
-
-
-
+
=
1
-
=
1
=
1
7
H
A
S
H
I
S
H
-
-
-
-
-
--
-
-
-
8
1
19
8
9
19
8
+
=
72
7+2
=
9
=
9
-
8
1
1
8
9
1
8
+
=
36
3+6
=
9
=
9
7
H
A
S
H
I
S
H
-
-
-
-
-
-
-
-

 

 

4
H
A
R
I
-
-
-
-
-
--
-
-
-
-
-
8
-
-
9
+
=
17
1+7
=
8
=
8
=
8
4
H
A
R
I
-
-
-
-
-
--
-
-
-
-
-
-
1
-
-
+
=
1
-
=
1
=
1
=
1
4
H
A
R
I
-
-
-
-
-
--
-
-
-
-
-
8
1
18
9
+
=
36
3+6
=
9
=
9
=
9
-
8
1
9
9
+
=
27
2+7
=
9
=
9
=
9
4
H
A
R
I
-
-
-
-
-
-
-
-
-
-

 

 
5
S
H
I
V
A
-
-
-
-
-
--
-
-
-
1
8
9
-
-
+
=
18
1+8
=
9
=
9
-
19
8
9
-
-
+
=
36
3+6
=
9
=
9
5
S
H
I
V
A
-
-
-
-
-
--
-
-
-
-
-
-
4
1
+
=
5
-
=
5
=
5
-
-
-
-
-
22
1
+
=
23
2+3
=
5
=
5
-
5
S
H
I
V
A
-
-
-
-
-
--
-
-
-
-
19
8
9
22
1
+
=
59
5+9
=
14
1+4
5
-
-
1
8
9
4
1
+
=
23
2+3
=
5
=
5
-
5
S
H
I
V
A
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
1
occurs
x
2
=
2
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
--
-
8
-
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
23
5
S
H
I
V
A
-
-
22
-
-
5
-
23
2+3
-
-
-
9
-
-
-
-
2+2
-
-
-
-
2+3
5
5
S
H
I
V
A
-
-
4
-
-
5
-
5

 

 

5
S
H
I
V
A
-
-
-
-
-
--
-
-
-
-
8
9
-
-
+
=
18
1+8
=
9
=
9
-
-
8
9
-
-
+
=
36
3+6
=
9
=
9
5
S
H
I
V
A
-
-
-
-
-
--
-
-
-
-
-
-
4
1
+
=
5
-
=
5
=
5
-
-
-
-
22
1
+
=
23
2+3
=
5
=
5
5
S
H
I
V
A
-
-
-
-
-
--
-
-
-
-
8
9
22
1
+
=
59
5+9
=
14
1+4
5
-
-
8
9
4
1
+
=
23
2+3
=
5
=
5
5
S
H
I
V
A
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
--
-
8
-
-
-
-
-
8
occurs
x
1
=
8
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
5
S
H
I
V
A
-
-
22
-
-
5
-
23
-
-
-
9
-
-
-
-
2+2
-
-
-
-
2+3
5
S
H
I
V
A
-
-
4
-
-
5
-
5

 

 

-
7
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
-
-
-
9
1
8
5
-
+
=
23
2+3
=
5
=
5
=
5
-
`-
-
-
9
19
8
14
-
+
=
50
5+0
=
5
=
5
=
5
-
7
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
-
2
9
-
-
-
-
1
+
=
12
1+2
=
3
=
3
=
3
-
`-
11
18
-
-
-
-
1
+
=
30
3+0
=
3
=
3
=
3
-
7
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
`-
11
18
9
19
8
14
1
+
=
80
8+0
=
8
=
8
=
8
-
-
2
9
9
1
8
5
1
+
=
35
3+5
=
8
=
8
=
8
-
7
K
R
I
S
H
N
A
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
1
occurs
x
2
=
2
=
2
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
--
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
=
5
6
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
9
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
20
7
K
R
I
S
H
N
A
-
-
25
-
-
7
-
35
-
26
2+0
-
-
9
9
-
-
-
-
-
-
2+5
-
-
-
-
3+5
-
2+6
2
7
K
R
I
S
H
N
A
-
-
7
-
-
7
-
8
-
8

 

 

7
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
-
-
9
1
8
5
-
+
=
23
2+3
=
5
=
5
=
5
`-
-
-
9
19
8
14
-
+
=
50
5+0
=
5
=
5
=
5
7
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
2
9
-
-
-
-
1
+
=
12
1+2
=
3
=
3
=
3
`-
11
18
-
-
-
-
1
+
=
30
3+0
=
3
=
3
=
3
7
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
`-
11
18
9
19
8
14
1
+
=
80
8+0
=
8
=
8
=
8
-
2
9
9
1
8
5
1
+
=
35
3+5
=
8
=
8
=
8
7
K
R
I
S
H
N
A
T
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
1
occurs
x
2
=
2
=
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
--
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
9
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
7
K
R
I
S
H
N
A
-
-
25
-
-
7
-
35
-
26
-
-
9
9
-
-
-
-
-
-
2+5
-
-
-
-
3+5
-
2+6
7
K
R
I
S
H
N
A
-
-
7
-
-
7
-
8
-
8

 

 

-
7
S
R
I
T
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
-
1
-
9
-
-
-
9
1
8
5
-
+
=
33
3+3
=
6
=
6
=
6
-
`-
19
-
9
-
-
-
9
19
8
14
-
+
=
78
7+8
=
15
1+5
6
=
6
-
7
S
R
I
T
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
-
-
9
-
-
2
9
-
-
-
-
1
+
=
21
2+1
=
3
=
3
=
3
-
`-
-
18
-
-
11
18
-
-
-
-
1
+
=
48
4+8
=
3
=
3
=
3
-
7
S
R
I
-
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
`-
19
18
9
-
11
18
9
19
8
14
1
+
=
126
1+2+6
=
9
=
9
=
9
-
-
1
9
9
T
2
9
9
1
8
5
1
+
=
54
5+4
=
9
=
9
=
9
-
7
S
R
I
-
K
R
I
S
H
N
A
T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
-
1
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
T
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
T
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
-
-
-
T
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
=
5
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
-
T
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
9
-
-
9
9
-
-
-
-
-
-
9
occurs
x
4
=
36
1+8
9
20
7
S
R
I
-
K
R
I
S
H
N
A
-
-
25
-
-
10
-
54
-
27
2+0
-
-
9
9
-
-
9
9
-
-
-
-
-
-
2+5
-
-
 1+0
-
5+4
-
2+7
2
7
S
R
I
-
K
R
I
S
H
N
A
-
-
7
-
-
1
-
9
-
9

 

 

7
S
R
I
T
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
1
-
9
-
-
-
9
1
8
5
-
+
=
33
3+3
=
6
=
6
=
6
`-
19
-
9
-
-
-
9
19
8
14
-
+
=
78
7+8
=
15
1+5
6
=
6
7
S
R
I
T
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
-
-
9
-
-
2
9
-
-
-
-
1
+
=
21
2+1
=
3
=
3
=
3
`-
-
18
-
-
11
18
-
-
-
-
1
+
=
48
4+8
=
3
=
3
=
3
7
S
R
I
-
K
R
I
S
H
N
A
-
-
-
-
-
--
-
-
-
-
`-
19
18
9
-
11
18
9
19
8
14
1
+
=
126
1+2+6
=
9
=
9
=
9
-
1
9
9
-
2
9
9
1
8
5
1
+
=
54
5+4
=
9
=
9
=
9
7
S
R
I
T
K
R
I
S
H
N
A
T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
-
1
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
--
-
-
-
T
-
-
-
-
-
5
-
T
-
5
occurs
x
1
=
5
=
5
-
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
9
-
-
9
9
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
7
S
R
I
-
K
R
I
S
H
N
A
-
-
25
-
-
10
-
54
-
27
-
-
9
9
-
-
9
9
-
-
-
-
-
-
2+5
-
-
1+0
-
5+4
-
2+7
7
S
R
I
-
K
R
I
S
H
N
A
-
-
7
-
-
1
-
9
-
9

 

 

6
KRISNA
-
-
-
-
K
11
2
2
-
R
18
9
9
-
I
9
9
9
-
SNA
34
16
7
6
KRISNA
72
36
27
-
-
7+2
3+6
2+7
6
KRISNA
9
9
9

 

 

10
SRI-KRISHNA
-
-
-
3
SRI
46
19
1
7
KRISHNA
80
35
8
10
SRI-KRISHNA
126
54
9
1+0
-
1+2+6
5+4
-
1
SRI-KRISHNA
9
9
9

 

 

10
SRI-KRISHNA
-
-
-
1
S
19
10
1
1
R
18
9
9
1
I
9
9
9
1
K
2
2
2
1
R
18
9
9
1
I
9
9
9
2
SH
27
18
9
2
NA
15
6
6
10
SRI-KRISHNA
126
54
9
1+0
-
1+2+6
5+4
-
1
SRI-KRISHNA
9
9
9

 

SRI KRISHNA'S REMEMBERING

'Many lives Arjuna, you and I have lived.

