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THE LIGHT IS RISING NOW RISING IS THE LIGHT
.... A MAZE IN ZAZAZA ENTERS AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
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 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 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
BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
Page 250 THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THE LIGHT IS RISING NOW RISING IS THE LIGHT
....
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."
"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"
DNA AND DNA DNA AND DNA DNA AND DNA
DNA AND DNA DNA AND DNA DNA AND DNA
A QUEST FOR THE BEGINNING AND THE END Graham Hancock 1995 Chapter 32 Speaking to the Unborn Page 285 "It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers. A message in the bottle of time 'Of all the other stupendous inventions,' Galileo once remarked, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3 If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps. "What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them" "WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
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
In Search Of The Miraculous Page 96
In Search Of The Miraculous Page 279 "The aim of "myths" and "symbols" was to reach mans' higher centres, to transmit to him ideas inaccessible to the intellect and to transmit them in such forms as would exclude the possibility of false interpretation." Page 283 "In western systems of occultism there is a method known by the name of 'theosophical addition', that is, the definition of numbers consisting of two or more digits by the sum of those digits. To people who do not understand the symbolism of numbers this method of synthesizing numbers seems to be absolutely arbitrary and to lead nowhere. But for a man who understands the unity of everything existing and who has the key to this unity the method of theosophical addition has a profound meaning, for it resolves all diversity into the fundamental laws which govern it and which are expressed in the numbers 1 to 10. As was mentioned earlier in symbology, as represented , numbers are connected with definate geometrical figures and are mutually complimentary one to another. In the Cabala a symbology of letters is also used and in combination with the symbology of letters a symbology of words.A combination of the four methods of symbolism by numbers, geometrical figures, letters and words, give a complicated but more perfect method." Page 304 "You must understand ", he said, " that every real religion, that is, one that has been created by learned people for a definite aim, consists of two parts. One part teaches what is to be done. This part becomes common knowledge and in the course of time is distorted and departs from the original. The other part teaches how to do what the first part teaches. This part is preserved in secret in special schools and with its help it is always possible to rectify what has been distorted in the first part or restore what has been forgotten." "Realizing the weakness and imperfection of ordinary language the people who have possessed objective knowledge have tried to express the idea of unity in "myths" "symbols" and in particular verbal formulas" which, having been transmitted without alteration, have carried on the idea from one school to another, often from one epoch to another."
NUMEROLOGY Gedes and Grossett 1999 Page 7 "All numbers greater than nine can be reduced to a single digit by the process of fadic addition, for example: 49 is reduced to 4 by adding 4 and 9 which equals 13 and subsequently adding 1 and 3 to make 4."
THE MAGICIAN AS IF BY MAGIC WILL INTENDED DOTH REAPPEAR AND BEGATS A SECOND READING AMEN ALL MEN ALL MEN AMEN AMEN ALLWOMEN ALL WOMEN AMEN
THE PHILOSOPHERS TONE NOTE THE TONE THE TONE NOTE
THE LIGHT IS RISING NOW RISING IS THE LIGHT
MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS
MATHEMATICS A LANGUAGE OF LETTER AND NUMBER
ADVENT 1027 ADVENT
themindunleashed.org › Ancient Structures & History 15 Sep 2015 - The American Federation of Musicians had already accepted the A440 as ... “This [A=432 Hz] tuning was unanimously approved at the Congress of Italian ..... ... [iii] Mark Brewer, Music of the Spheres: A Case for A=432Hz, GA=440Hz: Not Quite Music to My Ears The A=432 Hz Frequency: DNA Tuning and the ... In modern history in particular, there has been what Dr. Len Horowitz has referred to as the strategic “militarization” of music. This happened in 1939 when the tuning of the note ‘A above Middle C’ to 440 Hz was adopted in the world of music. In 1910 an earlier push to effect the same change was met with limited success. Three decades later, the British Standards Institute (BSI) adopted the A=440Hz standard following staunch promotion by the Rockefeller-Nazi consortium—“at the precise time WWII preparations were being finalized by the petrochemical-pharmaceutical war financiers.”[i] This was the year that A=440 became the international standard. The American Federation of Musicians had already accepted the A440 as standard pitch in 1917, and the U.S. government followed suit in 1920.[ii] One must surely ask why Nazi propaganda minister, Joseph Goebbels, argued for this odd intrusion into musical creativity, persuading Hitler’s supposed enemies in Britain to adopt this “superior” standard tuning for the “Aryan/Master Race.” What did the Nazis (and their secretive by well-documented US financiers) have to gain from this? It is interesting, also, to note that in October 1953, despite the British and Nazi push for the arbitrary A=440 standard (which is “disharmonic” vis à vis the physico-acoustic laws of creation governing reality), a referendum of 23,000 French musicians voted overwhelmingly in favour of A=432Hz.