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Evokation
 
 
Index
 

 

 

 

THE SCULPTURE OF VIBRATION 1971

 

 

 

 

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
10
MULTIPLIED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
58
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

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

 

 

 

 

-
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
=
7
-
7
-
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
=
7
-
7
-
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
=
7
-
7
-
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
=
7
-
7
--
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
=
7
-
7
-
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
=
7
-
7
-
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
-
1
2
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
-
5
-
-
-
-
-
6
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
=
-
-
-
-
-
-
8
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
-
9
16
7
H
I
N
O
S
X
Z
-
-
29
-
-
7
-
43
-
25
1+6
-
-
9
-
-
9
-
-
-
-
2+9
-
-
-
-
4+3
-
2+5
7
7
H
I
N
O
S
X
Z
-
-
11
-
-
7
-
7
-
7
1+6
-
8
9
5
6
1
6
8
-
-
1+1
-
-
-
-
-
-
-
7
7
H
I
N
O
S
X
Z
-
-
2
-
-
7
-
7
-
7

 

 

7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
=
7
=
7
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
=
7
=
7
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
=
7
=
7
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
=
7
=
7
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
=
7
=
7
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
=
7
=
7
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
-
1
-
-
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
-
5
-
-
-
-
6
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
-
8
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
-
-
9
-
-
-
-
-
-
-
9
occurs
x
1
=
9
-
9
7
H
I
N
O
S
X
Z
-
-
29
-
-
7
-
43
-
25
-
-
9
-
-
9
-
-
-
-
2+9
-
-
-
-
4+3
-
2+5
7
H
I
N
O
S
X
Z
-
-
11
-
-
7
-
7
-
7
-
8
9
5
6
1
6
8
-
-
1+1
-
-
-
-
-
-
-
7
H
I
N
O
S
X
Z
-
-
2
-
-
7
-
7
-
7

 

 

7
H
I
N
O
S
X
Z
-
-
-
-
-
--
-
8
9
14
15
19
24
26
+
=
115
1+1+5
=
7
7
H
I
N
O
S
X
Z
-
-
-
-
-
--
-
8
9
5
6
1
6
8
+
=
43
4+3
=
7
7
H
I
N
O
S
X
Z
-
-
-
-
-
-
-
H
-
-
-
-
-
Z
-
-
-
-
-
-
-
8
-
-
-
-
-
8
+
=
16
1+6
=
7
-
-
I
-
-
-
X
-
-
-
-
-
-
-
-
-
9
-
-
-
6
-
+
=
15
1+5
=
6
-
-
-
N
-
S
-
-
-
-
-
-
-
-
-
-
-
5
-
1
-
-
+
=
6
-
-
6
-
-
-
-
O
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
+
=
6
-
-
6
7
H
I
N
O
S
X
Z
-
-
43
-
-
25
-
8
9
5
6
1
6
8
-
-
4+3
-
-
2+5
7
H
I
N
O
S
X
Z
-
-
7
-
-
7
-
8
9
14
15
19
24
26
-
-
-
-
-
-
7
H
I
N
O
S
X
Z
-
-
7
-
-
7

 

....

 

4
ZERO
64
28
1
3
ONE
34
16
7
-
-
-
-
-
-
-
-
-
-
3
TEN
39
12
3

 

 

-
4
Z
E
R
O
-
-
-
-
-
-
-
-
-
-
8
-
-
6
+
=
14
1+4
=
5
=
5
-
-
26
-
-
15
+
=
41
4+1
=
5
=
5
-
4
Z
E
R
O
-
-
-
-
-
-
-
-
-
-
-
5
9
-
+
=
14
1+4
=
5
=
5
-
-
-
5
18
-
+
=
23
2+3
=
5
=
5
-
4
Z
E
R
O
-
-
-
-
-
-
-
-
-
-
26
5
18
15
+
=
64
6+4
=
10
1+0
1
-
-
8
5
9
6
+
=
28
2+8
=
10
1+0
1
-
4
Z
E
R
O
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
6
-
-
6
occurs
x
1
=
6
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
17
4
Z
E
R
O
-
-
28
-
-
4
-
28
1+7
-
-
-
9
-
-
-
2+8
-
-
-
-
2+8
8
4
Z
E
R
O
-
-
10
-
-
4
-
10
-
-
8
5
9
6
-
-
1+0
-
-
-
-
1+0
8
4
Z
E
R
O
-
-
1
-
-
4
-
1

 

 

4
Z
E
R
O
-
-
-
-
-
-
-
-
-
8
-
-
6
+
=
14
1+4
=
5
=
5
-
26
-
-
15
+
=
41
4+1
=
5
=
5
4
Z
E
R
O
-
-
-
-
-
-
-
-
-
-
5
9
-
+
=
14
1+4
=
5
=
5
-
-
5
18
-
+
=
23
2+3
=
5
=
5
4
Z
E
R
O
-
-
-
-
-
-
-
-
-
26
5
18
15
+
=
64
6+4
=
10
1+0
1
-
8
5
9
6
+
=
28
2+8
=
10
1+0
1
4
Z
E
R
O
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
6
-
-
6
occurs
x
1
=
6
-
8
-
-
-
-
-
8
occurs
x
1
=
8
-
-
-
9
-
-
-
9
occurs
x
1
=
9
4
Z
E
R
O
-
-
28
-
-
4
-
28
-
-
-
9
-
-
-
2+8
-
-
-
-
2+8
4
Z
E
R
O
-
-
10
-
-
4
-
10
-
8
5
9
6
-
-
1+0
-
-
-
-
1+0
4
Z
E
R
O
-
-
1
-
-
4
-
1

 

 

 

 

4
ZERO
64
28
1
3
ONE
34
16
7
-
-
-
-
-
-
-
-
-
-
3
TEN
39
12
3

 

 

 

-
3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
+
=
11
1+1
=
2
=
2
=
2
-
-
15
14
-
+
=
29
2+9
=
11
1+1
2
=
2
-
3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
-
15
14
5
+
=
34
3+4
=
7
=
7
=
7
-
-
6
5
5
+
=
16
1+6
=
7
=
7
=
7
-
3
O
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
5
5
-
-
5
occurs
x
2
=
10
1+0
1
-
-
6
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
34
3
O
N
E
-
-
11
-
-
3
-
16
-
7
3+4
-
-
-
-
-
-
1+1
-
-
-
-
1+6
-
-
7
3
O
N
E
-
-
2
-
-
3
-
7
-
7
-
-
6
5
5
-
-
-
-
-
-
-
-
-
-
7
3
O
N
E
-
-
2
-
-
3
-
7
-
7

 

 

3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
6
5
-
+
=
11
1+1
=
2
=
2
=
2
-
15
14
-
+
=
29
2+9
=
11
1+1
2
=
2
3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
5
+
=
5
-
=
5
=
5
=
5
3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
15
14
5
+
=
34
3+4
=
7
=
7
=
7
-
6
5
5
+
=
16
1+6
=
7
=
7
=
7
3
O
N
E
-
-
-
-
-
-
-
-
-
-
-
-
5
5
-
-
5
occurs
x
2
=
10
1+0
1
-
6
-
-
-
-
6
occurs
x
1
=
6
=
6
3
O
N
E
-
-
11
-
-
3
-
16
-
7
-
-
-
-
-
-
1+1
-
-
-
-
1+6
-
-
3
O
N
E
-
-
2
-
-
3
-
7
-
7
-
6
5
5
-
-
-
-
-
-
-
-
-
-
3
O
N
E
-
-
2
-
-
3
-
7
-
7

 

 

-
3
T
W
O
-
-
-
-
-
-
-
-
-
-
-
-
6
+
=
6
-
=
6
=
6
-
-
-
-
15
+
=
15
1+5
=
6
=
6
-
3
T
W
O
-
-
-
-
-
-
-
-
-
-
2
5
-
+
=
7
-
=
7
=
7
-
-
20
23
-
+
=
43
4+3
=
7
=
7
-
3
T
W
O
-
-
-
-
-
-
-
-
-
-
20
23
15
+
=
58
5+8
=
13
1+3
4
-
-
2
5
6
+
=
13
1+3
=
4
=
4
-
3
T
W
O
T
-
-
-
-
-
-
-
1
-
3
-
3
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
3
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
---
-
-
-
6
-
-
6
occurs
x
1
=
6
7
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
9
-
-
-
-
-
-
9
NINE
9
-
-
-
32
3
T
W
O
-
-
13
-
-
3
-
13
3+2
-
-
-
-
-
-
1+3
-
-
-
-
1+3
5
3
T
W
O
-
-
4
-
-
3
-
4
-
-
2
5
6
T
-
-
-
-
-
-
-
5
3
T
W
O
-
-
4
-
-
3
-
4

 

 

3
T
W
O
-
-
-
-
-
-
-
-
-
-
-
6
+
=
6
-
=
6
=
6
-
-
-
15
+
=
15
1+5
=
6
=
6
3
T
W
O
-
-
-
-
-
-
-
-
-
2
5
-
+
=
7
-
=
7
=
7
-
20
23
-
+
=
43
4+3
=
7
=
7
3
T
W
O
-
-
-
-
-
-
-
-
-
20
23
15
+
=
58
5+8
=
13
1+3
4
-
2
5
6
+
=
13
1+3
=
4
=
4
3
T
W
O
T
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
5
-
-
-
5
occurs
x
1
=
5
-
-
-
6
-
-
6
occurs
x
1
=
6
3
T
W
O
-
-
13
-
-
3
-
13
-
-
-
-
-
-
1+3
-
-
-
-
1+3
3
T
W
O
-
-
4
-
-
3
-
4
-
2
5
6
T
-
-
-
-
-
-
-
3
T
W
O
-
-
4
-
-
3
-
4

 

 

-
5
T
H
R
E
E
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
+
=
8
-
=
8
=
8
=
8
-
-
-
8
-
-
-
+
=
8
-
=
8
=
8
=
8
-
5
T
H
R
E
E
-
-
-
-
-
-
-
-
-
-
-
-
2
-
9
5
5
+
=
21
2+1
=
3
=
3
=
3
-
-
20
-
18
5
5
+
=
48
4+8
=
12
1+2
3
=
3
-
5
T
H
R
E
E
-
-
-
-
-
-
-
-
-
-
-
-
20
8
18
5
5
+
=
56
5+6
=
11
1+1
2
=
2
-
-
2
8
9
5
5
+
=
29
2+9
=
11
1+1
2
=
2
-
5
T
H
R
E
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
-
5
5
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
21
5
T
H
R
E
E
-
-
24
-
-
5
-
29
-
20
2+1
-
-
-
9
-
-
-
-
2+4
-
-
-
-
2+9
-
2+0
3
5
T
H
R
E
E
-
-
6
-
-
5
-
11
-
2
-
-
2
8
9
5
5
-
-
-
-
-
-
-
1+1
-
-
3
5
T
H
R
E
E
-
-
6
-
-
5
-
2
-
2

 

 

5
T
H
R
E
E
-
-
-
-
-
=
-
-
-
-
-
-
8
-
-
-
+
=
8
-
=
8
=
8
=
8
-
-
8
-
-
-
+
=
8
-
=
8
=
8
=
8
5
T
H
R
E
E
-
-
-
-
-
=
-
-
-
-
-
2
-
9
5
5
+
=
21
2+1
=
3
=
3
=
3
-
20
-
18
5
5
+
=
48
4+8
=
12
1+2
3
=
3
5
T
H
R
E
E
-
-
-
-
-
=
-
-
-
-
-
20
8
18
5
5
+
=
56
5+6
=
11
1+1
2
=
2
-
2
8
9
5
5
+
=
29
2+9
=
11
1+1
2
=
2
5
T
H
R
E
E
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
5
5
-
-
5
occurs
x
2
=
10
1+0
1
=
-
8
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
5
T
H
R
E
E
-
-
24
-
-
5
-
29
-
20
-
-
-
9
-
-
-
-
2+4
-
-
-
-
2+9
-
2+0
5
T
H
R
E
E
-
-
6
-
-
5
-
11
-
2
-
2
8
9
5
5
-
-
-
-
-
-
-
1+1
-
-
5
T
H
R
E
E
-
-
6
-
-
5
-
2
-
2

 

 

-
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
+
=
6
-
=
6
=
6
=
6
-
-
-
15
-
-
+
=
15
1+5
=
6
=
6
=
6
-
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
6
-
3
9
+
=
18
1+8
=
9
=
9
=
9
-
-
6
-
21
18
+
=
45
4+5
=
9
=
9
=
9
-
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
6
15
21
18
+
=
60
6+0
=
6
=
6
=
6
-
-
6
6
3
9
+
=
24
2+4
=
6
=
6
=
6
-
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
-
6
6
-
-
--
--
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
27
4
F
O
U
R
-
-
18
-
-
4
-
24
-
15
2+7
-
-
-
-
9
-
-
1+8
-
-
-
-
2+4
-
1+5
9
4
F
O
U
R
-
-
9
-
-
4
-
6
-
6
-
-
6
6
3
9
-
-
-
-
-
-
-
-
-
-
9
4
F
O
U
R
-
-
9
-
-
4
-
6
-
6

 

 

4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
+
=
6
-
=
6
=
6
=
6
-
-
15
-
-
+
=
15
1+5
=
6
=
6
=
6
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
6
-
3
9
+
=
18
1+8
=
9
=
9
=
9
-
6
-
21
18
+
=
45
4+5
=
9
=
9
=
9
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
6
15
21
18
+
=
60
6+0
=
6
=
6
=
6
-
6
6
3
9
+
=
24
2+4
=
6
=
6
=
6
4
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
6
6
-
-
--
--
6
occurs
x
2
=
12
1+2
3
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
4
F
O
U
R
-
-
18
-
-
4
-
24
-
15
-
-
-
-
9
-
-
1+8
-
-
-
-
2+4
-
1+5
4
F
O
U
R
-
-
9
-
-
4
-
6
-
6
-
6
6
3
9
-
-
-
-
-
-
-
-
-
-
4
F
O
U
R
-
-
9
-
-
4
-
6
-
6

 

 

-
4
F
I
V
E
-
-
-
-
-
-
-
-
-
-
-
9
-
-
+
=
9
-
=
9
=
9
-
-
-
9
-
-
+
=
9
-
=
9
=
9
-
4
F
I
V
E
-
-
-
-
-
-
-
-
-
-
6
-
4
5
+
=
15
1+5
=
6
=
6
-
-
6
-
22
5
+
=
33
3+3
=
6
=
6
-
4
F
I
V
E
-
-
-
-
-
-
-
-
-
-
6
9
22
5
+
=
42
4+2
=
6
=
6
-
-
6
9
4
5
+
=
24
2+4
=
6
=
6
-
4
F
I
V
E
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
5
-
-
5
occurs
x
1
=
5
-
-
6
-
-
-
-
-
6
occurs
x
2
=
12
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
21
4
F
I
V
E
-
-
24
-
-
4
-
24
2+1
-
-
9
-
-
-
-
2+4
-
-
-
-
2+4
3
4
F
I
V
E
-
-
6
-
-
4
-
6
-
-
6
9
4
5
-
-
-
-
-
-
-
-
3
4
F
I
V
E
-
-
6
-
-
4
-
6

 

 

4
F
I
V
E
-
-
-
-
-
-
-
-
-
-
9
-
-
+
=
9
-
=
9
=
9
-
-
9
-
-
+
=
9
-
=
9
=
9
4
F
I
V
E
-
-
-
-
-
-
-
-
-
6
-
4
5
+
=
15
1+5
=
6
=
6
-
6
-
22
5
+
=
33
3+3
=
6
=
6
4
F
I
V
E
-
-
-
-
-
-
-
-
-
6
9
22
5
+
=
42
4+2
=
6
=
6
-
6
9
4
5
+
=
24
2+4
=
6
=
6
4
F
I
V
E
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
-
-
-
-
5
-
-
5
occurs
x
1
=
5
-
6
-
-
-
-
-
6
occurs
x
2
=
12
-
-
9
-
-
-
-
9
occurs
x
1
=
9
4
F
I
V
E
-
-
24
-
-
4
-
24
-
-
9
-
-
-
-
2+4
-
-
-
-
2+4
4
F
I
V
E
-
-
6
-
-
4
-
6
-
6
9
4
5
-
-
-
-
-
-
-
-
4
F
I
V
E
-
-
6
-
-
4
-
6

