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THE MAGICALALPHABET
A MAZE IN ZAZAZA ENTERS AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND
ADVENT 1063 ADVENT
THE NUCLEAR FAMILY 1969
A MAZE IN ZAZAZA ENTER AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
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
....
THE LIGHT IS RISING RISING IS THE LIGHT
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
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
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."
FINGERPRINTS OF THE GODS 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"
THE LIGHT IS RISING NOW RISING IS THE LIGHT
MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS
MATHEMATICS A LANGUAGE OF LETTER AND NUMBER
The Upside Down of the Downside Up
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 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 Santillarta 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) Thee Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as.- the interest- 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 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 radiusekla 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 striped and striped wallpaper, decorated / Page 209 /
with a number of scarlet circles - 'you can see it's more than random.'19 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"
All about the planets in our Solar System. The nine planets that orbit the sun are (in order from the sun): Mercury,Venus, Earth, Mars, Jupiter, Saturn, ... www.enchantedlearning.com/subjects/astronomy/planets Our solar system consists of the sun, eight planets, moons, dwarf planets, an asteroid belt, comets, meteors, and others. The sun is the center of our solar system; the planets, their moons, the asteroids, comets, and other rocks and gas all orbit the sun. The nine planets that orbit the sun are (in order from the sun): Mercury,Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune, and Pluto (a dwarf planet). A belt of asteroids (minor planets made of rock and metal) lies between Mars and Jupiter. These objects all orbit the sun in roughly circular orbits that lie in the same plane, the ecliptic (Pluto is an exception; it has an elliptical orbit tilted over 17° from the ecliptic).
THE LIGHT IS RISING NOW RISING IS THE LIGHT
I ME
THE TIME IS COMING AND NOW IS
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S
ADVENT 1063 ADVENT
......
......
......
GODDESS OF GOODNESS IS O IS GOODNESS OF GODDESS
......
THE FIRE THAT BURNS WITHIN
THE SCULPTURE OF VIBRATIONS 1971
THE DIVINE FEMININE
ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE
ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE
AMEN ALLMEN ALL MEN AMEN AMEN ALLWOMEN ALL WOMEN AMEN
I ATEN ZERO = O = ZERO ONE AND ZERO ZERO AND ONE ISISIS ZERO = ONE = ONE = ZERO ISISIS RA OSIRIS ERECT PENIS = I = PENIS ERECT OSIRIS RA ISISIS ZERO CIRCLE VAGINA = O = VAGINA CIRCLE ZERO ISISIS 999999999666666666101010101010101010010101010101010101666666666999999999
OUT OF ZERO COMETH ONE
THAT HE AS IN SHE THAT IS ME
VIRGIN V ORIGIN
PENISSPINEPINES VAGINA V AGAIN
V AGAI N GAIA N AGAI N V
V AGAIN PENETRATES THIS PENETRATES AGAIN
SEMEN SEE MEN SEE
THE WISE WOUND Penelope Shuttle and Peter Redgrove 1994 Page 141 "Now we must look at the facts that enable us to conjecture that in this state of emancipation, which involved the development of menstruation, the woman's meditations or potions opened her to the effects of the tides, and the sight of the moon. Perhaps she felt the tides in her body, as all water-diviners do. Perhaps she felt the moon- tide as the great 81,000,000,000,000,000,000 ton body passed only a quarter of a million miles overhead, the tidal vibration that is greatest at new moon and solar eclipse when the sun's force and the moon's force are in line and their gravitation is added together (the sun adds some thirty per cent to the tidal peaks at new or full moon). Perhaps she felt this tidal vibration in her body as it is felt throughout the whole earth, in her body made of water and solids as the earth is, of spaces of fluid acting over hard bones, and opened herself in a kind of yoga-tuning to this experience. Then in her excitement these fluids at the focus of tautness and sensitivity at her premenstrual time, burst through their membranes in a flood of tidal communion with the moon and its waters, and the blood flowed in excitement and sympathy. We know that there are these tidal peaks and dynamisms in the earth's progress through its month and through its year, like a breathing of the continents, and it has been conjectured by Theodor Schwenk that these times correspond to the great yearly festivals: ' All naturally flowing waters have their rhythms perhaps following the course of the day, perhaps keeping time with longer seasonal rhythms... Everywhere liquids move in rhythms."
This study of the facts, fantasies and taboos surrounding menstruation has helped bring about a profound shift in attitudes towards a natural phenomenon that has been reviled and denigrated over the centuries. Thoroughly researched yet highly readable, combining psychology, anthropology and poetry, Shuttle and Redgrove illustrate their theories using examples ranging from The Bible to such modern day pop horrors as vampire movies and the cult film The Exorcist. M Cirpili
"This study of the facts, fantasies and taboos surrounding menstruation has helped bring about a profound shift in attitudes towards a natural phenomenon that has been reviled and denigrated over the centuries. Thoroughly researched yet highly readable, combining psychology, anthropology and poetry, Shuttle and Redgrove illustrate their theories using examples ranging from The Bible to such modern day pop horrors as vampire movies and the cult film The Exorcist.
MENS TRUE HATE NOT TONIGHT MAN CHILD
MENS TRUE HATE NOT TONIGHT MAN CHILD MENSTRUATE MENS TRUE HATE MENSTRUATE MENSTRUATE MENOPAUSE MENOPAUSE MEN O PAUSE MENOPAUSE THE TIME THAT WAS IS GONE NOW
MENS TRU ATE
MENS TRUE HATE
MENSTRUATION
LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER
MENOPAUSE
LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER
MEN O PAUSE PAUSE O MEN HEARKEN MAN CHILD MY TIME FOR BAIRNING IS DONE
THE JOURNEYWOMAN 1977
THE HOLY GRAIL A HOLY GIRL IS
HOLY BIBLE Scofield References JOB C 9 V 9 Page 575 "Which maketh Arcturus, Orion, and Pleiades, and the chambers of the south."
HOLY BIBLE Scofield References JOB C 9 V 9 Page 575 WHICH MAKETH ARCTURUS ORION AND PLEIADES AND THE CHAMBERS OF THE SOUTH
THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 82 The Sacred Fifty "We must return to the treatise 'The Virgin of the World'. This treatise is quite explicit in saying that Isis and Osiris were sent to help the Earth by giving primitive mankind the arts of civilization: 'How was it, mother, then, that Earth received God's Efflux?' And Isis said: 'I may not tell the story of (this) birth; for it is not permitted to describe the origin of thy descent, O Horus (son) of mighty power, lest afterwards the way-of-birth of the immortal gods should be known unto men - except so far that God the Monarch, the universal Orderer and Architect, sent for a little while thy mighty sire Osiris, and the mightiest goddess Isis, that they might help the world, for all things needed them. "Page 73 A Fairy Tale 'I INVOKE THEE, LADY ISIS, WITH WHOM THE GOOD DAIMON DOTH UNITE, HE WHO IS LORD IN THE PERFECT BLACK.'
THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 74 "Mead quotes an Egyptian magic papyrus, this being an uncontested Egyptian document which he compares to a passage in the Trismegistic literature: 'I invoke thee, Lady Isis, with whom the Good Daimon doth unite, He who is Lord in the perfect black. '37 Page 77 "Bearing these books in mind (and I am sure they are there waiting underground like a time bomb for us), it is interesting to read this passage in 'The Virgin of the World' following shortly upon that previously quoted: Page 82 "We must note Stecchini's remarks about Delphi as follows :38
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
I AM ALPHA AND OMEGA THE BEGINNING AND THE END THE FIRST AND THE LAST I AM THE ROOT AND THE OFFSPRING OF DAVID AND THE BRIGHT AND MORNING STAR AND THE SPIRIT AND THE BRIDE SAY COME AND LET THEM THAT HEARETH SAY COME AND LET THEM THAT IS ATHIRST COME AND WHOSOEVER WILL LET THEM TAKE THE WATER OF LIFE FREELY
THE CHRISTOS THE CHRIST
CHRISTOS SEE HERE IS THE CHRISTOS
OSIRIS ISIS
The Goddess: Sophia – Mystical Shores 1 Jun 2019 — Sophia is the personification of Wisdom. She is the Mother of Creation. She is the female soul/spirit, seen by some as the true power behind the ...
Sophia, Goddess of Wisdom - Crystalinks As Goddess of wisdom and fate , her faces are many: Black Goddess, Divine Feminine, Mother of God The Gnostic Christians, Sophia was the Mother of Creation; ...
SOPHIA - GODDESS OF WISDOM by Justin Taylor ... Who is Sophia? Literally she is Wisdom, because the Greek word Sophia means "wisdom" in English. More than that, Sophia is the Wisdom of Deity. She has ...
Sophia (wisdom) - Wikipedia Personification[edit]. Sophia is not a "goddess" in classical Greek tradition; Greek goddesses associated with wisdom are Metis and Athena (Latin Minerva). In the Orthodox Church and the Roman Catholic Church, the feminine personification of divine wisdom as Holy Wisdom (???a S?f?a Hagía Sophía) can refer either to Jesus Christ the Word of God (as in the dedication of the church of Hagia Sophia in Constantinople) or to the Holy Spirit. References to Sophia in Koine Greek translations of the Hebrew Bible translate to the Hebrew term Chokhmah. The Ancient Greek word Sophia (s?f?a, sophía) is the abstract noun of s?f?? (sophós), which variously translates to "clever, skillful, intelligent, wise". These words share the same Proto-Indo-European root as the Latin verb sapere (lit. '"to taste; discern"'), whence sapientia.[1] The noun s?f?a as "skill in handicraft and art" is Homeric and in Pindar is used to describe both Hephaestos and Athena. Before Plato, the term for "sound judgment, intelligence, practical wisdom" and so on, such qualities as are ascribed to the Seven Sages of Greece, was phronesis (f????s??, phrónesis), from phren (f???, phren, lit. '"mind"'), while sophia referred to technical skill.[citation needed] The term philosophia (f???s?f?a, philosophía, lit. '"love of wisdom"') was primarily used after the time of Plato, following his teacher Socrates, though it has been said that Pythagoras was the first to call himself a philosopher. This understanding of philosophia permeates Plato's dialogues, especially the Republic. In that work, the leaders of the proposed utopia are to be philosopher kings: rulers who are lovers of wisdom. According to Plato in Apology, Socrates himself was dubbed "the wisest [s?f?tat??, soph?tatos] man of Greece" by the Pythian Oracle. Socrates defends this verdict in Apology to the effect that he, at least, knows that he knows nothing. Socratic skepticism is contrasted with the approach of the sophists, who are attacked in Gorgias for relying merely on eloquence. Cicero in De Oratore later criticized Plato for his separation of wisdom from eloquence.[2] Sophia is named as one of the four cardinal virtues (in place of phronesis) in Plato's Protagoras. Philo, a Hellenized Jew writing in Alexandria, attempted to harmonize Platonic philosophy and Jewish scripture. Also influenced by Stoic philosophical concepts, he used the Koine term logos (?????, lógos) for the role and function of Wisdom, a concept later adapted by the author of the Gospel of John in the opening verses and applied to Jesus as the Word (Logos) of God the Father.[3] In Gnosticism, Sophia is a feminine figure, analogous to the soul, but also simultaneously one of the emanations of the Monad. Gnostics held that she was the syzygy of Jesus (i.e. the Bride of Christ) and was the Holy Spirit of the Trinity. She is occasionally referred to by the Hebrew equivalent of Acham?th (??aµ??; Hebrew:, ?okhmah) and as Proúnikos .
