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Evokation
  
 
Index
  

 

 

 

 

 

.....

 

 

THE LAST SUPPER 1977

 

 

 

 

 

 

 

 

 

 

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1
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9
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18
19
20
21
22
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24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
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3
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7
8
A
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-
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A
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1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
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7
8
A
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A

HISTORY OF GOD

Karen Armstrong 1993

The God of the Mystics

Page 250

"Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

 

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

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 RAM WHEN IN CONJUNCTION SET

THE

FAR YONDER SCRIBE

MADE RECORD OF THE FALL

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

 

THE DEATH OF GODS IN ANCIENT EGYPT

Jane B. Sellars 1992

Page 204

"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:

Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10

Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.

Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.

The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.

A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the / Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)

If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.

This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.

Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.

But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less than the figure of 25,920.

With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, incorrect by a difference of from 2,397.9 years to 3,024.

Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'

AN IMPORTANT POSTSCRIPT

Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.

Page 206

Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12

This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.

Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.

Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.

Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13

Page 207

"...Feniusa Farsa, Graves equates this hero with Dionysus. Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials

We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14

Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15

Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16

In Hamlet's Mill de Santillana adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)

The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18

Whatever one may think-of some of these number coincidences, it becomes difficult to escape the suspicion that many signs (number and otherwise) - indicate that early man observed the results of the movement of Precession and that the - transmission of this information was considered of prime importance.

With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced, that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':

"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four. Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radius ekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up his piece of stripped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"

 

 

A

MAZE

IN

ZAZAZA ENTER AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

-
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
7
RAINBOW
82
37
1
5
LIGHT
56
29
2
15
THE RAINBOW LIGHT
171
81
9
1+5
-
1+7+1
8+1
-
6
THE RAINBOW LIGHT
9
9
9

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

15
THE RAINBOW LIGHT
-
-
-
-
THE
33
15
6
-
R
18
9
9
-
A
1
1
1
-
I
9
9
9
-
N+B+O+W
54
18
9
-
L
12
3
3
-
I
9
9
9
-
G+H+T
35
17
8
15
THE RAINBOW LIGHT
171
81
54
1+5
-
1+7+1
8+1
5+4
6
THE RAINBOW LIGHT
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
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
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

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

0
-
Z
=
8
-
4
ZERO
64
28
1
1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
42
-
40
Add
522
225
45
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
9
-
-
-
6
-
4
Deduce
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
-
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

1
-
O
=
6
-
3
ONE
34
16
7
2
-
T
=
2
-
3
TWO
58
13
4
3
-
T
=
2
-
5
THREE
56
29
2
4
-
F
=
6
-
4
FOUR
60
24
6
5
-
F
=
6
-
4
FIVE
42
24
6
6
-
S
=
1
-
3
SIX
52
16
7
7
-
S
=
1
-
5
SEVEN
65
20
2
8
-
E
=
5
-
5
EIGHT
49
31
4
9
-
N
=
5
-
4
NINE
42
24
6
45
-
-
-
34
-
36
Add
458
197
44
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
9
-
-
-
7
4
9
Deduce
17
17
8
-
-
-
-
-
-
-
Produce
1+7
1+7
-
9
-
-
-
7
-
9
Essence
8
8
8

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
34
-
36
Add
458
197
44
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
3+4
-
3+6
Reduce
4+5+8
1+9+7
4+4
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
7
4
9
Deduce
17
17
8
-
1
4
3
8
5
18
14
8
9
-
-
-
-
-
-
-
Produce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
7
-
9
Essence
8
8
8
-
1
4
3
8
5
9
5
8
9

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
9
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

 

-
THE SOLAR SYSTEM
-
-
-
3
THE
33
15
6
5
SOLAR
65
29
2
6
SYSTEM
101
38
2
14
THE SOLAR SYSTEM
199
82
10
1+4
-
1+9+9
8+2
1+0
5
THE SOLAR SYSTEM
19
10
1
-
-
1+9
1+0
-
5
THE SOLAR SYSTEM
10
1
1
-
-
1+0
-
-
5
THE SOLAR SYSTEM
1
1
1

 

 

3
SUN
54
9
9
7
MERCURY
103
40
4
5
VENUS
81
18
9
5
EARTH
52
25
7
4
MOON
57
21
3
4
MARS
51
15
6
7
JUPITER
99
36
9
6
SATURN
93
21
3
6
URANUS
94
22
4
7
NEPTUNE
95
32
5
5
PLUTO
84
21
3
59
First Total
863
260
62
5+9
Add to Reduce
8+6+3
2+6+0
1+0
14
Second Total
17
8
8
1+4
Reduce to Deduce
1+7
-
-
5
Essence of Number
8
8
8

 

 

3
SUN
54
9
9
5
EARTH
52
25
7
4
MOON
57
21
3
12
First Total
163
55
19
1+2
Add to Reduce
1+6+3
5+5
1+0
3
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
3
Essence of Number
1
1
1

 

 

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
Z
=
8
-
4
ZERO
64
28
1
C
=
3
-
6
COMETH
64
28
1
O
=
6
-
3
ONE
34
16
7
Q
Q
29
Q
18
Q
239
95
14
-
-
2+9
-
1+8
-
2+3+9
9+5
1+4
-
-
11
-
9
-
14
14
5
-
-
1+1
-
-
-
1+4
1+4
-
-
-
2
-
9
-
5
5
5

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

9
LANGUAGES
87
33
6
3
AND
19
10
1
7
NUMBERS
92
29
2
19
-
198
72
9
1+9
-
1+9+8
7+2
-
10
-
18
9
9
1+0
-
1+8
-
-
1
-
9
9
9

 

 

L
=
3
-
8
LANGUAGE
68
32
5
T
=
2
-
7
TALKING
74
29
2
N
=
5
-
7
NUMBERS
92
29
2
-
=
10
-
22
-
234
90
9
-
=
1+0
-
2+2
-
2+3+4
9+0
-
-
=
1
-
4
-
9
9
9

 

 

T
=
2
-
9
THE
33
15
6
E
=
5
-
3
ENGLISH
74
29
2
A
=
1
-
7
ALPHABET
65
29
2
-
-
8
-
19
-
172
73
10
-
-
4+6
-
1+9
-
1+7+2
7+3
1+0
-
-
8
-
10
-
10
10
1
-
-
-
-
1+0
-
1+0
1+0
-
-
-
8
-
1
-
1
1
1

 

 

-
-
-
-
-
LANGUAGE
-
-
-
L
=
3
-
2
L+A+N
27
9
9
A
=
1
-
2
G+U+A+G
18
18
9
N
=
5
-
3
E
5
5
5
-
-
32
-
8
LANGUAGE
68
32
32
-
-
3+2
-
-
-
6+8
3+2
3+2
-
-
5
-
8
LANGUAGE
14
5
5
-
-
-
-
-
-
1+4
-
-
-
-
5
-
8
LANGUAGE
5
5
5

 

 

"THE WORD FIRST USED FOR MAN IS LULLU"

"THE WORD FIRST USED FOR MAN IS 33333"

"THE WORD FIRST USED FOR MAN IS LULLU"

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

I hereby name it Babylon, home of the great gods.

The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.
Then he decides to create man, to serve the gods with offerings, so that they can be at leisure. The word used for man is lullu , meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found guilty of the war between the gods, his blood is used to create mankind. Here, it is unclear if Marduk or Ea creates mankind. Later in the text, Ea is specified as the creator of man. Finally, the gods praise Marduk, and give him fifty names that represent different aspects of his powers and sovereignty.
The text ends with instructions on how it should be passed on from generation to generation, and the command to worship Marduk, king of the gods.

 

ENUMA ELISH
The Babylonian Creation Myth

"The word used for man is lullu"

LULLU 33333 LULLU

"The word used for man is lullu"

 

-
-
-
-
-
LULLU
-
-
-
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
L
3
L
-
1
L
12
3
3
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
-
15
-
-
6
LULLU
78
15
15
-
1+5
-
-
-
-
7+8
1+5
1+5
-
6
-
-
6
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
-
6
-
-
6
LULLU
6
6
6

 

 

-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
1
-
-
--
-
-
--
-
-
1
ONE
1
-
-
-
-
-
2
-
-
--
-
-
--
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
4
-
-
--
-
-
--
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
--
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
--
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
--
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
--
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
-
--
-
-
9
NINE
9
-
-
-
-
-
42
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
4+2
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

 

5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
The word used for man is lullu, meaning a first, primitive man.The same word is used about the savage Enkidu in the Gilgamesh epic ...