I remember them all but thou dost not.'

Bhagavad Gita, iv, 5., iv, 5.

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
M
=
4
-
4
MANY
53
17
8
-
-
-
-
-
-
-
-
8
-
L
=
3
-
5
LIVES
67
22
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
6
ARJUNA
65
20
2
-
-
2
-
-
-
-
-
-
-
Y
=
1
-
3
YOU
61
16
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
H
=
4
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
L
=
6
-
5
LIVED
52
25
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
8
REMEMBER
79
43
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
4
THEM
46
19
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
B
=
2
-
3
BUT
43
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
4
THOU
64
19
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
4
DOST
58
13
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
-
4
-
-
-
-
-
-
-
67
-
61
First Total
735
267
87
-
3
2
3
12
5
6
35
8
27
-
-
6+7
-
6+1
Add to Reduce
7+3+5
2+6+7
8+7
-
-
-
-
1+2
-
-
3+5
-
2+7
-
-
13
-
7
Second Total
15
15
6
-
3
2
3
3
5
6
8
8
9
-
-
1+3
-
-
Reduce to Deduce
1+5
1+5
1+5
-
-
-
-
-
-
-
-
-
-
-
-
4
-
7
Essence of Number
6
6
6
-
3
2
3
3
5
6
8
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
4
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
M
=
4
-
4
MANY
53
17
8
-
-
-
-
-
8
-
L
=
3
-
5
LIVES
67
22
4
-
-
-
4
-
-
-
A
=
1
-
6
ARJUNA
65
20
2
-
-
2
-
-
-
-
Y
=
1
-
3
YOU
61
16
7
-
-
-
-
7
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
9
H
=
4
-
4
HAVE
36
18
9
-
-
-
-
-
-
9
L
=
6
-
5
LIVED
52
25
7
-
-
-
-
7
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
9
R
=
9
-
8
REMEMBER
79
43
7
-
-
-
-
7
-
-
T
=
2
-
4
THEM
46
19
1
-
1
-
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
7
-
-
B
=
2
-
3
BUT
43
7
7
-
-
-
-
7
-
-
T
=
2
-
4
THOU
64
19
1
-
1
-
-
-
-
-
D
=
4
-
4
DOST
58
13
4
-
-
-
4
-
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
4
-
-
-
-
-
67
-
61
First Total
735
267
87
-
3
2
12
35
8
27
-
-
6+7
-
6+1
Add to Reduce
7+3+5
2+6+7
8+7
-
-
-
1+2
3+5
-
2+7
-
-
13
-
7
Second Total
15
15
6
-
3
2
3
8
8
9
-
-
1+3
-
-
Reduce to Deduce
1+5
1+5
1+5
-
-
-
-
-
-
-
-
-
4
-
7
Essence of Number
6
6
6
-
3
2
3
8
8
9

 

 

4
GODS
45
18
9
6
SPIRIT
91
37
1
4
ISIS
89
35
8
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
4
7
KRISHNA
80
35
3
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

GODS SPIRIT GODS

ISIS OSIRIS VISHNU SHIVA SHRI KRISHNA SHRISTI RISHI ISHI CHRIST

SING A SONG OF NINES OF NINES A SONG SING

 

 

WISDOM OF THE EAST

by Hari Prasad Shastri 1948

Page 8

"There is no such word in Sanscrita as 'Creation' applied to the universe. The Sanscrita word for Creation is Shristi, which means 'projection' Creation means to bring something into being out /Page 9/ of nothing, to create, as a novelist creates a character. There was no Miranda, for example, until Shakespeare created her. Similarly the ancient Indians (this term is innacurately used as there was no India at that time). who were our ancestors long, long ago. used a word for creation that means 'projection'.

 

4
HARI
36
27
9
6
PRASAD
59
23
5
7
SHASTRI
94
31
4
17
First Total
189
81
18
1+7
Add to Reduce
1+8+9
8+1
1+8
8
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
8
Essence of Number
9
9
9

 

 

-
SHRISTI
-
-
-
2
SH
27
18
9
1
R
18
9
9
1
I
9
9
9
2
ST
39
12
2
1
I
9
9
9
7
SHRISTI
102
32
14
-
-
7+7
3+2
1+4
7
SHRISTI
14
5
5

 

 

-
7
S
H
R
I
S
T
I
-
-
-
-
-
--
-
-
-
-
-
-
1
8
-
9
1
-
9
+
=
28
2+8
=
10
1+0
1
=
1
-
-
19
8
-
9
19
-
9
+
=
64
6+4
=
10
1+0
1
=
1
-
7
S
H
R
I
S
T
I
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
2
-
+
=
11
1+1
=
2
=
2
=
2
-
-
-
-
18
-
-
20
-
+
=
38
3+8
=
11
1+1
2
=
2
-
7
S
H
R
I
S
T
I
-
-
-
-
-
-
-
-
-
-
-
-
19
8
18
9
19
20
9
+
=
102
1+0+2
=
3
=
3
=
3
-
-
1
8
9
9
1
2
9
+
=
39
3+9
=
12
1+2
3
=
3
-
7
S
H
R
I
S
T
I
T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
2
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
7
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
9
9
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
25
7
S
H
R
I
S
T
I
-
-
20
-
-
7
-
39
-
21
2+5
-
-
-
9
9
-
-
9
-
-
2+0
-
-
-
-
3+9
-
2+1
7
7
S
H
R
I
S
T
I
-
-
2
-
-
7
-
12
-
3
-
-
1
8
9
9
1
2
9
-
-
-
-
-
-
-
1+2
-
-
7
7
S
H
R
I
S
T
I
-
-
2
-
-
7
-
3
-
3

 

 

7
S
H
R
I
S
T
I
-
-
-
-
-
--
-
-
-
-
-
1
8
-
9
1
-
9
+
=
28
2+8
=
10
1+0
1
=
1
-
19
8
-
9
19
-
9
+
=
64
6+4
=
10
1+0
1
=
1
7
S
H
R
I
S
T
I
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
2
-
+
=
11
1+1
=
2
=
2
=
2
-
-
-
18
-
-
20
-
+
=
38
3+8
=
11
1+1
2
=
2
7
S
H
R
I
S
T
I
-
-
-
-
-
-
-
-
-
-
-
19
8
18
9
19
20
9
+
=
102
1+0+2
=
3
=
3
=
3
-
1
8
9
9
1
2
9
+
=
39
3+9
=
12
1+2
3
=
3
7
S
H
R
I
S
T
I
T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
2
-
-
-
2
occurs
x
1
=
2
=
2
-
-
8
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
9
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
7
S
H
R
I
S
T
I
-
-
20
-
-
7
-
39
-
21
-
-
-
9
9
-
-
9
-
-
2+0
-
-
-
-
3+9
-
2+1
7
S
H
R
I
S
T
I
-
-
2
-
-
7
-
12
-
3
-
1
8
9
9
1
2
9
-
-
-
-
-
-
-
1+2
-
-
7
S
H
R
I
S
T
I
-
-
2
-
-
7
-
3
-
3

 

 

Shri if used by itself and not followed by any name then it refers to the supreme consciousness i.e. God.