2+3+4+5 FOURTEEN = 104 = FOURTEEN 5+4+3+2
LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER
IN MEMORIAM
HYPATIA
en.wikipedia.org › wiki › Hypatia Died: March 415 AD (aged 45–65); Alexandria?, ...? Era: Ancient philosophy Hypatia[a] (born c. 350–370; died 415 AD)[1] was a Hellenistic Neoplatonist philosopher, astronomer, and mathematician, who lived in Alexandria, Egypt, then part of the Eastern Roman Empire. She was a prominent thinker of the Neoplatonic school in Alexandria where she taught philosophy and astronomy.[3] Although preceded by Pandrosion, another Alexandrine female mathematician,[4] she is the first female mathematician whose life is reasonably well recorded.[5] Hypatia was renowned in her own lifetime as a great teacher and a wise counselor. She is known to have written a commentary on Diophantus's thirteen-volume Arithmetica, which may survive in part, having been interpolated into Diophantus's original text, and another commentary on Apollonius of Perga's treatise on conic sections, which has not survived. Many modern scholars also believe that Hypatia may have edited the surviving text of Ptolemy's Almagest, based on the title of her father Theon's commentary on Book III of the Almagest. Hypatia is known to have constructed astrolabes and hydrometers, but did not invent either of these, which were both in use long before she was born. Although she herself was a pagan, she was tolerant towards Christians and taught many Christian students, including Synesius, the future bishop of Ptolemais. Ancient sources record that Hypatia was widely beloved by pagans and Christians alike and that she established great influence with the political elite in Alexandria. Towards the end of her life, Hypatia advised Orestes, the Roman prefect of Alexandria, who was in the midst of a political feud with Cyril, the bishop of Alexandria. Rumors spread accusing her of preventing Orestes from reconciling with Cyril and, in March 415 AD, she was murdered by a mob of Christians led by a lector named Peter.[6][7] Hypatia's murder shocked the empire and transformed her into a "martyr for philosophy", leading future Neoplatonists such as Damascius to become increasingly fervent in their opposition to Christianity. During the Middle Ages, Hypatia was co-opted as a symbol of Christian virtue and scholars believe she was part of the basis for the legend of Saint Catherine of Alexandria. During the Age of Enlightenment, she became a symbol of opposition to Catholicism. In the nineteenth century, European literature, especially Charles Kingsley's 1853 novel Hypatia, romanticized her as "the last of the Hellenes". In the twentieth century, Hypatia became seen as an icon for women's rights and a precursor to the feminist movement. Since the late twentieth century, some portrayals have associated Hypatia's death with the destruction of the Library of Alexandria, despite the historical fact that the library no longer existed during Hypatia's lifetime.[8] Nothing is known about Hypatia's mother, who is never mentioned in any of the extant sources.[19][20][21] Theon dedicates his commentary on Book IV of Ptolemy's Almagest to an individual named Epiphanius, addressing him as "my dear son",[22][23] indicating that he may have been Hypatia's brother,[22] but the Greek word Theon uses (teknon) does not always mean "son" in the biological sense and was often used merely to signal strong feelings of paternal connection.[22][23] Hypatia's exact year of birth is still under debate, with suggested dates ranging from 350 to 370 AD.[24][25][26] Many scholars have followed Richard Hoche in inferring that Hypatia was born around 370. According to a description of Hypatia from the lost work Life of Isidore by the Neoplatonist historian Damascius (c. 458 – c. 538), preserved in the entry for her in the Suda, a tenth-century Byzantine encyclopedia, Hypatia flourished during the reign of Arcadius. Hoche reasoned that Damascius's description of her physical beauty would imply that she was at most 30 at that time, and the year 370 was 30 years prior to the midpoint of Arcadius's reign.[27][28] In contrast, theories that she was born as early as 350 are based on the wording of the chronicler John Malalas (c. 491 – 578), who calls her old at the time of her death in 415.[26][29] Robert Penella argues that both theories are weakly based, and that her birth date should be left unspecified.[27] According to Watts, two main varieties of Neoplatonism were taught in Alexandria during the late fourth century. The first was the overtly pagan religious Neoplatonism taught at the Serapeum, which was greatly influenced by the teachings of Iamblichus.[38] The second variety was the more moderate and less polemical variety championed by Hypatia and her father Theon, which was based on the teachings of Plotinus.[39] Although Hypatia herself was a pagan, she was tolerant of Christians.[40][41] In fact, every one of her known students was Christian.[42] One of her most prominent pupils was Synesius of Cyrene,[24][43][44][45] who went on to become a bishop of Ptolemais (now in eastern Libya) in 410.[45][46] Afterward, he continued to exchange letters with Hypatia[44][45][47] and his extant letters are the main sources of information about her career.[44][45][48][49][50] Seven letters by Synesius to Hypatia have survived,[44][45] but none from her addressed to him are extant.[45] In a letter written in around 395 to his friend Herculianus, Synesius describes Hypatia as "... a person so renowned, her reputation seemed literally incredible. We have seen and heard for ourselves she who honorably presides over the mysteries of philosophy."[44] Synesius preserves the legacy of Hypatia's opinions and teachings, such as the pursuit of "the philosophical state of apatheia—complete liberation from emotions and affections".[51] The Christian historian Socrates of Constantinople, a contemporary of Hypatia, describes her in his Ecclesiastical History:[19] There was a woman at Alexandria named Hypatia, daughter of the philosopher Theon, who made such attainments in literature and science, as to far surpass all the philosophers of her own time. Having succeeded to the school of Plato and Plotinus, she explained the principles of philosophy to her auditors, many of whom came from a distance to receive her instructions. On account of the self-possession and ease of manner which she had acquired in consequence of the cultivation of her mind, she not infrequently appeared in public in the presence of the magistrates. Neither did she feel abashed in going to an assembly of men. For all men on account of her extraordinary dignity and virtue admired her the more.[31] Philostorgius, another Christian historian, who was also a contemporary of Hypatia, states that she excelled her father in mathematics[44] and the lexicographer Hesychius of Alexandria records that, like her father, she was also an extraordinarily talented astronomer.[44][52] Damascius writes that Hypatia was "exceedingly beautiful and fair of form",[53][54] but nothing else is known regarding her physical appearance[55] and no ancient depictions of her have survived.[56] Damascius states that Hypatia remained a lifelong virgin[57][58] and that, when one of the men who came to her lectures tried to court her, she tried to soothe his lust by playing the lyre.[54][59][b] When he refused to abandon his pursuit, she rejected him outright,[54][59][61] displaying her bloody menstrual rags and declaring "This is what you really love, my young man, but you do not love beauty for its own sake."[32][54][59][61] Damascius further relates that the young man was so traumatized that he abandoned his desires for her immediately.[54][59][61] Death?[edit] Background?[edit] Drawing from the Alexandrian World Chronicle depicting Pope Theophilus of Alexandria, gospel in hand, standing triumphantly atop the Serapeum in 391 AD[62] Theophilus died unexpectedly in 412.[63] He had been training his nephew Cyril, but had not officially named him as his successor.[70] A violent power struggle over the diocese broke out between Cyril and his rival Timothy. Cyril won and immediately began to punish those who had supported Timothy; he closed the churches of the Novatianists, who had supported Timothy, and confiscated their property.[71] Hypatia's school seems to have immediately taken a strong distrust towards the new bishop,[66][68] as evidenced by the fact that, in all his vast correspondences, Synesius only ever wrote one letter to Cyril, in which he treats the younger bishop as inexperienced and misguided.[68] In a letter written to Hypatia in 413, Synesius requests her to intercede on behalf of two individuals impacted by the ongoing civil strife in Alexandria,[72][73][74] insisting, "You always have power, and you can bring about good by using that power."[72] He also reminds her that she had taught him that a Neoplatonic philosopher must introduce the highest moral standards to political life and act for the benefit of their fellow citizens.[72] According to Socrates Scholasticus, in 414, following an exchange of hostilities and a Jewish-led massacre, Cyril closed all the synagogues in Alexandria, confiscated all the property belonging to the Jews, and expelled a number of Jews from the city; Scholasticus suggests all the Jews were expelled, while John of Nikiu notes it was only those involved in the massacre.[75][76][71] Orestes, the Roman prefect of Alexandria, who was also a close friend of Hypatia[19] and a recent convert to Christianity,[19][77][78] was outraged by Cyril's actions and sent a scathing report to the emperor.[19][71][79] The conflict escalated and a riot broke out in which the parabalani, a group of Christian clerics under Cyril's authority, nearly killed Orestes.[71] As punishment, Orestes had Ammonius, the monk who had started the riot, publicly tortured to death.[71][80][81] Cyril tried to proclaim Ammonius a martyr,[71][80][82] but Christians in Alexandria were disgusted,[80][83] since Ammonius had been killed for inciting a riot and attempting to murder the governor, not for his faith.[80] Prominent Alexandrian Christians intervened and forced Cyril to drop the matter.[71][80][83] Nonetheless, Cyril's feud with Orestes continued.[84] Orestes frequently consulted Hypatia for advice[85][86] because she was well-liked among both pagans and Christians alike, she had not been involved in any previous stages of the conflict, and she had an impeccable reputation as a wise counselor.[87] Despite Hypatia's popularity, Cyril and his allies attempted to discredit her and undermine her reputation.[88][89] Socrates Scholasticus mentions rumors accusing Hypatia of preventing Orestes from reconciling with Cyril.[86][89] Traces of other rumors that spread among the Christian populace of Alexandria may be found in the writings of the seventh-century Egyptian Coptic bishop John of Nikiû,[38][89] who alleges in his Chronicle that Hypatia had engaged in satanic practices and had intentionally hampered the church's influence over Orestes:[89][90][91][92] And in those days there appeared in Alexandria a female philosopher, a pagan named Hypatia, and she was devoted at all times to magic, astrolabes and instruments of music, and she beguiled many people through her Satanic wiles. And the governor of the city honoured her exceedingly; for she had beguiled him through her magic. And he ceased attending church as had been his custom... And he not only did this, but he drew many believers to her, and he himself received the unbelievers at his house.[90] Illustration by Louis Figuier in Vies des savants illustres, depuis l'antiquité jusqu'au dix-neuvième siècle from 1866, representing the author's imagining of what the assault against Hypatia might have looked like Hypatia (1885) by Charles William Mitchell, believed to be a depiction of a scene in Charles Kingsley's 1853 novel Hypatia[93][94] Socrates Scholasticus presents Hypatia's murder as entirely politically motivated and makes no mention of any role that Hypatia's paganism might have played in her death.[105] Instead, he reasons that "she fell a victim to the political jealousy which at that time prevailed. For as she had frequent interviews with Orestes, it was calumniously reported among the Christian populace that it was she who prevented Orestes from being reconciled to the bishop."[95][106] Socrates Scholasticus unequivocally condemns the actions of the mob, declaring, "Surely nothing can be farther from the spirit of Christianity than the allowance of massacres, fights, and transactions of that sort."[95][102][107] The Canadian mathematician Ari Belenkiy has argued that Hypatia may have been involved in a controversy over the date of the Christian holiday of Easter 417 and that she was killed on the vernal equinox while making astronomical observations.[108] Classical scholars Alan Cameron and Edward J. Watts both dismiss this hypothesis, noting that there is absolutely no evidence in any ancient text to support any part of the hypothesis.[109][110] Aftermath?[edit] Hypatia's death sent shockwaves throughout the empire;[38][111] for centuries, philosophers had been seen as effectively untouchable during the displays of public violence that sometimes occurred in Roman cities and the murder of a female philosopher at the hand of a mob was seen as "profoundly dangerous and destabilizing".[111] Although no concrete evidence was ever discovered definitively linking Cyril to the murder of Hypatia,[38] it was widely believed that he had ordered it.[38][86] Even if Cyril had not directly ordered the murder himself, it was self-evident that his smear campaign against Hypatia had inspired it. The Alexandrian council was alarmed at Cyril's conduct and sent an embassy to Constantinople.[38] Theodosius II's advisors launched an investigation to determine Cyril's role in the murder.[107] The investigation resulted in the emperors Honorius and Theodosius II issuing an edict in autumn of 416, which attempted to remove the parabalani from Cyril's power and instead place them under the authority of Orestes.[38][107][112][113] The edict restricted the parabalani from attending "any public spectacle whatever" or entering "the meeting place of a municipal council or a courtroom."[114] It also severely restricted their recruitment by limiting the total number of parabalani to no more than five hundred.[113] Cyril himself allegedly only managed to escape even more serious punishment by bribing one of Theodosius II's officials.