 

-
-
-
-
-
LULLU
-
-
-
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
L
3
L
-
1
L
12
3
3
L
3
L
-
1
L
12
3
3
U
3
U
-
1
U
21
3
3
-
15
-
-
6
LULLU
78
15
15
-
1+5
-
-
-
-
7+8
1+5
1+5
-
6
-
-
6
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
-
6
-
-
6
LULLU
6
6
6

 

 

B
=
2
-
-
BABYLONIA
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
B+Y
27
9
9
-
-
-
-
1
L
12
3
3
-
-
-
-
4
O+N+I+A
39
21
3
B
=
2
Q
9
BABYLONIA
81
36
18
-
-
-
-
-
-
8+1
2+3
1+8
B
=
2
Q
9
BABYLONIA
9
9
9

 

THE

LULLABY

 

-
LULLABY
-
-
-
1
L
12
3
3
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
1
A+B
3
3
3
1
Y
25
7
7
7
LULLABY
85
22
22
-
-
8+5
2+2
2+2
7
LULLABY
13
4
4
-
-
1+3
-
-
7
LULLABY
4
4
4

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LULL
57
12
3
B
=
2
-
6
BEFORE
51
33
6
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
STORM
85
22
4
-
-
10
-
21
First Total
259
97
25
-
-
1+0
-
2+1
Add to Reduce
2+5+9
9+7
2+5
-
-
1
-
3
Second Total
16
16
7
-
-
-
-
-
Reduce to Deduce
1+6
1+6
-
-
-
1
-
3
Essence of Number
7
7
7

 

 

Tho' much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Ulysses

www.victorianweb.org/authors/tennyson/ulyssestext.html

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
10
REMEMBERED
88
52
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
11
DISMEMBERED
97
52
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
4
ONLY
66
21
3
-
-
-
3
-
-
-
-
-
-
R
=
9
-
5
RIGHT
80
35
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
3
WAY
49
13
4
-
-
-
-
4
-
-
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
D
=
4
-
3
DIE
18
18
9
-
-
-
-
-
-
-
-
-
9
-
-
53
-
52
First Total
558
270
72
-
1
2
3
4
5
6
28
16
9
-
-
5+3
-
5+2
Add to Reduce
5+5+8
2+7+0
7+2
-
-
-
-
-
-
-
2+8
1+6
-
-
-
8
-
7
Second Total
18
9
9
-
1
2
3
4
5
6
10
10
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
1+0
1+0
-
-
-
8
-
7
Essence of Number
9
9
9
-
1
2
3
4
5
6
1
1
9

 

 

INRI 9599 INRI

"INRI" is an abbreviation for the Latin "Iesus Nazarenus, Rex Iudaeorum" ("Jesus the Nazarene, King of the Jews"), posted on the cross by order of the Roman procurator, Pontius Pilate.

 

 

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

The Epic of Gilgamesh is an epic poem from ancient Mesopotamia. Dating from the Third Dynasty of Ur (circa 2100 BC), it is often regarded as the earliest surviving great work of literature. The literary history of Gilgamesh begins with five Sumerian poems about 'Bilgamesh' (Sumerian for 'Gilgamesh'), king of Uruk. These independent stories were later used as source material for a combined epic. The first surviving version of this combined epic, known as the "Old Babylonian" version, dates to the 18th century BC and is titled after its incipit, Shūtur eli sharrī ("Surpassing All Other Kings"). Only a few tablets of it have survived. The later "Standard" version dates from the 13th to the 10th centuries BC and bears the incipit Sha naqba īmuru ("He who Saw the Deep", in modern terms: "He who Sees the Unknown"). Approximately two thirds of this longer, twelve-tablet version have been recovered. Some of the best copies were discovered in the library ruins of the 7th-century BC Assyrian king Ashurbanipal.

The first half of the story discusses Gilgamesh, king of Uruk, and Enkidu, a wild man created by the gods to stop Gilgamesh from oppressing the people of Uruk. After an initial fight, Gilgamesh and Enkidu become close friends. Together, they journey to the Cedar Mountain and defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven, which the goddess Ishtar sends to punish Gilgamesh for spurning her advances. As a punishment for these actions, the gods sentence Enkidu to death.

In the second half of the epic, distress about Enkidu's death causes Gilgamesh to undertake a long and perilous journey to discover the secret of eternal life. He eventually learns that "Life, which you look for, you will never find. For when the gods created man, they let death be his share, and life withheld in their own hands".[1][2] However, because of his great building projects, his account of Siduri's advice, and what the immortal man Utnapishtim told him about the Great Flood, Gilgamesh's fame survived his death. His story has been translated into many languages, and in recent years has featured in works of popular fiction.

 


Gilgamesh - Wikipedia, the free encyclopedia
wikipedia.org/wiki/Gilgamesh

Gilgamesh is the main character in the Epic of Gilgamesh, an Akkadian poem that is considered the first great work of literature, and in earlier Sumerian poems.

Parents‎: ‎Lugalbanda‎ and ‎Ninsun

Symbol‎: ‎Bull‎, ‎Lion

From Wikipedia, the free encyclopedia
This article contains cuneiform script. Without proper rendering support, you may see question marks, boxes, or other symbols instead of cuneiform script.

Gilgamesh

Abode Earth

Symbol Bull, Lion

Parents Lugalbanda and Ninsun

Gilgamesh (/ˈɡɪl.ɡə.mɛʃ/; ������, Gilgameš, originally Bilgamesh ��������) is the main character in the Epic of Gilgamesh, an Akkadian poem that is considered the first great work of literature,[1] and in earlier Sumerian poems. In the epic, Gilgamesh is a demigod of superhuman strength who builds the city walls of Uruk to defend his people and travels to meet the sage Utnapishtim, who survived the Great Flood.

Gilgamesh is generally seen by scholars as a historical figure, since inscriptions have been found which confirm the existence of other figures associated with him in the epic. If Gilgamesh existed, he probably was a king who reigned sometime between 2800 and 2500 BC.[2] The Sumerian King List claims that Gilgamesh ruled the city of Uruk for 126 years. According to the Tummal Inscription,[3] Gilgamesh and his son Urlugal rebuilt the sanctuary of the goddess Ninlil in Tummal, a sacred quarter in her city of Nippur

The first half of the story discusses Gilgamesh, king of Uruk, and Enkidu, a wild man created by the gods to stop Gilgamesh from oppressing the people of Uruk. After an initial fight, Gilgamesh and Enkidu become close friends. Together, they journey to the Cedar Mountain and defeat Humbaba, its monstrous guardian.

 

 

4
EPIC
33
24
6
2
OF
21
12
3
9
GILGAMESH
81
45
9
15
Add to Reduce
135
81
18
1+5
Reduce to Deduce
1+3+5
8+1
1+8
6
Essence of Number
9
9
9

 

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

The Epic of Gilgamesh is an epic poem from ancient Mesopotamia. Dating from the Third Dynasty of Ur (circa 2100 BC), it is often regarded as the earliest surviving great work of literature. The literary history of Gilgamesh begins with five Sumerian poems about 'Bilgamesh' (Sumerian for 'Gilgamesh'), king of Uruk. These independent stories were later used as source material for a combined epic. The first surviving version of this combined epic, known as the "Old Babylonian" version, dates to the 18th century BC and is titled after its incipit, Shūtur eli sharrī ("Surpassing All Other Kings"). Only a few tablets of it have survived. The later "Standard" version dates from the 13th to the 10th centuries BC and bears the incipit Sha naqba īmuru ("He who Saw the Deep", in modern terms: "He who Sees the Unknown"). Approximately two thirds of this longer, twelve-tablet version have been recovered. Some of the best copies were discovered in the library ruins of the 7th-century BC Assyrian king Ashurbanipal.

The first half of the story discusses Gilgamesh, king of Uruk, and Enkidu, a wild man created by the gods to stop Gilgamesh from oppressing the people of Uruk. After an initial fight, Gilgamesh and Enkidu become close friends. Together, they journey to the Cedar Mountain and defeat Humbaba, its monstrous guardian. Later they kill the Bull of Heaven, which the goddess Ishtar sends to punish Gilgamesh for spurning her advances. As a punishment for these actions, the gods sentence Enkidu to death.

In the second half of the epic, distress about Enkidu's death causes Gilgamesh to undertake a long and perilous journey to discover the secret of eternal life. He eventually learns that "Life, which you look for, you will never find. For when the gods created man, they let death be his share, and life withheld in their own hands".[1][2] However, because of his great building projects, his account of Siduri's advice, and what the immortal man Utnapishtim told him about the Great Flood, Gilgamesh's fame survived his death. His story has been translated into many languages, and in recent years has featured in works of popular fiction.

 

Epic of Gilgamesh - Other Ancient Civilizations - Classical ...

 

www.ancient-literature.com/other_gilgamesh.html
The story begins with the introduction of Gilgamesh, king of Uruk, two-thirds god and one-third human, blessed by the gods with ...