 

-
SHRI
-
-
-
2
S+H
27
18
9
1
R
18
9
9
1
I
9
9
9
4
SHRI
54
36
27
-
-
5+4
3+6
2+7
4
SHRI
9
9
9

 

RISH SHRI RISH

SAPTARSHI A PAST RISH SAPTARSHI

SAPTARSHI A STAR SHIP SAPTARSHI

 

 

1
I
9
9
9
2
ME
18
9
9
4
EYES
54
18
9
-
-
-
-
-
-
-
-
-
-
1
I
9
9
9
2
IS
28
10
1
3
ISH
36
18
9
4
ISIS
56
20
2
6
ISH-ISH
72
36
9

 

 

THE LOST LANGUAGE OF SYMBOLISM

Harold Bayley 1912

Page 278

"According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."

 

-
ISH-ISH
-
-
-
1
I
9
9
9
2
SH
27
18
9
1
I
9
9
9
2
SH
27
18
9
6
ISH-ISH
72
36
9
-
-
-
-
-
-
-
-
-
-
4
ISHI
45
36
9
5
RISHI
63
36
9
5
IRISH
63
36
9
7
HASHISH
72
36
9

Page 278

"According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."

 

HOLY BIBLE

Scofield References

Page 922

C 2 V 16

AND IT SHALL BE AT THAT DAY, SAITH THE LORD, THAT THOU SHALT CALL ME

ISHI

 

 

-
ISHI
-
-
-
1
I
9
9
9
2
SH
27
18
9
1
I
9
9
9
4
ISHI
45
36
9
-
-
4+5
3+6
-
4
ISHI
9
9
9

 

 

THE LOST LANGUAGE OF SYMBOLISM

Harold Bayley 1912

Page 278

"According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."

 

 

6
ISH-ISH
72
36
9
4
ISHI
45
36
9

 

Page 278

"ONE-EYE, TWO-EYES, THREE-EYES"

"According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH,

 

 

 

 

https://en.wikipedia.org/wiki/Sri

Etymology[edit]
Sri has a core meaning of "diffusing light or radiance", related to the root sra "to cook, boil", but as a feminine abstract noun, it has received a general meaning of "grace, splendour, beauty; wealth, affluence, prosperity".[1][2]
Derived forms of address are Shrimati (abbreviated Smt) for married women and Sushri for women (regardless of marital status).

Useage
Sri is a polite form of address equivalent to the English "Mr." or "Ms."[3] The title is derived from Sanskrit (sriman). This use may stem from the Puranic conception of prosperity.

Shri is also frequently used as an epithet of some Hindu gods, in which case it is often translated into English as Holy. Also in language and general usage, Shri if used by itself and not followed by any name then it refers to the supreme consciousness i.e. God.

Shri Devi (or in short Shri, another name of Lakshmi, consort of Vishnu) is the devi (goddess) of wealth according to Hindu beliefs. Among today's orthodox Vaishnavas, the English word "Shree" is a revered syllable and is used to refer to Lakshmi as the supreme goddess, while "Sri" or "Shri" is used to address humans.

Shri is one of the names of Ganesha, the Hindu god of prosperity.

Shri is also used as a title of the Hindu deities Rama, Krishna, Saraswati, Radha (used as Shrimati Radharani), and sometimes Durga.

Other Useage
Shri, along with the forms Shrimati (for married women, equivalent to English Mrs.) and Sushri, is often used by Hindus, Buddhists, Sikhs and Jains as a respectful affix to the names of celebrated or revered persons.

There is a common practice of writing Shri as the first word centralised in line at the beginning of a document.

On Vidyara?bha? ceremony, the mantra "Om hari sri ganapataye namah" is written on sand or in a tray of rice grains by the child, under the supervision of Guru or Priest.

Another usage is as an emphatic compound (which can be used several times: shri shri, or shri shri shri, etc.) in princely styles, notably in Darbar Sri, Desai Shri, and Thakur Sri or Shrii Shrii Anandamurti, the founder of the social and spiritual movement Ananda Marga (the Path of Bliss).

The honorific can also be applied to objects and concepts that are widely respected, such as the Sikh religious text, the Shri Guru Granth Sahib. Similarly, when the Ramlila tradition of reenacting the Ramayana is referred to as an institution, the term Shri Ramlila is frequently used.

 

4
GODS
45
18
9
6
SPIRIT
91
37
1
4
ISIS
89
35
8
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
4
7
KRISHNA
80
35
3
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

 

Word Records > Longest Words This is the longest word in the first edition of the Oxford English Dictionary. Interestingly the most common letter in English, E, does not appear in this ...
www.fun-with-words.com/word_longest.html - Cached - Similar

 

What is the most common letter? | Answerbag What is the most common letter? the bills they keep sending me. ... Im Alec. The most common letters in the English language are, in order, ETAOINSHRDLU. ...
www.answerbag.com/q_view/111800 - Cached - Similar

 

Herbert S. Zim, in his classic introductory cryptography text "Codes and Secret Writing", gives the English letter frequency sequence as "ETAON RISHD LFCMU GYPWB VKXJQ Z", the most common letter pairs as "TH HE AN RE ER IN ON AT ND ST ES EN OF TE ED OR TI HI AS TO", and the most common doubled letters as "LL EE SS OO TT FF RR NN PP CC".[1]

"ETAON RISHD LFCMU GYPWB VKXJQ Z"

 

 

4 ISHI 45 27 9
7 RISHI 63 36 9
2 SHAH 36 9 9
7 HASHISH 72 36 36

 

 

ISHI TELL IRISH RISHI HOW MANY FISH DIED THE DEATH

 

RISHI

Rishi: Hindu - Hinduism Dictionary on Rishi

rishi: (Sanskrit) "Seer."

"A term for an enlightened being, emphasizing psychic perception and visionary wisdom. In the Vedic age, rishis lived in forest or mountain retreats, either alone or with disciples. These rishis were great souls who were the inspired conveyers of the Vedas. Seven particular rishis (the sapta-rishis) mentioned in the Rig Veda are said to still guide mankind from the inner worlds."

See: shruti.

(See also: Rishi , Hinduism, Body Mind and Soul)

http://www.experiencefestival.com/a/Rishi/id/61594

 

 

-
5
R
I
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
8
9
+
=
27
2+7
=
9
=
9
=
9
-
-
-
9
19
8
9
+
=
45
4+5
=
9
=
9
=
9
-
5
R
I
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
+
=
9
-
=
9
=
9
=
9
-
-
18
-
-
-
-
+
=
18
1+8
=
9
=
9
=
9
-
5
R
I
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
18
9
19
8
9
+
=
63
6+3
=
9
=
9
=
9
-
-
9
9
1
8
9
+
=
36
3+6
=
9
=
9
=
9
-
5
R
I
S
H
I
T
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-``
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
7
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
9
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
27
5
R
I
S
H
I
-
-
18
-
-
5
-
36
-
18
2+7
-
9
9
-
-
9
-
-
1+8
-
-
-
-
3+6
-
1+8
9
5
R
I
S
H
I
-
-
9
-
-
5
-
9
-
9
-
-
9
9
1
8
9
T
-
-
-
-
-
-
-
-
-
9
5
R
I
S
H
I
-
-
9
-
-
5
-
9
-
9

 

 