 

 

-
3
S
I
X
-
-
-
-
-
-
-
-
-
-
1
9
6
+
=
16
1+6
=
7
=
7
-
-
19
9
24
+
=
52
5+2
=
7
=
7
-
3
S
I
X
-
-
-
-
-
-
-
-
-
-
1
9
6
+
=
16
1+6
=
7
=
7
-
-
19
9
24
+
=
52
5+2
=
7
=
7
-
3
S
I
X
-
-
-
-
-
-
-
-
-
-
19
9
24
+
=
52
5+2
=
7
=
7
-
-
1
9
6
+
=
16
1+6
=
7
=
7
-
3
S
I
X
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
-
6
-
-
6
occurs
x
1
=
6
7
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
29
3
S
I
X
-
-
16
-
-
3
-
16
2+9
-
-
9
-
-
-
1+6
-
-
-
-
1+6
11
3
S
I
X
-
-
7
-
-
3
-
7
1+1
-
1
9
6
-
-
-
-
-
-
-
-
2
3
S
I
X
-
-
7
-
-
3
-
7

 

 

3
S
I
X
-
-
-
-
-
-
-
-
-
1
9
6
+
=
16
1+6
=
7
=
7
-
19
9
24
+
=
52
5+2
=
7
=
7
3
S
I
X
-
-
-
-
-
-
-
-
-
1
9
6
+
=
16
1+6
=
7
=
7
-
19
9
24
+
=
52
5+2
=
7
=
7
3
S
I
X
-
-
-
-
-
-
-
-
-
19
9
24
+
=
52
5+2
=
7
=
7
-
1
9
6
+
=
16
1+6
=
7
=
7
3
S
I
X
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
-
-
-
6
-
-
6
occurs
x
1
=
6
-
-
9
-
-
-
9
occurs
x
1
=
9
3
S
I
X
-
-
16
-
-
3
-
16
-
-
9
-
-
-
1+6
-
-
-
-
1+6
3
S
I
X
-
-
7
-
-
3
-
7
-
1
9
6
-
-
-
-
-
-
-
-
3
S
I
X
-
-
7
-
-
3
-
7

 

 

-
5
S
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
5
+
=
6
-
=
6
=
6
=
6
-
-
19
-
-
-
14
+
=
33
3+3
=
6
=
6
=
6
-
5
S
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
-
5
4
5
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
5
22
5
-
+
=
32
3+2
=
5
=
5
=
5
-
5
S
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
-
19
5
22
5
14
+
=
65
6+5
=
11
1+1
2
=
2
-
-
1
5
4
5
5
+
=
20
2+0
=
2
=
2
=
2
-
5
S
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
5
5
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
35
5
S
E
V
E
N
-
-
10
-
-
5
-
20
-
11
3+5
-
-
5
-
5
5
-
-
1+0
-
-
-
-
2+0
-
1+1
8
5
S
E
V
E
N
-
-
1
-
-
5
-
2
-
2
-
-
1
5
4
5
5
-
-
-
-
-
-
-
-
-
-
8
5
S
E
V
E
N
-
-
1
-
-
5
-
2
-
2

 

 

5
S
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
5
+
=
6
-
=
6
=
6
=
6
-
19
-
-
-
14
+
=
33
3+3
=
6
=
6
=
6
5
S
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
5
4
5
-
+
=
14
1+4
=
5
=
5
=
5
-
-
5
22
5
-
+
=
32
3+2
=
5
=
5
=
5
5
S
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
19
5
22
5
14
+
=
65
6+5
=
11
1+1
2
=
2
-
1
5
4
5
5
+
=
20
2+0
=
2
=
2
=
2
5
S
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
5
-
5
5
-
-
5
occurs
x
3
=
15
1+5
6
5
S
E
V
E
N
-
-
10
-
-
5
-
20
-
11
-
-
5
-
5
5
-
-
1+0
-
-
-
-
2+0
-
1+1
5
S
E
V
E
N
-
-
1
-
-
5
-
2
-
2
-
1
5
4
5
5
-
-
-
-
-
-
-
-
-
-
5
S
E
V
E
N
-
-
1
-
-
5
-
2
-
2

 

 

-
5
E
I
G
H
T
-
-
-
-
-
-
-
-
-
`-
-
9
-
8
-
+
=
17
1+7
=
8
=
8
-
-
-
9
-
8
-
+
=
17
1+7
=
8
=
8
-
5
E
I
G
H
T
-
-
-
-
-
-
-
-
-
-
5
-
7
-
2
+
=
14
1+4
=
5
=
5
-
-
5
-
7
-
20
+
=
32
3+2
=
5
=
5
-
5
E
I
G
H
T
-
-
-
-
-
-
-
-
-
-
5
9
7
8
20
+
=
49
4+9
=
13
1+3
4
-
-
5
9
7
8
2
+
=
31
3+1
=
4
=
4
-
5
E
I
G
H
T
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
14
5
E
I
G
H
T
-
-
31
-
-
5
-
31
1+4
-
-
9
-
-
-
-
-
3+1
-
-
-
-
3+1
5
5
E
I
G
H
T
-
-
4
-
-
5
-
4
-
-
5
9
7
8
2
-
-
-
-
-
-
-
-
5
5
E
I
G
H
T
-
-
4
-
-
5
-
4

 

 

5
E
I
G
H
T
-
-
-
-
-
-
-
-
`-
-
9
-
8
-
+
=
17
1+7
=
8
=
8
-
-
9
-
8
-
+
=
17
1+7
=
8
=
8
5
E
I
G
H
T
-
-
-
-
-
-
-
-
-
5
-
7
-
2
+
=
14
1+4
=
5
=
5
-
5
-
7
-
20
+
=
32
3+2
=
5
=
5
5
E
I
G
H
T
-
-
-
-
-
-
-
-
-
5
9
7
8
20
+
=
49
4+9
=
13
1+3
4
-
5
9
7
8
2
+
=
31
3+1
=
4
=
4
5
E
I
G
H
T
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
8
-
-
-
8
occurs
x
1
=
8
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
5
E
I
G
H
T
-
-
31
-
-
5
-
31
-
-
9
-
-
-
-
-
3+1
-
-
-
-
3+1
5
E
I
G
H
T
-
-
4
-
-
5
-
4
-
5
9
7
8
2
-
-
-
-
-
-
-
-
5
E
I
G
H
T
-
-
4
-
-
5
-
4

 

 

-
4
N
I
N
E
-
-
-
-
-
--
-
-
-
-
-
-
5
9
5
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
14
9
14
-
+
=
37
3+7
=
10
1+0
1
=
1
-
4
N
I
N
E
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
4
N
I
N
E
-
-
-
-
-
--
-
-
-
-
-
-
14
9
14
5
+
=
42
4+2
=
6
=
6
=
6
-
-
5
9
5
5
+
=
24
2+4
=
6
=
6
=
6
-
4
N
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
5
5
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
31
4
N
I
N
E
-
-
14
-
-
4
-
24
-
15
3+1
-
5
-
5
5
-
-
1+4
-
-
-
-
2+4
-
1+5
4
4
N
I
N
E
-
-
5
-
-
4
-
6
-
6
-
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
4
4
N
I
N
E
-
-
5
-
-
4
-
6
-
6

 

 

4
N
I
N
E
-
-
-
-
-
--
-
-
-
-
-
5
9
5
-
+
=
19
1+9
=
10
1+0
1
=
1
-
14
9
14
-
+
=
37
3+7
=
10
1+0
1
=
1
4
N
I
N
E
-
-
-
-
-
--
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
4
N
I
N
E
-
-
-
-
-
--
-
-
-
-
-
14
9
14
5
+
=
42
4+2
=
6
=
6
=
6
-
5
9
5
5
+
=
24
2+4
=
6
=
6
=
6
4
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
-
5
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
9
-
-
-
-
9
occurs
x
1
=
9
=
9
4
N
I
N
E
-
-
14
-
-
4
-
24
-
15
-
5
-
5
5
-
-
1+4
-
-
-
-
2+4
-
1+5
4
N
I
N
E
-
-
5
-
-
4
-
6
-
6
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
4
N
I
N
E
-
-
5
-
-
4
-
6
-
6

 

 

-
3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
-
14
+
=
14
1+4
=
5
=
5
=
5
-
3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
-
2
5
-
+
=
7
-
=
7
=
7
=
7
-
-
20
5
-
+
=
25
2+5
=
7
=
7
=
7
-
3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
-
20
5
14
+
=
39
3+9
=
12
1+2
3
=
3
-
-
2
5
5
+
=
12
1+2
=
3
=
3
=
3
-
3
T
E
N
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
5
5
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
38
3
T
E
N
-
-
7
-
-
3
-
12
-
3
3+8
-
-
-
-
-
-
-
-
-
-
-
1+2
-
-
11
3
T
E
N
-
-
7
-
-
3
-
3
-
3
1+1
-
2
5
5
-
-
-
-
-
--
-
-
-
-
2
3
T
E
N
-
-
7
-
-
3
-
3
-
3

 

 

3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
14
+
=
14
1+4
=
5
=
5
=
5
3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
2
5
-
+
=
7
-
=
7
=
7
=
7
-
20
5
-
+
=
25
2+5
=
7
=
7
=
7
3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
20
5
14
+
=
39
3+9
=
12
1+2
3
=
3
-
2
5
5
+
=
12
1+2
=
3
=
3
=
3
3
T
E
N
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
5
5
-
-
5
occurs
x
2
=
10
1+0
1
3
T
E
N
-
-
7
-
-
3
-
12
-
3
-
-
-
-
-
-
-
-
-
-
-
1+2
-
-
3
T
E
N
-
-
7
-
-
3
-
3
-
3
-
2
5
5
-
-
-
-
-
--
-
-
-
-
3
T
E
N
-
-
7
-
-
3
-
3
-
3

 

 

-
6
E
L
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
-
-
-
-
14
+
=
14
1+4
=
5
=
5
=
5
-
6
E
L
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
-
5
3
5
4
5
-
+
=
22
2+2
=
4
=
4
=
4
-
-
5
12
5
22
5
-
+
=
49
4+9
=
13
1+3
4
=
4
-
6
E
L
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
-
5
12
5
22
5
14
+
=
63
6+3
=
9
=
9
=
9
-
-
5
3
5
4
5
5
+
=
27
2+7
=
9
=
9
=
9
-
6
E
L
E
V
E
N
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
5
-
5
-
5
5
-
-
5
occurs
x
4
=
20
2+0
2
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
33
6
E
L
E
V
E
N
-
-
12
-
-
6
-
27
-
9
3+3
-
-
-
-
-
-
-
-
-
1+2
-
-
-
-
2+7
-
-
6
6
E
L
E
V
E
N
-
-
3
-
-
6
-
9
-
9
-
-
5
3
5
4
5
5
-
-
-
-
-
-
-
-
-
-
6
6
E
L
E
V
E
N
-
-
3
-
-
6
-
9
-
9

 

 

6
E
L
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
5
+
=
5
-
=
5
=
5
=
5
-
-
-
-
-
-
14
+
=
14
1+4
=
5
=
5
=
5
6
E
L
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
5
3
5
4
5
-
+
=
22
2+2
=
4
=
4
=
4
-
5
12
5
22
5
-
+
=
49
4+9
=
13
1+3
4
=
4
6
E
L
E
V
E
N
-
-
-
-
-
--
-
-
-
-
-
5
12
5
22
5
14
+
=
63
6+3
=
9
=
9
=
9
-
5
3
5
4
5
5
+
=
27
2+7
=
9
=
9
=
9
6
E
L
E
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
=
4
-
5
-
5
-
5
5
-
-
5
occurs
x
4
=
20
2+0
2
6
E
L
E
V
E
N
-
-
12
-
-
6
-
27
-
9
-
-
-
-
-
-
-
-
-
1+2
-
-
-
-
2+7
-
-
6
E
L
E
V
E
N
-
-
3
-
-
6
-
9
-
9
-
5
3
5
4
5
5
-
-
-
-
-
-
-
-
-
-
6
E
L
E
V
E
N
-
-
3
-
-
6
-
9
-
9

 

 

-
-
-
-
0
ZERO
-
-
-
-
-
-
2
-
Z+E
31
13
4
-
-
-
1
-
R
18
9
9
-
-
-
1
-
O
15
6
6
Z
=
8
4
4
ZERO
64
28
19
-
-
-
-
-
-
9+1
1+9
1+9
Z
=
8
4
-
ZERO
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
Z
=
8
4
-
ZERO
10
10
10

 

 

-
-
-
-
1
ONE
-
-
-
-
-
-
1
-
O
15
6
6
-
-
-
1
-
N
14
5
5
-
-
-
1
-
E
5
5
5
O
=
6
3
4
ONE
34
16
16
-
-
-
-
-
-
3+4
1+6
1+6
O
=
6
3
4
ONE
7
7
7

 

 

-
-
-
-
2
TWO
-
-
-
-
-
-
1
-
T
20
2
2
-
-
-
1
-
W
23
5
5
-
-
-
1
-
O
15
6
6
T
=
2
3
4
TWO
58
13
13
-
-
-
-
-
-
5+8
1+3
1+3
T
=
2
3
4
TWO
13
4
4
-
-
-
-
-
-
1+3
-
-
T
=
2
3
4
TWO
4
4
4

 

 

-
-
-
-
3
THREE
-
-
-
-
-
-
1
-
T
20
2
2
-
-
-
1
-
H
8
8
8
-
-
-
1
-
R
18
9
9
-
-
-
2
-
E+E
10
10
1
T
=
2
5
4
THREE
56
29
20
-
-
-
-
-
-
5+6
2+9
2+0
T
=
2
5
4
THREE
11
11
2
-
-
-
-
-
-
1+1
1+1
-
T
=
2
5
4
THREE
2
2
2

 

 

-
-
-
-
4
FOUR
-
-
-
-
-
-
1
-
F
6
6
6
-
-
-
2
-
O+U
36
9
9
-
-
-
1
-
R
18
9
9
F
=
6
4
4
FOUR
60
24
24
-
-
-
-
-
-
6+0
2+4
2+4
F
-
6
4
4
FOUR
6
6
6

 

 

-
-
-
-
5
FIVE
-
-
-
-
-
-
1
-
F
6
6
6
-
-
-
1
-
I
9
9
9
-
-
-
2
-
V+E
27
9
9
F
=
6
4
4
FIVE
60
24
24
-
-
-
-
-
-
6+0
2+4
2+4
F
=
6
4
4
FIVE
6
6
6

 

 

-
-
-
-
6
SIX
-
-
-
-
-
-
1
-
S
19
10
1
-
-
-
1
-
I
9
9
9
-
-
-
1
-
X
24
6
6
S
=
1
3
4
SIX
52
25
16
-
-
-
-
-
-
5+2
2+5
1+6
S
=
1
3
4
SIX
7
7
7

 

 

-
-
-
-
7
SEVEN
-
-
-
-
-
-
1
-
S
19
10
1
-
-
-
2
-
E+V
27
9
9
-
-
-
2
-
E+N
19
10
1
S
=
1
5
4
SEVEN
65
29
11
-
-
-
-
-
-
6+5
2+9
1+1
S
=
2
5
4
SEVEN
11
11
2
-
-
-
-
-
-
1+1
1+1
-
S
=
2
5
4
SEVEN
2
2
2