[iii] Many, many musicians, through recent centuries have expressed their strong preference for the A=432 reference pitch. The Vibration of Sound According to preliminary research, analysis, and professional discussions by Walton, Koehler, Reid, et al., on the web, A=440Hz frequency music conflicts with human energy centers (i.e., chakras) from the heart to the base of the spine [the lower four]. Alternatively, chakras above the heart are stimulated. Theoretically, the vibration stimulates ego and left-brain function, suppressing the “heart-mind,” intuition and creative inspiration.[v] Interestingly, the difference between 440 and 741 Hz is known in musicology as the Devil’s Interval. For maximum suppression of human consciousness, the frequencies we naturally resonate with, and which are the most biologically and psycho-spiritually enhancing, must be maximally suppressed. Ancient Egyptian and Greek instruments have reportedly been found to be tuned to 432 Hz. As far as many guitarists are concerned, A=432 Hz seems to be the most practical, optimal, and most bio-friendly resonant tuning we have, although many musicians have also favoured A=444. (A=444 Hz belongs to a different scale, where But there’s more: the cochlea, the part of the inner ear that converts acoustic impulses into electrical signals, has a seashell-like spiral shape. A bilateral cross-section of the cochlea is mathematically describable through the Fibonacci series (the Golden Ratio/Phi as manifested in nature). [vi] According to Chas Stoddard inA Short History of Tuning and Temperament, this fractality/recursiveness allows octaves to be decoded at the same point in each layer of the spiral, and may therefore be why we can discern octaves at all (meaning, that without this cochlea design, we would just hear pitch rising or lowering, we would not be able to identify that, for example, 256 Hz is C, as is 512 Hz also C).[vii] The octave concept would be almost meaningless and sonically undetectable to us. Somehow, Austrian genius visionary Rudolph Steiner (1861-1925) was on to all of this. He said: “Music based on C=128hz (C note in concert A=432hz) will support humanity on its way towards spiritual freedom. The inner ear of the human being is built on C=128 hz.” The fact that Phi/Golden Ratio is so key in morphogenesis (the biological process that causes an organism to develop its shape) in humans and throughout nature suggests that there may be an interesting yet little-known relationship between the galactic harmonic of 432 that shows up in our solar system and the Golden Ratio. Many people appear to endorse the view that, while A=440 music is more exciting (or aggressive, for some), it is more mind-oriented and disconnected from the human feeling centres, particularly the heart (which has by far the largest EM field of all bodily organs, including the brain, which it can actually entrain). Disconnecting the heart from the brain is — as history (and our present condition) shows us — catastrophic on a planetary scale; for many reasons, but fundamentally, it disconnects us from our innate wisdom and compassion as sentient beings, thus disconnecting us from each other and the other intelligent beings we share this planet with (not to mention the planet itself which is a living intelligence). Ancient tuning practices employed the “Just Intonation” system of tuning. It featured “pure intervals between every note that were mathematically related by ratios of small whole numbers leading to a much purer sound.” From about the 16th century onwards, “Twelve-Tone Equal Temperament” tuning, according to Joachim Ernst-Berendt, commenced the mistuning of all consonant intervalsexcept the octave.[ix] As a guitarist(who writes music primarily on an electric guitar, I prefer to tune up to A=444/C=528 rather than further down-tuning to 432 (I already drop a full step down on the electric and one of my acoustics and don’t want to lower string tension any further). 528 derives from the ancient Solfeggio scale, as re-discovered by Dr. Joseph Puleo, a co-researcher and co-author with Dr. Len Horowitz of the well-researched and confronting book Healing Codes for the Biological Apocalypse. At A=444 I can feel the resonance almost on a cellular level—the vibrations go right through me, and the guitar feels almost like a part of me. The tone is beautiful and bright; highly resonant. This is not the case when I use 440 Hz (standard Western tuning). Electric guitars, lacking a resonant cavity, don’t make the distinction as easy, however, that doesn’t mean that our cells don’t appreciate the subtle difference. I will discuss more on the Solfeggio scale and why 528 is so important in a coming article. The Curious Case of 432 We see above an interesting relationship between the 432 and the number of completion arising as we look at this material below. The numbers suggest that the “universal” or solar constant of 432 has to do with the “completion” (or completeness) of the manifest material world. Diameter of sun = 864,000 miles (432 x 2) Diameter of moon = 2,160 miles (5 x 432 = 2,160) Precession of the Equinoxes of Earth = 25,920 years (60 x 432) [x] Interestingly, the leading acoustician in Beethoven’s time was Ernst Chladni (1756-1827), the godfather of cymatics. His music theory textbook explicitly defined C as 256/512 Hz, the “scientific” tuning. (The A above middle C in this standard scale is 432 Hz.) Perhaps this is to do with 432 squared — 186,624 (1+8+6+6+2+4 = 9) — being within 1 percent accuracy of the speed of light, (186,282 miles per second, which also resolves to a 9!). The square root of the measured speed of light is 431.6(!) By deductive reasoning, we might speculate that “notes tuned relative to A432 harmonize directly with the light body [auric fields] allowing the vibrations to penetrate, and through entrainment, bring your energetic essence into balance. Entrainment is the tendency for a strong vibration to influence a weaker vibration.”[xi] Inversely, A=440 tuning may produce a dissonant or “agitative” effect on the aura/mind — and anything that disrupts/disturbs DNA will create contraindications in the aura due to DNA’s innate sound-light translation mechanism. The human aura, of course, is the closest thing we have yet been able to point to as “consciousness” or “mind” in the manifest measurable world, as I demonstrate in The Grand Illusion : a Synthesis of Science & Spirituality.