5
R
I
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
9
1
8
9
+
=
27
2+7
=
9
=
9
=
9
-
-
9
19
8
9
+
=
45
4+5
=
9
=
9
=
9
5
R
I
S
H
I
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
+
=
9
-
=
9
=
9
=
9
-
18
-
-
-
-
+
=
18
1+8
=
9
=
9
=
9
5
R
I
S
H
I
-
-
-
-
-
-
-
-
-
-
-
18
9
19
8
9
+
=
63
6+3
=
9
=
9
=
9
-
9
9
1
8
9
+
=
36
3+6
=
9
=
9
=
9
5
R
I
S
H
I
T
-
-
-
-
-
-
-
-
-
-
-
-
1
-``
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
=
8
-
9
9
-
-
9
-
-
9
occurs
x
3
=
27
2+7
9
5
R
I
S
H
I
-
-
18
-
-
5
-
36
-
18
-
9
9
-
-
9
-
-
1+8
-
-
-
-
3+6
-
1+8
5
R
I
S
H
I
-
-
9
-
-
5
-
9
-
9
-
9
9
1
8
9
T
-
-
-
-
-
-
-
-
-
5
R
I
S
H
I
-
-
9
-
-
5
-
9
-
9

 

 

http://en.wikipedia.org/wiki/Rishi

RISHI

ETYMOLOGY

The word's etymology is unknown. It has an Avestan cognate ərəšiš (Yasna 31.5) "an ecstatic" (see also Yurodivy, Vates). Monier-Williams tentatively suggests derivation from drś "to see"(1) and he also compares Old Irish arsan, "a sage, a man old in wisdom". Manfred Mayrhofer in his Etymological Dictionary prefers a connection to either (omitted) "pour, flow" (PIE) *h1ers), or to ras "yell".

In the Vedas, the word denotes a singer of sacred hymns, an inspired poet or sage, or any person who alone or with others invokes the deities in rhythmical speech or song of a sacred character. In particular, it refers to the authors of the hymns of the Rigveda, e.g. Kutsa, Atri, Rebha, Agastya,Kushika, Vasishtha, Vyashva. Later generations regarded the Rishis as patriarchal sages or saints, occupying the same position in India history as the heroes and patriarchs of other countries, constituting a peculiar class of beings in the early mythical system, as distinct from Asuras, Devas and mere mortal men.

Seven Rishis (the Saptarshi) are often mentioned in the Brahmanas and later works as typical representatives of the character and spirit of the pre-historic or mythical period; in Shatapatha Brahmana 14.5.2.6, their names are Gautama, Bharadvaja, Vishvamitra, Jamadagni, Vasishtha, Kashyapa, and Atri. In Mahabharata 12, on the other hand, Marici, Atri, Angiras, Pulaha, Kratu, Pulastya and Vasishtha. In addition to the Saptarshi, there are other classifications of sages. In descending order of precedence, they are Brahmarshi, Maharshi, Rajarshi.

In Vedic astronomy, the Saptarsh form the constellation of Ursa Major (e. g. RV 10.82.2; AV. 60.40.1. Metaphorically the Saptarsh may stand for the seven senses or the seven vital airs of the body.

"Seven Rishis (the Saptarsh) are often mentioned in the Brahmanas"

"In Vedic astronomy, the Saptarsh form the constellation of Ursa Major"

"Saptarsh may stand for the seven senses or the seven vital airs of the body"

 

 

SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI

 

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
STAR
58
13
4
4
SHIP
52
25
7
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI

SAPTARSHI A PAST RISH A PAST RISH SAPTARSHI

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
PAST
56
11
2
4
RISH
54
27
8
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

 

-
SAPTARSHI
-
-
-
3
S+A+P
36
18
9
2
T+A
21
3
3
4
R+S+H+I
27
18
9
9
SAPTARSHI
111
39
21
-
-
1+1+1
3+9
2+1
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3
-
-
-
-
-
-
-
-
-
-
9
SAPTARSHI
111
39
3
9
A STARSHIP
111
39
3

 

 

-
SAPTARSHI
-
-
-
2
S+A
20
11
2
2
P+T
36
9
9
1
A
1
1
1
1
R
18
9
9
2
SH
27
18
9
1
I
9
9
9
9
SAPTARSHI
111
57
39
-
-
1+1+1
5+7
3+9
9
SAPTARSHI
3
12
12
-
-
-
1+2
1+2
9
A STARSHIP
3
3
3

 

 

-
A STARSHIP
-
-
-
1
A
1
1
1
3
S+T+A
40
13
4
1
R
18
9
9
2
SH
27
18
9
1
I
9
9
9
1
P
16
7
7
9
A STARSHIP
111
57
39
-
-
1+1+1
5+7
3+9
9
A STARSHIP
3
12
12
-
-
-
1+2
1+2
9
SAPTARSHI
3
3
3

 

 

SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI

 

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
STAR
58
13
4
4
SHIP
52
25
7
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

 

--
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
8
9
+
=
19
1+9
=
10
1+0
1
=
1
-
-
19
-
-
-
-
-
19
8
9
+
=
55
5+5
=
10
1+0
1
=
1
--
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
-
1
7
2
1
9
-
-
-
+
=
20
2+0
=
2
=
2
=
2
-
-
-
1
16
20
1
18
-
-
-
+
=
56
5+6
=
11
1+1
2
=
2
--
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
19
1
16
20
1
18
19
8
9
+
=
111
1+1+1
=
3
=
3
=
3
-
-
1
1
7
2
1
9
1
8
9
+
=
39
3+9
=
12
1+2
3
=
3
-
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
1
-
1
-
-
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
18
9
S
A
P
T
A
R
S
H
I
-
-
27
-
-
9
-
39
-
30
1+8
-
1
1
-
-
1
-
1
-
-
-
-
2+7
-
-
-
-
3+9
-
3+0
9
9
S
A
P
T
A
R
S
H
I
-
-
9
-
-
9
-
12
-
3
-
-
1
1
7
2
1
9
1
8
9
-
-
-
-
-
-
-
1+2
-
-
9
9
S
A
P
T
A
R
S
H
I
-
-
9
-
-
9
-
3
-
3

 

 

9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
8
9
+
=
19
1+9
=
10
1+0
1
=
1
-
19
-
-
-
-
-
19
8
9
+
=
55
5+5
=
10
1+0
1
=
1
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
-
1
7
2
1
9
-
-
-
+
=
20
2+0
=
2
=
2
=
2
-
-
1
16
20
1
18
-
-
-
+
=
56
5+6
=
11
1+1
2
=
2
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
19
1
16
20
1
18
19
8
9
+
=
111
1+1+1
=
3
=
3
=
3
-
1
1
7
2
1
9
1
8
9
+
=
39
3+9
=
12
1+2
3
=
3
9
S
A
P
T
A
R
S
H
I
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
1
-
1
-
-
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
7
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
9
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
9
S
A
P
T
A
R
S
H
I
-
-
27
-
-
9
-
39
-
30
-
1
1
-
-
1
-
1
-
-
-
-
2+7
-
-
-
-
3+9
-
3+0
9
S
A
P
T
A
R
S
H
I
-
-
9
-
-
9
-
12
-
3
-
1
1
7
2
1
9
1
8
9
-
-
-
-
-
-
-
1+2
-
-
9
S
A
P
T
A
R
S
H
I
-
-
9
-
-
9
-
3
-
3

 

 

 

-
SAPTARSHI
-
-
-
2
S+A
20
11
2
2
P+T
36
9
9
1
A
1
1
1
1
R
18
9
9
2
SH
27
18
9
1
I
9
9
9
9
SAPTARSHI
111
57
39
-
-
1+1+1
5+7
3+9
9
SAPTARSHI
3
12
12
-
-
-
1+2
1+2
9
A STARSHIP
3
3
3

 

 

-
A STARSHIP
-
-
-
1
A
1
1
1
3
S+T+A
40
13
4
1
R
18
9
9
2
SH
27
18
9
1
I
9
9
9
1
P
16
7
7
9
A STARSHIP
111
57
39
-
-
1+1+1
5+7
3+9
9
A STARSHIP
3
12
12
-
-
-
1+2
1+2
9
SAPTARSHI
3
3
3

 

 

SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI

 

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
STAR
58
13
4
4
SHIP
52
25
7
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

 