 

 

-
-
-
-
8
EIGHT
-
-
-
-
-
-
1
-
E
5
5
5
-
-
-
1
-
I
9
9
9
-
-
-
3
-
G+H+T
35
17
8
E
=
5
5
4
EIGHT
49
31
4
-
-
-
-
-
-
4+9
3+1
-
E
=
5
5
4
EIGHT
13
4
4
-
-
-
-
-
-
1+3
-
-
E
=
5
5
4
EIGHT
4
4
4

 

 

-
-
-
-
9
NINE
-
-
-
-
-
-
1
-
N
14
5
5
-
-
-
1
-
I
9
9
9
-
-
-
2
-
N+E
19
10
1
N
=
5
4
4
NINE
42
24
13
-
-
-
-
-
-
4+2
2+4
1+3
N
=
5
3
4
NINE
6
6
6

 

 

-
-
-
10
-
TEN
--
-
-
-
-
-
-
1
T
20
2
2
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
T
=
2
10
3
TEN
39
12
12
-
-
-
-
-
-
3+9
1+2
1+2
T
=
2
10
3
TEN
12
3
3
-
-
-
-
-
-
1+2
-
-
T
=
2
10
3
TEN
3
3
3

 

 

-
-
-
11
-
ELEVEN
--
-
-
-
-
-
-
3
E+L+E
22
13
4
-
-
-
-
2
V+E
27
9
9
-
-
-
-
1
N
14
5
5
E
=
5
11
6
ELEVEN
63
27
18
-
-
-
-
-
-
6+3
2+7
1+8
E
=
5
11
6
ELEVEN
9
9
9

 

 

-
-
-
12
-
TWELVE
--
-
-
-
-
-
-
4
T+W+E+L
60
15
6
-
-
-
-
2
V+E
27
9
9
T
=
2
12
6
TWELVE
87
24
15
-
-
-
-
-
-
8+7
2+4
1+5
T
=
2
12
6
TWELVE
15
6
6
6
-
-
-
-
-
1+5
-
-
T
=
2
12
6
TWELVE
6
6
6

 

 

-
-
-
13
-
THIRTEEN
--
-
-
-
-
-
-
2
T+H
28
10
1
-
-
-
-
1
I
9
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
4
T+E+E+N
44
17
8
T
=
2
13
8
THIRTEEN
99
45
27
-
-
-
-
-
-
9+9
4+5
2+7
T
=
2
13
8
THIRTEEN
18
9
9
6
-
-
-
-
-
1+8
-
-
T
=
2
13
8
THIRTEEN
9
9
9

 

 

-
-
-
14
-
FOURTEEN
--
-
-
-
-
-
-
1
F
6
6
6
-
-
-
-
2
O+U
36
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
4
T+E+E+N
44
17
8
F
=
6
14
8
FOURTEEN
104
41
32
-
-
-
-
-
-
1+0+4
4+1
3+2
F
=
6
14
8
FOURTEEN
5
5
5

 

 

-
-
-
15
-
FIFTEEN
--
-
-
-
-
-
-
1
F
6
6
6
-
-
-
-
1
I
9
9
9
-
-
-
-
5
F+T+E+E+N
50
23
5
F
=
6
15
7
FIFTEEN
65
38
20
-
-
-
-
-
-
6+5
3+8
2+0
F
=
6
15
7
FIFTEEN
11
11
2
6
-
-
-
-
-
1+1
1+1
-
F
=
6
15
7
FIFTEEN
2
2
2

 

 

-
-
-
16
-
SIXTEEN
--
-
-
-
-
-
-
1
S
19
10
1
-
-
-
-
1
I
9
9
9
-
-
-
-
4
X+T+E+E
54
18
9
-
-
-
-
1
N
14
5
5
S
=
1
16
7
SIXTEEN
96
42
24
-
-
-
-
-
-
9+6
4+2
2+4
S
=
1
16
7
SIXTEEN
15
6
6
6
-
-
-
-
-
1+5
-
-
S
=
1
16
7
SIXTEEN
6
6
6

 

 

-
-
-
17
-
SEVENTEEN
--
-
-
-
-
-
-
1
S
19
10
1
-
-
-
-
2
E+V
27
9
9
-
-
-
-
6
E+N+T+E+E+N
63
27
9
S
=
1
17
9
SEVENTEEN
109
46
19
-
-
-
-
-
-
1+0+9
4+6
1+9
S
=
1
17
9
SEVENTEEN
10
10
10
6
-
-
-
-
-
1+0
1+0
1+0
S
=
1
17
9
SEVENTEEN
1
1
1

 

 

-
-
-
18
-
EIGHTEEN
--
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
1
I
9
9
9
-
-
-
-
5
G+H+T+E+E
45
27
9
-
-
-
-
1
N
14
5
5
E
=
5
18
8
EIGHTEEN
73
46
28
-
-
-
-
-
-
7+3
4+6
2+8
E
=
5
18
8
EIGHTEEN
10
10
10
6
-
-
-
-
-
1+0
1+0
1+0
E
=
5
18
8
EIGHTEEN
1
1
1

 

 

-
TEEN
--
-
-
1
T
20
2
2
3
E+E+N
24
15
6
4
TEEN
44
17
8
-
-
4+4
1+7
-
4
TEEN
8
8
8

 

 

-
-
-
-
TEEN
--
-
-
-
-
-
1
T
20
2
2
-
-
-
1
E
5
5
5
-
-
-
1
E
5
5
5
-
-
-
1
N
14
5
5
T
=
2
4
TEEN
44
17
17
-
-
-
-
-
4+4
1+7
1+7
T
=
2
4
TEEN
8
8
8

 

 

G
=
7
-
7
GRAHAMS
67
31
4
N
=
5
-
6
NUMBER
73
28
1
-
-
12
Q
13
First Total
140
59
5
-
-
1+2
-
1+3
Add to Reduce
1+4+0
5+9
-
-
-
3
-
4
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
3
-
4
Essence of Number
5
5
5

 

 

-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
1
-
5
-
-
-
-
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
-
-
8
-
-
19
-
14
-
-
-
-
-
+
=
41
4+1
=
5
=
5
=
5
-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
7
9
1
-
1
4
-
-
-
3
4
2
5
9
+
=
45
4+5
=
9
=
9
=
9
-
-
7
18
1
-
1
13
-
-
-
21
13
2
5
18
+
=
99
9+9
=
18
1+8
9
=
9
-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
7
18
1
8
1
13
19
-
14
21
13
2
5
18
+
=
140
1+4+0
=
5
=
5
=
5
-
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
+
=
59
5+9
=
14
1+4
5
=
5
-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
4
-
-
-
-
4
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
6
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
39
-
-
12
-
59
-
41
-
1+3
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
3+9
-
-
1+2
-
5+9
-
4+1
6
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
12
-
-
3
-
14
-
5
-
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
-
-
1+2
-
-
-
-
1+4
-
-
6
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
3
-
-
3
-
5
-
5

 

 

13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
1
-
5
-
-
-
-
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
-
8
-
-
19
-
14
-
-
-
-
-
+
=
41
4+1
=
5
=
5
=
5
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
9
1
-
1
4
-
-
-
3
4
2
5
9
+
=
45
4+5
=
9
=
9
=
9
-
7
18
1
-
1
13
-
-
-
21
13
2
5
18
+
=
99
9+9
=
18
1+8
9
=
9
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
18
1
8
1
13
19
-
14
21
13
2
5
18
+
=
140
1+4+0
=
5
=
5
=
5
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
+
=
59
5+9
=
14
1+4
5
=
5
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
4
-
-
-
-
4
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
39
-
-
12
-
59
-
41
1+3
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
3+9
-
-
1+2
-
5+9
-
4+1
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
12
-
-
3
-
14
-
5
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
-
-
1+2
-
-
-
-
1+4
-
-
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
3
-
-
3
-
5
-
5

 

 

13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
1
5
-
-
-
-
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
-
8
-
-
19
14
-
-
-
-
-
+
=
41
4+1
=
5
=
5
=
5
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
9
1
-
1
4
-
-
3
4
2
5
9
+
=
45
4+5
=
9
=
9
=
9
-
7
18
1
-
1
13
-
-
21
13
2
5
18
+
=
99
9+9
=
18
1+8
9
=
9
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
18
1
8
1
13
19
14
21
13
2
5
18
+
=
140
1+4+0
=
5
=
5
=
5
-
7
9
1
8
1
4
1
5
3
4
2
5
9
+
=
59
5+9
=
14
1+4
5
=
5
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
4
-
-
-
4
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
39
-
-
12
-
59
-
41
1+3
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
3+9
-
-
1+2
-
5+9
-
4+1
4
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
12
-
-
3
-
14
-
5
-
7
9
1
8
1
4
1
5
3
4
2
5
9
-
-
1+2
-
-
-
-
1+4
-
-
4
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
3
-
-
3
-
5
-
5

 

 

THE

ATEN

ISISIS RA RA ISISIS

ZERO

ISISIS ZERO = ONE = ONE = ZERO ISISIS

ZERO

ONE AND ZERO ZERO AND ONE

RA OSIRIS ERECT PENIS = I = PENIS ERECT OSIRIS RA

ISISIS ZERO CIRCLE VAGINA = O = VAGINA CIRCLE ZERO ISISIS

999999999666666666101010101010101010010101010101010101666666666999999999

 

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

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

 

 

-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
8
-
-
1
+
=
15
1+5
=
6
=
6
=
6
-
-
-
-
15
-
-
-
8
-
-
19
+
=
42
4+2
=
6
=
6
=
6
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
7
9
-
4
5
2
-
5
3
-
+
=
35
3+5
=
8
=
8
=
8
-
-
16
18
-
13
5
20
-
5
21
-
+
=
98
9+8
=
17
1+7
8
=
8
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
16
18
15
13
5
20
8
5
21
19
+
=
140
1+4+0
=
5
=
5
=
5
-
-
7
9
6
4
5
2
8
5
3
1
+
=
50
5+0
=
5
=
5
=
5
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
4
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
5
-
-
-
-
-
5
-
-
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
7
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
45
10
P
R
O
M
E
T
H
E
U
S
-
-
45
-
-
10
-
50
-
41
4+5
1+0
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
1+0
-
5+0
-
4+1
9
1
P
R
O
M
E
T
H
E
U
S
-
-
9
-
-
1
-
5
-
5
-
-
7
9
6
4
5
2
8
5
3
1
-
-
-
-
-
-
-
-
-
-
9
1
P
R
O
M
E
T
H
E
U
S
-
-
9
-
-
1
-
5
-
5

 

 

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

 

 

-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
5
-
-
-
+
=
39
3+9
=
12
1+2
3
=
3
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
14
-
-
-
+
=
48
4+8
=
12
1+2
3
=
3
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
7
-
2
-
2
9
-
-
7
5
9
+
=
51
5+1
=
6
=
6
=
6
-
-
20
-
5
-
12
-
7
-
20
-
2
18
-
-
7
5
18
+
=
114
1+1+4
=
6
=
6
=
6
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
12
9
7
8
20
-
2
18
9
14
7
5
18
+
+
162
1+6+2
=
9
=
9
=
9
-
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
+
+
90
9+0
=
9
=
9
=
9
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
``-
2
-
-
-
-
-
-
-
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
8
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
9
occurs
x
4
=
36
-
9
11
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
34
-
-
15
-
90
-
36
1+1
1+5
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
3+4
-
-
1+5
-
5+4
-
3+6
2
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9
-
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
-
-
-
-
-
-
-
-
-
-
2
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9

 

 

5
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
5
-
-
-
+
=
39
3+9
=
12
1+2
3
=
3
-
-
8
-
-
-
9
-
8
-
-
-
-
9
14
-
-
-
+
=
48
4+8
=
12
1+2
3
=
3
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
7
-
2
-
2
9
-
-
7
5
9
+
=
51
5+1
=
6
=
6
=
6
-
20
-
5
-
12
-
7
-
20
-
2
18
-
-
7
5
18
+
=
114
1+1+4
=
6
=
6
=
6
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
12
9
7
8
20
-
2
18
9
14
7
5
18
+
+
162
1+6+2
=
9
=
9
=
9
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
+
+
90
9+0
=
9
=
9
=
9
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
``-
2
-
-
-
-
-
-
-
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
8
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
9
occurs
x
4
=
36
=
9
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
34
-
-
15
-
90
-
36
1+5
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
3+4
-
-
1+5
-
5+4
-
3+6
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
-
-
-
-
-
-
-
-
-
-
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9

 

 

-
15
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
6
5
-
-
-
-
6
-
-
8
-
-
-
-
-
6
-
-
+
=
31
3+1
=
4
=
4
=
4
-
-
15
14
-
-
-
-
15
-
-
8
-
-
-
-
-
15
-
-
+
=
67
6+7
=
13
1+3
4
=
4
-
15
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
2
5
-
-
2
-
9
5
5
-
6
-
3
9
+
=
51
5+1
=
6
=
6
=
6
-
-
-
-
5
-
20
23
-
-
20
-
18
5
5
-
6
-
21
18
+
=
141
1+4+1
=
6
=
6
=
6
-
15
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
15
14
5
-
20
23
15
-
20
8
18
5
5
-
6
15
21
18
+
=
208
2+0+8
=
10
1+0
1
=
1
-
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
+
=
82
8+2
=
10
1+0
1
=
1
-
15
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
5
occurs
x
5
=
25
2+5
7
-
-
6
-
-
-
-
-
6
-
-
-
-
-
-
-
6
6
-
-
-
-
6
occurs
x
4
=
24
2+4
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-``
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
12
15
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
33
-
-
15
-
82
-
37
1+2
1+5
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
3+3
-
-
1+5
-
8+2
-
3+7
3
6
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
6
-
-
6
-
10
-
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+0
-
1+0
3
6
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
-
6
-
-
6
-
1
-
1

 

 

15
ONE TWO THREE FOUR
208
82
1
-
--
-
-
-
4
FIVE
42
24
6
-
--
-
-
-
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

-
17
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
-
-
-
--
-
-
-
-
-
-
5
9
5
-
-
-
9
-
8
-
-
1
-
-
-
5
-
1
9
6
+
=
58
5+8
=
13
1+3
4
=
4
-
-
14
9
14
-
-
-
9
-
8
-
-
19
-
-
-
14
-
19
9
24
+
=
139
1+3+9
=
13
1+3
4
=
4
-
17
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
5
-
5
-
7
-
2
-
-
5
4
5
-
-
-
-
-
+
=
33
3+3
=
6
=
6
=
6
-
-
-
-
-
5
-
5
-
7
-
20
-
-
5
22
5
-
-
-
-
-
+
=
69
6+9
=
15
1+5
6
=
6
-
17
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
-
-
-
--
-
-
-
-
-
-
14
9
14
5
-
5
9
7
8
20
-
19
5
22
5
14
-
19
9
24
+
=
208
2+0+8
=
10
1+0
1
=
1
-
-
5
9
5
5
-
5
9
7
8
2
-
1
5
4
5
5
-
1
9
6
+
=
91
9+1
=
10
1+0
1
=
1
-
17
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
5
-
5
5
-
5
-
-
-
-
-
-
5
-
5
5
-
-
-
-
-
-
5
occurs
x
7
=
35
3+5
8
-
--
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
6
occurs
x
1
=
6
=
6
-
--
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
--
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
3
=
27
2+7
9
3
17
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
42
-
-
17
-
91
-
46
-
1+7
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
4+2
-
-
1+7
-
9+1
-
4+6
3
8
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
6
-
-
8
-
10
-
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+0
-
1+0
3
8
N
I
N
E
-
E
I
G
H
T
-
S
E
V
E
N
-
S
I
X
-
-
6
-
-
8
-
1
-
1