Using 256Hz as the reference for C (where A=432), all occurrences of C are a power of 2. Interestingly, the Schumann resonance — earth’s electromagnetic “heartbeat” existing within the atmosphere between the earth’s surface and our ionisphere — ranges from about 7.83 to 8 Hz on average — very close to (and even the same as) 23. This isn’t terribly surprising if you consider the frequency of earth’s axial rotation: “Earth’s ‘pitch’ (cycles per second/Hertz) as it rotates is G, a fourth below the theoretical C that lies 24 octaves below middle C, when C=256Hz. So C=256/A=432 is in tune with the Earth’s rotation,”[xii] which is “in tune” with the speed of light, which is “in tune” with the diameter of the sun, which is “in tune” with the diameter of the moon, which is “in tune” with the precession of the equinoxes!
That’s a lot of harmony, which is exactly what we should expect from a holofractal (scaled) plasma-based universe
Musica universalis - Wikipedia
music of the spheres - The William Herschel Society Its founder, Pythagoras (532-497? BC), was probably the first person to associate strictly music and astronomy. He used the word “cosmos” to describe a ...
MUSIC OF THE SPHERES
CAT ACT CAT ART ALIVE CAT ART DEAD CAT
The FULCANELLI Phenomenon Kenneth Rayner Johnson 1980 The Praxis Page 190 Theoretical physics has become more and more occult, cheerfully breaking every previously sacrosanct law of nature and leaning towards such supernatural concepts as holes in space, negative mass and time flowing backwards ... The greatest physicists ... have been groping towards a synthesis of physics and parapsychology. - Arthur Koestler: The Roots of Coincidence, (Hutchinson, 1972.)
WHEN YOU GO HOME TELL THEM OF US AND SAY FOR YOUR TOMORROWS WE GAVE OUR TODAY AT THE GOING DOWN OF THE SUN AND IN THE MORNING WE SHALL REMEMBER THEM
HERMES MERCURIUS HERMES HEAR ME SAY ME HEAR MESSAGE
YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART WITH ME ALWAYS
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT PLANETS STARS AND LIFE Page 24 A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'
The Hours of the Horus hath arrived
INNER AWARENESS
INNER AWARENESS
AWAKENING INNER AWARENESS
AWAKENING INNER AWARENESS
Shakespeare Quotes - Such Stuff as Dreams Are Made on. The Tempest Act 4, scene 1, William Shakespeare
The Abbe Sieyes author of the pamphlet What is the third estate? intrigued with Napoleon Bonaparte and became a Consul of the French Republic.
Qu'est-ce que le tiers état? ( What is the third estate? ). The Abbé Sieyès "... it was in Paris that he spent his last days in 1836."
GOD ONE GOD AND ONE CHOSEN RACE THE HUMAN RACE
HOLY BIBLE Scofield References C 1 V 16 THE ACTS OF THE APOSTLESPage 1148 (Part quoted) "MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"
Daily Mail Monday, March 15, 2010 By Sophie Borland Page 27 Yogi bow-wows out with the top prize "Yogi" "Yogi" "Yogi"
THE BOW WOW WOW OF THE WOW WOW WOW
THE ANANGA RANGA OF KALYANA MALLA Translated By Sir Richard Burton and F. F. Arbuthnot and THE SYMPOSIUM OF PLATO Translated By Benjamin Jowett Edition 1963 Page 9 THE PLATONIC AND HINDU ATTITUDES TO LOVE AND SEX by Kenneth Walker "Philebus was saying that enjoyment and pleasure and delight, and the class of feelings akin to them, are a good to every living being, whereas I contend, that not these, but wisdom and intelligence and memory, and their kindred, right opinion and true reasoning, are better and more desirable than pleasure for all who are able to partake of them, and that to all such who are or ever will be they are the most advantageous of all things. Have I not given, Philebus, a fair statement of the two sides of the argument? " "He who has been instructed thus far in the things of love, and who has learned to see the beautiful in due order and succession, when he comes toward the end will suddenly perceive a nature of wondrous beauty-a nature which in the first place is everlasting, not growing and decaying, or waxing and waning; secondly, not fair in one point of view and foul in another, or at one time or in one relation or at one place fair, at another time or in another relation or at another place foul, as if fair to some and ioul to others, or in the likeness of a face or hands or any other part of the bodily frame, or in any form of speech or knowledge, or existing in any other being, as for example, in an animal, or in heaven, or in earth, or in any other place; but beauty absolute separate simple and everlasting, which without diminution and without increase, or any change, is imparted to the ever-growing and perishing beauties of all other things. He who from these ascending under the influence of true love, begins to perceive that beauty, is not far from the end. And the true order of going, or being led by another, to the things of love, is to begin from the beauties of earth and mount upwards for the sake of that other beauty, using these as steps only, and from one going on to two, and from two to all fair forms, and from fair arms to fair practices, and from fair practices to fair notions, until from fair notions he arrives at the /Page 11/absolute beauty, and at last knows what the essence of beauty is ... In that communion only, beholding beauty with the eye of the mind, he will be enabled to bring forth, not images of beauty, but realities (for he has hold not of an image but of a reality), and bringing forth and nourishing true virtue to become the friend of god and be immortal, if mortal man may." The Phaedrus was written in Athens in the fourth century B.C. and probably in Plato's middle years. The opening theme of the work is the art of rhetoric and this leads to a discussion of love. There follows the memorable allegory of the charioteer, Reason, and his two horses, representing the moral and concupiscent elements in human nature. This formulation of the tripartite nature. of the soul has been fundamental to Western philosophy. Here is the distinction which is reflected in the warring of the flesh and the spirit, of which St. Paul and so many later Christian teachers speak. Plato, it is true, did not make an absolute separation of these two aspects of the soul, aware as he was of the ease with which the higher passes into the lower or the lower can be "tamed and humbled, and follow the will of the charioteer". Such concepts are common in the strains of Christian mysticism. St. Francis would gladly have echoed th sentiment of the great final prayer of this work: "Beloved Pan, and all ye other gods who haunt this place, give me beauty in the inward soul: and may the outward and the inward man be at one". But it is undoubted that from the denigration of the senses, cleaHy laid down in Plato's last work, the Laws, and which is certainly implicit in the Phaedrus, 'stems the tenacious tradition in the /Page 12/ West that the body and its desires should be treated with severe discipline, as unworthy of the higher nature of man and tending to deprive him of true happiness and harmony."