--
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
8
9
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
-
19
-
-
-
19
8
9
-
+
=
55
5+5
=
10
1+0
1
=
1
--
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
2
1
9
-
-
-
7
+
=
20
2+0
=
2
=
2
=
2
-
-
1
-
-
20
1
18
-
-
-
16
+
=
56
5+6
=
11
1+1
2
=
2
--
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
-
1
-
19
20
1
18
19
8
9
16
+
=
111
1+1+1
=
3
=
3
=
3
-
-
1
-
1
2
1
9
1
8
9
7
+
=
39
3+9
=
12
1+2
3
=
3
-
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
1
-
-
-
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
18
9
A
-
S
T
A
R
S
H
I
P
-
-
27
-
-
9
-
39
-
30
1+8
-
-
-
-
-
-
9
-
-
9
-
-
-
2+7
-
-
-
-
3+9
-
3+0
9
9
A
-
S
T
A
R
S
H
I
P
-
-
9
-
-
9
-
12
-
3
-
-
1
-
1
2
1
9
1
8
9
7
-
-
-
-
-
-
-
1+2
-
-
9
9
A
-
S
T
A
R
S
H
I
P
-
-
9
-
-
9
-
3
-
3

 

 

9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
8
9
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
19
-
-
-
19
8
9
-
+
=
55
5+5
=
10
1+0
1
=
1
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
1
-
-
2
1
9
-
-
-
7
+
=
20
2+0
=
2
=
2
=
2
-
1
-
-
20
1
18
-
-
-
16
+
=
56
5+6
=
11
1+1
2
=
2
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
1
-
19
20
1
18
19
8
9
16
+
=
111
1+1+1
=
3
=
3
=
3
-
1
-
1
2
1
9
1
8
9
7
+
=
39
3+9
=
12
1+2
3
=
3
9
A
-
S
T
A
R
S
H
I
P
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
1
-
-
-
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
-
7
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
9
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
9
A
-
S
T
A
R
S
H
I
P
-
-
27
-
-
9
-
39
-
30
-
-
-
-
-
-
9
-
-
9
-
-
-
2+7
-
-
-
-
3+9
-
3+0
9
A
-
S
T
A
R
S
H
I
P
-
-
9
-
-
9
-
12
-
3
-
1
-
1
2
1
9
1
8
9
7
-
-
-
-
-
-
-
1+2
-
-
9
A
-
S
T
A
R
S
H
I
P
-
-
9
-
-
9
-
3
-
3

 

 

9
SAPTARSHI
111
39
3
-
-
-
-
-
-
-
-
-
-
3
THE
33
15
6
4
STAR
58
13
4
4
SHIP
52
25
7
2
IS
28
10
1
13
Add to Reduce
171
63
18
1+3
Reduce to Deduce
1+7+1
6+3
1+8
4
Essence of Number
9
9
9

 

 

9
SAPTARSHI
-
-
-
1
A
1
1
1
4
PAST
56
11
2
4
RISH
54
27
8
9
SAPTARSHI
111
39
12
-
-
1+1+1
3+9
1+2
9
SAPTARSHI
3
12
3
-
-
-
1+2
-
9
SAPTARSHI
3
3
3

 

 

--
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
9
1
8
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
-
-
-
19
-
-
-
9
19
8
+
=
55
5+5
=
10
1+0
1
=
1
--
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
7
1
-
2
-
9
-
-
-
+
=
20
2+0
=
2
=
2
=
2
-
-
1
-
16
1
-
20
-
18
-
-
-
+
=
56
5+6
=
11
1+1
2
=
2
--
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
16
1
19
20
-
18
9
19
8
+
=
111
1+1+1
=
3
=
3
=
3
-
-
1
-
7
1
1
2
-
9
9
1
8
+
=
39
3+9
=
12
1+2
3
=
3
-
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
1
-
-
-
-
1
-
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
-
9
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
18
9
A
-
P
A
S
T
-
R
I
S
H
-
-
27
-
-
9
-
39
-
30
1+8
-
-
-
-
-
-
-
-
9
9
-
-
-
-
2+7
-
-
-
-
3+9
-
3+0
9
9
A
-
P
A
S
T
-
R
I
S
H
-
-
9
-
-
9
-
12
-
3
-
-
1
-
7
1
1
2
-
9
9
1
8
-
-
-
-
-
-
-
1+2
-
-
9
9
A
-
P
A
S
T
-
R
I
S
H
-
-
9
-
-
9
-
3
-
3

 

 

9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
9
1
8
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
-
-
19
-
-
-
9
19
8
+
=
55
5+5
=
10
1+0
1
=
1
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
1
-
7
1
-
2
-
9
-
-
-
+
=
20
2+0
=
2
=
2
=
2
-
1
-
16
1
-
20
-
18
-
-
-
+
=
56
5+6
=
11
1+1
2
=
2
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
1
-
16
1
19
20
-
18
9
19
8
+
=
111
1+1+1
=
3
=
3
=
3
-
1
-
7
1
1
2
-
9
9
1
8
+
=
39
3+9
=
12
1+2
3
=
3
9
A
-
P
A
S
T
-
R
I
S
H
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
1
-
-
-
-
1
-
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
9
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
9
A
-
P
A
S
T
-
R
I
S
H
-
-
27
-
-
9
-
39
-
30
-
-
-
-
-
-
-
-
9
9
-
-
-
-
2+7
-
-
-
-
3+9
-
3+0
9
A
-
P
A
S
T
-
R
I
S
H
-
-
9
-
-
9
-
12
-
3
-
1
-
7
1
1
2
-
9
9
1
8
-
-
-
-
-
-
-
1+2
-
-
9
A
-
P
A
S
T
-
R
I
S
H
-
-
9
-
-
9
-
3
-
3

 

 

8
EXOTERIC
99
45
9
8
ESOTERIC
94
40
4

 

 

-
ESOTERIC
-
-
-
1
E
5
5
5
1
S
19
10
1
1
O
15
6
6
1
T
20
2
2
1
E
5
5
5
1
R
18
9
9
1
I
9
9
9
1
C
3
3
3
8
ESOTERIC
94
49
40
-
-
9+4
4+9
4+0
8
ESOTERIC
13
13
4
-
-
1+3
1+3
-
8
ESOTERIC
4
4
4

 

ESOTERIC O SECRET I ESOTERIC

ESOTERIC

6 SECRET 9

ESOTERIC

ESOTERIC O SECRET I ESOTERIC

 

-
ESOTERIC
-
-
-
1
O
15
6
6
6
SECRET
70
34
7
1
I
9
9
9
8
ESOTERIC
94
49
22
-
-
9+4
4+9
2+2
8
ESOTERIC
13
13
4
-
-
1+3
1+3
-
8
ESOTERIC
4
4
4

 

-
ESOTERIC
-
-
-
1
I
9
9
9
6
SECRET
70
34
7
1
O
15
6
6
8
ESOTERIC
94
49
22
-
-
9+4
4+9
2+2
8
ESOTERIC
13
13
4
-
-
1+3
1+3
-
8
ESOTERIC
4
4
4

 

ESOTERIC I SECRET O ESOTERIC

ESOTERIC

9 SECRET 6

ESOTERIC

ESOTERIC O SECRET I ESOTERIC

 

 

 

5
RISHI
63
36
9
4
FISH
42
24
6
3
OIL
36
18
9
12
First Total
141
78
24
1+2
Add to Reduce
1+4+1
7+8
2+4
3
Second Total
6
15
6
-
Reduce to Deduce
-
1+5
-
3
Essence of Number
6
6
6

 

 

5
RISHI
63
36
9
1
F
6
6
6
3
ISH
36
18
9
3
OIL
36
18
9
12
First Total
141
78
33
1+2
Add to Reduce
1+4+1
7+8
3+3
3
Second Total
6
15
6
-
Reduce to Deduce
-
1+5
-
3
Essence of Number
6
6
6

 

 

-
RISHI-F-ISH OIL
-
-
-
1-
R
18
9
9
1
I
9
9
9
2
S+H
27
18
9
1
I
9
9
9
1
F
6
6
6
1
I
9
9
9
2
S+H
27
18
9
3
OIL
36
18
9
12
RISHI-F-ISH OIL
141
96
69
1+2
-
1+4+1
9+6
6+9
3
RISHI-F-ISH OIL
6
15
15
-
-
-
1+5
1+5
3
RISHI-F-ISH OIL
6
6
6

 

 

THE HOLY BIBLE

Scofield References

Page 1145

C 21 V 11

SIMON PETER

WENT UP, AND DREW THE NET TO LAND FULL OF GREAT FISHES,

AN

HUNDRED AND FIFTY AND THREE

AND FOR ALL THERE WERE SO MANY, YET WAS NOT THE NET BROKEN.