OTHER ANCIENT CIVILIZATIONS - EPIC OF GILGAMESH

(Epic poem, anonymous, Sumerian/Mesopotamian/Akkadian, c. 20th - 10th Century BCE, about 1,950 lines)

Introduction | Synopsis | Analysis | Resources

Introduction

“The Epic of Gilgamesh” is an epic poem from ancient Mesopotamia and among the earliest known literary writings in the world. It originated as a series of Sumerian legends and poems in cuneiform script dating back to the early 3rd or late 2nd millenium BCE, which were later gathered into a longer Akkadian poem (the most complete version existing today, preserved on 12 clay tablets, dates from the 12th to 10th Century BCE). It follows the story of Gilgamesh, the mythological hero-king of Uruk, and his half-wild friend, Enkidu, as they undertake a series of dangerous quests and adventures, and then Gilgamesh’s search for the secret of immortality after the death of his friend. It also includes the story of a great flood very similar to the story of Noah in "The Bible" and elsewhere.

Synopsis

The story begins with the introduction of Gilgamesh, king of Uruk, two-thirds god and one-third human, blessed by the gods with strength, courage and beauty, and the strongest and greatest king who ever existed. The great city of Uruk is also praised for its glory and its strong brick walls.

However, the people of Uruk are not happy, and complain that Gilgamesh is too harsh and abuses his power by sleeping with their women. The goddess of creation, Aruru, creates a mighty wild-man named Enkidu, a rival in strength to Gilgamesh. He lives a natural life with the wild animals, but he soon starts bothering the shepherds and trappers of the area and jostles the animals at the watering hole. At the request of a trapper, Gilgamesh sends a temple prostitute, Shamhat, to seduce and tame Enkidu and, after six days and seven nights with the harlot, he is no longer just a wild beast who lives with animals. He soon learns the ways of men and is shunned by the animals he used to live with, and the harlot eventually persuades him to come to live in the city. Meanwhile, Gilgamesh has some strange dreams, which his mother, Ninsun, explains as an indication that a mighty friend will come to him.

The newly-civilized Enkidu leaves the wilderness with his consort for the city of Uruk, where he learns to help the local shepherds and trappers in their work. One day, when Gilgamesh himself comes to a wedding party to sleep with the bride, as is his custom, he finds his way blocked by the mighty Enkidu, who opposes Gilgamesh's ego, his treatment of women and the defamation of the sacred bonds of marriage. Enkidu and Gilgamesh fight each other and, after a mighty battle, Gilgamesh defeats Enkidu, but breaks off from the fight and spares his life. He also begins to heed what Enkidu has said, and to learn the virtues of mercy and humility, along with courage and nobility. Both Gilgamesh and Enkidu are transformed for the better through their new-found friendship and have many lessons to learn from each other. In time, they begin to see each other as brothers and become inseparable.

Years later, bored with the peaceful life in Uruk and wanting to make an everlasting name for himself, Gilgamesh proposes to travel to the sacred Cedar Forest to cut some great trees and kill the guardian, the demon Humbaba. Enkidu objects to the plan as the Cedar Forest is the sacred realm of the gods and not meant for mortals, but neither Enkidu not the council of elders of Uruk can convince Gilgamesh not to go. Gilgamesh’s mother also complains about the quest, but eventually gives in and asks the sun-god Shamash for his support. She also gives Enkidu some advice and adopts him as her second son.

On the way to the Cedar Forest, Gilgamesh has some bad dreams, but each time Enkidu manages to explain away the dreams as good omens, and he encourages and urges Gilgamesh on when he becomes afraid again on reaching the forest. Finally, the two heroes confront Humbaba, the demon-ogre guardian of the sacred trees, and a great battle commences. Gilgamesh offers the monster his own sisters as wives and concubines in order to distract it into giving away his seven layers of armour, and finally, with the help of the winds sent by the sun-god Shamash, Humbaba is defeated. The monster begs Gilgamesh for his life, and Gilgamesh at first pities the creature, despite Enkidu’s practical advice to kill the beast. Humbaba then curses them both, and Gilgamesh finally puts an end to it. The two heroes cut down a huge cedar tree, and Enkidu uses it to make a massive door for the gods, which he floats down the river.

Some time later, the goddess Ishtar (goddess of love and war, and daughter of the sky-god Anu) makes sexual advances to Gilgamesh, but he rejects her, because of her mistreatment of her previous lovers. The offended Ishtar insists that her father send the "Bull of Heaven" to avenge Gilgamesh’s rejection, threatening to raise the dead if he will not comply. The beast brings with it a great drought and plague of the land, but Gilgamesh and Enkidu, this time without divine help, slay the beast and offer its heart to Shamash, throwing the bull's hindquarters in the face of the outraged Ishtar.

The city of Uruk celebrates the great victory, but Enkidu has a bad dream in which the gods decide to punish Enkidu himself for the killing of the Bull of Heaven and Humbaba. He curses the door he made for the gods, and he curses the trapper he met, the harlot he loved and the very day that he became human. However, he regrets his curses when Shamash speaks from heaven and points out how unfair Enkidu is being. He also points out that Gilgamesh will become but a shadow of his former self if Enkidu were to die. Nevertheless, the curse takes hold and day after day Enkidu becomes more and more ill. As he dies, he describes his descent into the horrific dark Underworld (the "House of Dust"), where the dead wear feathers like birds and eat clay.

Gilgamesh is devasted by Enkidu’s death and offers gifts to the gods, in the hope that he might be allowed to walk beside Enkidu in the Underworld. He orders the people of Uruk, from the lowest farmer to the highest temple priests, to also mourn Enkidu, and orders statues of Enkidu to be built. Gilgamesh is so full of grief and sorrow over his friend that he refuses to leave Enkidu's side, or allow his corpse to be buried, until six days and seven nights after his death when maggots begin to fall from his body.

Gilgamesh is determined to avoid Enkidu's fate and decides to make the perilous journey to visit Utnapishtim and his wife, the only humans to have survived the Great Flood and who were granted immortality by the gods, in the hope of discovering the secret of everlasting life. The ageless Utnapishtim and his wife now reside in a beautiful country in another world, Dilmun, and Gilgamesh travels far to the east in search of them, crossing great rivers and oceans and mountain passes, and grappling and slaying monstrous mountain lions, bears and other beasts.

Eventually, he comes to the twin peaks of Mount Mashu at the end of the earth, from where the sun rises from the other world, the gate of which is guarded by two terrible scorpion-beings. They allow Gilgamesh to proceed when he convinces them of his divinity and his desperation, and he travels for twelve leagues through the dark tunnel where the sun travels every night. The world at the end of the tunnel is a bright wonderland, full of trees with leaves of jewels.

The first person Gilgamesh meets there is the wine-maker Siduri, who initially believes he is a murderer from his dishevelled appearance and attempts to dissuade him from his quest. But eventually she sends him to Urshanabi, the ferryman who must help him cross the sea to the island where Utnapishtim lives, navigating the Waters of Death, of which the slightest touch means instant death.

When he meets Urshanabi, though, he appears to be surrounded by a company of stone-giants, which Gilgamesh promptly kills, thinking them to be hostile. He tells the ferryman his story and asks for his help, but Urshanabi explains that he has just destroyed the sacred stones which allow the ferry boat to safely cross the Waters of Death. The only way they can now cross is if Gilgamesh cuts 120 trees and fashions them into punting poles, so that they can cross the waters by using a new pole each time and by using his garment as a sail.

Finally, they reach the island of Dilmun and, when Utnapishtim sees that there is someone else in the boat, he asks Gilgamesh who he is. Gilgamesh tells him his story and asks for help, but Utnapishtim reprimands him because he knows that fighting the fate of humans is futile and ruins the joy in life. Gilgamesh demands of Utnapishtim in what way their two situations differ and Utnapishtim tells him the story of how he survived the great flood.

Utnapishtim recounts how a great storm and flood was brought to the world by the god Enlil, who wanted to destroy all of mankind for the noise and confusion they brought to the world. But the god Ea forewarned Utnapishtim, advising him to build a ship in readiness and to load onto it his treasures, his family and the seeds of all living things. The rains came as promised and the whole world was covered with water, killing everything except Utnapishtim and his boat. The boat came to rest on the tip of the mountain of Nisir, where they waited for the waters to subside, releasing first a dove, then a swallow and then a raven to check for dry land. Utnapishtim then made sacrifices and libations to the gods and, although Enlil was angry that someone had survived his flood, Ea advised him to make his peace. So, Enlil blessed Utnapishtim and his wife and granted them everlasting life, and took them to live in the land of the gods on the island of Dilmun.

However, despite his reservations about why the gods should give him the same honour as himself, the hero of the flood, Utnapishtim does reluctantly decide to offer Gilgamesh a chance for immortality. First, though, he challenges Gilgamesh to stay awake for six days and seven nights, but Gilgamesh falls asleep almost before Utnapishtim finishes speaking. When he awakes after seven days of sleep, Utnapishtim ridicules his failure and sends him back to Uruk, along with the ferryman Urshanabi in exile.