"BELOVED PAN AND ALL YE OTHER GODS WHO HAUNT THIS PLACE, GIVE ME BEAUTY IN THE INWARD SOUL: AND MAY THE OUTWARD AND THE INWARD MAN BE AT ONE".
Humanitites Institute Colloquium: Redefining Nature's Boundaries ... - 10:37pm Plato wrote of his teacher Socrates invoking a prayer in a grove of Attica to Pan, god of nature: “Beloved Pan, and all ye other gods who haunt this place, give me beauty in the inward soul; and may the outward and inward man be at one.” A few centuries later, the writer Plutarch described the announcement of the death of Pan in the heyday of the Roman Empire. Thamus, an Egyptian pilot called by a mysterious voice while at sea, is told to announce the death of the god. “Looking toward the land, he said the words as he had heard them: ‘Great Pan is dead.’ Even before he had finished there was a great cry of lamentation, not of one person, but of many, mingled with exclamations of amazement.”
Pan (mythology) - Wikipedia, the free encyclopedia
The Death of Pan
Robert Graves (The Greek Myths) suggested that the Egyptian Thamus apparently misheard Thamus Pan-megas Tethnece 'the all-great Tammuz is dead' for 'Thamus, Great Pan is dead!' Certainly, when Pausanias toured Greece about a century after Plutarch, he found Pan's shrines, sacred caves and sacred mountains still very much frequented.
GREAT PAN IS NOT DEAD
O NAMUH BELOVED CHILDREN OF THE LIGHT BLESSED DREAMER OF DREAMS AWAKEN THE ETERNAL MOMENT BIRTHS ITS FUTURE
A SEASON REASON SEASON AND A TIME FOR EVERY PURPOSE UNDER HEAVEN
noesis n. The cognitive process; cognition. [Greek noēsis , understanding, from noein , to perceive, from nous , Etymology - Continental Philosophy - Christianity - Other uses
noesis - ...[Greek no sis, understanding, from noein, to perceive, from nous, mind.] noesis [nəʊˈiːsɪs]. n. 1. (Philosophy) Philosophy the exercise of reason, ...
GNOSIS GOD KNOWS THIS THIS GOD KNOWS GNOSIS
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE, Total = 351 and 126 and the essence of those word clusters as number is 9
Z5RO ON5 T5O THR55 FOUR FIV5 SIX S5V55 5IGHT 5I55
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
A New Future for Human Consciousness Darryl Reanney (1995 Edition) Page 33 " The laws of physics have no inbuilt time asymmetery.They work just as well in the future-to-past sense as the past-to-future sense. We see this clearly when we look at the quantum wave .The wave is a ripple of possibility, not a real thing It has neither past nor future;it can be described as travelling forwards in time and backward in time with equal validity. This is true not just of the quantum wave. Subatomic particles exhibit the same disregard for time. "
OM NINE 9 SEVEN 7 THREE 3 HOLY BIBLE Page 809 8 x 9 = 72 7 + 2 = 9 "Call unto me, and I will answer thee, and shew thee great and mighty things which thou knowest not."
At this most critical moment in the now of our passing. The Zed AlizZed took time out to address yon companies goodly mix of shriven souls. And in manner gentle, this incantation sold. DEAREST OF DEAR FRIENDS The GOD of the THAT, iz the GOD of MIND. THAT MIND hath always sparkling point with thee. THAT mind of thine, and THAT sparkle point of the THAT is the number NINE, and its dynastic progeny. NINE is the number of the THAT listen to the call of thy GOD
After the initiation, Alizzed thanked the White Rabbitz most humbly for the blessed gift of the sacred symbols. When the White Rabbitz had gone, ZedAlizZed arranged the sacred symbols in the manner of the ancients. As ever the fusion occurred, and as if by magic, Alizzed saw by the light of a different dream. In obeisance to the soon to be arrived, most precious of quintessential moments, The ZedAlizZed began to read from several books, at one and the same time.
Or if the slain think he is slain They know not well the subtle ways I keep and pass and turn again.