 

 

7
HUNDRED
74
38
2
3
AND
19
10
1
5
FIFTY
66
30
3
3
AND
19
10
1
5
THREE
56
29
2
23
-
234
117
9
2+3
-
2+3+4
1+1+7
-
5
-
9
9
9
-
-
-
-
-
-
-
-
-
-
5
GREAT
51
24
6
6
FISHES
66
30
3
11
-
117
54
9
1+1
-
1+1+7
5+4
-
2
-
9
9
9

 

153 x 12 = 1836 = 12 x 153

 

CITY OF REVELATION

John Michell 1973

Page 95

C

NINE

The Literary Canon; 153 Fishes in the Net

Simon Peter went up and drew the net to land full of great fishes, one hundred and fifty and three' (John 21.11)

 

 

3
ONE
34
16
7
7
HUNDRED
74
38
2
5
FIFTY
66
30
3
3
AND
19
10
1
5
THREE
56
29
2
6
FISHES
66
30
3
29
-
315
153
18
2+9
-
3+1+5
1+5+3
1+8
11
-
9
9
9
1+1
-
-
-
-
2
-
9
9
9

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
50

-
10
PROMETHEUS
140
59
50
-
1
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Prometheus - Wikipedia, the free encyclopedia
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In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus (disambiguation) - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

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

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

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

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

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

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

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

1.3 Other authors

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

5.2 The aesthetic Post-Renaissance tradition 5.2.1 Classical music, opera, and ballet
5.2.2 In film

6 Notes
7 References
8 Further reading
9 External links

Myths and legends[edit]

Greek deities
series

Titans
Olympians
Aquatic deities
Chthonic deities
Personified concepts
Other deities

Titans

The Twelve Titans:
Oceanus and Tethys,
Hyperion and Theia,
Coeus and Phoebe,
Cronus and Rhea,
Mnemosyne, Themis,
Crius, Iapetus
Children of Oceanus:
Oceanids, Potamoi, Calypso
Children of Hyperion:
Helios, Selene, Eos
Daughters of Coeus:
Leto and Asteria
Sons of Iapetus:
Atlas, Prometheus,
Epimetheus, Menoetius
Sons of Crius:
Astraeus, Pallas, Perses

The oldest legends of Prometheus among the Ancients[edit]

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

Hesiod and the Theogony[edit]

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

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

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

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

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

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

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

Pindar and the Nemean Odes[edit]

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

Pythagoras and the Pythagorean Doctrine[edit]

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

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

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

Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]

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

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

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

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

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

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

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

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

Plato and the Philosophical Interpretation of Prometheus[edit]

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

The Athenian tradition of religious dedication and observance[edit]

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

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

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

The Aesthetic tradition of Prometheus in Athenian art[edit]

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

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

Other authors[edit]

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

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

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

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

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

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

Religious symbolism in late Roman antiquity[edit]

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

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

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

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

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

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

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

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

The allegorical tradition of the Middle Ages[edit]

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

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

Prometheus in the Renaissance[edit]

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

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

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

The Post-Renaissance tradition[edit]

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

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

The literary Post-Renaissance tradition[edit]

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

Goethe and the Prometheus-Ganymede poems[edit]

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

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

"Prometheus"

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

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

Percy Bysshe Shelley and Prometheus Unbound[edit]

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

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

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

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

Mary Shelley and Frankenstein: The Modern Prometheus[edit]

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

Prometheus in the Twentieth Century[edit]

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

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

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

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

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

The aesthetic Post-Renaissance tradition[edit]

Classical music, opera, and ballet[edit]

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

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

In film[edit]

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

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

Notes[edit]