 

 

15
ONE TWO THREE FOUR
208
82
1
-
--
-
-
-
4
FIVE
42
24
6
-
--
-
-
-
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

 

 

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

 

 

Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
8
-
-
6
-
6
5
-
-
-
-
6
-
-
8
-
-
-
-
-
6
-
-
-
-
9
-
-
-
1
9
6
-
1
-
-
-
5
-
-
9
-
8
-
-
5
9
5
-
112
26
-
-
15
-
15
14
-
-
-
-
15
-
-
8
-
-
-
-
-
15
-
-
-
-
9
-
-
-
19
9
24
-
19
-
-
-
14
-
-
9
-
8
-
-
14
9
14
-
256
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
5
9
-
-
-
-
5
-
2
5
-
-
2
-
9
5
5
-
6
-
3
9
-
6
-
4
5
-
-
-
-
-
-
5
4
5
-
-
5
-
7
-
2
-
-
-
-
5
113
-
5
18
-
-
-
-
5
-
20
23
-
-
20
-
18
5
5
-
6
-
21
18
-
6
-
22
5
-
-
-
-
-
-
5
22
5
-
-
5
-
7
-
20
-
-
-
-
5
266
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
26
5
18
15
-
15
14
5
-
20
23
15
-
20
8
18
5
5
-
6
15
21
18
-
6
9
22
5
-
19
9
24
-
19
5
22
5
14
-
5
9
7
8
20
-
14
9
14
5
522
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
225
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
-
-
-
5
-
5
5
5
-
-
-
6
-
6
-
-
-
-
--
6
-
-
-
-
-
-
-
6
6
-
-
-
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
-
9
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
45
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
5
5
-
-
-
-
5
4+5
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
-
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9

 

 

1
occurs
x
2
=
2
=
2
2
occurs
x
3
=
6
=
6
3
occurs
x
1
=
3
=
3
4
occurs
x
2
=
8
=
8
5
occurs
x
14
=
70
7+0
7
6
occurs
x
7
=
42
4+2
6
7
occurs
x
1
=
7
=
7
8
occurs
x
3
=
24
2+4
6
9
occurs
x
7
=
63
6+3
9
45
-
-
40
-
225
-
54
4+5
-
-
4+0
-
2+2+5
-
5+4
9
-
-
4
-
9
-
9

 

 

Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
8
-
-
6
-
6
5
-
-
-
-
6
-
-
8
-
-
-
-
-
6
-
-
-
-
9
-
-
-
1
9
6
-
1
-
-
-
5
-
-
9
-
8
-
-
5
9
5
-
112
26
-
-
15
-
15
14
-
-
-
-
15
-
-
8
-
-
-
-
-
15
-
-
-
-
9
-
-
-
19
9
24
-
19
-
-
-
14
-
-
9
-
8
-
-
14
9
14
-
256
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
5
9
-
-
-
-
5
-
2
5
-
-
2
-
9
5
5
-
6
-
3
9
-
6
-
4
5
-
-
-
-
-
-
5
4
5
-
-
5
-
7
-
2
-
-
-
-
5
113
-
5
18
-
-
-
-
5
-
20
23
-
-
20
-
18
5
5
-
6
-
21
18
-
6
-
22
5
-
-
-
-
-
-
5
22
5
-
-
5
-
7
-
20
-
-
-
-
5
266
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
26
5
18
15
-
15
14
5
-
20
23
15
-
20
8
18
5
5
-
6
15
21
18
-
6
9
22
5
-
19
9
24
-
19
5
22
5
14
-
5
9
7
8
20
-
14
9
14
5
522
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
225
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
-
-
-
5
-
5
5
5
-
-
-
6
-
6
-
-
-
-
--
6
-
-
-
-
-
-
-
6
6
-
-
-
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
-
9
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
45
-
5
-
-
-
--
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
5
5
-
-
-
-
5
4+5
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
-
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
9

 

 

Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
-
8
-
-
6
6
5
-
-
-
6
-
8
-
-
-
-
6
-
-
-
9
-
-
1
9
6
1
-
-
-
5
-
9
-
8
-
5
9
5
-
112
26
-
-
15
15
14
-
-
-
15
-
8
-
-
-
-
15
-
-
-
9
-
-
19
9
24
19
-
-
-
14
-
9
-
8
-
14
9
14
-
256
Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
-
-
5
9
-
-
-
5
2
5
-
2
-
9
5
5
6
-
3
9
6
-
4
5
-
-
-
-
5
4
5
-
5
-
7
-
2
-
-
-
5
113
-
5
18
-
-
-
5
20
23
-
20
-
18
5
5
6
-
21
18
6
-
22
5
-
-
-
-
5
22
5
-
5
-
7
-
20
-
-
-
5
266
Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
-
26
5
18
15
15
14
5
20
23
15
20
8
18
5
5
6
15
21
18
6
9
22
5
19
9
24
19
5
22
5
14
5
9
7
8
20
14
9
14
5
522
8
5
9
6
6
5
5
2
5
6
2
8
9
5
5
6
6
3
9
6
9
4
5
1
9
6
1
5
4
5
5
5
9
7
8
2
5
9
5
5
225
Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
4
-
5
-
-
--
5
5
-
5
-
-
-
-
5
5
-
-
-
-
-
-
-
5
-
-
-
-
5
-
5
5
5
-
-
-
-
5
-
5
5
5
-
-
-
6
6
-
-
-
--
6
-
-
-
-
-
6
6
-
-
6
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
8
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
8
-
-
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
9
-
-
-
9
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
9
Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
45
-
5
-
-
--
5
5
-
5
-
-
-
-
5
5
-
-
-
-
-
-
-
5
-
-
-
-
5
-
5
5
5
-
-
5
5
-
-
-
5
4+5
Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
9
8
5
9
6
6
5
5
2
5
6
2
8
9
5
5
6
6
3
9
6
9
4
5
1
9
6
1
5
4
5
5
5
9
7
8
2
5
9
5
5
-
Z
E
R
O
O
N
E
T
W
O
T
H
R
E
E
F
O
U
R
F
I
V
E
S
I
X
S
E
V
E
N
E
I
G
H
T
N
I
N
E
9

 

LOOK AT THE 5S LOOK AT THE 5S LOOK AT THE 5S THE 5S THE 5S

 

 

Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
40
4+0
=
4
-
4
-
4
8
-
-
6
-
6
5
-
-
-
-
6
-
-
8
-
-
-
-
-
6
-
-
-
-
9
-
-
-
1
9
6
-
1
-
-
-
5
-
-
9
-
8
-
-
5
9
5
-
+
=
112
1+1+2
=
4
-
4
-
4
26
-
-
15
-
15
14
-
-
-
-
15
-
-
8
-
-
-
-
-
15
-
-
-
-
9
-
-
-
19
9
24
-
19
-
-
-
14
-
-
9
-
8
-
-
14
9
14
-
+
=
256
2+5+6
=
13
1+3
4
-
4
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
9
-
-
-
-
5
-
2
5
-
-
2
-
9
5
5
-
6
-
3
9
-
6
-
4
5
-
-
-
-
-
-
5
4
5
-
-
5
-
7
-
2
-
-
-
-
5
+
=
113
1+1+3
=
5
-
5
-
5
-
5
18
-
-
-
-
5
-
20
23
-
-
20
-
18
5
5
-
6
-
21
18
-
6
-
22
5
-
-
-
-
-
-
5
22
5
-
-
5
-
7
-
20
-
-
-
-
5
+
=
266
2+6+6
=
14
1+4
5
-
5
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
26
5
18
15
-
15
14
5
-
20
23
15
-
20
8
18
5
5
-
6
15
21
18
-
6
9
22
5
-
19
9
24
-
19
5
22
5
14
-
5
9
7
8
20
-
14
9
14
5
+
=
522
5+2+2
=
9
-
9
-
9
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
+
=
225
2+2+5
=
9
-
9
-
9
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
+
=
1
occurs
x
2
=
2
-
2
-
-
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
+
=
2
occurs
x
3
=
6
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
+
=
3
occurs
x
1
=
3
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
+
=
4
occurs
x
2
=
8
-
8
-
5
-
-
-
-
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
-
-
-
5
-
5
5
+
=
5
occurs
x
14
=
70
7+0
7
-
-
-
6
-
6-
-
-
-
-
-
6
-
-
-
-
-
-
-
6
6
-
-
-
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
 
-
-
-
-
+
=
6
occurs
x
7
=
42
4+2
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
+
=
7
occurs
x
1
=
7
-
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
+
=
8
occurs
x
3
=
24
2+4
6
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
-
+
=
9
occurs
x
7
=
63
6+3
9
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
45
-
-
40
-
225
-
54
-
5
-
-
-
-
5
5
-
-
5
-
-
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
-
5
5
-
5
-
-
-
-
-
5
-
5
5
-
-
4+5
-
-
4+0
-
2+2+5
-
5+4
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
9
-
-
4
-
9
-
9
8
5
9
6
-
6
5
5
-
2
5
6
-
2
8
9
5
5
-
6
6
3
9
-
6
9
4
5
-
1
9
6
-
1
5
4
5
5
-
5
9
7
8
2
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
Z
E
R
O
-
O
N
E
-
T
W
O
-
T
H
R
E
E
-
F
O
U
R
-
F
I
V
E
-
S
I
X
-
S
E
V
E
N
-
E
I
G
H
T
-
N
I
N
E
-
-
9
-
-
4
-
9
-
9

 

 

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

 

 

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

 

 

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

 

 

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

 

 

O
=
6
3
ONE
34
16
7
T
=
2
3
TWO
58
13
4
T
=
2
5
THREE
56
29
2
F
=
6
4
FOUR
60
24
6
F
+
6
4
FIVE
42
24
6
S
=
1
3
SIX
52
16
7
S
=
1
5
SEVEN
65
20
2
E
=
5
5
EIGHT
49
31
4
N
=
5
4
NINE
42
24
6
-
-
39
36
-
458
197
44
-
-
3+9
3+6
-
4+5+8
1+9+7
4+4
-
-
12
9
-
17
17
8
-
-
1+2
-
-
-
-
-
-
-
3
9
-
8
8
8

 

 

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

 

 

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

 

 

O
=
6
3
ONE
34
16
7
T
=
2
3
TWO
58
13
4
T
=
2
5
THREE
56
29
2
F
=
6
4
FOUR
60
24
6
F
+
6
4
FIVE
42
24
6
S
=
1
3
SIX
52
16
7
S
=
1
5
SEVEN
65
20
2
E
=
5
5
EIGHT
49
31
4
N
=
5
4
NINE
42
24
6
-
-
39
36
-
458
197
44
-
-
3+9
3+6
-
4+5+8
1+9+7
4+4
-
-
12
9
-
17
17
8
-
-
1+2
-
-
-
-
-
-
-
3
9
-
8
8
8

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Page 32

5


To Sorcerers and Magicians number FIVE is the most powerful - five is the mark of the pentacle, a five pointed star drawn by extending the sides of a Pentagon. Five surely is in the possession of the occult. And the Pentagon is the geometric figure in which the golden ratio of classical art and architecture is found most.

 

 

THE

BALANCING

ONE TWO THREE FOUR

FIVE

NINE EIGHT SEVEN SIX

 

 

O
=
15
-
3
ONE
34
16
7
-
1
T
=
20
-
3
TWO
58
13
4
-
2
T
=
20
-
5
THREE
56
29
2
-
3
F
=
6
-
4
FOUR
60
24
6
-
4
-
-
61
-
15
Add
208
82
19
-
10
-
-
6+1
-
1+5
Reduce
2+0+8
8+2
1+9
-
1+0
-
-
7
-
6
Deduce
10
10
10
-
1
-
-
-
-
-
Produce
1+0
1+0
1+0
-
-
-
-
7
-
6
Essence
1
1
1
-
1

 

 

N
=
14
-
4
NINE
42
24
6
-
9
E
=
5
-
5
EIGHT
49
31
4
-
8
S
=
19
-
5
SEVEN
65
20
2
-
7
S
=
19
-
3
SIX
52
16
7
-
6
-
-
57
-
17
Add
208
91
19
-
30
-
-
5+7
-
1+7
Reduce
2+0+8
9+1
1+9
-
3+0
-
-
12
-
8
Deduce
10
10
10
-
3
-
-
1+2
-
-
Produce
1+0
1+0
1+0
-
-
-
-
3
-
8
Essence
1
1
1
-
3

 

 

4
FIVE
42
24
6

 

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

 

15
ONE TWO THREE FOUR
208
82
1
4
FIVE
42
24
6
17
NINE EIGHT SEVEN SIX
208
91
1

 

 

3
ONE
34
16
7
-
3
SIX
52
16
7
3
TWO
58
13
4
-
5
SEVEN
65
20
2
5
THREE
56
29
2
-
5
EIGHT
49
31
4
4
FOUR
60
24
6
-
4
NINE
42
24
6
15
Add
208
82
19
-
17
Add
208
91
19
1+5
Reduce
2+0+8
8+2
1+9
-
1+7
Reduce
2+0+8
9+1
1+9
6
Deduce
10
10
10
-
8
Deduce
10
10
10
-
Produce
1+0
1+0
1+0
-
-
Produce
1+0
1+0
1+0
6
Essence
1
1
1
-
8
Essence
1
1
1

 

 

1234556789 PROMETHEUS 1234556789

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

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

 

THE

BALANCING

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

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

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

 

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

 

 

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

-

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

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
S
19
10
1
-
1
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In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

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

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

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

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

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

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

1.3 Other authors

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

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

The oldest legends of Prometheus among the Ancients[edit]

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

Hesiod and the Theogony[edit]

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

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

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

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

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

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

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

Pindar and the Nemean Odes[edit]

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

Pythagoras and the Pythagorean Doctrine[edit]

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

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

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

Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]

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

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

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

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

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

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

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

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

Plato and the Philosophical Interpretation of Prometheus[edit]

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

The Athenian tradition of religious dedication and observance[edit]

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

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

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

The Aesthetic tradition of Prometheus in Athenian art[edit]

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

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

Other authors

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

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

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

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

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

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

Religious symbolism in late Roman antiquity[edit]

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

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

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

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

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

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

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

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

The allegorical tradition of the Middle Ages[edit]

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

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

Prometheus in the Renaissance[edit]

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

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

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

The Post-Renaissance tradition[edit]

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

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

The literary Post-Renaissance tradition[edit]

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

Goethe and the Prometheus-Ganymede poems[edit]

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

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

"Prometheus"

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

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

Percy Bysshe Shelley and Prometheus Unbound[edit]

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

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

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

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

Mary Shelley and Frankenstein: The Modern Prometheus[edit]

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

Prometheus in the Twentieth Century[edit]

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

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

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

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

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

The aesthetic Post-Renaissance tradition[edit]

Classical music, opera, and ballet[edit]

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

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

In film[edit]

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

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

 

The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616).
He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus.