As they leave, though, Utnapishtim's wife asks her husband to have mercy on Gilgamesh for his long journey, and so he tells Gilgamesh of a plant that grows at the very bottom of the ocean that will make him young again. Gilgamesh obtains the plant by binding stones to his feet to allow him to walk on the bottom of the sea. He plans to use the flower to rejuvenate the old men of the city of Uruk and then to use it himself. Unfortunately, he places the plant on the shore of a lake while he bathes, and it is stolen by a serpent, which loses its old skin and is thus reborn. Gilgamesh weeps at having failed at both opportunities to obtain immortality, and he disconsolately returns to the massive walls of his own city of Uruk.

In time, Gilgamesh too dies, and the people of Uruk mourn his passing, knowing that they will never see his like again.

The twelfth tablet is apparently unconnected with previous ones, and tells an alternative legend from earlier in the story, when Enkidu is still alive. Gilgamesh complains to Enkidu that he has lost some objects given to him by the goddess Ishtar when they fell in the Underworld. Enkidu offers to bring them back for him, and the delighted Gilgamesh tells Enkidu what he must, and must not, do in the Underworld in order to be sure of coming back.

When Enkidu sets off, however, he promptly forgets all this advice, and does everything he was told not to do, resulting in his being trapped in the Underworld. Gilgamesh prays to the gods to return his friend and, although Enlil and Suen do not even bother to reply, Ea and Shamash decide to help. Shamash cracks a hole in the earth and Enkidu jumps out of it (whether as a ghost or in reality is not clear). Gilgamesh questions Enkidu about what he has seen in the Underworld.

The earliest Sumerian versions of “The Epic of Gilgamesh” date from as early as the Third Dynasty of Ur (2150 - 2000 BCE), and are written in Sumerian cuneiform script, one of the earliest known forms of written expression. It relates ancient folklore, tales and myths and it is believed that there were many different smaller stories and myths that over time grew together into one complete work. The earliest Akkadian versions (Akkadian is a later, unrelated, Mesopotamian language, which also used the cuneiform writing system) are dated to the early 2nd millennium.

The so-called “standard” Akkadian version, consisting of twelve (damaged) tablets written by the Babylonian scribe Sin-liqe-unninni some time between 1300 and 1000 BCE, was discovered in 1849 in the library of the 7th Century BCE Assyrian king, Ashurbanipal, in Nineveh, the capital of the ancient Assyrian empire (in modern-day Iraq). It is written in standard Babylonian, a dialect of Akkadian that was only used for literary purposes. The original title, based on the opening words, was “He Who Saw the Deep” (“Sha naqba imuru”) or, in the earlier Sumerian versions, “Surpassing All Other Kings” (“Shutur eli sharri”).

Fragments of other compositions of the Gilgamesh story have been found in other places in Mesopotamia and as far away as Syria and Turkey. Five shorter poems in the Sumerian language ("Gilgamesh and Huwawa", "Gilgamesh and the Bull of Heaven", "Gilgamesh and Agga of Kish", "Gilgamesh, Enkidu and the Netherworld" and "Death of Gilgamesh”), more than 1,000 years older than the Nineveh tablets, have also been discovered. The Akkadian standard edition is the basis of most modern translations, with the older Sumerian versions being used to supplement it and fill in the gaps or lacunae.

The twelfth tablet, which is often appended as a kind of sequel to the original eleven, was most probably added at a later date and seems to bear little relation to the well-crafted and finished eleven tablet epic. It is actually a near copy of an earlier tale, in which Gilgamesh sends Enkidu to retrieve some objects of his from the Underworld, but Enkidu dies and returns in the form of a spirit to relate the nature of the Underworld to Gilgamesh. Enkidu’s pessimistic description of the Underworld in this tablet is the oldest such description known.

Gilgamesh might actually have been a real ruler in the late Early Dynastic II period (c. 27th Century BCE), a contemporary of Agga, king of Kish. The discovery of artifacts, dating back to around 2600 BCE, associated with Enmebaragesi of Kish (who is mentioned in the legends as the father of one of Gilgamesh's adversaries), has lent credibility to the historical existence of Gilgamesh. In Sumerian king lists, Gilgamesh is noted as the fifth king ruling after the flood.

According to some scholars, there are many parallel verses, as well as themes or episodes, which indicate a substantial influence of the “Epic of Gilgamesh” on the later Greek epic poem “The Odyssey”, ascribed to Homer. Some aspects of the "Gilgamesh" flood myth seem to be closely related to the story of Noah's ark in "The Bible" and the Qur’an, as well as similar stories in Greek, Hindu and other myths, down to the building of a boat to accommodate all life, its eventual coming to rest on the top of a mountain and the sending out of a dove to find dry land. It is also thought that the Alexander the Great myth in Islamic and Syrian cultures is influenced by the Gilgamesh story.

The “Epic of Gilgamesh” is essentially a secular narrative, and there no suggestion that it was ever recited as part of a religious ritual. It is divided into loosely connected episodes covering the most important events in the life of the hero, although there is no account of Gilgamesh’s miraculous birth or childhood legends.

The standard Akkadian version of the poem is written in loose rhythmic verse, with four beats to a line, while the older, Sumerian version has a shorter line, with two beats. It uses “stock epithets” (repeated common descriptive words applied to the main characters) in the same way as Homer does, although they are perhaps more sparingly used than in Homer. Also, as in many oral poetry traditions, there are word for word repetitions of (often fairly long) narrative and conversation sections, and of long and elaborate greeting formulae. A number of the usual devices of poetic embellishment are employed, including puns, deliberate ambiguity and irony, and the occasional effective use of similes.

Despite the antiquity of the work, we are shown, through the action, a very human concern with mortality, the search for knowledge and for an escape from the common lot of man. Much of the tragedy in the poem arises from the conflict between the desires of the divine part of Gilgamesh (from his goddess mother) and the destiny of the mortal man (his mortality conferred on him by his human father).

The wild man Enkidu was created by the gods both as a friend and companion for Gilgamesh, but also as a foil for him and as a focus for his excessive vigour and energy. Interestingly, Enkidu’s progression from wild animal to civilized city man represents a kind of biblical “Fall” in reverse, and an allegory of the stages by which man reaches civilization (from savagery to pastoralism to city life), suggesting that the early Babylonians may have been social evolutionists.

 

 

9
GILGAMESH
81
45
9
-
-
-
-
-
-
UR LUGAL
-
-
-
2
UR
39
12
3
5
LUGAL
53
17
8
7
UR LUGAL
92
29
11
-
-
9+2
2+9
1+1
7
UR LUGAL
11
11
2
-
-
1+1
1+1
-
7
UR LUGAL
2
2
2

 

 

-
URSHANABI
-
-
-
1
U
21
21
3
1
R
18
9
9
2
S+H
27
18
9
4
A+N+A+B
18
9
9
1
I
9
9
9
9
URSHANABI
93
66
39
-
-
9+3
6+6
3+9
9
URSHANABI
12
12
12
-
-
1+2
1+2
1+2
9
URSHANABI
3
3
3

 

 

5
ABODE
27
18
9
2
OF
21
12
3
3
THE
33
15
6
4
GODS
45
18
9
14
Add to Reduce
126
63
27
1+4
Reduce to Deduce
1+2+6
6+3
2+7
5
Essence of Number
9
9
9

 

 

-
UTNAPISHTIM
-
-
-
4
A+T+U+N
56
11
2
4
S+H+I+P
52
25
7
1
I
9
9
9
2
M+T
33
6
6
11
UPNAPISHTIM
-
-
-

 

 

-
UTNAPISHTIM
-
-
-
5
U+T+N+A+P
72
18
9
1
I
9
9
9
2
S+H
27
18
9
1
T
20
2
2
1
I
9
9
9
1
M
13
4
4
11
UPNAPISHTIM
-
-
-

 

 

-
UTNAPISHTIM
-
-
-
5
U+T+N+A+P
72
18
9
1
I
9
9
9
2
S+H
27
18
9
3
T+I+M
42
15
6
11
UPNAPISHTIM
-
-
-

 

 