1.Smith, "Prometheus".
2. William Hansen, Classical Mythology: A Guide to the Mythical World of the Greeks and Romans (Oxford University Press, 2005), pp. 32, 48–50, 69–73, 93, 96, 102–104, 140; as trickster figure, p. 310.
3.Krishna, Gopi; Hillman, James (commentary) (1970). Kundalini – the evolutionary energy in man. London: Stuart & Watkins. p. 77. SBN 7224 0115 9.
4.Lewis Richard Farnell, The Cults of the Greek States (Oxford: Clarendon Press, 1896), vol. 1, pp. 36, 49, 75, 277, 285, 314, 346; Carol Dougherty, Prometheus (Routledge, 2006), p. 42ff..
5 Reinhardt, Karl. Aischylos als Regisseur und Theologe, p. 30.
6.Philippson, Pauls. Untersuchungen uber griechischen Mythos: Genealogie als mythische Form.
7.: a b c d Hesiod, Theogony 590-93.
8.M.L. West commentaries on Hesiod, W.J. Verdenius commentaries on Hesiod, and R. Lamberton's Hesiod, pp.95–100.
9."The Aetos Kaukasios (or Caucasian Eagle) in the Prometheus Myth". Theoi.com. Retrieved 2012-05-18.
10."Hesiod, ''Theogony''". Theoi.com. Retrieved 2012-05-18.
11.Hesiod, WORKS AND DAYS Translation By H. G. Evelyn-White
12.Casanova, La famiglia di Pandora: analisi filologica dei miti di Pandora e Prometeo nella tradizione esiodea (Florence) 1979.
13.Hesiod, Theogony, 526-33.
14.In this Casanova is joined by some editors of Theogony.
15.Homer. The Iliad. Trans. E.V. Rieu. Penguin Classics. Harmondsworth and Baltimore, 1960.
16.Homeri opera. Edited by Thomas W. Allen. 2nd edn., Oxford, 1908-12, 5 vols. (V.)
17.Kerenyi, C. Prometheus: Archetypal image of Human Existence, p. 27.
18 Kerenyi, p.28.
19.Pindar, Nemean Ode VI (cf. tr. Lattimore, p. 111.)
20.Hesiod. The Evelyn-White translation, pp. 10-11.
21.De die natali IV 3. Eng. trans. "On Birthdays."
22.Kernyi, C. (1963). Prometheus: Archetypal Image of Human Existence. Pantheon Books for Random House, Inc.
23.: a b "Aeschylus, ''Prometheus Bound''". Theoi.com. Retrieved 2012-05-18.
24.Jump up ^ Some of these changes are rather minor. For instance, rather than being the son of Iapetus and Clymene Prometheus becomes the son of Themis. In addition, the chorus makes a passing reference (561) to Prometheus' wife Hesione, whereas a fragment from Hesiod's Catalogue of Women fr. 4 calls her by the name of Pryneie, a possible corruption for Pronoia.
25. William Lynch, S.J. Christ and Prometheus. University of Notre Dame Press.
26.Lynch, p. 4-5.
27.Bloom, Harold (2202). Bloom's Major Dramatists: Aeschylus. Chelsea House Publishers, 2002.
28.de Romilly, Jacqueline (1968). Time in Greek Tragedy. (Ithaca: Cornell University Press, 1968), pp. 72-73, 77-81.
29."Bloom's Major Dramatists," p.14-15.
30.Rosenmeyer, Thomas (1982). The Art of Aeschylus. Berkekley: University of California Press, 1982, pp. 270-71, 281-83.
31.Harold Bloom. Bloom's Guides: Oedipus Rex, Chelsea Press, New York, 2007, p. 8.
32.Raggio, Olga (1958). London: Warburg and Courtauld Institutes.
33.Plato (1958). Protagoras, p. 320ff.
34. Raggio, p. 45.
35. Plato, Protagoras; Hansen, Classical Mythology, p. 159.
36.: a b c d e "Theoi Project: "Prometheus:". Theoi.com. Retrieved 2012-05-18.
37.: a b Dougherty, Prometheus, p. 46.
38.Lucian, Prometheus 14.
39.On the association of the cults of Prometheus and Hephaestus, see also Scholiast to Sophocles, Oedipus at Colonus 56, as cited by Robert Parker, Polytheism and Society at Athens (Oxford University Press, 2007), p. 472.
40.Pausanias 1.30.2; Scholiast to Plato, Phaedrus 231e; Dougherty, Prometheus, p. 46; Peter Wilson, The Athenian Institution of the Khoregia: The Chorus, the City and the Stage (Cambridge University Press, 2000), p. 35.
41.Pausanias 1.30.2.
42.Possibly also Pan; Wilson, The Athenian Institution of the Khoregia, p. 35.
43.Farnell, The Cults of the Greek States, vol. 1, p. 277; Parker, Polytheism and Society at Athens, p. 409.
44.Aeschylus, Suppliants frg. 202, as cited by Parker, Polytheism and Society at Athens, p. 142.
45.O. Jahn, Archeologische Beitrage, Berlin, 1847, pl. VIII (Amphora from Chiusi).
46.Milchhofer, Die Befreiung des Prometheus in Berliner Winckelmanns-Programme, 1882, p. 1ff.
47.Cf. Ovid, Metamorphoses, I, 78ff.
48."30 Years". Mlahanas.de. 1997-11-10. Retrieved 2012-05-18.
49."30,000 Years". Theoi.com. Retrieved 2012-05-18.
50.Fortson, Benjamin W. (2004). Indo-European Language and Culture: An Introduction. Blackwell Publishing, p. 27.; Williamson 2004, 214–15; Dougherty, Carol (2006). Prometheus. p. 4.
51.Raggio, p48.
52.Tertullian. Apologeticum XVIII,3.
53.Wilpert, J. (1932), I Sarcofagi Christiani, II, p. 226.
54.Wilpert, I, pl CVI, 2.
55.Raggio, p. 48.
56.Furtwangler, Die Antiken Gemmen, 1910, I, pl. V, no. 37.
57.Furtwangler, op. cit., pl. XXXVII, nos. 40, 41, 45, 46.
58.to: a b c d Campbell, Joseph. The Hero with a Thousand Faces.
59.Lynch, William. Christ and Prometheus.
60.Dostoevski, Fyodor. The Brothers Karamazov, chapter on "The Grand Inquisitor."
61.Servius, note to Vergil's Eclogue 6.42: Prometheus vir prudentissimus fuit, unde etiam Prometheus dictus est ἀπὸ τής πρόμηθείας, id est a providentia.
62."Dionysos". Theoi.com. Retrieved 2012-05-18.
63.to: a b Raggio, p.53.
64.to: a b Raggio, p.54.
65.Munich, Alte Pinakothek, Katalog, 1930, no. 8973. Strasburg, Musee des Beaux Arts, Catalog, 1932, no. 225.
66.Parmigianino: The Drawings, Sylvie Beguin et al. ISBN 88-422-1020-X.
67.Raggio, Olga (1958). The Myth of Prometheus, London: Warburg Institute.
68.Kerenyi, C. (1963).Prometheus: Archetypal Image of Human Existence, Bollingen Foundation, Random House, Inc., p. 11.
69.Bloom, Harold (1959). Shelley's Mythmaking, Yale University Press, New Haven, Connecticut, p. 9.
70.Bloom (1959), Chapter 3.
71.Bloom, Harold (1985). Percy Bysshe Shelley. Modern Critical Editions, p.8. Chelsea House Publishers, New York.
72.Bloom, Harold (1985). Percy Bysshe Shelley. Modern Critical Editions, p. 27. Chelsea House Publishers, New York.
73.Bloom, Harold (1959). Shelley's Mythmaking, Yale University Press, New Haven, Connecticut, p. 29.
74.Heidegger, Martin. Being and Time.
75.Bloom, Harold (1985). Percy Bysshe Shelley. Modern Critical Editions, p. 28. Chelsea House Publishers, New York.
76.Translated by Willa and Edwin Muir. See Glatzer, Nahum N., ed. "Franz Kafka: The Complete Stories" Schocken Book, Inc.: New York, 1971.
77.Stach, Reiner (3013). Kafka: The years of Insight, Princeton University Press, English translation.
78.R.J. Zwi Werblowsky, Lucifer and Prometheus, as summarized by Gedaliahu G. Stroumsa, "Myth into Metaphor: The Case of Prometheus," in Gilgul: Essays on Transformation, Revolution and Permanence in the History of Religions, Dedicated to R.J. Zwi Werblowsky (Brill, 1987), p. 311; Steven M. Wasserstrom, Religion after Religion: Gershom Scholem, Mircea Eliade, and Henry Corbin at Eranos (Princeton University Press, 1999), p. 210; James Randall Noblitt and Pamela Sue Perskin, Cult and Ritual Abuse: Its History, Anthropology, and Recent Discovery in Contemporary America (Greenwood Praeger, 2000, rev. ed.), p. 133.
79. Liszt: Les Preludes / Tasso / Prometheus / Mephisto Waltz No. 1 by Franz Liszt, Georg Solti, London Philharmonic Orchestra and Orchestre de Paris (1990).
80.Scriabin: Symphony No. 3 The Divine Poem, Prometheus Op. 60 The Poem of Fire by Scriabin, Richter and Svetlanov (1995).
81.Scriabin: Complete Symphonies/Piano Concerto/Prometheus/Le Poeme de l'extase by A. Scriabin (2003), Box Set.
82.Prométhée; Tragédie Lyrique En 3 Actes De Jean Lorrain & F.a. Hérold (French Edition) by Fauré, Gabriel, 1845-1924, Paul Alexandre Martin, 1856-1906. Prométhée, . Duval and A.-Ferdinand (André-Ferdinand), b. 1865. Prométhée, Herold (Sep 24, 2012).
83. Grand Sonata, Op. 33, "Les quatre ages" (The four ages): IV. 50 ans Promethee enchaine (Prometheus enchained): Extrement lent, Stefan Lindgren.
84.Beethoven: Creatures of Prometheus by L. von Beethoven, Sir Charles Mackerras and Scottish Chamber Orchestra (2005).
85.Goethe lieder. Stanislaw Richter. Audio CD (July 25, 2000), Orfeo, ASIN: B00004W1H1.
86.Orff, Carl. Prometheus. Voice and Orchestra. Audio CD (February 14, 2006), Harmonia Mundi Fr., ASIN: B000BTE4LQ.
87.Orff, Carl (2005). Prometheus, Audio CD (May 31, 2005), Arts Music, ASIN: B0007WQB6I.
88.Orff, Carl (1999). Prometheus, Audio CD (November 29, 1999), Orfeo, ASIN: B00003CX0N.
89.Prometheus libretto in modern Greek and German translation, 172 pages, Schott; Bilingual edition (June 1, 1976), ISBN 3795736412.
90.Prometheus (4 Disc 3D/Blu-ray/DVD/Ultraviolet Collector's Limited Edition) (2012).
91.Taylor, Benji (2012). WC magazine, 17 July 2012.
92.Taylor, Benji (2012). WC magazine, 22 June 2012.
93.Taylor, Benji (2012). WC magazine, 5 July 2012.
94.Taylor, 17 July 2012, p. 4.