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

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
1
MET
38
11
2
1
ORPHEUS
102
48
8
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

ENTERS THE NETERS

 

THE ELEMENTS OF EGYPTIAN WISDOM

Naomi Ozaniec 1994

THE SACRED SCRIPT - THE MEDU NETERS

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

Hieroglyphic omitted

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

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

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

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

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

Page 83

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


Japanese Language Letter Frequency
20 most common Kanji (Chinese characters):

日一十二人大年会国三本長中五出事社市者月

Word Frequencies / Letter

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

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

Double Letter Frequency
ss ee tt ff ll mm oo

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

English alphabet - Wikipedia, the free encyclopedia

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

English alphabet

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

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

Majuscule Forms (also called uppercase or capital letters

ABCDEFGHIJKLMNOPQRSTUVWXYZ

Miniscule Forms (also called lowercase or small letters)

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

 

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

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

Contents

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[edit] History

[edit] Old English

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

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

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

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

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

[edit] Modern English

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

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

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

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

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

[edit] Diacritics

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

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

[edit] Ampersand

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

[edit] Apostrophe

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

[edit] Letter names

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

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

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

[edit] Phonology

Main article: English phonology

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

[edit] Letter frequencies

Main article: Letter frequency

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

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

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

[edit] See also

[edit] Footnotes

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

 

 

Answers.com - What are the most popular letters in the alphabet In: Food and Cooking, English Language, Shopping [Edit categories] ... What is the most common letter in the alphabet? In English, 'e' Actually all of the ...
wiki.answers.com/.../What_are_the_most_popular_letters_in_the_alphabet - Cached - Similar

 

What is the frequency of the letters of the alphabet in English ... The world's most trusted dictionaries ... Dictionary; Other language resources. Help. US English; World English ... However, this gives the frequency of letters in English text, which is dominated by a relatively small ... The third column represents proportions, taking the least common letter (q) as equal to 1. ...
www.oxforddictionaries.com/page/frequencyalphabet - Cachedmost commonly used letters - Scott Bryce The most common first letter in a word in order of frequency ... The most commonly used words in the English language in order of frequency ...
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en.wikipedia.org/wiki/English_alphabet - Cached - Similar

 

Show more results from wikipedia.orgWhat is the Most Commonly Used Letter in English? 25 Oct 2010 ... The most commonly used letter in the English language is the letter “e”. This is the case in the general language, in fiction and ...
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Show more results from wikipedia.orgWhat is the Most Commonly Used Letter in English? 25 Oct 2010 ... The most commonly used letter in the English language is the letter “e”. This is the case in the general language, in fiction and ...
www.wisegeek.com/what-is-the-most-commonly-used-letter-in-english.htm -

 

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

TH5 MOST COMMONLY US5D L5TT5R IN TH5 5NGLISH LANGUAG5 IS THE L5TT5R "5"

 

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

285 4612 36446537 3154 352259 95 285 5573918 31573175 91 285 352259 "5"

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

 

 

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

285 4612 36446537 3154 352259 95 285 5573918 31573175 91 285 352259 "5"

THE MOST COMMONLY USED LETTER IN THE ENGLISH LANGUAGE IS THE LETTER "E"

 

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

"ETAON RISHD LFCMU GYPWB VKXJQ Z"

 

 

THEN WE ALL STARTED SINGING LOOK AT THE FIVES LOOK AT THE FIVES LOOKAT

THE FIVES THE FIVES THE FIVES

AND

THEN LO AND BEHOLD YOU GOT THE MESSAGE

AND

YOU STARTED TO LAUGH AND SING

AND

SUDDENLY

OUT

OF

NOTHINGNESS

WOWEEWOW

WE WERE ALL LAUGHING SINGING AND DANCING

NOW WE KNOW WOW O WOW KNOW WE NOW

 

 

 

G
=
7
-
7
GRAHAMS
67
31
4
N
=
5
-
6
NUMBER
73
28
1
-
-
12
Q
13
First Total
140
59
5
-
-
1+2
-
1+3
Add to Reduce
1+4+0
5+9
-
-
-
3
-
4
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
3
-
4
Essence of Number
5
5
5

 

 

-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
1
-
5
-
-
-
-
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
-
-
8
-
-
19
-
14
-
-
-
-
-
+
=
41
4+1
=
5
=
5
=
5
-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
7
9
1
-
1
4
-
-
-
3
4
2
5
9
+
=
45
4+5
=
9
=
9
=
9
-
-
7
18
1
-
1
13
-
-
-
21
13
2
5
18
+
=
99
9+9
=
18
1+8
9
=
9
-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
7
18
1
8
1
13
19
-
14
21
13
2
5
18
+
=
140
1+4+0
=
5
=
5
=
5
-
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
+
=
59
5+9
=
14
1+4
5
=
5
-
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
4
-
-
-
-
4
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
6
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
39
-
-
12
-
59
-
41
-
1+3
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
3+9
-
-
1+2
-
5+9
-
4+1
6
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
12
-
-
3
-
14
-
5
-
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
-
-
1+2
-
-
-
-
1+4
-
-
6
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
3
-
-
3
-
5
-
5

 

 

13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
1
-
5
-
-
-
-
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
-
8
-
-
19
-
14
-
-
-
-
-
+
=
41
4+1
=
5
=
5
=
5
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
9
1
-
1
4
-
-
-
3
4
2
5
9
+
=
45
4+5
=
9
=
9
=
9
-
7
18
1
-
1
13
-
-
-
21
13
2
5
18
+
=
99
9+9
=
18
1+8
9
=
9
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
18
1
8
1
13
19
-
14
21
13
2
5
18
+
=
140
1+4+0
=
5
=
5
=
5
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
+
=
59
5+9
=
14
1+4
5
=
5
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
4
-
-
-
-
4
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
13
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
39
-
-
12
-
59
-
41
1+3
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
3+9
-
-
1+2
-
5+9
-
4+1
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
12
-
-
3
-
14
-
5
-
7
9
1
8
1
4
1
-
5
3
4
2
5
9
-
-
1+2
-
-
-
-
1+4
-
-
4
G
R
A
H
A
M
S
-
N
U
M
B
E
R
-
-
3
-
-
3
-
5
-
5

 

 

13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
1
5
-
-
-
-
-
+
=
14
1+4
=
5
=
5
=
5
-
-
-
-
8
-
-
19
14
-
-
-
-
-
+
=
41
4+1
=
5
=
5
=
5
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
9
1
-
1
4
-
-
3
4
2
5
9
+
=
45
4+5
=
9
=
9
=
9
-
7
18
1
-
1
13
-
-
21
13
2
5
18
+
=
99
9+9
=
18
1+8
9
=
9
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
7
18
1
8
1
13
19
14
21
13
2
5
18
+
=
140
1+4+0
=
5
=
5
=
5
-
7
9
1
8
1
4
1
5
3
4
2
5
9
+
=
59
5+9
=
14
1+4
5
=
5
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
4
-
-
-
4
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
9
-
-
-
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
13
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
39
-
-
12
-
59
-
41
1+3
-
-
-
-
-
-
-
5
-
-
-
5
-
-
-
3+9
-
-
1+2
-
5+9
-
4+1
4
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
12
-
-
3
-
14
-
5
-
7
9
1
8
1
4
1
5
3
4
2
5
9
-
-
1+2
-
-
-
-
1+4
-
-
4
G
R
A
H
A
M
S
N
U
M
B
E
R
-
-
3
-
-
3
-
5
-
5

 

 

THE

SWORD OF WORDS

 

 

 

 

SECRET CHAMBERS

Robert Bauval

1

999

MAGICAL RELIGION

Page 120

"A century or so after the rediscovery of the Corpus Hermeticum, a strange regeneration of , Egyptian' mysticism was taking place in Western culture. The Hermetica was being circulated among scholars, the educated classes and even royalty.19 A new breed of 'Hermetic' philo- sophers, cabalists, alchemists, magicians, seers and wizards of all sorts began to emerge.20 In Chapter 2 we saw the bizarre involvement of the Papacy with Hermeticism and how some misguided scholars attempted to convince the Church not only that Hermes- Thoth was a prophet of Christianity, but also that his 'books' should be canonised and embraced as 'gospels' of the Roman Catholic Church. Others, more radical in their demands, went as far as to preach the return of the 'Egyptian' religion as the true religion of the world. Among the most forceful and influential of these new Hermetic activists was a mysterious Italian scholar from the Nolan region called Giordano Bruno.
Before the late 1960s very few people indeed, except within a tight academic circle, had even heard of Giordano Bruno.21 It was not until the British scholar Frances A. Yates took up the task of understanding Bruno's role and motives in the Italian Renaissance and, more importantly, his strange contacts in the French and English courts, that the true picture of Bruno's bizarre mission began to emerge. In her turning- point work, Giordano Bruno and the Hermetic Tradition (first published in 1962 in London), Yates performed a sort of intellectual archaeological feat by discovering the rudiments of a powerful esoteric tradition which had hitherto gone undetected. This tradition, as we shall see, almost certainly caused the formation of speculative Freemasonic and Rosicrucian movements and ultimately, as I shall also show, set up the conditions that were to lead seekers to look for the fabled 'Hall of Records' at Giza. To give a name to this mysterious 'tradition' Yates was to coin the phrase 'the Hermetic Tradition'.22
Giordano Bruno's mission began in 1581, when he set himself the task of persuading the monarchs of Europe to install, no less, the 'magical religion of the Egyptians' as the new religion of the world. That year, Bruno had arrived in the city of Paris after wandering out of Italy and through Europe for several months. In Paris he gave public lectures which eventually got him noticed by the French king, Henri III. Bruno, / Page 121 / by then, had developed an extremely high level of proficiency in the classical art of memory called mnemonics and had already published two books on the subject. Yates writes:
 This classical art, usually regarded as purely mnemotechnical, had a long history in the Middle Ages. .. In the Renaissance it became fashionable among Neoplatonists and Hermetists. It was now understood as a method of printing basic archetypal images on the memory. . . a kind of inner way of knowing the universe. The Hermetic experience of reflecting the universe in the mind is, I believe, at the root of Renaissance magic memory, in which the classic mnemonic with places and images is now understood, or applied, as a method of achieving this experience by imprinting archetypal, or magically activated, images on the memory. By using magical or talismanic images as memory- images, the Magus (magician) hoped to acquire universal knowledge, and also powers, obtained through the magical organisation of the imagination.- a magical powerful personality, tuned in, as it were, to the power of the cosmos. This amazing transformation, or adaptation, of the classical art of memory in the Renaissance has a history before Bruno, but in Bruno it reaches culmination. The De umbris idearum and the Cantus Circaeus . . . are his two first works on magic memory. This reveals him as a magician. . .23
The human memory has a natural system of selecting images, colours, scents or sounds in order to store vast amounts of information, moods, ideas, feelings and sensations. Imagine a day at the beach with friends and family, full of activities, full of fun and full of wonderful sensations. That day, however, something unusual happens. You are stung by a blue- bottle jellyfish. Years later you are visiting an aquarium somewhere else in the world, and in one of the displays floats a little blue-bottle jellyfish. Suddenly that 'image' unleashes the memories of that day on the beach. The blue-bottle is the 'icon' or 'archetypal image' in which was stored all the memories of that special day. Your mind will most certainly work out why the memory came to the surface by relating the jellyfish to the events remembered. It could have happened in a far more subtle way. You could have seen something totally unrelated, say, a postage stamp, whose colour very closely resembled that of the blue-bottle jellyfish. The unconscious mind makes the association, and the memories of that day will again flash in your mind. Except this time you may not be able to work out why this has happened, i.e. your conscious mind may not have registered what exactly it was that triggered the memory. This phenomenon is what the Hermetic scholars would have called the 'silent language' and what the ancient Egyptians would have called the 'language of the gods'.
Page122

..The classical art of mnemonics is to learn how to create such an icon yourself and store it in the mind; then, at a later date, unleash it at will to bring back the desired memory stored in it. A very simple example of this is when you tie a string on your finger in order to remind you of something later. on. This works so long as the item you wish to remember is simple and straightforward. What if the subject matter involved remembering a complex chain of events such as a Shakespeare play or a lecture on atomic physics? A far more sophisticated method would be needed, and that is where the art of mnemonics can be applied. One of the techniques is to imagine a house that you are familiar with, and allocate in chronological order the memory of each event to a room or item in this house. Later you can visualise yourself walking around the house along a predetermined route, entering the rooms and, as you encounter each item or 'icon', the memory that it 'stores' begins to unfold. It takes many years of practice to become a master of the art of memory, and those few who have the ability and intellect to become adepts will develop tremendous insight, which in turn can be converted into enormous power of influence and manipulation. Vast memory that can be controlled, like that of a powerful computer, translates into vast reservoirs of knowledge. Knowledge, as we all know, is power. The greater the memory and the more refined the means to store and control it, the greater the power of the magician.
Recognising such immense abilities in Giordano Bruno, Henri III appointed him as a spy to the French court, a sort of Renaissance version of James Bond, and dispatched him to the English court of Elizabeth I. The year was 1583. Commenting on this mission, Frances Yates writes that
. . . Henri III, who, by sending Bruno into England on some mission. . . changed the course of his life from a wandering magician into that of a very strange kind of missionary indeed. . .24
The 'strange kind' of mission that Bruno set out for himself was the extraordinary task of persuading the Elizabethan court, and through it eventually the whole of Europe, to adopt the 'true religion of the world'. That Bruno's intention was to attempt this is confirmed by a letter written by the English ambassador in Paris, Sir Henry Cobham, to Francis Walsingham in England to warn him of Bruno's hidden motives: 'Doctor Giordano Bruno Nolano, a professor in philosophy, intends to pass into England, whose religion I cannot commend. '25 This is a wonderful English understatement. For the religion that Cobham / Page123 / 'cannot commend' and which Bruno is bringing to England, as we shall see, is none other than the ancient Egyptian religion or, more precisely, that magical religion that he, Bruno, has discovered in the Hermetic texts.26 Bruno, in this ambitious and daring mission, is trying single- handed to seed the idea of a total general reformation of the world, a sort of intellectual and spiritual 'Second Coming' which he believes can be brought about by the revival of ancient Egypt's magical religion. To do this, Bruno is applying his own magical powers, that is the 'words of power' which are made the more devastating by linking them to talismans and archetypal images.27 Making use of a mixture of alchemical a1}d cabalistic techniques, Bruno's brand of magic using words and images is clearly 'Egyptian' in style. This is made evident when he wrote:
. . . the sacred letters used among the Egyptians were called hieroglyphs. . .
which were images. . . taken from things of nature, or their parts. By using such writings and voices, the Egyptians used to capture with marvellous skills the language of the gods (my italics). Afterwards when letters of the kind which we use now were invented. . . they brought about a great rift both in memory and in the divine and magical sciences.28
This statement alone demonstrates the amazing perceptive ability this sixteenth-century magician had. For we must remember that Bruno was writing these words more than three centuries before the Frenchman Champollion deciphered hieroglyphics.29 From the time he began his visit to England in 1583, Giordano Bruno went about proclaiming the imminent return of the magical religion of Egypt. As Frances Yates pointed out:
The works in the form of dialogues written in Italian which Bruno published in England are usually classified as moral and philosophical. . . both Bruno's proposed reform and his philosophy are related to his Hermetic religious mission . . . a mission [which] . . . becomes expanded into a projected full restoration of the magical religion of the pseudo-Egyptians of the Asclepius (a major tract on the Hermetica) . . .30 .
Yet Bruno was no New Age ranter. In Bruno we have the perfect example of how a powerful intuition can know what scientific minds have trouble perceiving. It was Bruno, for example, who introduced Copernicus's ideas of heliocentricity to the Oxford scholars by using his own intuitive vision of the planets and the sun.31 It was also Bruno who was among the very first to imagine a cosmos populated by innumerable / Page 124 / other worlds.
32 We may thus wonder if his unusual intuition will not one day prove correct when he spoke of a revival of the 'magical Egyptian religion' in the Western world. In his major work Spaccio della Bestia Trionfante, which was written in England in 1584, Bruno's central theme is 'the glorification of the magical religion of the Egyptians,.33 In this work Bruno correctly detected in this ancient religious system that the worship of the Egyptians was the worship of 'God in things' and that communication with the divine could thus be achieved through all things in nature, by the application of a special magic which the Egyptian priests were the masters of:
. . for as the divinity descends in a certain manner inasmuch as it communicates itself to nature, so there is an ascent made to the divinity through nature. Thus through the light which shines in natural things one mounts up to the life which presides over them. . . And in truth I see how the wise men (of Egypt) by these means had power to make familiar, affable and domestic gods, which, through the voices which came out of the statues, gave counsels, doctrines, divinations and superhuman teachings. Whence with magical and divine rights they ascended to the height of the divinity by the same scale of nature by which the divinity descends to the smallest things by the communication of itself. . .
Those wise men, then, in order to obtain certain benefits and gifts from gods, by means of profound magic, made use of certain natural things in which the divinity was latent, and through which the divinity was able and willing to communicate itself for certain effects. Whence those ceremonies were not vain fancies, but living voices which reached to the very ears of the gods. . .
34
Bruno was living in a time of great expectation for some major religious reformation. A sort of 'Second Coming' frenzy was about to take hold of the European masses. Signs in the heavens were eagerly awaited. Rumours ran wild that soon a messianic-like child would be born and would unite Europe and the world under a fully reformed Christianity. Hermeticism, according to many, was the ideal tool in an attempt to activate this religious reform.35 As the Parisian scholar J. Dagens noted, 'the end of the sixteenth century and the start of the seventeenth century have been the golden age of the Religious Hermetism'.36 Using complex mathematical calculations, some astrono-mers and religious reformers worked out that the coming of such a messianic 'child' would take place at the end of the sixteenth century,37 and this would be made manifest with signs in the heavens. Amazingly, the heavens were to oblige with the sudden appearance of a supernova star in 1604.38
 This spectacular phenomenon took place in the constellation of / Page 125 / Cygnus."