[107] Watts argues that Hypatia's murder was the turning point in Cyril's fight to gain political control of Alexandria.[115] Hypatia had been the linchpin holding Orestes's opposition against Cyril together, and, without her, the opposition quickly collapsed.[38] Two years later, Cyril overturned the law placing the parabalani under Orestes's control and, by the early 420s, Cyril had come to dominate the Alexandrian council.[115] Works?[edit] Hypatia has been described as a universal genius,[116] but she was probably more of a teacher and commentator than an innovator.[117][118][19][119] No evidence has been found that Hypatia ever published any independent works on philosophy[120] and she does not appear to have made any groundbreaking mathematical discoveries.[117][118][19][119] During Hypatia's time period, scholars preserved classical mathematical works and commented on them to develop their arguments, rather than publishing original works.[117][121][122] It has also been suggested that the closure of the Mouseion and the destruction of the Serapeum may have led Hypatia and her father to focus their efforts on preserving seminal mathematical books and making them accessible to their students.[120] The Suda mistakenly states that all of Hypatia's writings have been lost,[123] but modern scholarship has identified several works by her as extant.[123] This kind of authorial uncertainty is typical of female philosophers from antiquity.[124] Hypatia wrote in Greek, which was the language spoken by most educated people in the Eastern Mediterranean at the time.[24] In classical antiquity, astronomy was seen as being essentially mathematical in character.[125] Furthermore, no distinction was made between mathematics and numerology or astronomy and astrology.[125] Edition of the Almagest?[edit] Hypatia is known to have edited at least Book III of Ptolemy's Almagest,[126][127][128] which supported the geocentric model of the universe shown in this diagram.[129][127] Independent writings?[edit] Hypatia wrote a commentary on Apollonius of Perga's treatise on conic sections,[32][133][134] but this commentary is no longer extant.[133][134] Cameron states that the most likely source of the additional material is Hypatia herself, since Hypatia is the only ancient writer known to have written a commentary on the Arithmetica and the additions appear to follow the same methods used by her father Theon.[17] The first person to deduce that the additional material in the Arabic manuscripts came from Hypatia was the nineteenth-century scholar Paul Tannery.[133][139] In 1885, Sir Thomas Heath published the first English translation of the surviving portion of the Arithmetica. Heath argued that surviving text of Arithmetica is actually a school edition produced by Hypatia to aid her students.[138] According to Mary Ellen Waithe, Hypatia used an unusual algorithm for division (in the then-standard sexagesimal numeral system), making it easy for scholars to pick out which parts of the text she had written.[133] The consensus that Hypatia's commentary is the source of the additional material in the Arabic manuscripts of the Arithmetica has been challenged by Wilbur Knorr, a historian of mathematics, who argues that the interpolations are "of such low level as not to require any real mathematical insight" and that the author of the interpolations can only have been "an essentially trivial mind... in direct conflict with ancient testimonies of Hypatia's high caliber as a philosopher and mathematician."[17] Cameron rejects this argument, noting that "Theon too enjoyed a high reputation, yet his surviving work has been judged 'completely unoriginal.'"[17] Cameron also insists that "Hypatia's work on Diophantus was what we today might call a school edition, designed for the use of students rather than professional mathematicians."[17] Hypatia also wrote a commentary on Apollonius of Perga's work on conic sections,[32][133][134] but this commentary is no longer extant.[133][134] She also created an "Astronomical Canon";[32] this is believed to have been either a new edition of the Handy Tables by the Alexandrian Ptolemy or the aforementioned commentary on his Almagest.[140][141][142] Based on a close reading in comparison with her supposed contributions to the work of Diophantus, Knorr suggests that Hypatia may also have edited Archimedes' Measurement of a Circle, an anonymous text on isometric figures, and a text later used by John of Tynemouth in his work on Archimedes' measurement of the sphere.[143] A high degree of mathematical accomplishment would have been needed to comment on Apollonius's advanced mathematics or the astronomical Canon. Because of this, most scholars today recognize that Hypatia must have been among the leading mathematicians of her day.[117] Reputed inventions?[edit] Hypatia is known to have constructed plane astrolabes,[144] such as the one shown above, which dates to the eleventh century. The statement from Synesius's letter has sometimes been wrongly interpreted to mean that Hypatia invented the plane astrolabe herself,[35][149] but the plane astrolabe is known to have been in use at least 500 years before Hypatia was born.[50][144][149][150] Hypatia may have learned how to construct a plane astrolabe from her father Theon,[129][145][147] who had written two treatises on astrolabes: one entitled Memoirs on the Little Astrolabe and another study on the armillary sphere in Ptolemy's Almagest.[147] Theon's treatise is now lost, but it was well-known to the Syrian bishop Severus Sebokht (575–667), who describes its contents in his own treatise on astrolabes.[147][151] Hypatia and Theon may have also studied Ptolemy's Planisphaerium, which describes the calculations necessary in order to construct an astrolabe.[152] Synesius's wording indicates that Hypatia did not design or construct the astrolabe herself, but merely acted as a guide and mentor during the process of constructing it.[11] In another letter, Synesius requests Hypatia to construct him a "hydroscope", a device now known as a hydrometer, to determine the density or specific gravity of liquids.[145][149][153][154] Based on this request, it has been claimed that Hypatia invented the hydrometer herself.[149][155] The minute detail in which Synesius describes the instrument, however, indicates that he assumes she has never heard of the device,[156][157] but trusts she will be able to replicate it based on a verbal description. Hydrometers were based on Archimedes' 3rd century BC principles, may have been invented by him, and were being described by the 2nd century AD in a poem by the Roman author Remnius.[158][159][160] Although modern authors frequently credit Hypatia with having developed a variety of other inventions, these other attributions may all be discounted as spurious.[156] Booth concludes, "The modern day reputation held by Hypatia as a philosopher, mathematician, astronomer, and mechanical inventor, is disproportionate to the amount of surviving evidence of her life's work. This reputation is either built on myth or hearsay as opposed to evidence. Either that or we are missing all of the evidence that would support it."[155] Legacy?[edit] Antiquity?[edit] Neoplatonism and paganism both survived for centuries after Hypatia's death,[161][162] and new academic lecture halls continued to be built in Alexandria after her death.[163] Over the next 200 years, Neoplatonist philosophers such as Hierocles of Alexandria, John Philoponus, Simplicius of Cilicia, and Olympiodorus the Younger made astronomical observations, taught mathematics, and wrote lengthy commentaries on the works of Plato and Aristotle.[161][162] Hypatia was not the last female Neoplatonist philosopher; later ones include Aedesia, Asclepigenia, and Theodora of Emesa.[163] According to Watts, however, Hypatia had no appointed successor, no spouse, and no offspring[107][164] and her sudden death not only left her legacy unprotected, but also triggered a backlash against her entire ideology.[165] Hypatia, with her tolerance towards Christian students and her willingness to cooperate with Christian leaders, had hoped to establish a precedent that Neoplatonism and Christianity could coexist peacefully and cooperatively. Instead, her death and the subsequent failure by the Christian government to impose justice on her killers destroyed that notion entirely and led future Neoplatonists such as Damascius to consider Christian bishops as "dangerous, jealous figures who were also utterly unphilosophical."[166] Hypatia became seen as a "martyr for philosophy",[166] and her murder led philosophers to adopt attitudes that increasingly emphasized the pagan aspects of their beliefs system[167] and helped create a sense of identity for philosophers as pagan traditionalists set apart from the Christian masses.[168] Thus, while Hypatia's death did not bring an end to Neoplatonist philosophy as a whole, Watts argues that it did bring an end to her particular variety of it.[169] Shortly after Hypatia's murder, a forged anti-Christian letter appeared under her name.[170] Damascius was "anxious to exploit the scandal of Hypatia's death", and attributed responsibility for her murder to Bishop Cyril and his Christian followers.[171][172] A passage from Damascius's Life of Isidore, preserved in the Suda, concludes that Hypatia's murder was due to Cyril's envy over "her wisdom exceeding all bounds and especially in the things concerning astronomy".[173][174] Damascius's account of the Christian murder of Hypatia is the sole historical source attributing direct responsibility to Bishop Cyril.[174] At the same time, Damascius was not entirely kind to Hypatia either; he characterizes her as nothing more than a wandering Cynic,[175][176] and compares her unfavorably with his own teacher Isidore of Alexandria,[175][176][177] remarking that "Isidorus greatly outshone Hypatia, not just as a man does over a woman, but in the way a genuine philosopher will over a mere geometer."[178] Middle Ages?[edit] Icon of Saint Catherine of Alexandria from Saint Catherine's Monastery in Sinai, Egypt. The legend of Saint Catherine is thought to have been at least partially inspired by Hypatia.[179][180][181] The Byzantine Suda encyclopedia contains a very long entry about Hypatia, which summarizes two different accounts of her life.[188] The first eleven lines come from one source and the rest of the entry comes from Damascius's Life of Isidore. Most of the first eleven lines of the entry probably come from Hesychius's Onomatologos,[189] but some parts are of unknown origin, including a claim that she was "the wife of Isidore the Philosopher" (apparently Isidore of Alexandria).[32][189][190] Watts describes this as a very puzzling claim, not only because Isidore of Alexandria was not born until long after Hypatia's death, and no other philosopher of that name contemporary with Hypatia is known,[191][192][193] but also because it contradicts Damascius's own statement quoted in the same entry about Hypatia being a lifelong virgin.[191] Watts suggests that someone probably misunderstood the meaning of the word gyne used by Damascius to describe Hypatia in his Life of Isidore, since the same word can mean either "woman" or "wife".[194] The Byzantine and Christian intellectual Photios (c. 810/820–893) includes both Damascius's account of Hypatia and Socrates Scholasticus's in his Bibliotheke.[194] In his own comments, Photios remarks on Hypatia's great fame as a scholar, but does not mention her death, perhaps indicating that he saw her scholarly work as more significant.[195] The intellectual Eudokia Makrembolitissa (1021–1096), the second wife of Byzantine emperor Constantine X Doukas, was described by the historian Nicephorus Gregoras as a "second Hypatia".[196] Early modern period?[edit] Voltaire, in his Examen important de Milord Bolingbroke ou le tombeau de fanatisme (1736) interpreted Hypatia as a believer in "the laws of rational Nature" and "the capacities of the human mind free of dogmas"[117][197] and described her death as "a bestial murder perpetrated by Cyril's tonsured hounds, with a fanatical gang at their heels".[197] Later, in an entry for his Dictionnaire philosophique (1772), Voltaire again portrayed Hypatia as a freethinking deistic genius brutally murdered by ignorant and misunderstanding Christians.[117][201][202] Most of the entry ignores Hypatia herself altogether and instead deals with the controversy over whether or not Cyril was responsible for her death.[202] Voltaire concludes with the snide remark that "When one strips beautiful women naked, it is not to massacre them."[201][202] In his monumental work The History of the Decline and Fall of the Roman Empire, the English historian Edward Gibbon expanded on Toland and Voltaire's misleading portrayals by declaring Cyril as the sole cause of all evil in Alexandria at the beginning of the fifth century[201] and construing Hypatia's murder as evidence to support his thesis that the rise of Christianity hastened the decline of the Roman Empire.[203] He remarks on Cyril's continued veneration as a Christian saint, commenting that "superstition [Christianity] perhaps would more gently expiate the blood of a virgin, than the banishment of a saint."[204] In response to these accusations, Catholic authors, as well as some French Protestants, insisted with increased vehemence that Cyril had absolutely no involvement in Hypatia's murder and that Peter the Lector was solely responsible. In the course of these heated debates, Hypatia herself tended to be cast aside and ignored, while the debates focused far more intently on the question of whether Peter the Lector had acted alone or under Cyril's orders.[202] Nineteenth century?[edit] The play Hypatia, performed at the Haymarket Theatre in January 1893, was based on the novel by Charles Kingsley.[205] Julia Margaret Cameron's 1867 photograph Hypatia, also inspired by Charles Kingsley's novel[205] French Wikisource has original text related to this article: French Wikisource has original text related to this article: In nineteenth century European literary authors spun the legend of Hypatia as part of neo-Hellenism, a movement that romanticised ancient Greeks and their values.[117] Interest in the "literary legend of Hypatia" began to rise.[201] Diodata Saluzzo Roero's 1827 Ipazia ovvero delle Filosofie suggested that Cyril had actually converted Hypatia to Christianity, and that she had been killed by a "treacherous" priest.[206] In his 1852 Hypatie and 1857 Hypathie et Cyrille, French poet Charles Leconte de Lisle portrayed Hypatia as the epitome of "vulnerable truth and beauty".