-
-
-
-
-
UTNAPISHTIM
-
-
-
-
1
2
3
4
5
6
7
8
9
U
=
3
1
1
U
21
12
3
-
-
-
3
-
6
6
6
-
-
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
6
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
6
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
6
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
6
7
-
-
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
6
-
-
9
S
=
1
7
1
S
1
10
1
-
1
-
-
-
-
6
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
6
-
8
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
6
-
-
-
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
6
-
-
9
M
=
4
11
1
M
13
4
4
-
-
-
-
4
-
6
-
-
-
-
-
51
-
11
UTNAPISHTIM
150
69
51
4
2
4
3
4
5
6
7
8
18
-
-
5+1
-
1+1
-
1+5+0
6+9
5+1
-
-
-
-
-
-
-
-
-
1+8
-
-
6
-
2
UTNAPISHTIM
6
15
6
4
2
4
3
4
5
6
7
8
9
-
-
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
UTNAPISHTIM
6
6
6
4
2
4
3
4
5
6
7
8
9

 

 

-
-
-
-
-
UTNAPISHTIM
-
-
-
-
1
2
3
4
5
7
8
9
U
=
3
1
1
U
21
12
3
-
-
-
3
-
6
6
-
-
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
7
-
-
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
-
-
9
S
=
1
7
1
S
1
10
1
-
1
-
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
8
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
-
-
-
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
9
M
=
4
11
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
-
51
-
11
UTNAPISHTIM
150
69
51
4
2
4
3
4
5
7
8
18
-
-
5+1
-
1+1
-
1+5+0
6+9
5+1
-
-
-
-
-
-
-
-
1+8
-
-
6
-
2
UTNAPISHTIM
6
15
6
4
2
4
3
4
5
7
8
9
-
-
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
UTNAPISHTIM
6
6
6
4
2
4
3
4
5
7
8
9

 

 

-
-
-
-
-
UTNAPISHTIM
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
6
-
-
-
S
=
1
7
1
S
1
10
1
-
1
-
-
-
-
6
-
-
-
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
6
-
-
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
6
-
-
-
U
=
3
1
1
U
21
12
3
-
-
-
3
-
6
6
6
-
-
M
=
4
11
1
M
13
4
4
-
-
-
-
4
-
6
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
6
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
6
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
6
-
8
-
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
6
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
6
-
-
9
-
-
51
-
11
UTNAPISHTIM
150
69
51
4
2
4
3
4
5
6
7
8
18
-
-
5+1
-
1+1
-
1+5+0
6+9
5+1
-
-
-
-
-
-
-
-
-
1+8
-
-
6
-
2
UTNAPISHTIM
6
15
6
4
2
4
3
4
5
6
7
8
9
-
-
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
UTNAPISHTIM
6
6
6
4
2
4
3
4
5
6
7
8
9

 

 

-
-
-
-
-
UTNAPISHTIM
-
-
-
-
1
2
3
4
5
7
8
9
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
S
=
1
7
1
S
1
10
1
-
1
-
-
-
-
-
-
-
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
-
-
-
U
=
3
1
1
U
21
12
3
-
-
-
3
-
6
6
-
-
M
=
4
11
1
M
13
4
4
-
-
-
-
4
-
-
-
-
N
=
5
3
1
N
14
5
5
-
-
-
-
-
5
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
8
-
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
-
-
9
-
-
51
-
11
UTNAPISHTIM
150
69
51
4
2
4
3
4
5
7
8
18
-
-
5+1
-
1+1
-
1+5+0
6+9
5+1
-
-
-
-
-
-
-
-
1+8
-
-
6
-
2
UTNAPISHTIM
6
15
6
4
2
4
3
4
5
7
8
9
-
-
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
UTNAPISHTIM
6
6
6
4
2
4
3
4
5
7
8
9

 

THE GOD ELOHIM

 

-
-
-
-
-
ELOHIM
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
1
1
E
14
5
5
-
-
-
-
-
5
-
-
-
-
L
=
3
2
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
O
=
6
3
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
5
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
M
=
4
6
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
-
-
35
-
11
ELOHIM
62
26
26
4
2
4
3
4
5
6
7
8
6
-
-
3+5
-
1+1
-
6+2
2+6
2+6
-
-
-
-
-
-
-
-
-
-
-
-
8
-
2
ELOHIM
8
8
8
4
2
4
3
4
5
6
7
8
9

 

 

-
-
-
-
-
ELOHIM
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
2
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
6
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
1
1
E
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
3
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
5
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
35
-
11
ELOHIM
62
26
26
4
1
2
3
4
5
6
7
8
6
-
-
3+5
-
1+1
-
6+2
2+6
2+6
-
-
-
-
-
-
-
-
-
-
-
-
8
-
2
ELOHIM
8
8
8
4
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
ELOHIM
-
-
-
-
1
2
3
4
5
6
8
9
L
=
3
2
1
L
12
3
3
-
-
-
3
-
-
-
-
-
M
=
4
6
1
M
13
4
4
-
-
-
-
4
-
-
-
-
E
=
5
1
1
E
14
5
5
-
-
-
-
-
5
-
-
-
O
=
6
3
1
O
15
6
6
-
-
-
-
-
-
6
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
8
-
I
=
9
5
1
I
9
9
9
-
-
-
-
-
-
-
-
9
-
-
35
-
11
ELOHIM
62
26
26
4
1
2
3
4
5
6
8
9
-
-
3+5
-
1+1
-
6+2
2+6
2+6
-
-
-
-
-
-
-
-
-
-
-
8
-
2
ELOHIM
8
8
8
4
2
4
3
4
5
6
8
9

 

 

S
=
1
-
-
SOPHIA
-
-
-
-
-
-
-
1
S
19
10
1
-
-
-
-
1
O
15
6
6
-
-
-
-
1
P
16
7
7
-
-
-
-
1
H
8
8
8
-
-
-
-
1
I
9
9
9
-
-
-
-
1
A
1
1
1
S
=
1
-
6
SOPHIA
68
41
32
-
-
-
-
-
-
6+8
6+3
3+2
S
=
1
-
6
SOPHIA
14
5
5
-
-
-
-
-
-
1+4
-
-
S
=
1
-
6
SOPHIA
5
5
5

 

 

-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
1
6
-
8
9
-
+
=
24
2+4
=
6
=
6
-
-
19
15
-
8
9
-
+
=
51
5+1
=
6
=
6
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
1
+
=
8
-
=
8
=
8
-
-
-
-
16
-
-
1
+
=
17
1+7
=
17
1+7
8
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
19
15
16
8
9
1
+
=
68
6+8
=
14
1+4
5
-
-
1
6
7
8
9
1
+
=
32
3+2
=
5
-
5
-
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
--
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
14
20
S
O
P
H
I
A
-
-
31
-
-
6
-
32
1+4
2+0
-
-
-
-
9
-
-
-
3+1
-
-
-
-
3+2
5
2
S
O
P
H
I
A
-
-
3
-
-
6
-
5
-
-
1
6
7
8
9
1
-
-
-
-
-
-
-
-
5
2
S
O
P
H
I
A
-
-
3
-
-
6
-
5

 

 

20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
1
6
-
8
9
-
+
=
24
2+4
=
6
=
6
-
19
15
-
8
9
-
+
=
51
5+1
=
6
=
6
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
-
-
7
-
-
1
+
=
8
-
=
8
=
8
-
-
-
16
-
-
1
+
=
17
1+7
=
17
1+7
8
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
19
15
16
8
9
1
+
=
68
6+8
=
14
1+4
5
-
1
6
7
8
9
1
+
=
32
3+2
=
5
-
5
20
S
O
P
H
I
A
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
7
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
8
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
20
S
O
P
H
I
A
-
-
31
-
-
6
-
32
2+0
-
-
-
-
9
-
-
-
3+1
-
-
-
-
3+2
2
S
O
P
H
I
A
-
-
3
-
-
6
-
5
-
1
6
7
8
9
1
-
-
-
-
-
-
-
-
2
S
O
P
H
I
A
-
-
3
-
-
6
-
5

 

 

Heptaparaparshinokh | TheGodGuy

https://thegodguy.wordpress.com/2012/06/19/heptaparaparshinokh/

19 Jun 2012 - Heptaparaparshinokh” is the term spiritual teacher George Gurdjieff used to refer to the universal law of seven. This law of sevenfoldness is ...

Heptaparaparshinokh
Posted on June 19, 2012

“Heptaparaparshinokh” is the term spiritual teacher George Gurdjieff used to refer to the universal law of seven. This law of sevenfoldness is ubiquitous in all coherent processes of nature when things are viewed as comprehensive wholes and unities. Gurdjieff sometimes even called this law the Sacred Heptaparaparshinokh because it was the patterning principle of physical, mental and Divine Orderly Process. Unfortunately, this great cosmic law seems, for the most part, to have escaped meaningful detection from Swedenborgian scholars. (The writings of scientist/theologian Emanuel Swedenborg have influenced my spiritual path as much as Gurdjieff’s.) Swedenborg does offer hints to the law of seven but seems to hide it in a way that makes it harder to find (and therefore requires more mental effort).

How do I know?