 

 

G
=
7
-
8
GIORDANO
83
56
2
B
=
2
-
5
BRUNO
70
25
7
S
-
9
4
13
Add to Reduce
153
81
9
-
S
-
-
1+3
Reduce to Deduce
1+5+3
8+1
3+0
S
-
9
4
4
Add to Reduce
9
9
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
D
=
4
-
2
DE
9
9
9
U
=
3
-
6
UMBRIS
82
28
1
I
=
9
-
7
IDEARUM
71
35
8
S
-
16
4
15
Add to Reduce
162
72
30
-
-
1+6
-
1+5
Reduce to Deduce
1+6+2
7+2
3+0
S
-
7
4
6
Essence of Number
9
9
9

 

 

-
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
9
-
-
-
-
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
-
-
-
-
-
-
9
19
-
9
-
-
-
-
-
-
+
=
37
3+7
=
10
1+0
1
=
1
-
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
4
5
-
3
4
2
9
-
-
-
-
4
5
1
9
3
4
+
=
53
5+3
=
8
=
8
=
8
-
-
4
5
-
21
13
2
18
-
-
-
-
4
5
1
18
21
13
+
=
125
1+2+5
=
8
=
8
=
8
-
15
D
E
-
U
M
B
R
I
S
`
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
4
5
-
21
13
2
18
9
19
-
9
4
5
1
18
21
13
+
=
162
1+6+2
=
9
1+5
6
=
6
-
-
4
5
-
3
4
2
9
9
1
-
9
4
5
1
9
3
4
+
=
72
7+2
=
9
1+5
6
=
6
-
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
-
4
-
-
-
4
-
-
-
-
-
-
4
-
-
-
-
4
-
-
4
occurs
x
4
=
16
1+6
7
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
-
9
9
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
4
=
36
3+6
9
21
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
24
-
-
15
-
72
-
27
2+1
1+5
-
-
-
-
-
-
9
9
-
-
9
-
-
-
9
-
-
-
-
2+4
-
-
1+5
-
7+2
-
2+7
3
6
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
6
-
-
6
-
9
-
9
-
-
4
5
-
3
4
2
9
9
1
-
9
4
5
1
9
3
4
-
-
-
-
-
-
-
-
-
-
3
6
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
6
-
-
6
-
9
-
9

 

 

15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
-
9
-
-
-
-
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
-
-
-
-
-
9
19
-
9
-
-
-
-
-
-
+
=
37
3+7
=
10
1+0
1
=
1
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
4
5
-
3
4
2
9
-
-
-
-
4
5
1
9
3
4
+
=
53
5+3
=
8
=
8
=
8
-
4
5
-
21
13
2
18
-
-
-
-
4
5
1
18
21
13
+
=
125
1+2+5
=
8
=
8
=
8
15
D
E
-
U
M
B
R
I
S
`
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
4
5
-
21
13
2
18
9
19
-
9
4
5
1
18
21
13
+
=
162
1+6+2
=
9
1+5
6
=
6
-
4
5
-
3
4
2
9
9
1
-
9
4
5
1
9
3
4
+
=
72
7+2
=
9
1+5
6
=
6
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
4
-
-
-
4
-
-
-
-
-
-
4
-
-
-
-
4
-
-
4
occurs
x
4
=
16
1+6
7
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
9
9
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
4
=
36
3+6
9
15
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
24
-
-
15
-
72
-
27
1+5
-
-
-
-
-
-
9
9
-
-
9
-
-
-
9
-
-
-
-
2+4
-
-
1+5
-
7+2
-
2+7
6
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
6
-
-
6
-
9
-
9
-
4
5
-
3
4
2
9
9
1
-
9
4
5
1
9
3
4
-
-
-
-
-
-
-
-
-
-
6
D
E
-
U
M
B
R
I
S
-
I
D
E
A
R
U
M
-
-
6
-
-
6
-
9
-
9

 

 

15
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
1
9
-
-
-
-
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
-
-
-
-
-
9
19
9
-
-
-
-
-
-
+
=
37
3+7
=
10
1+0
1
=
1
15
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
4
5
3
4
2
9
-
-
-
4
5
1
9
3
4
+
=
53
5+3
=
8
=
8
=
8
-
4
5
21
13
2
18
-
-
-
4
5
1
18
21
13
+
=
125
1+2+5
=
8
=
8
=
8
15
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
4
5
21
13
2
18
9
19
9
4
5
1
18
21
13
+
=
162
1+6+2
=
9
1+5
6
=
6
-
4
5
3
4
2
9
9
1
9
4
5
1
9
3
4
+
=
72
7+2
=
9
1+5
6
=
6
15
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
2
=
6
=
6
-
4
-
-
4
-
-
-
-
-
4
-
-
-
-
4
-
-
4
occurs
x
4
=
16
1+6
7
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
9
9
-
9
-
-
-
9
-
-
-
-
9
occurs
x
4
=
36
3+6
9
15
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
24
-
-
15
-
72
-
27
1+5
-
-
-
-
-
9
9
-
9
-
-
-
9
-
-
-
-
2+4
-
-
1+5
-
7+2
-
2+7
6
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
6
-
-
6
-
9
-
9
-
4
5
3
4
2
9
9
1
9
4
5
1
9
3
4
-
-
-
-
-
-
-
-
-
-
6
D
E
U
M
B
R
I
S
I
D
E
A
R
U
M
-
-
6
-
-
6
-
9
-
9

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

-
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
6
1
-
5
-
+
=
17
1+7
=
8
=
8
=
8
-
-
-
14
-
-
15
19
-
14
-
+
=
62
6+2
=
8
=
8
=
8
-
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
-
4
-
5
4
-
-
7
-
5
+
=
25
2+5
=
7
=
7
=
7
-
-
13
-
5
13
-
-
25
-
5
+
=
61
6+1
=
7
=
7
=
7
-
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
-
13
14
5
13
15
19
25
14
5
+
=
123
1+2+3
=
6
=
6
=
6
-
-
4
5
5
4
6
1
7
5
5
+
=
42
4+2
=
6
=
6
=
6
-
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
-`
-
-
-
-
-
1
-
-
-
-`
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-`
2
TWO
2
-
-
-
-
-
3
-
-
--
--
--
-
-
-
--
--
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
4
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
5
5
-
-
-
-
5
5
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
--
--
--
6
-
-
--
--
-
-
6
occurs
x
1
=
6
=
6
-
-
-
--
--
--
-
-
7
--
--
-
-
7
occurs
x
1
=
7
=
7
8
-
-
--
--
--
-
-
-
--
--
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
22
9
M
N
E
M
O
S
Y
N
E
-
-
23
-
-
10
-
42
-
24
2+2
-
-
-
-
-
-
-
-
-
-
-
-
2+3
-
-
1+0
-
4+2
-
2+4
4
9
M
N
E
M
O
S
Y
N
E
-
-
5
-
-
1
-
6
-
6
-
-
4
5
5
4
6
1
7
5
5
-
-
-
-
-
-
-
-
-
-
4
9
M
N
E
M
O
S
Y
N
E
-
-
5
-
-
1
-
6
-
6

 

 

9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
6
1
-
5
-
+
=
17
1+7
=
8
=
8
=
8
-
-
14
-
-
15
19
-
14
-
+
=
62
6+2
=
8
=
8
=
8
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
4
-
5
4
-
-
7
-
5
+
=
25
2+5
=
7
=
7
=
7
-
13
-
5
13
-
-
25
-
5
+
=
61
6+1
=
7
=
7
=
7
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-
13
14
5
13
15
19
25
14
5
+
=
123
1+2+3
=
6
=
6
=
6
-
4
5
5
4
6
1
7
5
5
+
=
42
4+2
=
6
=
6
=
6
9
M
N
E
M
O
S
Y
N
E
-
-
-
-
-
-
-
-
-
-
-`
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
4
-
-
4
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
5
5
-
-
-
-
5
5
-
-
5
occurs
x
4
=
20
2+0
2
-
-
--
--
--
6
-
-
--
--
-
-
6
occurs
x
1
=
6
=
6
-
-
--
--
--
-
-
7
--
--
-
-
7
occurs
x
1
=
7
=
7
9
M
N
E
M
O
S
Y
N
E
-
-
23
-
-
10
-
42
-
24
-
-
-
-
-
-
-
-
-
-
-
-
2+3
-
-
1+0
-
4+2
-
2+4
9
M
N
E
M
O
S
Y
N
E
-
-
5
-
-
1
-
6
-
6
-
4
5
5
4
6
1
7
5
5
-
-
-
-
-
-
-
-
-
-
9
M
N
E
M
O
S
Y
N
E
-
-
5
-
-
1
-
6
-
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

Mnemosyne, in Greek mythology, the goddess of memory. A Titaness, she was the daughter of Uranus (Heaven) and Gaea (Earth), and, according to Hesiod, the mother (by Zeus) of the nine Muses. She gave birth to the Muses after Zeus went to Pieria and stayed with her nine consecutive nights.

Mnemosyne - Wikipedia
https://en.wikipedia.org/wiki/Mnemosyne

Mythology - A Titanide, or Titaness, Mnemosyne was the daughter of the Titans Uranus and Gaia. Mnemosyne was the mother of the nine Muses, fathered by her nephew, Zeus: Calliope (epic poetry) Clio (history)

Parents?: ?Uranus? and ?Gaia
Consorts?: Zeus

Roman equivalent Moneta

Offspring?: ?The Muses?: Calliope?; Clio?; Erato?; Eu...

Mnemosyne (/n?'m?z?ni, n?'m?s?ni/; Greek: pronounced [mn??mosý?n??]) is the goddess of memory in Greek mythology. "Mnemosyne" is derived from the same source as the word mnemonic, that being the Greek word mneme, which means "remembrance, memory".[1][

In Hesiod’s Theogony, kings and poets receive their powers of authoritative speech from their possession of Mnemosyne and their special relationship with the Muses.

Zeus and Mnemosyne slept together for nine consecutive nights, thus conceiving the nine Muses. Mnemosyne also presided over a pool[2] in Hades, counterpart to the river Lethe, according to a series of 4th century BC Greek funerary inscriptions in dactylic hexameter. Dead souls drank from Lethe so they would not remember their past lives when reincarnated. In Orphism, the initiated were taught to instead drink from the Mnemosyne, the river of memory, which would stop the transmigration of the soul.[3]
Appearance in oral literature[edit]

Jupiter, disguised as a shepherd, tempts Mnemosyne, goddess of memory by Jacob de Wit (1727)
Although she was categorized as one of the Titans in the Theogony, Mnemosyne didn’t quite fit that distinction.[4] Titans were hardly worshiped in Ancient Greece, and were thought of as so archaic as to belong to the ancient past.[4] They resembled historical figures more than anything else. Mnemosyne, on the other hand, traditionally appeared in the first few lines of many oral epic poems?[5]—she appears in both the Iliad and the Odyssey, among others—as the speaker called upon her aid in accurately remembering and performing the poem he was about to recite. Mnemosyne is thought to have been given the distinction of “Titan” because memory was so important and basic to the oral culture of the Greeks that they deemed her one of the essential building blocks of civilization in their creation myth.[5]

Later, once written literature overtook the oral recitation of epics, Plato made reference in his Euthydemus to the older tradition of invoking Mnemosyne. The character Socrates prepares to recount a story and says “?st? ????e, ?a??pe? ?? (275d) p???ta?, d??µa? ????µe??? t?? d????se?? ???sa? te ?a? ???µ?s???? ?p??a?e?s?a?.” which translates to “Consequently, like the poets, I must needs begin my narrative with an invocation of the Muses and Memory” (emphasis added).[6] Aristophanes also harked back to the tradition in his play Lysistrata when a drunken Spartan ambassador invokes her name while prancing around pretending to be a bard from times of yore.[7]

Cult of Asclepius[edit]

Mnemosyne was one of the deities worshiped in the cult of Asclepius that formed in Ancient Greece around the 5th century BC.[8] Asclepius, a Greek hero and god of medicine, was said to have been able to cure maladies, and the cult incorporated a multitude of other Greek heroes and gods in its process of healing.[8] The exact order of the offerings and prayers varied by location,[9] and the supplicant often made an offering to Mnemosyne.[8] After making an offering to Asclepius himself, in some locations, one last prayer was said to Mnemosyne as the supplicant moved to the holiest portion of the asclepeion to incubate.[8] The hope was that a prayer to Mnemosyne would help the supplicant remember any visions had while sleeping there.[9]

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

Mnemosyne : Greek Goddess of Memory and Mother of the Muses
www.goddessgift.com/goddess-myths/g-mnemosyne.htm

Mnemosyne, Greek goddess of memory, was considered one of the most powerful goddesses of her time. After all, it is memory, some believe, that is a gift that ...

The word "mnemonic" is derived from the Ancient Greek word (mnemonikos), meaning "of memory, or relating to memory" and is related to Mnemosyne ("rem

 

Mnemonic - Wikipediahttps://en.wikipedia.org/wiki/Mnemonic
The word "mnemonic" is derived from the Ancient Greek word (mnemonikos), meaning "of memory, or relating to memory" and is related to Mnemosyne ("remembrance"), the name of the goddess of memory in Greek mythology. Both of these words are derived from µ??µ? (mneme),

Not to be confused with a memory device in the computer hardware sense.

Knuckle mnemonic for the number of days in each month of the Gregorian Calendar. Each knuckle represents a 31-day month.
A mnemonic (/n?'m?n?k/,[1] the first "m" is silent) device, or memory device, is any learning technique that aids information retention or retrieval (remembering) in the human memory. Mnemonics make use of elaborative encoding, retrieval cues, and imagery as specific tools to encode any given information in a way that allows for efficient storage and retrieval. Mnemonics aid original information in becoming associated with something more accessible or meaningful—which, in turn, provides better retention of the information. Commonly encountered mnemonics are often used for lists and in auditory form, such as short poems, acronyms, or memorable phrases, but mnemonics can also be used for other types of information and in visual or kinesthetic forms. Their use is based on the observation that the human mind more easily remembers spatial, personal, surprising, physical, sexual, humorous, or otherwise "relatable" information, rather than more abstract or impersonal forms of information.

The word "mnemonic" is derived from the Ancient Greek word µ??µ?????? (mnemonikos), meaning "of memory, or relating to memory"[2] and is related to Mnemosyne ("remembrance"), the name of the goddess of memory in Greek mythology. Both of these words are derived from µ??µ? (mneme), "remembrance, memory".[3] Mnemonics in antiquity were most often considered in the context of what is today known as the art of memory.