[207] Leconte de Lisle's first poem portrayed Hypatia as a woman born after her time, a victim of the laws of history.[204][208] His second poem reverted to the eighteenth-century Deistic portrayal of Hypatia as the victim of Christian brutality,[94][209] but with the twist that Hypatia tries and fails to convince Cyril that Neoplatonism and Christianity are actually fundamentally the same.[94][210] Charles Kingsley's 1853 novel Hypatia; Or, New Foes with an Old Face was originally intended as a historical treatise, but instead became a typical mid-Victorian romance with a militantly anti-Catholic message,[211][212] portraying Hypatia as a "helpless, pretentious, and erotic heroine"[213] with the "spirit of Plato and the body of Aphrodite."[214] Kingsley's novel was tremendously popular;[215][216] it was translated into several European languages[216][217] and remained continuously in print for the rest of the century.[217] It promoted the romantic vision of Hypatia as "the last of the Hellenes"[216] and was quickly adapted into a broad variety of stage productions, the first of which was a play written by Elizabeth Bowers, performed in Philadelphia in 1859, starring the writer herself in the titular role.[217] On 2 January 1893, a much higher-profile stage play adaptation Hypatia, written by G. Stuart Ogilvie and produced by Herbert Beerbohm Tree, opened at the Haymarket Theatre in London. The title role was initially played by Julia Neilson, and it featured an elaborate musical score written by the composer Hubert Parry.[218][219] The novel also spawned works of visual art,[205] including an 1867 image portraying Hypatia as a young woman by the early photographer Julia Margaret Cameron[205][220] and an 1885 painting by Charles William Mitchell showing a nude Hypatia standing before an altar in a church.[205] At the same time, European philosophers and scientists described Hypatia as the last representative of science and free inquiry before a "long medieval decline".[117] In 1843, German authors Soldan and Heppe argued in their highly influential History of the Witchcraft Trials that Hypatia may have been, in effect, the first famous "witch" punished under Christian authority (see witch-hunt).[221] Hypatia was honored as an astronomer when 238 Hypatia, a main belt asteroid discovered in 1884, was named for her. The lunar crater Hypatia was also named for her, in addition to craters named for her father Theon. The 180 km Rimae Hypatia are located north of the crater, one degree south of the equator, along the Mare Tranquillitatis.[222] Twentieth century?[edit] An actress, possibly Mary Anderson, in the title role of the play Hypatia, c. 1900. Similarities between this image and the Gaspard portrait at right indicate this one may have served as a model for the Gaspard.[223] This fictional portrait of Hypatia by Jules Maurice Gaspard, originally the illustration for Elbert Hubbard's 1908 fictional biography, has now become, by far, the most iconic and widely reproduced image of her.[224][225][226] In 1908, American writer Elbert Hubbard published a putative biography of Hypatia in his series Little Journeys to the Homes of Great Teachers. The book is almost entirely a work of fiction.[224][227] In it, Hubbard relates a completely made-up physical exercise program which he claims Theon established for his daughter, involving "fishing, horseback-riding, and rowing".[228] He claims that Theon taught Hypatia to "Reserve your right to think, for even to think wrongly is better than to never think at all."[228] Hubbard claims that, as a young woman, Hypatia traveled to Athens, where she studied under Plutarch of Athens. All of this supposed biographical information, however, is completely fictional and is not found in any ancient source. Hubbard even attributes to Hypatia numerous completely fabricated quotations in which she presents modern, rationalist views.[228] The cover illustration for the book, a drawing of Hypatia by artist Jules Maurice Gaspard showing her as a beautiful young woman with her wavy hair tied back in the classical style, has now become the most iconic and widely reproduced image of her.[224][225][226] Around the same time, Hypatia was adopted by feminists, and her life and death began to be viewed in the light of the women's rights movement.[229] The author Carlo Pascal claimed in 1908 that her murder was an anti-feminist act and brought about a change in the treatment of women, as well as the decline of the Mediterranean civilization in general.[230] Dora Russell, the wife of Bertrand Russell, published a book on the inadequate education of women and inequality with the title Hypatia or Woman and Knowledge in 1925.[231] The prologue explains why she chose the title:[231] "Hypatia was a university lecturer denounced by Church dignitaries and torn to pieces by Christians. Such will probably be the fate of this book."[222] Hypatia's death became symbolic for some historians. For example, Kathleen Wider proposes that the murder of Hypatia marked the end of Classical antiquity,[232] and Stephen Greenblatt writes that her murder "effectively marked the downfall of Alexandrian intellectual life".[233] On the other hand, Christian Wildberg notes that Hellenistic philosophy continued to flourish in the 5th and 6th centuries, and perhaps until the age of Justinian I.[234][235] Fables should be taught as fables, myths as myths, and miracles as poetic fantasies. To teach superstitions as truths is a most terrible thing. The child mind accepts and believes them, and only through great pain and perhaps tragedy can he be in after years relieved of them. In fact, men will fight for a superstition quite as quickly as for a living truth–often more so, since a superstition is so intangible you can not get at it to refute it, but truth is a point of view, and so is changeable. — Made-up quote attributed to Hypatia in Elbert Hubbard's 1908 fictional biography of her, along with several other similarly spurious quotations[228] Falsehoods and misconceptions about Hypatia continued to proliferate throughout the late twentieth century.[227] Although Hubbard's fictional biography was intended for children,[225] Lynn M. Osen relied on it as her main source in her influential 1974 article on Hypatia in her 1974 book Women in Mathematics.[227] Fordham University used Hubbard's biography as the main source of information about Hypatia in a medieval history course.[224][227] Carl Sagan's 1980 PBS series Cosmos: A Personal Voyage relates a heavily fictionalized retelling of Hypatia's death, which results in the "Great Library of Alexandria" being burned by militant Christians.[149] In actuality, though Christians led by Theophilus did indeed destroy the Serapeum in 391 AD, the Library of Alexandria had already ceased to exist in any recognizable form centuries prior to Hypatia's birth.[8] As a female intellectual, Hypatia became a role model for modern intelligent women and two feminist journals were named after her: the Greek journal Hypatia: Feminist Studies was launched in Athens in 1984, and Hypatia: A Journal of Feminist Philosophy in the United States in 1986.[229] In the United Kingdom, the Hypatia Trust maintains a library and archive of feminine literary, artistic and scientific work; and, sponsors the Hypatia-in-the-Woods women's retreat in Washington, United States.[222] Judy Chicago's large-scale art piece The Dinner Party awards Hypatia a table setting.[236][237] The table runner depicts Hellenistic goddesses weeping over her death.[230] Chicago states that the social unrest leading to Hypatia's murder resulted from Roman patriarchy and mistreatment of women and that this ongoing unrest can only be brought to an end through the restoration of an original, primeval matriarchy.[238] She (anachronistically and incorrectly) concludes that Hypatia's writings were burned in the Library of Alexandria when it was destroyed.[230] Major works of twentieth century literature contain references to Hypatia,[239] including Marcel Proust's stories "Madame Swann At Home" and "Within a Budding Grove" from In Search of Lost Time, and Iain Pears's The Dream of Scipio.[212] Twenty-first century?[edit] Hypatia's life continues to be fictionalized by authors in many countries and languages.[240] In Umberto Eco's 2002 novel Baudolino, the hero's love interest is a half-satyr, half-woman descendant of a female-only community of Hypatia's disciples, collectively known as "hypatias".[241] Charlotte Kramer's 2006 novel Holy Murder: the Death of Hypatia of Alexandria portrays Cyril as an archetypal villain, while Hypatia is described as brilliant, beloved, and more knowledgeable of scripture than Cyril.[242] Ki Longfellow's novel Flow Down Like Silver (2009) invents an elaborate backstory for why Hypatia first started teaching.[243] Youssef Ziedan's novel Azazeel (2012) describes Hypatia's murder through the eyes of a witness.[244] Bruce MacLennan's 2013 book The Wisdom of Hypatia presents Hypatia as a guide who introduces Neoplatonic philosophy and exercises for modern life.[245] In The Plot to Save Socrates (2006) by Paul Levinson and its sequels, Hypatia is a time-traveler from the twenty-first century United States.[246][247][248] In the TV series The Good Place, Hypatia is played by Lisa Kudrow as one of the few ancient philosophers eligible for heaven, by not having defended slavery.[249] The 2009 film Agora, directed by Alejandro Amenábar and starring Rachel Weisz as Hypatia, is a heavily fictionalized dramatization of Hypatia's final years.[8][250][251] The film, which was intended to criticize contemporary Christian fundamentalism,[252] has had wide-ranging impact on the popular conception of Hypatia.[250] It emphasizes Hypatia's astronomical and mechanical studies rather than her philosophy, portraying her as "less Plato than Copernicus",[250] and emphasizes the restrictions imposed on women by the early Christian church,[253] including depictions of Hypatia being sexually assaulted by one of her father's Christian slaves,[254] and of Cyril reading from 1 Timothy 2:8–12 forbidding women from teaching.[254][255] The film contains numerous historical inaccuracies:[8][254][256] It inflates Hypatia's achievements[149][256] and incorrectly portrays her as finding a proof of Aristarchus of Samos's heliocentric model of the universe, which there is no evidence that Hypatia ever studied.[149] It also contains a scene based on Carl Sagan's Cosmos in which Christians raid the Serapeum and burn all of its scrolls, leaving the building itself largely intact. In reality, the Serapeum probably did not have any scrolls in it at that time,[c] and the Christians demolished the building.[8] The film also implies that Hypatia is an atheist, directly contradictory to the surviving sources, which all portray her as following the teachings of Plotinus that the goal of philosophy was "a mystical union with the divine."[149]
The Goddess: Sophia – Mystical Shores 1 Jun 2019 — Sophia is the personification of Wisdom. She is the Mother of Creation. She is the female soul/spirit, seen by some as the true power behind the ...
Sophia, Goddess of Wisdom - Crystalinks As Goddess of wisdom and fate , her faces are many: Black Goddess, Divine Feminine, Mother of God The Gnostic Christians, Sophia was the Mother of Creation; ...
SOPHIA - GODDESS OF WISDOM by Justin Taylor ... Who is Sophia? Literally she is Wisdom, because the Greek word Sophia means "wisdom" in English. More than that, Sophia is the Wisdom of Deity. She has ...
Sophia (wisdom) - Wikipedia Personification[edit]. Sophia is not a "goddess" in classical Greek tradition; Greek goddesses associated with wisdom are Metis and Athena (Latin Minerva). In the Orthodox Church and the Roman Catholic Church, the feminine personification of divine wisdom as Holy Wisdom (???a S?f?a Hagía Sophía) can refer either to Jesus Christ the Word of God (as in the dedication of the church of Hagia Sophia in Constantinople) or to the Holy Spirit. References to Sophia in Koine Greek translations of the Hebrew Bible translate to the Hebrew term Chokhmah. The Ancient Greek word Sophia (s?f?a, sophía) is the abstract noun of s?f?? (sophós), which variously translates to "clever, skillful, intelligent, wise". These words share the same Proto-Indo-European root as the Latin verb sapere (lit. '"to taste; discern"'), whence sapientia.[1] The noun s?f?a as "skill in handicraft and art" is Homeric and in Pindar is used to describe both Hephaestos and Athena. Before Plato, the term for "sound judgment, intelligence, practical wisdom" and so on, such qualities as are ascribed to the Seven Sages of Greece, was phronesis (f????s??, phrónesis), from phren (f???, phren, lit. '"mind"'), while sophia referred to technical skill.[citation needed] The term philosophia (f???s?f?a, philosophía, lit. '"love of wisdom"') was primarily used after the time of Plato, following his teacher Socrates, though it has been said that Pythagoras was the first to call himself a philosopher. This understanding of philosophia permeates Plato's dialogues, especially the Republic. In that work, the leaders of the proposed utopia are to be philosopher kings: rulers who are lovers of wisdom. According to Plato in Apology, Socrates himself was dubbed "the wisest [s?f?tat??, soph?tatos] man of Greece" by the Pythian Oracle. Socrates defends this verdict in Apology to the effect that he, at least, knows that he knows nothing. Socratic skepticism is contrasted with the approach of the sophists, who are attacked in Gorgias for relying merely on eloquence. Cicero in De Oratore later criticized Plato for his separation of wisdom from eloquence.[2] Sophia is named as one of the four cardinal virtues (in place of phronesis) in Plato's Protagoras. Philo, a Hellenized Jew writing in Alexandria, attempted to harmonize Platonic philosophy and Jewish scripture. Also influenced by Stoic philosophical concepts, he used the Koine term logos (?????, lógos) for the role and function of Wisdom, a concept later adapted by the author of the Gospel of John in the opening verses and applied to Jesus as the Word (Logos) of God the Father.[3] In Gnosticism, Sophia is a feminine figure, analogous to the soul, but also simultaneously one of the emanations of the Monad. Gnostics held that she was the syzygy of Jesus (i.e. the Bride of Christ) and was the Holy Spirit of the Trinity. She is occasionally referred to by the Hebrew equivalent of Acham?th (??aµ??; Hebrew: ??????, ?okhmah) and as Proúnikos .