I was lucky (or was it providence?). I was able to tease this law out of Swedenborg’s writings because I was introduced to both men’s ideas on the very same day! Each author taught me how to better understand the ideas of the other. Swedenborg and Gurdjieff both stated that trines (Law of Threefoldness) operate in all things. So why would I suspect that Swedenborg also knew of the Law of Sevenfoldness, or even have confirmed it, when there was no specific mention of it in his writings?

My first clue was that the numbers “3” and “7” have the same symbolic meanings. Both numerals represent holy qualities and “fullness.” Both laws work together and ensure that all things in the created and multi-leveled universe follow the same rules. In his various writings (and if you are paying attention), Swedenborg breaks down a tree into seven aspects—seed, root, stem, branches, leaves, flowers and fruit (which produces more seed, or a harmonious octave of steps). He articulated a similar order working in the human intellect—perception (of something desired), understanding, thought, judgment, choice, will, determination towards action (the fruits of one’s labor from some desired outcome) and within the final action lie the seeds for new and future undertakings (a psychical octave). In Holy Scripture, Swedenborg claimed that the Seven Day Story of Creation in Genesis followed this same pattern of order.

Furthermore, he hints that this universal template by which a series of steps lawfully coheres to form unities is woven into the very fabric and architecture of all the stories that make up the true Word of God. (He called this profound harmonic fine-tuning of reality the mathematical philosophy of universals and the intuition of ends.) The caveat is, Swedenborg also points out that this order cannot be recognized within the literal sense or literal understanding of Holy Scripture, but in its deeper, spiritual messages (Arcana Coelestia 9022). In other words, this sacred knowledge is the knowledge of angels, and beyond the worldly knowledge of terrestrial academia.

Through years of effort and opening my mind to the Lord God’s heavenly influences I believe I have been able to show some examples of how the “Sacred Heptaparaparshinokh” operates within the narratives of Holy Scripture. I shared these examples in my second book Proving God (which won several awards) in the hopes of unifying science and theology through a new spiritual interpretation of the Bible, process theory and complexity theory.

 


Heptaparaparshinokh=sacred law of sevenfoldness ...

www.givnology.com/.../heptaparaparshinokh-sacred-law-of-sevenfoldne...

15 Jan 2004 - Heptaparaparshinokh=sacred law of sevenfoldness ... strictly according to the law of the sacred Heptaparaparshinokh and thus their vibrations, ...

Avatar State

1/15/043:37 AM
quote:
All And Everything Series book 3 Gurdjieff page 49
...all the cosmoses of various scales as well as each of the seven independent parts of the manifestations of these cosmoses are in almost all respects similar to the Megalocosmos; and in each of them the sevenfold sources of vibrations have the same reciprocal actions as proceed in the Megalocosmos; and therefore, if you have understood the laws of vibrations for any one center of gravity, it is possible for you to have an approximate understanding of these laws for all centers of gravity, if of course you take into account their difference of scale.

I repeat, if the strings of this piano are tuned correctly, and the required vibrations are evoked in the corresponding strings, the resulting vibrations are evoked in the corresponding strings, the resulting blending of vibrations coincides almost exactly, even mathematically, with the law-conformable totality of vibrations of the substances issuing from corresponding cosmic sources, according to the sacred Heptaparaparshinokh.

On this piano the vibrations of each 'whole tone' and of each 'half tone' of any octave pass from one to another strictly according to the law of the sacred Heptaparaparshinokh and thus their vibrations, as occurs always and everywhere in the Universe, mutually help one another to evolve or involve.

 

 

Gurdjieff - https://books.google.co.uk/books?isbn=1440621217

John Shirley - 2004 - ‎Body, Mind & Spirit
... just imagining the deep etymological interpretations people would give to the ... Heptaparaparshinokh and Triamazikamno—many of them, unsurprisingly, ...

 

 

H- Glossary - Etymology, Meaning and Definition of Spiritual ...

gnosticteachings.org/glossary/h.html

Etymologies, meanings, and definitions of spiritual, religious, and ..... deflection, or 'centers of gravity,' is called a 'stopinder of the sacred Heptaparaparshinokh.

Heptaparaparshinokh
 Category: H
The Law of 7; The Law of Organization. This law is visible in the seven notes of the western musical scale, the seven chakras, the seven bodies of the soul, the Seven Spirits before the Throne, etc.

'The flow of forces follows a line that constantly deflects at specific intervals and unites again at its ends. According to this primordial sacred cosmic law, the line of the flow of forces has seven points of deflection or, as is otherwise said, seven 'centers of gravity,' and the distance between two consecutive points of deflection, or 'centers of gravity,' is called a 'stopinder of the sacred Heptaparaparshinokh.' "The complete process of this sacred law, acting through everything newly arising and existing, is always made up of seven stopinders.' - Gurdjieff

 

 

Bhagavad-Gita, iv, 5.

SRI KRISHNA’S REMEMBERING

‘Many lives, Arjuna, you and I have lived, I remember them all, but thou dost not.’

 

 

I

INCA

INCARNATION TO INCARNATION

 

 

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'

 

 

SHRI

KRISHNA

SHRI KRISHNA KRISHNA SHRI

 

 

Brahma

If the red slayer think he slays,

Or if the slain think he is slain

They know not well the subtle ways

I keep and pass and turn again.

R.W.Emerson

 

 

Bhagavad-Gita

Text 19

" ya enam vetti hantaram

yas cainam manyate hatam

ubhau tau na vijanito

nayam hanti na hanyate"

Bhagavad-Gita

As it is.

A. C. Bhaktivedanta Swami Prabhupada

Translation Chapter 2 Page 99/100

"Neither he who thinks the living entity the slayer nor he who thinks it slain is in knowledge, for the self slays not nor is slain."

 

 

‘who is the slayer and who is the victim. Speak’,

Sophocles

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.' "
" 'When a man awakes he can die; when he dies he can be born' "

 

 

THE TIBETAN BOOK OF THE DEAD

Or

The After Death Experience on the Bardo Plane,

according to Lama Kazi Dawa-Samdup's English Rendering

Compiled and edited Edited by W. Y. Evans-Wentz 1960

Facing Preface To The Paperback Edition

'Thou shalt understand that it is a science most profitable, and passing all other sciences, for to learn to die. For a man to know that he shall die, that is common to all men; as much as there is no man that may ever live or he hath hope or trust thereof; but thou shalt find full few that have this callning to learn to die. . . . I shall give thee the mystery of this doctrine; the which shall profit thee greatly to the beginning of ghostly health, and to a stable fundament of all virtues. '- OrologiumSapientiae.

'Against his will he dieth that hath not learned to die. Learn to die and thou shalt learn to live, for there shall none learn to live that hath not learned to die.'-Toure of all Toures: and Teacheth a Man for to Die.

The Book of the Craft of Dying (Comper's Edition).

'\Vhatever is here, that is there; what is there, the same is here. He who seeth here as different, meeteth death after death.
'By mind alone this is to be realized, and [then] there is no difference here. From death to death he goeth, who seeth as if there is dificrence here.'-Katha Upanishad, iv. 10-11 (Swami Sharvanallda's Translation)"

Facing Preface to the Second Edition

BONDAGE TO REBIRTH

"As a man's desire is, so is his destiny. For as his desire is, so is his will; and as his will is, so is his deed; and as his deed is, so is his reward, whether good or bad.
' A man acteth according to the desires to which he clingeth. After death he goeth to the next world bearing in his mind the subtle impressions of his deeds; and, after reaping there the harvest of his deeds, he returneth again to this world of action. Thus he who hath desire continueth subject to rebirth.' "

Brihadaranyaka Upanishad

FREEDOM FROM REBIRTH

'He who lacketh discrimination, whose mind is unsteady and whose heart is impure, never reacheth the goal, but is born again and again. But he who hath discrimination, whose mind is steady and whose heart is pure, reacheth the goal, and having reached it is born no more.'

Katha U panishad.
(Swami Prabhavananda's and Frederick Manchester's Translations).

Page xi

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.

Page xx

"......... Denison........."

 

 

INCARNATION

THE DEAD RETURN

Daniel Easterman 1998

Page 99

"........David........."