The Faerie Queene
EDMUND SPENSER
This
edition 1978
THE FAERIE QUEENE
BOOK I, CANTO I, 36 - 47
Page 50
36 The drouping Night thus creepeth on them fast, And the sad humour loading their eye liddes,
As messenger of Morpheus on them cast
Sweet slombring deaw, the which to sleepe them biddes. Vnto their lodgings then his guestes he riddes:
Where when all drownd in deadly sleepe he findes, He to his study goes, and there amiddes
His Magick bookes and artes of sundry kindes, He seekes out mighty charmes, to trouble sleepy mindes. 37 Then choosing out few wordes most horrible, (Let none them read) thereof did verses frame,
With which and other spelles like terrible,
He bad awake blacke Plutoes griesly Dame, And cursed heauen, and spake reprochfull shame Of highest God, the Lord of life and light;
A bold bad man, that dar'd to call by name Great Gorgon, Prince of darknesse and dead night,
At which Cocytus quakes, and Styx is put to flight. 38 And forth he cald out of deepe darknesse dred Legions of Sprights, the which like little fiyes
Fluttring about his euer damned hed,
A-waite whereto their seruice he applyes,
To aide his friends, or fray his enimies: Of those he chose out two, the falsest twoo, And fittest for to forge true-seeming lyes;
he one of them he gaue a message too,
The other by himselfe staide other worke to doo. 39 He making speedy way through spersed ayre,
And through the world of waters wide and deepe, To Morpheus house doth hastily repaire.
Amid the bowels of the earth full steepe, And low, where dawning day doth neuer peepe, His dwelling is; there Tethys his wet bed
Doth euer wash, and Cynthia still doth steepe In siluer deaw his euer-drouping hed, Whiles sad Night ouer him her mantle black doth spred. Page 51
40 Whose double gates he findeth locked fast, The one faire fram'd of burnisht Yuory, The other all with siluer ouercast;
And wakefull dogges before them farre do lye, Watching to banish Care their enimy,
Who oft is wont to trouble gentle sleepe. By them the Sprite doth passe in quietly, And vnto Morpheus comes, whom drowned deepe In drowsie fit he findes: of nothing he takes keepe
.
41 And more, to lulle him in his slumber soft, A trickling streame from high rocke tumbling downe And euer-drizling raine vpon the loft,
Mixt with a murmuring winde, much like the sowne Of swarming Bees, did cast him in a swowne:
'No other noyse, nor peoples trgublous cryes, As still are wont t' annoy the walled towne, Might there be heard: but carelesse Quiet lyes, Wrapt in eternall silence facre from enemyes. 42 The messenger approching to him spake, But his wast wordes retumd to him in vaine: So sound he slept, that nought mought him awake. Then rudely he him thrust, and pusht with paine,
Whereat he gan to stretch: but he againe
Shooke him so hard, that forced him to speake. As one then in a dreame, whose dryer braine Is tost with troubled sights and fancies weake, He mumbled soft, but would not all hi,s silence breake. 43 The Sprite then gan more boldly him to wake,
And threatned vnto him the dreaded name Of Hecate: whereat he gan to quake,
And lifting vp his lumpish head, with blame Halfe angry asked him, for what he came.
Hither (quoth he) me Archimago sent,
He that the stubbome Sprites can wisely tame, He bids thee to him send for his intent
A fit false dreame, that can delude the sleepers sent. Page 52
44 The God obayde, and calling forth straight way A diuerse dreame out of his prison darke,
Deliuered it to· him, and downe did lay
His heauie head, deuoide of carefull carke, Whose sences all were straight benumbd and starke. He backe returning by the Yuorie dore, Remounted vp as light as chearefull Larke,
And on his litle winges the dreame he bore
In hast vnto his Lord, where he him left afore. 45 Who all this while with charmes and hidden artes,
Had made a Lady of that other Spright,
And fram'd of liquid ayre her tender partes So liuely, and so like in all mens sight, That weaker sence it could haue rauisht quight: The maker selfe for all his wondrous witt, Was nigh beguiled with so goodly sight:
Her all in white he clad, and ouer it Cast a blacke stole, most like to seeme for Vna fit. 46 Now when that ydle dreame was to him brought,
Vnto that Elfin knight he bad him fly,
Where he slept soundly void of euill thought, And with false shewes abuse his fantasy,
In sort as he him schooled priuily: And that new creature borne without her dew, Full of the makers guile, with vsage sly
He taught to imitate that Lady trew, Whose semblance she did carrie vnder feigned hew. 47 Thus well instructed, to their worke they hast,
And comming where the knight in slomber lay,
The one vpon his hardy head him plast,
And made him dreame of loues and lustfuIl play, That nigh his manly hart did melt away,
Bathed in wanton blis and wicked ioy: Then seemed him his Lady by him lay, And to him playnd, how that false winged boy. Her chast hart had subdewd, to learne Dame pleasures toy. Page 106
CANTO VI
"From lawlesse lust by wondrouse grace fayre una is released:"
As when a hidden ship, thatflyes faire yonder sail"
"So when he saw his flatt'ring arts to fayle,"
Page 64
"Then cried she out, fye fye , deformed weight.