2+3+4+5 FOURTEEN = 104 = FOURTEEN 5+4+3+2
THE HOLY GRAIL A HOLY GIRL IS
THE HOLY GRAIL A HOLY GIRL IS
HOLY GRAIL A HOLY GIRL
GIRL A GRAIL A GIRL
A HOLY GRAIL IS A HOLY GIRL IS GOD IS WITH WHOM WITHIN THE WOMB THE GREAT MOTHER HAS BORNE A BRIMO BRIMS OVER PREGNANT IS SHE FULL TO OVERFLOWING IS SHE THE OPENING OF THE GREAT MOTHERS MOUTH AT THE COMING FORTH BY DAY
Ritual, Myth and the Modernist Text: The Influence of Jane ... books.google.co.uk › books
Brimo - Wikipedia In ancient Greek religion and myth, the epithet Brimo— "angry" or "terrifying"— may be applied ... Brimo has given birth to Brimos! that is, the Strong One to the Strong One" Brimos is thus an epithet of Iacchos, ... and Mythology · Kerenyi, Karl, Eleusis: Archetypal Image of Mother and Child (Princeton: Bollingen Press) 1967 In ancient Greek religion and myth, the epithet Brimo— "angry"[1] or "terrifying"— may be applied to any of several goddesses with an inexorable, dreaded and vengeful aspect that is linked to the land of the Dead: to Hecate or Persephone,[2] to Demeter Erinyes— the angry, bereft Demeter—[3] or, perhaps, to Cybele.[4] Brimo is the "furious" aspect of the Furies. In the solemn moment when Medea picks the dire underworld root for Jason, she calls seven times upon Brimo, "she who haunts the night, the Nursing Mother [Kourotrophos]. In black weed And murky gloom she dwells, Queen of the Dead".[5] The Thessalian or Thracian word Brimo was foreign in Attica.[6] Brimo-Hecate was worshipped at Pherae in Thessaly and has connections with Orphic religion, in which Persephone was prominent.[7] The Alexandra of Lycophron makes clear that when Hecuba is to be transformed into one of the hounds of the triple Hecate, Brimo is an epithet of the Thessalian goddess of the Underworld. Clement of Alexandria was of the opinion that Brimo was only a title of Demeter at Eleusis.[8] At the Eleusinian Mysteries, the Christian writer Hippolytus reports,[9] the hierophant announced the birth of Brimos: "The Mistress has given birth to a Holy Boy! Brimo has given birth to Brimos! that is, the Strong One to the Strong One"[10] Brimos is thus an epithet of Iacchos, the Holy Child of the virginal Persephone, whose epiphany was at the heart of the Eleusinian Mysteries. In later, more worldly and cynical times, the archaic and fearful spirit could be mocked: in Lucian of Samosata's parody Oracle of the dead, Brimo is among the voters recorded by the magistrates of Hades: she groans her assent while Cerberus yelps "aye!". In the Greek magical papyri found in Egypt, Brimo makes a natural appearance in incantations connected with the catabasis ritual, of entering the Underworld and returning unharmed.[11]
Mythic Astrology: Archetypal Powers in the Horoscope books.google.co.uk › books It is Demeter as Brimo, rather than Persephone, who gives birth. ... talking about one goddess who has three aspects — maiden (Persephone as Kore), mother (Demeter), ... Like Demophoon, the divine child Dionysus is born in a blaze of fire.
Science of Mythology: Essays on the Myth of the Divine Child ... books.google.co.uk › books It was undoubtedly after the search and the sacred marriage that a great light shone and the cry of ... resounded: "The great goddess has borne a sacred child: Brimo has borne Brimos!" Which of them bore the child—the mother or the daughter? ... The child is likewise undifferentiated—it is only what is born, the fruit of birth.
A HOLY WOMANS WOMB IS
HOLY GRAIL IS A HOLY GIRL IS
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
VIETNAM MADONNA 1970
THE HERMETICA THE LOST WISDOM OF THE PHARAOHS Timothy Freke & Peter Gandy To the Memory of Giordano Bruno 1548 - 1600 Mundus Nihil Pulcherrimum The World is a Beautiful Nothing Page 23 "Although we have used the familiar term 'God' in the explanatory notes which accompany each chapter, we have avoided this term in the text itself. Instead we have used 'Atum - one of the ancient Egyptian names for the Supreme One God."
Page 45 The Being of Atum "Atum is Primal Mind." Page 45 The Being of Atum Give me your whole awareness, and concentrate your thoughts, for Knowledge of Atum's Being requires deep insight, which comes only as a gift of grace. It is like a plunging torrent of water whose swiftness outstrips any man who strives to follow it, leaving behind not only the hearer, but even the teacher himself. To conceive of Atum is difficult. To define him is impossible. The imperfect and impermanent cannot easily apprehend the eternally perfected. Atum is whole and conconstant. In himself he is motionless, yet he is self-moving. He is immaculate, incorruptible and ever-lasting. He is the Supreme Absolute Reality. He is filled with ideas which are imperceptible to the senses, and with all-embracing Knowledge. Atum is Primal Mind. Page 46 He is too great to be called by the name 'Atum'. He is hidden, yet obvious everywhere. His Being is known through thought alone, yet we see his form before our eyes. He is bodiless, yet embodied in everything. There is nothing which he is not. He has no name, because all names are his name. He is the unity in all things, so we must know him by all names and call everything 'Atum'. He is the root and source of all. Everything has a source, except this source itself, which springs from nothing. Atum is complete like the number one, which remains itself whether multiplied or divided, and yet generates all numbers. Atum is the Whole which contains everything. He is One, not two. He is All, not many. The All is not many separate things, but the Oneness that subsumes the parts. The All and the One are identical. You think that things are many when you view them as separate, but when you see they all hang on the One, /Page 47/ and flow from the One, you will realise they are unitedlinked together, and connected by a chain of Being from the highest to the lowest, all subject to the will of Atum. The Cosmos is one as the sun is one, the moon is one and the Earth is one. Do you think there are many Gods? That's absurd - God is one. Atum alone is the Creator of all that is immortal, and all that is mutable. If that seems incredible, just consider yourself. You see, speak, hear, touch, taste, walk, think and breathe. It is not a different you who does these various things, but one being who does them all. To understand how Atum makes all things, consider a farmer sowing seeds;
here wheat - there barley, Just as the same man plants all these seeds, so Atum sows immortality in heaven and change on Earth. Throughout the Cosmos he disseminates Life and movementthe two great elements that comprise Atum and his creation, and so everything that is. Page 48 Atum is called 'Father' because he begets all things, and, from his example, the wise hold begetting children the most sacred pursuit of human life. Atum works with Nature, within the laws of Necessity, causing extinction and renewal, constantly creating creation to display his wisdom. Yet, the things that the eye can see are mere phantoms and illusions. Only those things invisible to the eye are real. Above all are the ideas of Beauty and Goodness. Just as the eye cannot see the Being of Atum, so it cannot see these great ideas. They are attributes of Atum alone, and are inseparable from him. They are so perfectly without blemish that Atum himself is in love with them. There is nothing which Atum lacks, so nothing that he desires. There is nothing that Atum can lose, so nothing can cause him grief. Atum is everything. Atum makes everything, and everything is a part of Atum. Atum, therefore, makes himself. This is Atum's glory - he is all-creative, and this creating is his very Being. It is impossible for him ever to stop creatingfor Atum can never cease to be. Page 49 Atum is everywhere. Mind cannot be enclosed, because everything exists within Mind. Nothing is so quick and powerful. Just look at your own experience. Imagine yourself in any foreign land, and quick as your intention you will be there! Think of the ocean - and there you are. You have not moved as things move, but you have travelled, nevertheless. Fly up into the heavens - you won't need wings! Nothing can obstruct you - not the burning heat of the sun, or the swirling planets. Pass on to the limits of creation. Do you want to break out beyond the boundaries of the Cosmos? For your mind, even that is possible. Can you sense what power you possess? If you can do all this, then what about your Creator? Try and understand that Atum is Mind. This is how he contains the Cosmos. All things are thoughts which the Creator thinks."
ATUM QUANTUM ATOM
ATUM RA
FINGERPRINTS OF THE GODS 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"
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.)
Middle Eastern Mythology S. H. Hooke 1963 Middle Eastern Mythology Recent Sumerian studies 5 have shown that the conception or a divine garden and of a state when sickness and death did not exist and wild animals did not prey on one another is to be found in Sumerian mythology. The description of this earthly Paradise is contained in the Sumerian poem which Dr Kramer has called the Epic of Emmerkar: The land Dilmun is a pure place, the land Dilmun is a clean place The land Dilmun is a clean place, the land Dilmun is a bright place In Dilmun the raven uttered no cry, The kite uttered not the cry of the kite, The lion killed not, The wolf snatched not the lamb, Unknown was the kid-killing dog, Unknown was the grain-devouring boar ... The sick·eyed says not '1 am sick-eyed', The sick-headed says not '1 am sick-headed', Its (Dilmun's) old woman says not 'I am an old woman', Its old man says not 'I am an old man', Unbathed is the maid, no sparkling water is poured in the city, Who crosses the river (of death?) utters no ... The 'wailing priests walk not about him, The singer utters no wail, By the side of the city he utters no lament. Later, in the Semitic editing of the Sumerian myths, Dilmun became the dwelling of the immortals, where Utnapishtim and his wife were allowed to live after the Flood (p. 49). It was apparently located at the mouth of the Persian Gulf. According to the Sumerian myth the only thing which Dilmun lacked was fresh water; the god Enki (or Ea) ordered Utu, the sun-god, to 'bring up fresh water from the earth to water the garden. Here we may have the source of the / Page 115 / mysterious 'ed of which the Yahwist speaks as coming up from the ground to water the garden. In the myth of Enki and Ninhursag it is related that the mother-goddess Ninhursag caused eight plants to grow in the garden of the gods. Enki desired to eat these plants and sent his messenger Isimud to fetch them. Enki ate them one by one, and Ninhursag in her rage pronounced the curse of death upon Enki. As the result of the curse eight of Enki's bodily organs were attacked by disease and he was at the point of death. The great gods were in dismay and Enlil was powerless to help. Ninhursag was induced to return and deal with the situation. She created eight goddesses of healing who proceeded to heal each of the diseased parts of Enki's body. One of these parts was the god's rib, and the goddess who was created to deal with the rib was named Ninti, which means 'the lady of the rib'. But the Sumerian word ti has the double meaning of 'life' as well as ' rib', so that Ninti could also mean 'the lady of life'. We have seen that in the Hebrew myth the woman who was fashioned from Adam's rib was named by him Hawwah, meaning 'Life'. Hence one of the most curious features of the Hebrew myth of Paradise clearly has its origin in this somewhat crude Sumerian myth. Other elements in the Yahwist's form of the Paradise myth have striking parallels in various Akkadian myths. The importance of the possession of knowledge, which is always magical knowledge, is a recurring theme. We have seen that the myth of Adapa and the Gilgamesh Epic are both concerned with the search for immortality and the problem of death and the existence of disease. These and other examples which we have cited will serve to illustrate the point that the Akkadian myths were concerned with the themes which appear in the Yahwist's Paradise story.