Page 3

"The old man's name was Dennison"

 

 

THE

PATH OF PTAH

THE SELF CRUCIFIXION OF THE CRUCIFIXION OF THE SELF

THE

VIRGIN BIRTH IS TO BE REBORN OF WATER

AND

SPIRIT GODS HOLY SPIRIT

AFTER

HAVING ENDURED

THE DEATH OF THE

I ME EGO SELF I SELF EGO ME I

WEIGHED IN THE BALANCE AND NOT FOUND WANTING

EVOLVE THEE THAT THOU OF LOVE LOVE LOVE OF THOU THAT THEE EVOLVE

 

ISISIS

THE RESURRECTION AND THE LIFE

UNLESS THAT HE AZIN SHE THAT IS THEE

IZ

BORN AGAIN AGAIN BORN

THOU CANST NOT ENTER THE KINGDOM OF EVEN

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
5
LIGHT
56
29
2
B
=
2
-
7
BRINGER
73
46
1
-
-
7
-
15
Add to Reduce
162
90
9
-
-
-
-
1+5
Reduce to Deduce
1+6+2
9+0
-
-
-
7
-
6
Essence of Number
9
9
9

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

T
=
2
-
5
THERE
56
29
2
B
=
2
-
3
BUT
43
7
7
F
=
6
-
3
FOR
39
21
3
T
=
2
-
3
THE
33
15
6
G
=
7
-
5
GRACE
34
25
7
O
=
6
-
2
OF
21
12
3
G
=
7
-
3
GOD
26
7
7
-
-
32
-
24
Add to Reduce
252
126
36
-
-
3+2
-
2+4
Reduce to Deduce
2+5+2
1+2+6
3+6
-
-
5
-
6
Essence of Number
9
9
9

 

 

2
IS
28
10
1
9
UNIVERSAL
121
40
4
4
MIND
40
22
4
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

9
UNIVERSAL
121
40
4
4
MIND
40
22
4
2
IS
28
10
1
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

E
=
5
-
2
EX
11
2
2
U
=
3
-
6
UMBRIS
82
28
1
E
=
5
-
2
ET
25
7
7
I
=
9
-
10
IMAGINIBUS
104
50
5
I
=
9
-
2
IN
23
14
5
V
=
4
-
9
VERITATEM
113
41
5
-
-
35
-
31
First Total
358
142
25
-
-
3+5
-
3+1
Add to Reduce
3+5+8
1+4+2
2+5
-
-
8
-
4
Second Total
16
7
7
-
-
-
-
-
Reduce to Deduce
1+6
-
-
-
-
8
-
4
Essence of Number
7
7
7

 

 

O
=
6
-
3
OUT
56
11
2
O
=
6
-
2
OF
21
12
3
S
=
1
-
7
SHADOWS
89
26
8
A
=
1
-
3
AND
82
28
1
P
=
7
-
9
PHANTASMS
111
30
3
I
=
9
-
4
INTO
58
22
4
T
=
2
-
5
TRUTH
87
24
6
-
-
32
-
33
Add to Reduce
441
135
27
-
-
3+2
-
3+3
Reduce to Deduce
4+4+1
1+3+5
2+7
-
-
5
-
6
Essence of Number
9
9
9

 

 

WE ARE THE DEAD SHORT TIME AGO WE LIVED FELT DAWN SAW SUNSET GLOW

LOVED AND WERE LOVED AND NOW

?

 

 

T
=
2
-
5
THERE
56
29
2
B
=
2
-
3
BUT
43
7
7
F
=
6
-
3
FOR
39
21
3
T
=
2
-
3
THE
33
15
6
G
=
7
-
5
GRACE
34
25
7
O
=
6
-
2
OF
21
12
3
G
=
7
-
3
GOD
26
7
7
-
-
32
-
24
Add to Reduce
252
126
36
-
-
3+2
-
2+4
Reduce to Deduce
2+5+2
1+2+6
3+6
-
-
5
-
6
Essence of Number
9
9
9

 

 

T
=
2
-
5
THERE
56
29
2
B
=
2
-
3
BUT
43
7
7
-
-
4
-
8
-
99
36
9
-
-
-
-
-
-
-
-
-
F
=
6
-
3
FOR
39
21
3
T
=
2
-
3
THE
33
15
6
-
-
8
-
6
-
72
36
9
-
-
-
-
-
-
-
-
-
G
=
7
-
5
GRACE
34
25
7
O
=
6
-
2
OF
21
12
3
G
=
7
-
3
GOD
26
17
8
-
-
20
-
10
-
81
54
18
-
-
-
-
-
-
-
-
-
-
-
32
-
24
Add to Reduce
252
126
36
-
-
3+2
-
2+4
Reduce to Deduce
2+5+2
1+2+6
3+6
-
-
5
-
6
Essence of Number
9
9
9

 

 

I

ME

HUMAN INHUMANITY TO HUMAN

IN THE NAME OF GOD THE ALMIGHTY THE COMPASSIONATE THE MERCIFUL

MERCY MERCY MERCY MERCY MERCY MERCY MERCY MERCY MERCY

 

 

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

 

 

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

 

-
-
-
-
-
-
-
-
-
-
-
-
-
-
EIGHTEEN THIRTYSIX
-
-
-
E
=
7
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
4
-
17
EIGHTEEN THIRTYSIX
225
99
9
-
-
-
-
1+7
-
2+2+5
9+9
-
-
-
4
-
8
EIGHTEEN THIRTYSIX
9
18
9
-
-
-
-
-
-
-
1+8
-
-
-
4
-
8
EIGHTEEN THIRTYSIX
9
9
9

 

 

SING A SONG OF NINES OF NINES A SONG SING

 

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09

Postby 0483726159 » Sun Feb 28, 2016 10:18 am
09 09 09 09 09 09 09 09 09 09
09 18 27 36 45 54 63 72 81 90
09 27 45 63 81 18 36 54 72 90
09 36 63 90 36 63 90 36 63 90
09 45 81 36 72 27 63 18 54 90
09 54 18 63 27 72 36 81 45 90
09 63 36 90 63 36 90 63 36 90
09 72 54 36 18 81 63 45 27 90
09 81 72 63 54 45 36 27 18 90
09 90 90 90 90 90 90 90 90 90

 

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Re: Symbols

Postby 0483726159 » Sun Feb 28, 2016 10:01 am


09 09 09 09 09 09 09 09 09 09
09 18 27 36 45 54 63 72 81 90
09 27 45 63 81 18 36 54 72 90
09 36 63 90 36 63 90 36 63 90
09 45 81 36 72 27 63 18 54 90
09 54 18 63 27 72 36 81 45 90
09 63 36 90 63 36 90 63 36 90
09 72 54 36 18 81 63 45 27 90
09 81 72 63 54 45 36 27 18 90
09 90 90 90 90 90 90 90 90 90

 

0483726159

Posts: 3

Joined: Sun Feb 28, 2016 9:16 am

Contact: Contact 0483726159

9

Postby 0483726159 » Sun Feb 28, 2016 9:55 am

09 09 09 09 09 09 09 09 09 09
09 18 27 36 45 54 63 72 81 90
09 27 45 63 81 18 36 54 72 90
09 36 63 90 36 63 90 36 63 90
09 45 81 36 72 27 63 18 54 90
09 54 18 63 27 72 36 81 45 90
09 63 36 90 63 36 90 63 36 90
09 72 54 36 18 81 63 45 27 90
09 81 72 63 54 45 36 27 18 90
09 90 90 90 90 90 90 90 90 90

0|1(2[3{4|5}6]7)8|9
0|8(7[6{5|4}3]2)1|9

0|2(4[6{8|1}3]5)7|9
0|7(5[3{1|8}6]4)2|9

0|3(6[9{3|6}9]3)6|9
0|6(3[9{6|3}9]6)3|9

0|4(8[3{7|2}6]1)5|9
0|5(1[6{2|7}3]8)4|9

0 0 0 0 0 0 0 0 0 0
0 1 2 3 4 5 6 7 8 9
0 2 4 6 8 1 3 5 7 9
0 3 6 9 3 6 9 3 6 9
0 4 8 3 7 2 6 1 5 9
0 5 1 6 2 7 3 8 4 9
0 6 3 9 6 3 9 6 3 9
0 7 5 3 1 8 6 4 2 9
0 8 7 6 5 4 3 2 1 9
0 9 9 9 9 9 9 9 9 9
Any number mirrored symmetrically whether horizontally or vertical will match its polar opposite, which will equate to 9
1+1+1+1+1+1+1+1+1
1 2 3 4 5 6 7 8 9
8+8+8+8+8+8+8+8+8
8 16 24 32 40 48 56 64 72
8 7 6 5 4 3 2 1 9

1 2 3 4 5 6 7 8 9. 1 & 8
8 7 6 5 4 3 2 1 9

1+2=3=4+5=6=7+8
+ + + + + + + +
8+7=6=5+4=3=2+1

1(2 3 4|5 6 7)8
8(7 6 5|4 3 2)1

1 2 3 4 5 6 7 8
2 4 6 8 1 3 5 7
3 6 9 3 6 9 3 6
4 8 3 7 2 6 1 5
5 1 6 2 7 3 8 4
6 3 9 6 3 9 6 3
7 5 3 1 8 6 4 2
8 7 6 5 4 3 2 1
Can you see? Reflect and mirror any number horizontal or vertical from x or y axis and you will equate 9. However if you reflect any number diagonal, from corner to corner, each number will reflect itself.