Ancient Greeks and Romans distinguished between two types of memory: the "natural" memory and the "artificial" memory. The former is inborn, and is the one that everyone uses instinctively. The latter in contrast has to be trained and developed through the learning and practice of a variety of mnemonic techniques.

Mnemonic systems are techniques or strategies consciously used to improve memory. They help use information already stored in long-term memory to make memorisation an easier task.[4]

History[edit]

The general name of mnemonics, or memoria technica, was the name applied to devices for aiding the memory, to enable the mind to reproduce a relatively unfamiliar idea, and especially a series of dissociated ideas, by connecting it, or them, in some artificial whole, the parts of which are mutually suggestive.[5] Mnemonic devices were much cultivated by Greek sophists and philosophers and are frequently referred to by Plato and Aristotle. In later times the poet Simonides was credited for development of these techniques, perhaps for no reason other than that the power of his memory was famous. Cicero, who attaches considerable importance to the art, but more to the principle of order as the best help to memory, speaks of Carneades (perhaps Charmades) of Athens and Metrodorus of Scepsis as distinguished examples of people who used well-ordered images to aid the memory. The Romans valued such helps in order to support facility in public speaking.[6]

The Greek and the Roman system of mnemonics was founded on the use of mental places and signs or pictures, known as "topical" mnemonics. The most usual method was to choose a large house, of which the apartments, walls, windows, statues, furniture, etc., were each associated with certain names, phrases, events or ideas, by means of symbolic pictures. To recall these, an individual had only to search over the apartments of the house until discovering the places where images had been placed by the imagination.[citation needed]

Detail of Giordano Bruno's statue in Rome. Bruno was famous for his mnemonics, some of which he included in his treatises De umbris idearum and Ars Memoriae.
In accordance with said system, if it were desired to fix a historic date in memory, it was localised in an imaginary town divided into a certain number of districts, each of with ten houses, each house with ten rooms, and each room with a hundred quadrates or memory-places, partly on the floor, partly on the four walls, partly on the roof. Therefore, if it were desired to fix in the memory the date of the invention of printing (1436), an imaginary book, or some other symbol of printing, would be placed in the thirty-sixth quadrate or memory-place of the fourth room of the first house of the historic district of the town.[citation needed] Except that the rules of mnemonics are referred to by Martianus Capella, nothing further is known regarding the practice until the 13th century.[5]

Among the voluminous writings of Roger Bacon is a tractate De arte memorativa. Ramon Llull devoted special attention to mnemonics in connection with his ars generalis. The first important modification of the method of the Romans was that invented by the German poet Konrad Celtes, who, in his Epitoma in utramque Ciceronis rhetoricam cum arte memorativa nova (1492), used letters of the alphabet for associations, rather than places. About the end of the 15th century, Petrus de Ravenna (b. 1448) provoked such astonishment in Italy by his mnemonic feats that he was believed by many to be a necromancer. His Phoenix artis memoriae (Venice, 1491, 4 vols.) went through as many as nine editions, the seventh being published at Cologne in 1608.

About the end of the 16th century, Lambert Schenkel (Gazophylacium, 1610), who taught mnemonics in France, Italy and Germany, similarly surprised people with his memory. He was denounced as a sorcerer by the University of Louvain, but in 1593 he published his tractate De memoria at Douai with the sanction of that celebrated theological faculty. The most complete account of his system is given in two works by his pupil Martin Sommer, published in Venice in 1619. In 1618 John Willis (d. 1628?) published Mnemonica; sive ars reminiscendi,[7] containing a clear statement of the principles of topical or local mnemonics. Giordano Bruno included a memoria technica in his treatise De umbris idearum, as part of his study of the ars generalis of Llull. Other writers of this period are the Florentine Publicius (1482); Johannes Romberch (1533); Hieronimo Morafiot, Ars memoriae (1602);and B. Porta, Ars reminiscendi (1602).[5]

In 1648 Stanislaus Mink von Wennsshein revealed what he called the "most fertile secret" in mnemonics — using consonants for figures, thus expressing numbers by words (vowels being added as required), in order to create associations more readily remembered. The philosopher Gottfried Wilhelm Leibniz adopted an alphabet very similar to that of Wennsshein for his scheme of a form of writing common to all languages.

Wennsshein's method was adopted with slight changes afterward by the majority of subsequent "original" systems. It was modified and supplemented by Richard Grey (1694-1771), a priest who published a Memoria technica in 1730. The principal part of Grey's method is briefly this:

To remember anything in history, chronology, geography, etc., a word is formed, the beginning whereof, being the first syllable or syllables of the thing sought, does, by frequent repetition, of course draw after it the latter part, which is so contrived as to give the answer. Thus, in history, the Deluge happened in the year before Christ two thousand three hundred forty-eight; this is signified by the word Del-etok, Del standing for Deluge and etok for 2348.[5]

(His method is comparable to the Hebrew system by which letters also stand for numerals, and therefore words for dates.)

To assist in retaining the mnemonical words in the memory, they were formed into memorial lines. Such strange words in difficult hexameter scansion, are by no means easy to memorise. The vowel or consonant, which Grey connected with a particular figure, was chosen arbitrarily.

A later modification was made in 1806 Gregor von Feinaigle, a German monk from Salem near Constance. While living and working in Paris, he expounded a system of mnemonics in which (as in Wennsshein) the numerical figures are represented by letters chosen due to some similarity to the figure or an accidental connection with it. This alphabet was supplemented by a complicated system of localities and signs. Feinaigle, who apparently did not publish any written documentation of this method, travelled to England in 1811. The following year one of his pupils published The New Art of Memory (1812), giving Feinaigle's system. In addition, it contains valuable historical material about previous systems.

Other mnemonists later published simplified forms, as the more complicated menemonics were generally abandoned. Methods founded chiefly on the so-called laws of association (cf. Mental association) were taught with some success in Germany.[8]

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M
13
4
4
-
N
14
5
5
-
E
5
5
5
-
M
13
4
4
-
O
15
6
6
-
S
19
10
1
-
Y
25
7
7
-
N
14
5
5
-
E
5
5
5
9
MNEMOSYNE
123
51
42
-
-
1+2+3
5+1
4+2
9
MNEMOSYNE
6
6
6

 

 

5
LETHE
-
-
-
-
L+E+T+H
45
18
9
-
E
5
5
5
5
LETHE
50
23
14
-
-
1+2+3
2+3
1+4
5
LETHE
5
5
5

 

 

5
LETHE
-
-
-
-
L
12
3
3
-
E
5
5
5
-
T
20
2
2
-
H
8
8
8
-
E
5
5
5
5
LETHE
50
23
14
-
-
1+2+3
2+3
1+4
5
LETHE
5
5
5

 

 

A
=
1
-
2
AD
5
5
5
H
=
8
-
9
HERENNIUM
107
53
8
S
-
9
4
11
Add to Reduce
112
58
13
-
S
-
-
1+1
Reduce to Deduce
1+1+2
5+8
1+3
S
-
9
4
2
Add to Reduce
4
13
4
-
-
-
-
-
Reduce to Deduce
1+2
1+3
-
-
-
9
-
2
Essence of Number
4
4
4

 

 

-
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
5
5
9
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
-
-
8
-
-
-
14
14
9
-
-
+
=
45
4+5
=
9
=
9
=
9
-
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
1
4
-
-
5
9
5
-
-
-
3
4
+
=
31
3+1
=
4
=
4
=
4
-
-
1
4
-
-
5
18
5
-
-
-
21
13
+
=
67
6+7
=
13
1+3
4
=
4
-
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
1
4
-
8
5
18
5
14
14
9
21
13
+
=
112
1+1+2
=
4
=
4
=
4
-
-
1
4
-
8
5
9
5
5
5
9
3
4
+
=
58
5+8
=
13
1+3
4
=
4
-
11
A
D
-
H
E
R
E
N
N
I
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
4
-
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
5
-
5
5
5
-
-
-
-
-
5
occurs
x
4
=
20
2+0
2
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
1
=
18
1+8
9
15
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
30
-
1
11
-
58
-
31
1+5
1+1
-
-
-
-
-
9
-
-
-
9
-
-
-
-
3+0
-
-
1+1
-
5+8
-
3+1
6
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
1
2
-
13
-
4
-
-
1
4
-
8
5
9
5
5
5
9
3
4
-
-
-
-
-
-
-
1+3
-
-
6
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
-
2
-
4
-
4

 

 

1
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
5
5
9
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
-
8
-
-
-
14
14
9
-
-
+
=
45
4+5
=
9
=
9
=
9
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
-
-
5
9
5
-
-
-
3
4
+
=
31
3+1
=
4
=
4
=
4
-
1
4
-
-
5
18
5
-
-
-
21
13
+
=
67
6+7
=
13
1+3
4
=
4
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
-
8
5
18
5
14
14
9
21
13
+
=
112
1+1+2
=
4
=
4
=
4
-
1
4
-
8
5
9
5
5
5
9
3
4
+
=
58
5+8
=
13
1+3
4
=
4
11
A
D
-
H
E
R
E
N
N
I
U
M
-T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
4
-
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
5
-
5
5
5
-
-
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
1
=
18
1+8
9
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
30
-
1
11
-
58
-
31
1+1
-
-
-
-
-
9
-
-
-
9
-
-
-
-
3+0
-
-
1+1
-
5+8
-
3+1
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
1
2
-
13
-
4
-
1
4
-
8
5
9
5
5
5
9
3
4
-
-
-
-
-
-
-
1+3
-
-
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
-
2
-
4
-
4

 

 

1
A
D
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
5
5
9
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
8
-
-
-
14
14
9
-
-
+
=
45
4+5
=
9
=
9
=
9
11
A
D
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
-
5
9
5
-
-
-
3
4
+
=
31
3+1
=
4
=
4
=
4
-
1
4
-
5
18
5
-
-
-
21
13
+
=
67
6+7
=
13
1+3
4
=
4
11
A
D
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
8
5
18
5
14
14
9
21
13
+
=
112
1+1+2
=
4
=
4
=
4
-
1
4
8
5
9
5
5
5
9
3
4
+
=
58
5+8
=
13
1+3
4
=
4
11
A
D
H
E
R
E
N
N
I
U
M
-T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
5
-
5
5
5
-
-
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
1
=
18
1+8
9
11
A
D
H
E
R
E
N
N
I
U
M
-
-
30
-
1
11
-
58
-
31
1+1
-
-
-
-
9
-
-
-
9
-
-
-
-
3+0
-
-
1+1
-
5+8
-
3+1
2
A
D
H
E
R
E
N
N
I
U
M
-
-
3
-
1
2
-
13
-
4
-
1
4
8
5
9
5
5
5
9
3
4
-
-
-
-
-
-
-
1+3
-
-
2
A
D
H
E
R
E
N
N
I
U
M
-
-
3
-
-
2
-
4
-
4

 

 

Daily Mail, Thursday, November 17, 2011

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 70

QUESTION The W. B Yeats poem Mad As The Mists and snow name checks Homer, Horace, Cicero and and Tully ('and here is Tully's open page') Who was Tully?


TULLY and Cicero are one and the same person - the Roman statesman and philosopher whose full latin name was Marcus Tullius Cicero (106-43 BC).

David Bradbury, London.

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 21

"The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself"

Page 32

"Though the medieval tradition which assigned the authorship of Ad Herennium to 'Tullius' was wrong in fact, it was not wrong in its inference that the art of memory was practised and recommended by Tullius."

Page 282

"By the THE LADDER OF MINERVA we rise from the first to the last..."

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 21

"The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself"

Page 32

"Though the medieval tradition which assigned the authorship of Ad Herennium to 'Tullius' was wrong in fact, it was not wrong in its inference that the art of memory was practised and recommended by Tullius."

Page 282

"By the THE LADDER OF MINERVA we rise from the first to the last..."

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 175

CHAPTER 8

LULLISM AS AN ART OF MEMORY

THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull.

Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lullwas like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art.

Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.

 

ART AT R AT ART

 

 

-
LULL
-
-
-
1
L
12
3
3
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
4
LULL
57
12
12
-
-
5+7
1+2
1+2
4
LULL
12
3
3
-
-
1+2
-
-
4
LULL
3
3
3

 

 

-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
-
12
21
12
12
+
=
57
5+7
=
12
12
1+2
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
-
12
21
12
12
+
=
57
5+7
=
12
12
1+2
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
+
=
57
5+7
=
12
12
1+2
=
3
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
1
-
-
--
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
--
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
-
-
3
occurs
x
4
=
12
1+2
3
4
-
-
--
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
-
-
-
9
NINE
9
-
-
-
-
-
42
4
L
U
L
L
-
-
3
-
-
4
-
12
-
3
4+2
-
3
3
3
3
-
-
-
-
-
-
-
1+2
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3

 

 

4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
12
21
12
12
+
=
57
5+7
=
12
12
1+2
=
3
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
12
21
12
12
+
=
57
5+7
=
12
12
1+2
=
3
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
+
=
57
5+7
=
12
12
1+2
=
3
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
-
-
3
occurs
x
4
=
12
1+2
3
4
L
U
L
L
-
-
3
-
-
4
-
12
-
3
-
3
3
3
3
-
-
-
-
-
-
-
1+2
-
-
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3

 

 

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

 

 

APOCATASTASIS = 144 AND 36 3+6 = 9

 

CATHOLIC ENCYCLOPEDIA: Apocatastasis www.newadvent.org › Catholic Encyclopedia › ACached - SimilarNot helpful? You can block www.newadvent.org results when you're signed in to search.www.newadvent.org
A name given in the history of theology to the doctrine which teaches that a time will come when all free creatures will share in the grace of salvation; in a special ...

 

Apocatastasis

(Greek, apokatastasis; Latin, restitutio in pristinum statum, restoration to the original condition).