QUO VADIS
Quo vadis - Wikipedia, the free encyclopedia Quo vadis? is a Latin phrase meaning "Where are you going?" or "Whither goest thou?". The modern usage of the phrase refers to a legend in Christian ...
en.wikipedia.org/wiki/Quo_vadis Quo vadis? is a Latin phrase meaning "Where are you going?" or "Whither goest thou?". The modern usage of the phrase refers to a legend in Christian tradition, related in the apocryphal Acts of Peter (Vercelli Acts XXXV), in which Saint Peter meets Jesus as Peter is fleeing from likely crucifixion in Rome. Peter asks Jesus the question; Jesus' answer, "I am going to Rome to be crucified again" (Eo Romam iterum crucifigi), prompts Peter to gain the courage to continue his ministry and eventually become a martyr. The phrase also occurs a few times in the Vulgate translation of the Bible, notably including the occurrence in John 13:36 in which Peter also asks the question of Jesus, after the latter announces he is going to where his followers cannot come.
Quo Vadis. I fled by night and in the grey of dawn met on the lonely way a man I knew but could not name. He said “Good morning”, I the same .. rtnl.org.uk/now_and_then/html/242.html
Quo Vadis
Quo vadis is a Latin phrase meaning "Where are you going?" It is used as a proverbial phrase from the Bible (John 13:36, 16:5). ... en.wikipedia.org/wiki/Quo_Vadis -
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"
CHEIRO'S BOOK OF NUMBERS Circa 1926 Page106 The question has been asked again and again, Is there some means of knowing when the moment has come to take the tide at the flood?
THE QUESTION HAS BEEN ASKED AGAIN AND AGAIN IS THERE SOME MEANS OF KNOWING WHEN THE MOMENT HAS COME TO TAKE THE TIDE AT THE FLOOD
YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Page 254 "...Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have. That common language is science and mathematics. The laws of Nature are the same everywhere:..."
THE LURE AND ROMANCE OF ALCHEMY. A history of the secret link between magic and science 1990 Page# 31 / 32 note 1 Julius Ruska ,Tabula Smaragdini 1926 "THE EMERALD TABLE OF HERMES: " "True it is, without falsehood certain most true.That which is
Freiheit - Keeping The Dream Alive lyrics. From the Original Motion Picture ... In my fantasy I remember their faces The hopes we had were much too high ... www.lyricsmode.com/lyrics/f/freiheit/keeping_the_dream_alive.html
Mmm mmm mmm mmm mmm mmm mmm mmm mmm.
I SAY IS THIS THE OTHER SIDE OF THE GREAT DIVIDE ? NO ITS OVER THERE I HAVE JUST BEEN OVER THERE AND THEY SAID ITS OVER HERE
BIRTH OF THE HORUS 1980
Did Spacemen Colonise the Earth? Robin Collyns 1974 Page 206 "FINIS
RACIAL MEMORY 1980
LA GRANDE PUPPETEER 1979
THE MAGIC MOUNTAIN Thomas Mann 1924 THE THUNDERBOLT Page 715 "There is our friend, there is Hans Castorp! We recognize him at a distance, by the little beard he assumed 'while sitting at the " bad" Russian table. Like all the others, he is wet through and glowing. He is running, his feet heavy with mould, the bayonet swinging in his, hand. Look! He treads on the hand of a fallen comrade; with his hobnailed boot he treads the hand deep into the slimy, branch-strewn ground. But it is he. What, singing? As one sings, unaware, staring stark ahead, yes, thus. he spends his hurrying breath, to sing half soundlessly: "And loving words I've carven He stumbles, No, he has flung himself down, a hell-hound is coming howling, a huge explosive shell, a disgusting sugar-loaf from the infernal regions. He lies with his face in the cool mire, legs. sprawled out, feet twisted, heels turned down. The product of a perverted science, laden with death, slopes earthward thirty paces in front of him and buries its nose in the ground; explodes inside there, with hideous expense of power, and raises up a fountain high as a house, of mud, fire, iron, molten metal, scattered fragments of humanity. Where it fell, two youths had lain, friends who in their need flung themselves down together - now they are scattered, commingled and gone. "Its waving branches whiispered and thus, in the tumult, in the rain, in the dusk, vanishes out of our sight. FINIS OPERIS
GODDESS OF GOODNESS ...
Part I: God the Mother - Fellowship of Isis So Hera's womb is literally panton genethla. Kerenyi .. is our chief source for information on the Hera cults". (The Wise Wound, 179). The Greeks also had an ... God the Mother: This page includes the introduction to Part I, The Maternal Source, as well as an excerpt from the Graeco-Roman section. PART I. In his History of Women published about two hundred years ago, Dr. William Alexander makes this statement: ''Whenever female deities have obtained a place in the religion of a people, it is a sign that women are of some consequence; for we find in those modern nations where the women are held in the most despicable light that even their deities are all of the masculine gender." (cit. Rel. of Gdss, 5). This assessment recognized the basic difference between matriarchal and patriarchal religions. Both are inextricably tied to the social attitude to women. But whereas the former develops where the role of women is understood and appreciated, the latter where it is devalued. The one is fundamentally affirmative, the other negative. Matriarchal religion is based on personal experience, the experience resulting from the impacts which the female makes on our lives. These impacts are classified by Jung under three headings. Writing on the maternal archetype he describes ''the three essential aspects of the mother, her cherishing and nourishing goodness, her orgiastic emotionality and her Stygian depths." (Four Archetypes,16). Those who will allow themselves to accept these as divine revelations have the basis of a natural theology. Patriarchal religion has no such basis. While the impact of the male may be stronger than that of the female in such secular fields as politics, economics and technology, his positive religious impact is weaker. In proof of this one has only to take the three female attributes listed by Jung to see that the male's religious role is entirely subordinate to that of the female. Patriarchal religions, therefore, having no basis of their own, have adopted the expedient of arrogating to themselves those powers which are the property of the female. Even a cursory reading of the scriptures, creeds and dogmas of such religions will demonstrate the extent to which they have gone. Claims are made, for instance, by the male godhead both to create and to give life, neither of which he can do. The practical effects of this artificial basis of patriarchal religions are seen throughout history. While the male based religions have often played a valuable role in initiating and in maintaining advances in certain fields of social ethics, these have often been vitiated by an invidious discrimination against women. In fact, like other authoritarian regimes based on usurped powers, whose main preoccupation is the removal of the true claimant, male monotheistic religions are characterized by a consistent policy of suppressing the female, at least in her peculiarly religious aspect. For instance, the draconian taboos connected with menstruation, the repressive measures directed particularly against women's sexual freedom and the reluctance to admit women to religious offices, all these are indications that male monotheism, consciously or subconsciously, is aware of its insecure foundation. But there is always a limit to the extent to which the artificial can impose upon the natural. In the religious survey of Dr. Alexander of two hundred years ago, maternally based religions seem to have been superseded. Female deities appear only as a nostalgic memory from the past. Where they were still worshipped were in areas remote from western Civilization; and there, too, they seemed no more than a vanishing anachronism. Patriarchal religion, usually in the form of male monotheism, appeared dominant. And even though many people were already ceasing to believe in it, it was generally regarded as the only acceptable religion for the world. A different picture is presented in a religious survey recently published. Margot Adler, in her book Drawing Down the Moon: Witches, Druids, Goddess Worshippers and other Pagans in America Today, writes: "In the last ten years, alongside the often noted resurgence of 'occult' and 'magical' groups, a diverse and decentralized religious movement has sprung up (p. 3.). It is significant that this movement is not confined to some remote region left behind by western civilization, but to a country which is in the forefront. While at first sight it may not seem that this resurgence is in a particularly matriarchal direction, yet a closer examination shows that in fact it is so. Most of the religions described in that survey are polytheistic; and in nearly all polytheistic religions there is a numerical equality of gods and goddesses. But in view of the fact that the goddess is, from a religious point of view, more potent than the god, these religions have a resultant matriarchal emphasis. This can be seen in the syncretic polytheism of later Roman Empire. In the course of time it was Isis who emerged as the supreme deity of the Pantheon. As Dr. Witt writes of her: ''She could assume the eagle of Zeus, the lyre of Apollo and tongs of Hephaestus, the wand of Hermes, the thyrsus of Bacchus and the club of Heracles. (see Vandebeek, 139).. She came as the champion of polytheism. Yet even more strongly she asserted she was herself the one True and Living God." (Isis in Graeco-Roman World, 129). Similarly Larson describes the flowering of the worship of Isis: ''In short, without Isis there would have been .. no mystery and no hope of an after-life. She became the universal and infinite benefactress of humanity, the eternal protective mother, the queen of earth and heaven." (Rel. of Occident, 9). And when to this is added ''Isis can embrace Venus/Aphrodite as she did Hathor in Egypt. Regarded as Io she could be said to make 'many women what she was to Jupiter:' (Ovid. Ars Amator, I. 78)'' (Witt, 85), we see in her the full expression of the three female attributes described by Jung. The same ultimate supremacy of the Goddess in polytheism is seen in Eastern religions. Professor Norman Brown writes as follows of the Indian goddess Devi (Parvati): ''The final word in Parvati's history was reached when she was identified by followers with the all-powerful feminine principle considered to be the fundamental and dominant element in the universe. Devi's supreme position among the gods as the first principle of the universe is forcefully affirmed in the Shakta texts .. She is mind and the five material elements .. She is also the supreme and unseconded intelligence and pure Bliss .. She embodies the whole power of creative love, from which everything springs .. To her devotee she is all grace and motherly concern''. (Kramer, Myth. Ancient World, 312-3). Polytheism, though emphasizing the goddesses, does not suppress the gods. While the former are sources of creation and originators of life, the latter are given an important role as ministers of the goddesses. Thus, in the later Graeco-Roman polytheism, while the goddesses hold control over the attributes of the gods, the gods assist them in the administration of their gifts. Jupiter is still required to assist Juno in government, Apollo to assist the Muses in the arts, Vulcan to assist Minerva in technology, and so on. The positive role played by the god in the male monotheistic religions continues undiminished. Each god, called on to use the special gifts entrusted to him, has his honoured place in the Pantheon. As Margot Adler writes: ''There is a place for the god, but the female as Creatrix is primary." (p. 120). The current search for matriarchal theologies is proceeding along several lines. Some people are looking for them in the religion of their own upbringing; while retaining the familiar names, iconography, buildings and even certain forms of worship, the theology is feminized. Others, more radical, change to an entirely different religion, either already being practised or in the process of formation. Others prefer to select or to synthesize from the matriarchal elements of all religions. The theologies presented in this book are, as far as possible, representative of all these types. For convenience, each is listed according to the country of its origin, even though it may later have incorporated elements from outside, or, in its own turn, itself have become established in another country. The nationalities are listed in the following order, arranged more or less according to the location and to the chronological period in which the religion flourished: General Prehistoric, Chaldean, Syrian, Hebrew, Egyptian, Hittite, Anatolian, Cretan, Graeco-Roman, Hebrew-Greek (including Gnosticism and early Christianity), Persian (including Parseeism), Indian, South-East Asian (including Buddhism), Chinese, Japanese, Celtic, Norse, Slavonic, American, Oceanian, Medieval Western, Later Jewish (including Kabalism), Later Jewish Derivatives (including later Christian), Renaissance Western, Modern Western. Excerpt: GRAECO-ROMAN. In Graeco-Roman literature several cosmogonies are recorded. Hesiod starts with Chaos: ''These things declare unto me from the beginning, ye Muses who dwell in the house of Olympus and tell me which of them came first to be. Verily at the first Chaos came to be". (Theogony. 