9 reflects itself within the polarity of the digits which equate it. Multiples of 9 count forwards and Backwards simultaneously
09 18 27 36 45 54 63 72 81 90

Who sees when you see?

 

 

A

MYSTERIOUS VOICE IN THE NIGHT SAID

SOMEONE SOMETHING SOMEWHERE WHO SHALL BE NAMELESS

ADDED THE GOLD WILLY NILLY ADDED THE GOLD.

 

 

ATUM 1234 ATUM
1234 ATUM 1234

 

 

T
=
2
-
3
THE
33
15
6
P
=
7
-
4
PATH
45
18
9
O
=
6
-
2
OF
21
12
3
P
=
7
-
4
PTAH
45
18
9
-
-
22
4
13
Add to Reduce
144
63
27
-
-
2+2
-
1+3
Reduce to Deduce
1+4+4
6+3
2+7
Q
-
4
-
4
Essence of Number
9
9
9
-
-
-
-
-
Reduce to Deduce
-
-
-
-
-
4
-
4
Essence of Number
1
1
9

 

 

GODS OF THE DAWN

THE MESSAGE OF THE PYRAMIDS and THE TRUE STARGATE MYSTERY

12

Page 121

THE PATHS OF HOPE

 

T
=
2
-
3
THE
33
15
6
P
=
7
-
5
PATHS
64
19
1
O
=
6
-
2
OF
21
12
3
H
=
8
-
4
HOPE
44
26
8
-
-
23
4
14
Add to Reduce
162
72
18
-
-
2+3
-
1+4
Reduce to Deduce
1+6+2
7+2
1+8
Q
-
5
-
5
Essence of Number
9
9
9

 

 

 

 

MAN WO MAN

MAN 2 MAN

MAN WO MAN

 

 

MALE FE MALE

MALE 2 MALE

MALE FE MALE

 

M
=
4
=
4
MALE
31
13
4
F
=
6
=
6
FEMALE
42
24
6
-
-
10
-
10
First Total
73
37
10
-
-
1+0
-
1+0
Add to Reduce
7+3
3+7
1+0
-
-
1
-
1
Second Total
10
10
1
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
1
-
1
Essence of Number
1
1
1

 

 

3
HIM
30
21
3
3
HER
31
22
4
-
-
-
-
-
2
HE
13
13
4
3
SHE
32
14
5
-
-
-
-
-
4
MALE
31
13
4
6
FEMALE
42
24
6

 

MALE FE MALE

4ALE 65 4ALE

MALE FE MALE

MALE FE MALE

4ALE 11 4ALE

MALE FE MALE

 

MALE FE MALE

4135 2 4135

MALE FE MALE

 

MALE FE MALE

4 2 4

MALE FE MALE

 

MALE FE MALE

10

MALE FE MALE

 

MALE FE MALE

1

MALE FE MALE

 

M
=
4
=
4
MALE
31
13
4
F
=
6
=
6
FEMALE
42
24
6
-
-
10
-
10
First Total
73
37
10
-
-
1+0
-
1+0
Add to Reduce
7+3
3+7
1+0
-
-
1
-
1
Second Total
10
10
1
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
1
-
1
Essence of Number
1
1
1

 

 

-
-
-
-
-
SEX
-
-
-
S
=
1
-
1
S
19
10
1
E
=
5
-
1
E
5
5
5
X
=
6
-
1
X
24
6
6
-
-
12
-
3
SEX
48
21
12
-
-
1+2
-
-
-
4+8
2+1
1+2
-
-
3
-
3
SEX
3
3
3
-
-
-
-
-
-
-
-
-
-
-
3
-
3
SEX
3
3
3

 

SEE X SEE

 

-
-
-
-
-
SEE X SEE
-
-
-
S
=
1
-
1
S
19
10
1
E
=
5
-
1
E
5
5
5
E
=
5
-
1
E
5
5
5
X
=
6
-
1
X
24
6
6
S
=
1
-
1
S
19
10
1
E
=
5
-
1
E
5
5
5
E
=
5
-
1
E
5
5
5
-
-
28
-
7
SEE X SEE
82
46
28
-
-
2+8
-
-
-
8+2
4+6
2+8
-
-
10
-
7
SEE X SEE
10
10
10
-
-
1+0
-
-
-
1+0
1+0
1+0
-
-
1
-
7
SEE X SEE
1
1
1

 

 

M
=
4
=
4
SEED
33
15
6
M
=
4
=
2
OF
21
12
3
F
=
6
=
4
LIFE
32
23
5
-
-
10
-
10
First Total
86
50
14
-
-
1+0
-
1+0
Add to Reduce
8+6
5+0
1+4
-
-
1
-
1
Second Total
14
5
5
-
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
1
-
1
Essence of Number
5
5
5

 

 

4
WOMB
53
17
8
5
BLOOD
48
21
3

 

MENSES

MEN SEES MEN

 

6
MENSES
-
-
-
1
S
19
10
1
5
SEMEN
56
20
2
6
MENSES
75
30
3

 

SEMEN

SEE MEN SEE

 

 

HYMEN

HYMN E HYMN

 

5
HYMN
65
29
11
5
HYMEN
65
29
11
-
-
-
-
-
-
-
-
-
-
5
HYMEN
-
-
-
-
HY
33
15
6
-
MEN
32
14
5
5
HYMEN
65
29
11
-
-
6+5
2+9
1+1
5
HYMEN
11
11
2
-
-
1+1
1+1
-
5
HYMEN
2
2
2

 

HYMN E HYMN

 

Collins

World English Dictionary

mam (mæm)

— n
informal , dialect or another word for mother

 

 

mam noun - definition in British English Dictionary & Thesaurus ...

dictionary.cambridge.org/dictionary/british/mam‎

mam noun - definition, audio pronunciation, synonyms and more for mam noun: informal for mum noun: See more in British English Dictionary - Cambridge ...

 

mam: definition of mam in Oxford dictionary (British & World English)

oxforddictionaries.com/definition/english/mam‎

Definition of mam in British and World English in Oxford dictionary. Meaning, pronunciation and example sentences. English to English reference content.

mam

Pronunciation: /mam/

Definition of mam

noun
British informal or dialect
one’s mother: my mam would have had a fit if I’d gone out dressed like that [as name]:it was better when Mam was alive

Origin: late 16th century: perhaps imitative of a child's first syllables (see mama)

 

M
=
4
-
3
MAM
27
9
9
D
=
4
-
3
DAD
9
9
9
-
-
8
-
6
Add to Reduce
36
18
18
-
-
-
-
-
Reduce to Deduce
3+6
1+8
1+8
-
-
8
-
6
Essence of Number
9
9
9

 

Dad - Definition and More from the Free Merriam-Webster Dictionary

www.merriam-webster.com/dictionary/dad‎

dad noun \ˈdad\

Definition of DAD
: father 1a

See dad defined for English-language learners »
See dad defined for kids »

Examples of DAD

 

dad - definition of dad by the Free Online Dictionary, Thesaurus and ...

www.thefreedictionary.com/dad‎

[childish word; compare Greek tata, Sanskrit tatas]. dad (dæd) n. Informal. father. [1490–1500; probably orig. nursery word]. Thesaurus Legend: Synonyms ...
‎Dad - ‎Big daddy - ‎Dad in Room - ‎Dad's Army

dad /dad/Noun

One's father.

Synonyms daddy - papa - father - pa - pop - poppa

 

 

dad - definition of dad by the Free Online Dictionary, Thesaurus and ...

www.thefreedictionary.com/dad‎
[childish word; compare Greek tata, Sanskrit tatas]. dad (dæd) n. Informal. father. [1490–1500; probably orig. nursery word]. Thesaurus Legend: Synonyms ...
‎Dad - ‎Big daddy - ‎Dad in Room - ‎Dad's Army

dad Listen to audio/ˈdæd/ noun plural dads
[count] informal : a person's father — often used as a form of address ▪ Dad, can I borrow the car tonight?

 

M
=
4
-
3
MAM
27
9
9
C
=
3
-
5
CHILD
27
9
9
D
=
4
-
3
DAD
9
9
9
-
-
11
-
11
Add to Reduce
63
27
27
-
-
1+1
-
1+1
Reduce to Deduce
6+3
2+7
2+7
-
-
2
-
2
Essence of Number
9
9
9

 

 

All human beings are born free and equal in dignity and rights.

They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.

(Article 1 of the Universal Declaration of Human Rights)

 

 

ALL HUMAN BEINGS ARE BORN FREE AND EQUAL IN DIGNITY AND RIGHTS.

THEY ARE ENDOWED WITH REASON AND CONSCIENCE

AND SHOULD ACT TOWARDS ONE ANOTHER

IN A SPIRIT OF EQUALITY AND ONENESS

 

 
 
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