Whose borrowed beautie now appeareth plaine"
Page 113
CANTO VI, 28-39
28 The fearefull Dame all quaked at the sight,
And turning backe, gan fast to flyaway,
Vntill with loue reuokt from vaine affright,
She hardly yet perswaded was to stay,
And then to him these womanish words gan say; Ah Satyrane, my dearling, and my ioy,
For loue of me leaue off this dreadfull play; To dally thus with death, is no fit toy,
Go find some other play-fellowes, mine own sweet boy. 29 In these and like delights of bloudy game
He trayned was, till ryper yeares he raught, And there abode, whilst any beast of name
Walkt in that forest, whom he had not taught
To feare his force: and then his courage haught
Desird of forreine foemen to be knowne,
And far abroad for straunge aduentures sought: In which his might was neuer ouerthrowne, But through all Faery lond his famous worth was blown. 30 Yet euermore it was his manner faire,
After long labours and aduentures spent, Vnto those natiue woods for to repaire, To see his sire and ofspring auncient. And now he thither came for like intent; Where he vnwares the fairest Vna found,
Straunge Lady, in so' straunge habiliment,
Teaching the Satyres, which her sat around,
Trew sacred lore, which from her sweet lips did redound. 3 I He wondred at her wisedome heauenly rare,
Whose like in womens wit he neuer knew;
And when her -curteous deeds he did compare,
Gan her admire, and her sad sorrowes rew,
Blaming of Fortune, which such troubles threw,
And ioyd to make proofe of her crueltie
On gentle Dame, so hurtlesse, and so crew: Thenceforth he kept her goodly company, And learnd her discipline of faith and veritie.
Page 114
32 But she all vowd vnto the Redcrosse knight,
His wandring perill closely did lament, Ne in this new acquaintaunce could delight, But her deare heart with anguish did torment,
And all her wit in secret counsels spent,
How to escape. At last in privie wise To Satyrane she shewed her intent; Who glad to gain such fauour, gan deuise, How with that pensiue Maid he best might thence arise. 33 So on a day when Satyres all were gone,
To do their seruice to Syluanus old, The gentle virgin left behind alone
He led away with courage stout and bold. Too late it was, to Satyres to be told,
Or euer hope recouer her againe: In vaine he seekes that hauing cannot hold. So fast he carried her with carefull paine,
That they the woods are past, & come now to the plaine. 34 The better part now of the lingring day,
They traueild had, when as they farre espide A wearie wight forwandring by the way,
And towards him they gan in hast to ride,
To weet of newes, that did abroad betide,
Or tydings of her knight of the Redcrosse.
But he them spying, gan to tume aside,
For feare as seemd, or for some feigned losse; More greedy they of newes, fast towards him do crosse. 35 A silly man, in simple weedes forwome,
And soild with dust of the long dried way; His sandales were with toilesome trauell tome,
And face all tand with scorching sunny ray,
As he had traueild many a sommers day,
Through boyling sands of Arabie and Ynde;
And in his hand a Jacobs staffe, to stay
His wearie limbes vpon: and eke behind, His scrip did hang, in which his needments he did bind. Page 115
36 The knight approching nigh, of him inquerd Tydings of warre, and of aduentures new;
But warres, nor new aduentures none he herd.
Then Vna gan to aske, if ought he knew,
Or heard abroad of that her champion trew, That in his armour bare a croslet red.
Aye me, Deare dame (quoth he) well may I rew To tell the sad sight, which mine eies haue red:
These eyes did see that knight both liuing and eke ded. 37 That cruell word her tender hart so thrild._
That suddein cold did runne through euery vaine, And stony horrour all her sences fild
With dying fit, that downe she fell for paine. The knight her lightly reared vp againe,
And comforted with curteous kind reliefe; Then wonne from death, she bad him tellen plaine The further processe of her hidden griefe;
The lesser pangs can beare, who hath endur'd the chiefe. 38 Then gan the Pilgrim thus, I chaunst this day,
This fatall day, that shall I euer rew,
To see two knights in trauell on my way (A sory sight) arraung'd in battell new,
Both breathing vengeaunce, both of wrathfull hew: My fearefull flesh did tremble at their strife, To see their blades so greedily imbrew,
That drunke with bloud, yet thristed after life: what more? the Redcrosse knight was slaine with Paynim [knife. 39 Ah dearest Lord (quoth she) how might that bee,
And he the stoutest knight, that euer wonne?
Ah dearest dame (quoth he) how might I see The thing, that might not be, and yet was donne? . Where is (said Satyrane) that Paynims sonne, That him of life, and vs ofioy hath reft?