113). According to Dunbar and Barker's lexicon, Chaos, a neuter noun, has the meaning of ''an immense void or gulf, an abyss, a chasm, a rude shapeless mass; the materials from which the world was made; darkness". Commenting on the meaning of Chaos, Herbert Rose writes: ''This word, which seems literally to mean 'gaping void', apparently does not signify mere empty space; even at that time the Greeks were unlikely to conceive of anything as coming into being out of nothing. Nor does Hesiod say that Chaos had existed from all eternity, for he used the word geneto, 'came into being', a term with which philosophers in later ages made great play. It is his starting point rather than an absolute beginning'. (Greek Myth. 19). Ovid, in his cosmogony, suggests an origin anterior to Chaos: ''In the beginning, the Sea, the Earth and the Heaven which covers all, was but one Face of Nature thro' the whole Extent of the Universe, which they called Chaos; a rude and undigested Mass ..'' (Metam, I. 5). Here Chaos is only a primeval aspect of an already existing Nature. The feminine noun, Natura, is sometimes used to describe a personified female being, as when Cicero writes: ''Next I have to show that all things are under the sway of nature, and are carried on by her in the most excellent manner"; and he goes on to describe her as ''the sustaining governing principle of the world". (Nat. Deorum, I. 83). Hyginus, in his short cosmogony, carries us back to a period before the starting point of Hesiod. Chaos itself has a parent, the female Caligo: "From Caligo was born chaos, Ex. Caligine Chaos". (Fabulae, Praef. 1.). White, in his dictionary, defines Caligo as: [perhaps akin to Celo (to hide, conceal)]. A thick atmosphere, a mist, vapour, fog .. Darkness, obscurity". In Greek the equivalent of Caligo is Achlys, ''Mist or Darkness", also personified as a female being in Hesiod (Sc. 264). The fragmentary Pelasgian cosmogony begins with the primal creatress and demiurge, Eurynome. According to Robert Graves' reconstruction it opens thus: ''In the beginning, Eurynome, the Goddess of all things, rose naked from Chaos". (Greek Myths. I. 27). The Orphic theology starts with the Mundane Egg from which emerged the god Phanes. According to Grote, ''This egg figures, as might be explained, in the cosmogony set forth by the Airds, Aristophanes. Av. 695. Nyx gives birth to an egg, out of which steps the golden Eros". (Hist. of Greece, I. 16). As Mme. Blavatsky writes: "Among the Greeks the Orphic egg is described by Aristophanes, and was part of the Dionysiac and other mysteries, during which the Mundane Egg was consecrated and its significance explained: Porphyry also showed it to be a representation of the world: 'The Egg expresses (represents) the world'." (S.D. II. 75). The Orphic theogony is thus summarized by Larson: ''At the beginning there was only Night (Nyx); and from this, as in the Egyptian cosmogony, sprang the primeval egg, which contained Eros-Phanes, which was simply another name for Dionysus. When the Egg burst, it separated into two elements, which became Heaven (Uranus) and Earth (Ge).''. (Rel. Occ. 77). The goddess Gaea or Ge has retained titles and attributes which would suggest that she at one time was regarded as the creative source. She is ''the eldest of them all'' (Hymn. Homer. xxx. 1). As Christine Downing states: ''But there is in Greek mythology a 'great' mother in the background - Gaea, .. Gaea is the mother of the beginning, the mother of infancy. She is the mother who is there before time .. In Freud's terms Gaea is the mother of primal fantasy". (Lady-Unique. V. 24). On the name Hera, Shuttle and Redgrove write as follows: ''A reasonable derivation from Hesiod and Homer of the name 'Hera' is 'womb', and this interpretation is backed by the fact that she is called panton genethla 'origin of all things', which is the womb. The great goddess's name in most cultures in derivation means 'womb' or 'vulva'; the Goddess in Genetrix .. So Hera's womb is literally panton genethla. Kerenyi .. is our chief source for information on the Hera cults". (The Wise Wound, 179). The Greeks also had an important visual symbol representing their origin; this was the omphalos or ''navel-stone'' at Delphi, regarded as the centre of the world. The early poet Pindar speaks of ''the central stone of tree-clad Mother-earth'' (Pythian IV. 131). This is later described by Pausanias: ''What is called the Navel (Omphalos) by the Delphians is made of white marble and is said by the Delphians to be the centre of all the earth". (X. xvi, 2). It is significant that the feminine noun Delphi, Hai Delphoi, is etymologically similar to delphys, the womb. On the symbolism of such stones Neumann writes: ''The navel as the centre of the world is archetypal. Characteristically, many shrines are looked upon as navels of the world, as, for example, the Temple (Patai, Man and Temple. pp. 85, 132) at Jerusalem, the sanctuary of Delphi, and so forth. The Earth in a sense is the womb of a reality seen as feminine, the navel and centre from which the universe is nourished. The childlike conception of umbilical birth originates in the archetypal symbolism of the navel's identity with the womb as the feminine centre of life. Cf. the shining white Parthian goddess .. who has not only gleaming eyes but also a radiant navel". (p. 281). Similarly, as Shuttle and Redgrove write: ''The Heraion, the temple of Hera, the cunt-place, was for centuries in ancient Greece 'the sanctuary of the whole country ..' says Carl Kerenyi''. (p. 179). For the etymology of Hera see above. In general, the Graeco-Roman cosmogonies can be seen as symbolizing female sexual organs and acts. The Chaos, which figures so largely in these traditions, is seen by Mme. Blavatsky as having a physiological connotation. She speaks of ''the human womb, the microscopic copy and reflection of the Heavenly Matrix, the female Space or primeval Chaos'' (S.D. III. 94); and similarly, ''The 'Virgin Egg' is the macroscopic symbol of the microscopic prototype, the 'Virgin Mother' - Chaos or the Primeval Deep." (I. 134). PART II. The original Female Source has her place in the beginning, before the process of Creation ever begins. In the first stage of Cosmogenesis this Source, according to most matriarchal cosmologies, proliferates herself into many other female entities. Each of these, in her own particular way, undertakes some specialized creative activity. Various methods by which the Source reproduces herself are described. By one method, the Mother is seen as simply dividing herself into two or more parts. This process is found in some of the ancient cosmogonies. According to Massey, ''The earliest Myth-makers .. observed phenomena and represented objective manifestations. Their beginning was simply the Oneness that opened in giving birth and in bifurcating; hence the type of the female first, the one Great Mother of all''. (Nat. Gen. I. 465). The resultant parts sometimes become two similar female beings, known as the Mother and Daughter, or the two Sisters, as in ancient Egypt. A threefold division results in a triad or trinity of female beings, as in the Hindu and Celtic traditions. Sometimes the resultant parts of this division are unlike or complimentary, as in the Babylonian Creation Narrative, where the original Goddess becomes divided to form Heaven and Earth. Another way in which the Original Mother reproduces herself is by the process of parturition or giving birth. Here she separates off a minute amount of her own substance and forms it, within her womb, into an independent embryo. Reproduction by birth is assumed to take place in most of the theologies as, for instance, in that of Hesiod. Another method of reproduction, adopted by the original greatness is described in detail in Gnostic literature. Here the Mother emanates from out of herself certain vital essences or elemental substances. These are at first of an ethereal nature but subsequently consolidate into denser matter, from which a new entity is formed. The relationship between this new being to its parent, is that of a child to its mother. But whereas the development of the child produced by birth takes place partly within the womb and partly outside, that of the child produced by emanation is wholly extra-uterine, as described in the formation of Sophia Achamoth. But while there are various ways in which the female reproduces herself, these have all one thing in common; each originates in the female genitalia. While this is not always explicitly stated in the cosmogonies, it is nearly always implied by the symbolic language used. Cosmogenesis is, in fact, a product of female sexuality. It was thought a sexual act, as the Gnostics saw, that the whole process of Creation first began. According to the Valentinian doctrine, a certain female Cosmic Being or Aeon, Sophia, had the desire to stimulate herself sexually on her own. In the ensuing orgasm the vital etheric substances which she emitted into space consolidated and developed into a separate female entity, Sophia Achamoth. The daughter, adopting her mother's method, proliferated her vital substances throughout space, and thereby caused the creation of the denser matter of the cosmos. At the same time she created male cosmic beings, the Archons, male Elohim or gods to help her in organizing this primordial substance. The male orgasm, by contrast, being incapable of transmitting life, cannot create. Having only limited resources, the innate gift of the ''power of the Mother", on which to draw, it can produce nothing more than soulless elemental entities; these can only be animated and humanized by the life-giving Spirit of the Mother. Many traditions refer to the repeated attempts of man to create on his own, and to the consequences of these abortive efforts. In the Babylonian tradition, Kramer records of the primeval god Enki: "After Ninmah had created these six types of man, Enki decides to do some creating on his own. The manner in which he goes about it is not clear, but whatsoever it is that he does, the resulting creature is a failure; it is weak and feeble in body and spirit, Enki is now anxious that Ninmah help this forlorn creature; he then addresses her .. Ninmah tries to be good to the creature but to no avail. She talks to him but he fails to answer. She gives him bread to eat, but he does not reach out for it. He can neither sit nor stand, nor bend the knees. Following a long but as yet unintelligible conversation between Enki and Ninmah, the latter utters a curse against Enki, because of the sick, lifeless creature he produced, a curse which Enki seems to accept as his due". (M.A.W. 104). Greek and Roman tradition mentions ''the creatures of Prometheus". The early accounts state that they were simply artifacts of a skilled craftsman; but the later version by Horace suggest they were produced organically. (Odes, I. 16). But, however made, they had no life of their own; it was the goddess who animated them. In a representation of the scene, described by Montfaucon: ''This Image, besides, is very singular: Minerva there appears, because, according to Lucian, it was she that animated the Work of Prometheus.'' (Davidson, Ovid. Metam. p.10). The Gnostics give more detailed accounts of these abortive attempts by the male to create on his own. The first male beings, the seven sons of Sophia Achamoth, were the seven Archons or male Elohim, of whom the first-born was Ildabaoth or Samael, known as, ''the blind god", ''the Archbegetter'' or ''the Demiurge''. (Gn. Rel. 304). ''In the Apocryphon of John, Sophia's distress arises over the creative doings of the demiurge, her son". (Gn. Rel. 301). ''[Ildabaoth] became haughty and said: 'I am God, and there is no other beside me .. His thoughts were blind. He bethought himself to create sons to himself' .. Zoe, daughter of Pistis Sophia, has Ialdabaoth bound and cast into Tartarus at the bottom of the Deep, by a fiery angel emanating from her". (Hypostasis of Archons, 143: 5-13, cit. Gn. Rel. 303). King, in his Gnostics, says: ''but he failed utterly in his work .. proving a vast, soulless monster, crawling upon the earth". (cit. S.D. III, 246). Another account states: ''Ilda-Baoth .. ambitious and proud .. set himself to create a world of his own. Aided by his sons, the six planetary genii, he fabricated man, but this one proved a failure. It was a monster; soulless, ignorant. and crawling on all fours on the ground like a material beast. Ilda Baoth was forced to implore the help of his spiritual Mother [Sophia Achamoth]. She communicated to him a ray of her divine light, and so animated man and endowed him with a soul". (I.U. II, 184). According to the Ophites, the Archangels' attempts to create man resulted in a creature ''prone and crawling on the earth as a- worm. But the heavenly mother, Prunnikos .. infused into man a celestial spark - the spirit. Immediately man rose upon his feet, soared in mind beyond the limits of the seven spheres ..'' (I.U. II, 187). The Valentinians, just as in the Divine Pymander, state that the desire to create arose from seeing a reflection in the water. Seeing an image, in the shape of 'a man'. This inspired Ialdabaoth with a creative ambition to which all the seven archons consented. 'They saw in the water the appearance of the image and said to each other, ''Let us make a man after the image and appearance of God'' ' .. The imitation, illicit and blundering .. is a widespread Gnostic idea .. The tale continues: 'Out of themselves (note by Jonas: ''Out of their substance, which is 'soul' not matter") and all their powers they created and formed a formation. And each one created from [his] power and soul .. But a long the creature remained immobile and the powers could not make it rise. Now, the presumption and the bungling of the archons' work played into the hands of the Mother ''..with the result that she sent'' 'life'. (fem.) who hid herself within him .. 