References[edit]
Alexander, Hartley Burr. The Mythology of All Races. Vol 10: North American. Boston, 1916.
Beall, E.F., Hesiod's Prometheus and Development in Myth, Journal of the History of Ideas, Vol. 52, No. 3 (Jul. – Sep., 1991), pp. 355–371
Dougherty, Carol. Prometheus. Taylor & Francis, 2006. ISBN 0-415-32406-8, ISBN 978-0-415-32406-9
Erdoes, Richard and Alfonso Ortiz, edds. American Indian Myths and Legends. New York, 1984.
Fortson, Benjamin. Indo-European Language and Culture: An Introduction. Blackwell Publishing, 2004.
Judson, Katharine B. Myths and Legends of the Pacific Northwest. Chicago, 1912.
Lamberton, Robert. Hesiod, Yale University Press, 1988. ISBN 0-300-04068-7
Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873).
Swanton, John. "Myths and Tales of the Southeastern Indians." Bureau of American Ethnology Bulletin 88: 1929.
Verdenius, Willem Jacob, "A Commentary on Hesiod: Works and Days, Vv. 1–382", Brill, 1985, ISBN 90-04-07465-1
West, M.L., "Hesiod, Theogony, ed. with prolegomena and commentary", Oxford: Clarendon Press 1966
West, M.L., "Hesiod, Works and Days, ed. with prolegomena and commentary", Oxford: Clarendon Press 1978
Westervelt, W.D. Legends of Maui – a Demigod of Polynesia, and of His Mother Hina. Honolulu, 1910.
Williamson, George S. The Longing for Myth in Germany: Religion and Aesthetic Culture from Romanticism to Nietzsche (Chicago, 2004)....

Further reading[edit]
Alcman. Fragments. In: Lyra graeca. Edited and translated the J.M.Edmonds. (LCL.) 1922-27. 3 Vols. (I.)
Appolodorus. The Library. With an English translation by James Frazer. (LCL.) 1912-21. 2 vols. (I.)
Appolonius Rhodius. Argonautica. With an English translation by R.C. Seaton, (LCL.) 1912.
--. Scholia in Apollonius Rhodium vetera. Edited by Karl Wendel. (Bibliotechecae graecae et latinae auctarium Weidmannianum, IV.) Berlin, 1935.
Athenaeus. The Deipnosophists. With an English translation by Charles Burton Gulick. (LCL.) 1927-41. 7 Vol. (IV, VII).
Beazley, J.D. "Prometheus Fire-Lighter," AJA, XLIII (1939).
Boll, Franz. "Kronos-Helios." Arch RW, XIX (1916–19).
Catullus, Gaius Valerius. Poems. Translated by Francis Warre Cornish. In: "Catullus, Tibullus, and Pervigilium Veneris". (LCL.) 1913.
Censorinus. De die natali liber. Edited by Friedrich Hultsch. (Bibliotheca Teubneriana.) Leipzig. 1867.
Cicero, Marcus Tullius. Tuscalan Disputations. With an English translation by J.E. King. (LCL.) 1927.
Diels, Hermann (ed.) Die Fragmente der Vorsakratiker. 6th edn., Berlin, 1951-52. 3 vols.
Doerig, J., and Olof Gigon. Der Kampf der Gotter und Titanene. Olten and Lausanne. 1961.
Eckhart, Lothar. "Prometheus in der bildenden Kunst." In: RE, ser. 2, XLV, s.v. "Prometheus," cols. 702-30.
Eitrem, Samson. "De Prometheo." Eranos (Goetegorg), XLIV (1946).
Euphorion. Scholia. In: John Undershell Powell (ed.). Collectanea Alexandria: reliquiae minotes poetarum graecorum aetatis Ptolemaicae 323-146 A.C., epicorum, elegiacorum, lyricorum, ethicorum. Oxford, 1925.
Fernandes, Ângela, "Human values and spiritual values: Traces of Prometheus in Portuguese literature and criticism", in journal Neohelicon, Akadémiai Kiadó, co-published with Springer Science+Business Media B.V., Volume 34, Number 1 / June, 2007, pp. 41–49. doi:10.1007/s11059-007-1004-z
Freeman, Kathleen (tr.). Ancilla ato the Pre-Socratic Philosophers. Cambridge, Mass, 1948.
Gardi, Rene. Der schwarze Hephaestus, Bern, 1954.
Gerhard, Eduard. Etruskische Spiegel (Miroirs etrusques). Berlin. 1841-97, 5 vols. (II, nos 138, 139).
Hederich, Benjamin. Reales Schullexicon. Leipzig. 1731.
Hesiod, the Homeric Hymns, and Homerics. With an English translation by Hugh G. Evelyn-White. (LCL.) 1920.
Hesychios of Alexandria. Hesychii Alexandrini lexicon post Ioannem Albertum. Jena, 1858-62. 4 vols. (II).
Hippolytus. Refutatio omnium haeresium [Philosophymena, or Elenchos]. In: Philoosophymena; or, The Refutation of All Heresies. London, 1921, 2 vols. (I.)
Hyginus. Astronomica. Leipzig, 1875.
--. Fabulae. Jena, 1872.
Inscriptiones graeca. Consilio et autoritate Academiae Litterarum Regiae Borussicae editum. 2nd edn., Berlin, 1873 ff. 14 vols. (XII).
Jacoby, Felix. FGrHist. (Duris of Samos in II; Hekataios in I.)
Kerényi, Carl, (Translated by Ralph Manheim) "Prometheus: Archetypal Image of Human Existence", Princeton University Press, 1997. ISBN 0-691-01907-X.
Kraus, Walther. "Prometheus," IN: RE, ser. 2, XLV.
Kretschmer, Paul. "Die protindogermanische Schicht." Glotta (Gottingen), XIV (1925).
Lobel, Edgar; E.P. Wegener; and C.H. Roberts. The Oxyrhynchus Papyri. (Egypt Exploratin Society.) London, 1952. (XX.)
Lykophron. Scolia. In: Isaac and John Tzetzes. Likophonos Alexandra to skoteinon poinma. Edited by; M.C. Gottfried Muller. Leipzig. 1811. 3 vols. (I.)
Malinowski, Bronislaw. Myth in Primitive Psychology. (The New Science Series, I.) New York, 1926. (Psyche Miniatures, General Series, 6; London, 1926.)
Menodotos. Cited by Athenaeus (q.v.).
Montfaucon, Bernard de. L'Antique expliquee et represent en figures. Paris, 1719. 5 vols. in 10. (I.)
Mysteries, The. (Papers from he Eranos Yearbooks, 2; ed. Joseph Campbell.) New York (Bolligen Series XXX) and London, 1955.
Nauck, August. See Aeschylus, Fragments.
Ocellus [Okellos]. Okellos o Lenkanos peri tou pantos, oder des Ocellus von Lukanien Betrachtungen uber die Welt. Leipzig, 1795.
Onomakritos. Fragments. In: Otto Kern (ed.). Orphicorum fragmenta. Berlin, 1922.
Otto, Walter F. The Homeric Gods: The Spiritual Significance of Greek Religion. : London, 1955.
Tischbein, William (ed.). Collection of Engravings from Ancient Vases of Greek Workmanship ... in the Possession of Sir Wm. Hamilton. Naples, 1791-95. 3 vols. (III, Pl. 19.)
Titanomachia ("The War of the Titans"). Fragment 6. In: Epicorum graecorum fragment. Edited by Gottfried Kinkel. Leipzig, 1877.
Xenophanes. Fragments. In: Diels (q.v.).

External links[edit]

Look up prometheus in Wiktionary, the free dictionary.

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Book "Prometheus Bound" (free download – two volumes about 600 pages)

Greek mythology (deities)

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Rhadamanthus

Categories: Creator gods
Greek culture heroes
Greek deities
Greek mythological hero cult
Greek mythology
Primordial teachers
Titans
Wisdom gods

 

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

1
I
9
9
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THAT
49
13
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14
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33
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BRINGER
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Add to Reduce
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THE

BALANCING

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PROMETHEUS
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PROMETHEUS
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ORPHEUS
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33
15
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LIGHT
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7
BRINGER
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Essence of Number
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1
I
9
9
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4
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49
13
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2
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14
14
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LIGHT
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7
BRINGER
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1
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Reduce to Deduce
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Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

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1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
50

-
10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

Prometheus - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Prometheus‎ Cached
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In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus (disambiguation) - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

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

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

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

 

 

 
 
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