Not far away (quoth he) he hence doth wonne Foreby a fountaine, where I late him left [cleft. Washing his bloudy wounds, that through the steele were Page 126
28 At last when feruent sorrow slaked was, She vp arose, resoluing him to find
A Hue or dead: and forward forth doth pas, All as the Dwarfe the way to her assynd:
And euermore in constant carefull mind She fed her wound with fresh renewed bale; Long tost with stormes, and bet with bitter wind,
High ouer hils, and low adowne the dale,
she wandred many a wood, and measurd many a vale. 29 At last she chaunced by good hap to meet
A goodly knight, faire marching by the way Together with his Squire, arayed meet:
His glitterand armour shined farre away, Like glauncing light of Phoebus brightest ray;
From top to toe no place appeared bare,
That deadly dint of steele endanger may:
Athwart his brest a bauldrick braue he ware, That shynd, like twinkling stars, with stons most pretious rare 30 And in the midst thereof one pretious stone
of wondrous worth, and eke of wondrons mights, Shapt like a Ladies head, exceeding shone,
Like Hesperus emongst the lesser lights, And stroue for to amaze the weaker sights; Thereby his mortall blade full comely hong
In yuory sheath, ycaru'd with curious slights; Whose hilts were bumisht gold, and handle strong
Of mother pearle, and buckled with a golden tong. 31 His haughtie helmet, horrid all with gold,
Both glorious brightnesse, and great terrour bred; For all the crest a Dragon did enfold
With greedie pawes, and ouer all did spred His golden wings: his dreadfull hideous hed
Close couched on the beuer, seem'd to throw
From flaming mouth bright sparkles fierie red,
That suddeine horror to faint harts did show;
And scaly tayle was stretcht adowne his backe full low. Page 127
32 Vpon the top of all his loftie crest,
A bunch of haires discolourd diuersly, With sprincled pearle, and gold full richly drest, Did shake, and seem'd to daunce for iollity,
Like to an Almond tree ymounted hye
On top of greene Selinis all alone, With blossomes braue bedecked daintily; Whose tender locks do tremble euery one
At euery little breath, that vnder heauen is blowne. 33 His warlike shield all closely couer'd was, Ne might of mortall eye be euer seene; Not made of steele, nor of enduring bras,
Such earthly mettals soone consumed bene:
But all of Diamond perfect pure and cleene It framed was, one massie entire mould,
Hewen out of Adamant rocke with engines keene, That point of speare it neuer percen could,
Ne dint of direfull sword diuide the substance would. 34 The same to wight he neuer wont disclose,
But when as monsters huge he would dismay, Or daunt vnequall armies of his foes,
Or when the flying heauens he would affray; For so exceeding shone his glistring ray,
That Phooebus golden face it did attaint, As when a cloud his beames doth ouer-Iay; And siluer Cynthia wexed pale and faint,
As when her face is staynd with magicke arts constraint. 35 No magicke arts hereof had any might,
Nor bloudie wordes of bold Enchaunters call, But all that was not such, as seemd in sight,
Before that shield did fade, and suddeine fall:
And when him list the raskall routes appall, Men into stones therewith he could transmew,
And stones to dust, and dust to nought at all;
And when him list the prouder lookes subdew,
He would them gazing blind, or tume to other hew. Page 128
36 Ne let it seem, that credence this exceedes.
For he that made the same, was knowne right well
to haue done much more admirable deedes.
It Merlin was, which whylome did excel
All liuing wightes in might of magicke spell:
Both shield and sword, and armour all he wrought
For this young Prince, when first to armes he fell;
But when he dyde, the Faerie Queene it brought
To Faerie lond, where yet it may be seen if sought.
ONCE THERE WAS A DRAGON DRESSED IN GREEN ALL IN GREEN NEVER HAS A WORSE ONE YET BEEN SEEN THAN THE DRAGON WHO WAS DRESSED IN GREEN.
ONCE THERE WAS A DRAGON DRESSED IN RED ALL IN RED NEVER HAS A WORSE ONE YET BEEN BLED THAN THE DRAGON WHO WAS DRESSED IN RED
Dave D x 9 I salute thee Fay, and thee O blessed Dr Johnson.
CAUSAL CAUSALITY CASUAL CASUALTY.
I AM A CASUAL CAUSAL CASUALITY.
THE BULL OF MINOS Leonard Cottrell 1953 "Furthermore, after he (Theseus) was arrived in Crete, he slew there the Minotaur (as the most part of ancient authors do write) by the means and help of Ariadne; who being fallen in fancy with him, did give him a clue of a thread, by the help whereof she taught him, how he might easily wind out the turnings and cranks of the Labyrinth. Plutarch (North's translation). Page 207 "In the year 30, on the ninth day of the third month of the inundation, the god entered his horizon" Page 90 "Out in the dark blue sea there lies a land called Crete, a rich and lovely land, washed by the waves on every side,densely peopled and boasting ninety cities . . . . One of the ninety towns is a great city called Knossos, and there, for nine years, King Minos ruled and enjoyed the friendship of almighty Zeus"
THE ALPHABET David Diringer 1947 Page 316 " The Uighurs, originally Toquz Oghuz, the " Nine Oghuz," were a strong people of Turki speech. They lived in Mongolia and were Shamanists "
REVELATION John Michell 1972 Introductory Note On Gematria The Numerical Correspondences of The Greek Alphabet Page 7 "...There were formerly two other letters, representing numbers 90 and 900, but they became obsolete in literature, retained only as numerical symbols. Another letter, the digamma of value 6, also fell out of use and was replaced..."
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 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
ONE TWO THREE FOUR 5FIVE5 SIX SEVEN EIGHT NINE ONETWOTHREEFOUR = 280 = SIXSEVENEIGHTNINE ONETWOTHREEFOUR = 10 = SIXSEVENEIGHTNINE ONETWOTHREEFOUR = 1 = SIXSEVENEIGHTNINE 1 = ONETWOTHREEFOUR 5FIVE5 SIXSEVENEIGHTNINE = 1
THE BALANCING
Added to all, minus none, shared by everything, multiplied in abundance.
PEACE BE UPON YOU
HOLY BIBLE
HOLY BIBLE Scofield References A.D. 30. Page 1117 JESUS ANSWERED AND SAID UNTO HIM, VERILY, VERILY I SAY UNTO THEE EXCEPT A MAN BE BORN AGAIN HE CANNOT SEE THE KINGDOM OF GOD
IN SEARCH OF THE MIRACULOUS Fragments of an Unknown Teaching 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.'