'It is she who works at the creature, exerts herself on him .. and shows him his [way of] ascent'. Adam shone from the light within him". (Gn. Rel. 202-4). Indian tradition, also, compares the parts played by the sexes. Colonel Wilford writes: ''Many Pundits insist that the Yanavas were so named from their obstinate assertion of a superior influence in the female over the linga or male nature, in producing a perfect offspring .. There is a legend in the Servarasa of which the figurative meaning is more obvious. When Sati .. in the character of Parvati, was reunited in marriage to Mahadeva (Shiva). This divine pair had once a dispute on the comparative influences of the sexes in producing animate beings, and each resolved .. to create apart a new race of men. The race produced by Mahadeva was very numerous and devoted themselves exclusively to the worship of the male deity, but their intellects were dull, their bodies feeble, their limbs distorted, and their complexions of many different hues. Parvati, had at the same time, created a multitude of human beings, who adored the female power only, and were well shaped, with sweet aspects and fine complexions. A furious conflict ensued between the two races, and the Lingajas were defeated .. But Mahadeva, enraged against the Yonijas, would have destroyed them .. if Parvati had not interposed and spared them. She 'made use of the same artifice the old woman, called Baabo, did to put Ceres in good humour, and showed him the prototype of the Lotos. Mahadeva smiled and relented; but on condition that they should instantly leave the country' .. and from the Yoni, which they adored as the sole cause of their existence, they were named Yanavas". (cit. O'Brien, Round Towers of Ireland, 260). According to Graves, an African ''Father-god, Odomankoma .. claimed to have made the universe single-handedly .. Ngame is now said to have vitalized Odomankoma's lifeless creation". (Greek Myths, I, 23). In Medieval and later times, the male orgasm, produced apart from the female, was seen to give rise to soulless psychic entities known variously as homunculi, mannikins, humanoid elementaries and artificial elementals. This accumulation of male psychic debris was seen as a pollution to the dense etheric cosmos; and by smothering life, it obstructed the normal development of nature. Something of this is hinted at by Goethe, in Faust. Here the unnaturally produced Homunculus is irresistibly drawn - in fact is the guide to the onlookers as well - to the only remedy for its abnormal condition, - absorption in the female; only here could it be vivified and become part of the stream of human evolution. As Goethe put it: "Homunculus .. Who to the Mothers found his way, Has nothing more to undergo. (Part II, Act II, Scene 3). Though the male incursion into the creative process has consequences of its own, the basic pattern of reproduction remains the same. As cosmogenesis proceeds each new generation of Deities is allotted its own particular functions in the developing cosmos. The female Elohim, the Goddesses, each further extend the bounds of their creative activity into their own specialized areas, the same process continuing with their progeny. But each succeeding goddess, however far removed she may be genealogically from the Original Source, has the full potential of the first Great Mother. Thus, for instance, Eve, the distant descendant of Sophia, still possesses ''the great creative power from which all things originate." (Valentinus, cit.Gn. Gosp. p. 54) And in the Egyptian Pantheon, lsis, genealogically the grand-daughter of Tefnut, can at the same time, as Dr. Witt describes: ''Manifest as the One Supreme Deity", without in any way derogating from the earlier goddesses. And the same principle may be applied to every subsequent female being. Each takes on a specialized creative role, but each has the full potential of the original Deity, the Great Mother; each, like Eve is ''the mother of all living". Matriarchal religion, is therefore, as has been stated, essentially polytheistic. The division and sub-division of the Female Source is seen in Egyptian traditions. Certain of the primeval goddesses, as described above, Part I, are shown as ''proceeding from themselves." The suggestion that Neith reproduces herself into several persons is given in the Book of that which is the Underworld. Describing the illustrations in the 11th Hour, Budge writes: ''Next we have figures of the four forms of the goddess Neith .. they are called Neith the fecundator, in allusion to the belief that this goddess begat herself, Neith of the red crown (i.e. The North), Neith of the white crown (i.e. The South), and Neith the child". (Gods. I. 252). Another method of differentiation is seen in the case of the goddess Tefnut, mother of Nut. Massey describes this in detail: ''One name of the most ancient genetrix who divided into two sisters was Tef (Eg.), identical with the Abyss of the beginning. She was continued as Tefn or Tefnut under the lioness-type, and from her name and nature it is now Nut herself manifests also in a divided form, similar to that of the Babylonian Tiamat. As Neumann writes: ''Nut is water above and below, vault above and below''. (p. 222). Each part, resulting from the division still remains a goddess. ''To Nut as the upper vault corresponds Naunet as the lower vault, the counterheaven lying 'under' the disc of the earth, the two together forming the Great Round of the feminine vessel. But Naunet, the counterheaven is identical to Nut'' (loc. cit). The cosmic sovereignity of Nut is described in the Pyramid Texts Pepi II in the Hymn to Nut: "O perfect Daughter mighty One of thy Mother .. Egyptian geography is shown by Kenneth Grant to be linked physiologically with Nut. ''The most ancient form of 'physical geography' was founded on the female form; the woman below, being the earth; the woman aloft (i.e. the celestial Nuit) being heaven; and whether as the woman below, with feet pointing towards the Great Bear constellation - the Goddess of the Seven Stars - or as the Great Bear itself, Inner Africa was the womb of the world, Egypt the vulva or outlet to the north, the Nile itself forming the vulva of the woman 'below'. '' (Mag. Rev. 16). The division of the primordial Egyptian Goddess into two hemispheres is enlarged upon by Massey: ''Hor Apollo points out that the Egyptians thought it absurd to designate Heaven in the masculine, ton ouranon, but represented it in the feminine, ten ouranon, inasmuch as the generation of the Sun, Moon, and the rest of the planets is perfected in it, which is the peculiar property of the female. (B. I. ii). The Heaven, whether Upper or Lower, was the bringer-forth, therefore feminine. The Two Heavens, or Heaven and Earth, were represented by the Two Divine Sisters as Neith and Seti (or Nephthys), or Isis and Nupe, who were the two forms of the first One, the Mother and Sister in the earliest sociology". (N.G. I. 467). The division of the goddess into two different and complimentary parts has been shown above in the case of Neith, who differentiates into Neith of the Northern Crown and Neith of the Southern Crown. In the same way, among the daughters of Nut are ''Isis, a spirit of dawn, and Nephthys, a spirit of twilight". (Budge B.D. xcvi). A quarternary division of the goddess is mentioned by Neumann: ''Only now are we in a position to understand the significance of the Goddess Hathor's identification with the four cardinal points and four quarters of the world characterized by the goddesses Nekhbet, Uadjet, Bast and Neith (Budge, Gods, I. 451). Since, as Jung has repeatedly shown, the quarternary is the archetypal symbol of wholeness, this quarternary of Hathor (Kees, p. 220) is the symbol of the Archetypal Feminine as the world-governing totality in all its aspects". (Great Mother, 221). This female quarternary is shown iconographically in Tutankhamun's tomb. Mme. Desroches-Noblecourt describes how at each corner of the Canopic Shrine stood the image of a winged goddess, "Isis at the north-west; Nephthys at the south-west; Neith at the north-east; and Serket at the south-east". (Tutankhamun, 243). A celestial quarternary is also depicted in the Dendera Zodiac. As Eisler describes it: ''Note the four goddesses holding the planisphere and supposed to turn it round with their hands. They are the goddesses of the four columns of the sky". (Royal Art of Astrol. 266). The production of certain geographical features are seen as a result of the emanations of Isis. The Greek writer Pausanias records how: ''At this time the Nile begins to rise and it is a saying among many of the natives that what makes the river rise and water their fields is the tears of Isis". (X. xxiii, 18). ''Sometimes Isis is seen as the bed of the river Nile, the river itself representing the parturient waters of the goddess". (Gdss. Chald. 290). The creation of vegetation is often attributed to Isis. As Frazer writes: ''Amongst the epithets by which Isis is designated in the inscriptions are 'Creatress of green things'; 'Green Goddess, whose green colour is like unto the greenness of the earth', 'Lady of Bread', 'Lady of Beer', 'Lady of Abundance'. According to Brugsch she is 'not only the greatness of the fresh verdure of vegetation which covers the earth, but is actually the green corn-field itself, which is personified as a goddess'. This is confirmed by her epithet Sochit or Sochet, meaning 'a corn-field' .. The Greeks conceived of Isis as a corn-goddess, for they identified her with Demeter. In a Greek epigram she is described as 'she who has given birth to the fruits of the earth' and 'the mother of the ears of corn'; and in a hymn composed in her honour she speaks of herself as 'queen of the wheat-field', and is described as 'charged with the care of the fruitful furrow's wheat-rich path'. Accordingly, Greek or Roman artists often represented her with ears of corn on her head or in her hand". (Golden Bough, abdg. 382). In the Classical period of Egyptian history, when Isis assumed the dominant position in the Pantheon, she is seen as ''Thiouis'', the One; and cosmogenesis was in general attributed to her. Isidorus in his first hymn to her praises her in these terms: "O wealth-giver, Queen of the Gods; Hermouthis, Lady, In her introduction Vera Vanderlip writes: ''The early aretalogies emphasize Isis' power, omnipotent and creative". Isidorus, in his second Hymn addresses her as: ''Creator of both earth and the starry heaven, In a resume of Isis' position in this period, Dr. Witt states: ''The most important aspect, however, is the omnipotence of Isis on a cosmic scale. She has separated earth and heaven. She has revealed the paths of the stars .. All things bow to her .. She is indeed Almighty". (p. 106). Isis is seen as cosmic nature by Apuleius; in his address to her he uses the words: ''You set the orb of heaven spinning around the poles, you give light to the sun, you govern the universe .. At your voice the stars move, the seasons recur, the spirits of earth rejoice, the elements obey. At your nod the winds blow, clouds drop wholesome rain upon the earth, seeds quicken, buds swell". (Metam. xix). Another Egyptian-Greek goddess of origin is Sopdet, the star Sothis or Sirius whose heliacal rising began the Sothic year. Porphyry writes: ''And for them, the ascendancy of Sothis, which makes a beginning of genesis to the Cosmos, is the New Year". (Cave of Nymphs, p. 25).
GODDESS OF GOODNESS ... THE WISE WOUND Penelope Shuttle and Peter Redgrove 1994 Page 141 "Now we must look at the facts that enable us to conjecture that in this state of emancipation, which involved the development of menstruation, the woman's meditations or potions opened her to the effects of the tides, and the sight of the moon. Perhaps she felt the tides in her body, as all water-diviners do. Perhaps she felt the moon- tide as the great 81,000,000,000,000,000,000 ton body passed only a quarter of a million miles overhead, the tidal vibration that is greatest at new moon and solar eclipse when the sun's force and the moon's force are in line and their gravitation is added together (the sun adds some thirty per cent to the tidal peaks at new or full moon). Perhaps she felt this tidal vibration in her body as it is felt throughout the whole earth, in her body made of water and solids as the earth is, of spaces of fluid acting over hard bones, and opened herself in a kind of yoga-tuning to this experience. Then in her excitement these fluids at the focus of tautness and sensitivity at her premenstrual time, burst through their membranes in a flood of tidal communion with the moon and its waters, and the blood flowed in excitement and sympathy. We know that there are these tidal peaks and dynamisms in the earth's progress through its month and through its year, like a breathing of the continents, and it has been conjectured by Theodor Schwenk that these times correspond to the great yearly festivals: ' All naturally flowing waters have their rhythms perhaps following the course of the day, perhaps keeping time with longer seasonal rhythms... Everywhere liquids move in rhythms."
THE WISE WOUND 169 ..." powerful .hypnotic' image indeed to which a woman by choice or training, may link her menstrual cycle. In addition modem work shows that the moon's light, or any other indirect night-time lighting at mid-cycle, may actually stimulate ovulation physiologically. Page 170 170 It's pretty dense but this is probably the most empowering piece of text I've ever read about menstruation, feminine mysticism, and patriarchal oppression. The authors do a brilliant job linking the physiological reactions within the body to cultural and spiritual notions about women from the earliest moments of recorded history. This book is valuable for all menstruating or even menopausal persons, as well as psychologists and those just looking to better understand the feminine mystique. "This study of the facts, fantasies and taboos surrounding menstruation has helped bring about a profound shift in attitudes towards a natural phenomenon that has been reviled and denigrated over the centuries. Thoroughly researched yet highly readable, combining psychology, anthropology and poetry, Shuttle and Redgrove illustrate their theories using examples ranging from The Bible to such modern day pop horrors as vampire movies and the cult film The Exorcist.
THE FIRE THAT BURNS WITHIN 1980
LOVELESS HEARTS SHALL LOVE
THE MENSTRAL CYCLE
MENS TRUE HATE NOT TONIGHT MAN CHILD MENSTRUATE MENS TRUE HATE MENSTRUATE MENSTRUATE
MENOPAUSE MENOPAUSE MEN O PAUSE MENOPAUSE THE TIME THAT WAS IS GONE NOW
MEN O PAUSE PAUSE O MEN HEARKEN MAN CHILD MY TIME FOR BAIRNING IS DONE
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