THE MAGIC MOUNTAIN Thomas Mann 1875-1955 Page 496 "There is both rhyme and reason in what I say, I have made a dream poem of humanity. I will cling to it. I will be good. I will let death have no mastery over my thoughts. For therein lies goodness and love of humankind, and in nothing else." Page 496 / 497 "Love stands opposed to death. It is love, not reason, that is stronger than death . Only love, not reason, gives sweet thoughts. And from love and sweetness alone can form come: form and civilisation, friendly and enlightened, beautiful human intercourse-always in silent recognition of the blood-sacrifice. Ah, yes, it is it is well and truly dreamed. I have taken stock I will keep faith with death in my heart, yet well remember that faith with death and the dead is evil, is hostile to mankind, so soon as we give it power over thought and action. For the sake of goodness and love, man shall let death have no sovereignty over his thoughts.
THE MAGIC MOUNTAIN Thomas Mann 1875 - 1955 "I tell them that if they will occupy themselves with the study of mathematics they will find in it the best remedy against the lusts of the flesh."
A TEST OF TIME The Bible From Myth To History David M Rohl 1995 Page 123
Wade Baskin 1974 NUMEROLOGY "A survival of the ancient magical theory of names. Names are infinite in their diversity but all may be reduced to a finite set of numbers, usually from 1 to 9, occasionally with the addition of 11 and 22. Leonard Bosman, in The Meaning and Philosophy of Numbers (1932), stated: The power which the student may draw into himself when trying to realise the inner meaning of these great names and posers is sometimes so great as to cause a physical breakdown. The simplest way to find the number corresponding to a name is to turn each letter into a number. Two systems are used. The Hebrew system, which also relies on knowledge of the Greek alphabet, does not use the figure 9 and writes the letters under the other numbers:" "The modern system places the letters of the alphabet under the numbers 1-9." "Using either system, the digital root is obtained by adding the number equivalents for each letter of a person's full name and reducing the sum to one digit."
THE SORCERORS HANDBOOK Wade Baskin 1974 NUMEROLOGY Page 429 Term designating a cult believed by some students of witch- / Page 430 / craft, mainly those inspired by the writings of Margaret Murray and her followers, to incorporate the essential tenets of a prehistoric religion. These students hold that the idea of a Supreme Being antedates the Old Testament and was fairly widespread. Traces of the Old Religion appear in the Vedas of India, in ancient Persian manuscripts, and in the earliest esoteric writings of the Egyptians. Thousands of years before Paul wrote that "In Him we live, and move, and have our being," the ancient adepts or Magi had taught the essential truths of all the great religions of the world. They taught that the physical world and the mental world existed in the continuum of one great mind, the eternal reconciler of all opposites, the source of all things at all levels, the ultimate and absolute repository of wisdom and knowledge. Man with his limited intelligence could never comprehend the incomprehensible. But knowledge of God was accessible to man through his perception of truth and spiritual values; God revealed himself as perfection, love, light, and beyond that, Mystery. The ancient belief was summed up in the formula carved on ruined temples: "I am all that is, all that was, all that will be, and no one shall lift my veil." "I am all that is, all that was, all that will be, and no one shall lift my veil." Page 156 "The rite or initiation follows a general pattern to which / Page 157 / each coven may add its own features. A nine-foot circle isoutlined with a sacred black-handled knife. An altar placed in the center of the circle contains a knife symbolizing the air, a cauldron symbolizing water and the Great Mother, a wand symbolizing the phallus and fire, and the pentatle symbolizing the earth. Other instruments may include a sword, a burin, a white-handled knife for use in making talismans, and a cord symbolizing the unifying spirit that links all the elements together. The altar has on it lighted candles, incense burners, a vase filled with salt and water, and a whip symbolizing purification. The circle is consecrated, using ritual instruments, salt, and water. An incantation, repeated over and over, asks the an- cient gods of the four cardinal points to appear. During this part of the ceremony the postulant stands outside the circle.. The leader of the coven touches his chest with the point of the blackhandled knife and warns him that it is better to die by the knife than to enter the coven with fear in his heart. The postulant replies with the password "Per-fect love and perfect faith," enters the circle, and has his feet and hands ceremoniously bound with the cord. The leader presents him to the gods of the east, the south, the west, and the north, brings him back to the altar, forces him to kneel, grasps his feet firmly, and asks: "Are you prepared to swear to remain faithful to the Art forever?" When the postulant states that he is ready, the leader tells him that he must first be purified, and applies first three, then seven, then nine, and finally 21 lashes." "Perfect love and perfect faith" "A nine-foot circle" "nine" 9 "first three, then seven, then nine," three seven nine 3 7 9 973 9
1234 5 6789 ONE+TWO+THREE+FOUR 5 SIX+SEVEN+EIGHT+NINE ONE FIVE ONE = 1 5 1 = ONE FIVE ONE ONE FIVE ONE
IN THE BEGINNING WAS THE WORD AND THE WORD WAS WITH GOD AND THE WORD WAS GOD THE SAME WAS IN THE BEGINNING WITH GOD ALL THINGS WERE MADE BY GOD AND WITHOUT GOD WAS NOT ANYTHING MADE THAT WAS MADE IN GOD WAS LIFE AND THE LIFE WAS THE LIGHT OF HUMANKIND AND THE LIGHT SHINETH IN THE DARKNESS AND THE DARKNESS COMPREHENDED IT NOT
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