A name given in the history of theology to the doctrine which teaches that a time will come when all free creatures will share in the grace of salvation; in a special way, the devils and lost souls.
This doctrine was explicitly taught by St. Gregory of Nyssa, and in more than one passage. It first occurs in his "De animâ et resurrectione" (P.G., XLVI, cols. 100, 101) where, in speaking of the punishment by fire assigned to souls after death, he compares it to the process whereby gold is refined in a furnace, through being separated from the dross with which it is alloyed. The punishment by fire is not, therefore, an end in itself, but is ameliorative; the very reason of its infliction is to separate the good from the evil in the soul. The process, moreover, is a painful one; the sharpness and duration of the pain are in proportion to the evil of which each soul is guilty; the flame lasts so long as there is any evil left to destroy. A time, then, will come, when all evil shall cease to be since it has no existence of its own apart from the free will, in which it inheres; when every free will shall be turned to God, shall be in God, and evil shall have no more wherein to exist. Thus, St. Gregory of Nyssa continues, shall the word of St. Paul be fulfilled: Deus erit omnia in omnibus (1 Corinthians 15:28), which means that evil shall, ultimately, have an end, since, if God be all in all, there is no longer any place for evil (cols. 104, 105; cf. col. 152). St. Gregory recurs to the same thought of the final annihilation of evil, in his "Oratio catechetica", ch. xxvi; the same comparison of fire which purges gold of its impurities is to be found there; so also shall the power of God purge nature of that which is preternatural, namely, of evil. Such purification will be painful, as is a surgical operation, but the restoration will ultimately be complete. And, when this restoration shall have been accomplished (he eis to archaion apokatastasis ton nyn en kakia keimenon), all creation shall give thanks to God, both the souls which have had no need of purification, and those that shall have needed it. Not only man, however, shall be set free from evil, but the devil, also, by whom evil entered into the world (ton te anthropon tes kakias eleutheron kai auton ton tes kakias eyreten iomenos). The same teaching is to be found in the "De mortuis" (ibid., col. 536). Bardenhewer justly observes ("Patrologie", Freiburg, 1901, p. 266) that St. Gregory says elsewhere no less concerning the eternity of the fire, and of the punishment of the lost, but that the Saint himself understood this eternity as a period of very long duration, yet one which has a limit. Compare with this "Contra Usurarios" (XLVI, col. 436), where the suffering of the lost is spoken of as eternal, aionia, and "Orat. Catechet.", XXVI (XLV, col. 69), where evil is annihilated after a long period of time, makrais periodois. These verbal contradictions explain why the defenders of orthodoxy should have thought that St. Gregory of Nyssa's writings had been tampered with by heretics. St. Germanus of Constantinople, writing in the eighth century, went so far as to say that those who held that the devils and lost souls would one day be set free had dared "to instil into the pure and most healthful spring of his [Gregory's] writings the black and dangerous poison of the error of Origen, and to cunningly attribute this foolish heresy to a man famous alike for his virtue and his learning" (quoted by Photius, Bibl. Cod., 223; P.G. CIII, col. 1105). Tillemont, "Mémoires pour l'histoire ecclésiastique" (Paris, 1703), IX, p. 602, inclines to the opinion that St. Germanus had good grounds for what he said. We must, however, admit, with Bardenhewer (loc. cit.) that the explanation given by St. Germanus of Constantinople cannot hold. This was, also, the opinion of Petavius, "Theolog. dogmat." (Antwerp, 1700), III, "De Angelis", 109-111.
The doctrine of the apokatastasis is not, indeed, peculiar to St. Gregory of Nyssa, but is taken from Origen, who seems at times reluctant to decide concerning the question of the eternity of punishment. Tixeront has well said that in his De Principiis (I.6.3) Origen does not venture to assert that all the evil angels shall sooner or later return to God (P.G., XI, col. 168, 169); while in his "Comment. in Rom.", VIII, 9 (P.G., XIV, col. 1185), he states that Lucifer, unlike the Jews, will not be converted, even at the end of time. Elsewhere, on the other hand, and as a rule, Origen teaches the apokatastasis, the final restoration of all intelligent creatures to friendship with God. Tixeront writes thus concerning the matter: "Not all shall enjoy the same happiness, for in the Father's house there are many mansions, but all shall attain to it. If Scripture sometimes seems to speak of the punishment of the wicked as eternal, this is in order to terrify sinners, to lead them back into the right way, and it is always possible, with attention, to discover the true meaning of these texts. It must, however, always be accepted as a principle that God does not chasten except to amend, and that the sole end of His greatest anger is the amelioration of the guilty. As the doctor uses fire and steel in certain deep-seated diseases, so God does but use the fire of hell to heal the impenitent sinner. All souls, all impenitent beings that have gone astray, shall, therefore, be restored sooner or later to God's friendship. The evolution will be long, incalculably long in some cases, but a time will come when God shall be all in all. Death, the last enemy, shall be destroyed, the body shall be made spiritual, the world of matter shall be transformed, and there shall be, in the universe, only peace and unity" [Tixeront, Histoire des dogmes, (Paris, 1905), I, 304, 305]. The palmary text of Origen should be referred to De Principiis III.6.6. For Origen's teaching and the passages wherein it is expressed consult Huet, "Origeniana", II, qu. 11, n. 16 (republished in P.G., XVII, col. 1023-26); and Petavius, "Theol. dogmat., De Angelis", 107-109; also Harnack ["Dogmengeschichte" (Freiburg, 1894), I, 645, 646], who connects the teaching of Origen on this point with that of Clement of Alexandria. Tixeront also writes very aptly concerning this matter: "Clement allows that sinful souls shall be sanctified after death by a spiritual fire, and that the wicked shall, likewise, be punished by fire. Will their chastisement be eternal? It would not seem so. In the Stromata, VII, 2 (P.G., IX, col. 416), the punishment of which Clement speaks, and which succeeds the final judgment, constrains the wicked to repent. In chapter xvi (col. 541) the author lays down the principle that God does not punish, but corrects; that is to say that all chastisement on His part is remedial. If Origen be supposed to have started from this principle in order to arrive at the apokatastasis--and Gregory of Nyssa as well--it is extremely probable that Clement of Alexandria understood it in the same sense" (Histoire des dogmes, I, 277). Origen, however, does not seem to have regarded the doctrine of the apokatastasis as one meant to be preached to all, it being enough for the generality of the faithful to know that sinners will be punished. (Against Celsus VI.26)

The doctrine, then, was first taught by Origen, and by Clement of Alexandria, and was an influence in their Christianity due to Platonism, as Petavius has plainly shown (Theol. dogmat. De Angelis, 106), following St. Augustine City of God XXI.13. Compare Janet, "La philosophiede Platon" (Paris, 1869), I, 603. It is evident, moreover, that the doctrine involves a purely natural scheme of divine justice and of redemption. (Plato, Republic, X, 614b.)

It was through Origen that the Platonist doctrine of the apokatastasis passed to St. Gregory of Nyssa, and simultaneously to St. Jerome, at least during the time that St. Jerome was an Origenist. It is certain, however, that St. Jerome understands it only of the baptized: "In restitutione omnium, quando corpus totius ecclesiæ nunc dispersum atque laceratum, verus medicus Christus Jesus sanaturus advenerit, unusquisque secundum mensuram fidei et cognitionis Filii Dei . . . suum recipiet locum et incipiet id esse quod fuerat" (Comment. in Eph., iv, 16; P.G., XXVI, col. 503). Everywhere else St. Jerome teaches that the punishment of the devils and of the impious, that is of those who have not come to the Faith, shall be eternal. (See Petavius, Theol. dogmat. De Angelis, 111, 112.) The "Ambrosiaster" on the other hand seems to have extended the benefits of redemption to the devils, (In Eph., iii, 10; P.L., XVII, col. 382), yet the interpretation of the "Ambrosiaster" on this point is not devoid of difficulty. [See Petavius, p. 111; also, Turmel, Histoire de la théologie positive, depuis l'origine, etc. (Paris, 1904) 187.]

From the moment, however, that anti-Origenism prevailed, the doctrine of the apokatastasis was definitely abandoned. St. Augustine protests more strongly than any other writer against an error so contrary to the doctrine of the necessity of grace. See, especially, his "De gestis Pelagii", I: "In Origene dignissime detestatur Ecclesia, quod et iam illi quos Dominus dicit æterno supplicio puniendos, et ipse diabolus et angeli eius, post tempus licet prolixum purgati liberabuntur a poenis, et sanctis cum Deo regnantibus societate beatitudinis adhærebunt." Augustine here alludes to the sentence pronounced against Pelagius by the Council of Diospolis, in 415 (P.L., XLIV, col. 325). He moreover recurs to the subject in many passages of his writings, and in City of God XXI sets himself earnestly to prove the eternity of punishment as against the Platonist and Origenist error concerning its intrinsically purgatorial character. We note, further, that the doctrine of the apokatastasis was held in the East, not only by St. Gregory of Nyssa, but also by St. Gregory of Nazianzus as well; "De seipso", 566 (P.G., XXXVII, col. 1010), but the latter, though he asks the question, finally decides neither for nor against it, but rather leaves the answer to God. Köstlin, in the "Realencyklopädie für protestantische Theologie" (Leipzig, 1896), I, 617, art. "Apokatastasis", names Diodorus of Tarsus and Theodore of Mopsuestia as having also held the doctrine of apokatastasis, but cites no passage in support of his statement. In any case, the doctrine was formally condemned in the first of the famous anathemas pronounced at the Council of Constantinople in 543: Ei tis ten teratode apokatastasis presbeuei anathema esto [See, also, Justinian, Liber adversus Originem, anathemas 7 and 9.] The doctrine was thenceforth looked on as heterodox by the Church.

It was destined, nevertheless, to be revived in the works of ecclesiastical writers, and it would be interesting to verify Köstlin's and Bardenhewer's statement that it is to be traced in Bar Sudaili, Dionysius the Areopagite, Maximus the Confessor, Scotus Erigena, and Amalric of Bena. It reappears at the Reformation in the writings of Denk (d. 1527), and Harnack has not hesitated to assert that nearly all the Reformers were apocatastasists at heart, and that it accounts for their aversion to the traditional teaching concerning the sacraments (Dogmengeschichte, III, 661). The doctrine of apokatastasis viewed as a belief in a universal salvation is found among the Anabaptists, the Moravian Brethren, the Christadelphians, among rationalistic Protestants, and finally among the professed Universalists. It has been held, also, by such philosophic Protestants as Schleiermacher, and by a few theologians, Farrar, for instance, in England, Eckstein and Pfister in Germany, Matter in France. Consult Köstlin, art. cit., and Grétillut, "Exposé de théologie systématique" (Paris, 1890), IV, 603.

 

 

9
APOCATASTASIS
-
-
-
-
A+P
17
8
8
-
O+C
18
9
9
-
A+T+A+S+T+A+S
81
27
9
-
I
9
9
9
-
S
19
10
1
9
APOCATASTASIS
144
54
36
-
-
1+4+4
5+4
3+6
9
APOCATASTASIS
9
9
9

 

 

-
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
1
-
-
1
9
1
+
=
18
1+8
=
9
=
9
-
-
-
-
15
-
-
-
-
19
-
-
19
9
19
+
=
81
8+1
=
9
=
9
-
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
-
1
7
-
3
1
2
1
-
2
1
-
-
-
+
=
18
1+8
=
9
=
9
-
-
1
16
-
3
1
20
1
-
20
1
-
-
-
+
=
63
6+3
=
9
=
9
-
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
-
1
16
15
3
1
20
1
19
20
1
19
9
19
+
=
144
1+4+4
=
6
=
6
-
-
1
7
6
3
1
2
1
1
2
1
1
9
1
+
=
36
4+2
=
6
=
6
-
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
1
1
-
1
1
-
1
-`
-
1
occurs
x
7
=
7
-
-
-
-
-
-
-
2
-
-
2
-
-
-
-
-
-`
2
occurs
x
2
=
4
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
--
--
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
17
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
28
-
-
13
-
36
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
2+8
-
-
1+7
-
3+6
8
4
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
10
-
-
4
-
9
-
-
1
7
6
3
1
2
1
1
2
1
1
9
1
-
-
1+0
-
-
-
-
-
8
4
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
1
-
-
4
-
9

 

 

13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
1
-
-
1
9
1
+
=
18
1+8
=
9
=
9
-
-
-
15
-
-
-
-
19
-
-
19
9
19
+
=
81
8+1
=
9
=
9
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
1
7
-
3
1
2
1
-
2
1
-
-
-
+
=
18
1+8
=
9
=
9
-
1
16
-
3
1
20
1
-
20
1
-
-
-
+
=
63
6+3
=
9
=
9
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
1
16
15
3
1
20
1
19
20
1
19
9
19
+
=
144
1+4+4
=
6
=
6
-
1
7
6
3
1
2
1
1
2
1
1
9
1
+
=
36
4+2
=
6
=
6
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
1
1
-
1
1
-
1
-`
-
1
occurs
x
7
=
7
-
-
-
-
-
-
2
-
-
2
-
-
-
-
-
-`
2
occurs
x
2
=
4
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
13
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
28
-
-
13
-
36
1+7
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
2+8
-
-
1+7
-
3+6
4
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
10
-
-
4
-
9
-
1
7
6
3
1
2
1
1
2
1
1
9
1
-
-
1+0
-
-
-
-
-
4
A
P
O
C
A
T
A
S
T
A
S
I
S
-
-
1
-
-
4
-
9

 

 

THE COSMIC MIND BOGGLING BOOK

Neil McAleer 1982

"The crater Giordano Bruno is believed to be one of the youngest craters on the moon..."

 

 

-
S
-
-
-
GIORDANO BRUNO
-
-
-
A
=
1
-
8
GIORDANO
83
47
2
H
=
8
-
5
BRUNO
70
25
7
S
-
9
4
13
GIORDANO BRUNO
153
72
9
-
S
-
S
1+3
-
1+5+3
7+2
-
S
-
9
4
4
GIORDANO BRUNO
9
9
9

 

 

-
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
-
9
6
-
-
-
5
6
-
-
-
-
5
6
+
=
37
3+7
=
10
1+0
1
=
1
-
-
-
9
15
-
-
-
14
15
-
-
-
-
14
15
+
=
82
8+2
=
10
1+0
1
=
1
-
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
9
4
1
-
-
-
2
9
3
-
-
+
=
35
3+5
=
8
=
8
=
8
-
-
7
-
-
18
4
1
-
-
-
2
18
3
-
-
+
=
71
7+1
=
8
=
8
=
8
-
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
7
9
15
18
4
1
14
15
-
2
18
21
14
15
+
=
153
1+5+3
=
9
=
9
=
9
-
-
7
9
6
9
4
1
5
6
-
2
9
3
5
6
+
=
72
7+2
=
9
=
9
=
9
-
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
--
-
-
-
-
--
-
-
-
3
-
--
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
-
5
-
-
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
6
-
-
-
-
6
-
-
-
-
-
6
-
-
6
occurs
x
3
=
18
1+8
9
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
9
-
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
3
=
27
2+7
9
8
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
37
-
-
13
-
72
-
36
-
1+3
-
9
-
9
-
-
-
-
-
-
9
-
-
-
-
-
3+7
-
-
1+3
-
7+2
-
3+6
8
4
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
10
-
-
4
-
9
-
9
-
-
7
9
6
9
4
1
5
6
-
2
9
3
5
6
-
-
1+0
-
-
-
-
-
-
-
8
4
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
1
-
-
4
-
9
-
9

 

 

13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
9
6
-
-
-
5
6
-
-
-
-
5
6
+
=
37
3+7
=
10
1+0
1
=
1
-
-
9
15
-
-
-
14
15
-
-
-
-
14
15
+
=
82
8+2
=
10
1+0
1
=
1
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
7
-
-
9
4
1
-
-
-
2
9
3
-
-
+
=
35
3+5
=
8
=
8
=
8
-
7
-
-
18
4
1
-
-
-
2
18
3
-
-
+
=
71
7+1
=
8
=
8
=
8
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
7
9
15
18
4
1
14
15
-
2
18
21
14
15
+
=
153
1+5+3
=
9
=
9
=
9
-
7
9
6
9
4
1
5
6
-
2
9
3
5
6
+
=
72
7+2
=
9
=
9
=
9
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
--
-
-
-
-
--
-
-
-
3
-
--
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
5
-
-
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
6
-
-
-
-
6
-
-
-
-
-
6
-
-
6
occurs
x
3
=
18
1+8
9
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
9
-
9
-
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
3
=
27
2+7
9
13
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
37
-
-
13
-
72
-
36
1+3
-
9
-
9
-
-
-
-
-
-
9
-
-
-
-
-
3+7
-
-
1+3
-
7+2
-
3+6
4
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
10
-
-
4
-
9
-
9
-
7
9
6
9
4
1
5
6
-
2
9
3
5
6
-
-
1+0
-
-
-
-
-
-
-
4
G
I
O
R
D
A
N
O
-
B
R
U
N
O
-
-
1
-
-
4
-
9
-
9

 

 

13
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
9
6
-
-
-
5
6
-
-
-
5
6
+
=
37
3+7
=
10
1+0
1
=
1
-
-
9
15
-
-
-
14
15
-
-
-
14
15
+
=
82
8+2
=
10
1+0
1
=
1
13
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
7
-
-
9
4
1
-
-
2
9
3
-
-
+
=
35
3+5
=
8
=
8
=
8
-
7
-
-
18
4
1
-
-
2
18
3
-
-
+
=
71
7+1
=
8
=
8
=
8
13
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
7
9
15
18
4
1
14
15
2
18
21
14
15
+
=
153
1+5+3
=
9
=
9
=
9
-
7
9
6
9
4
1
5
6
2
9
3
5
6
+
=
72
7+2
=
9
=
9
=
9
13
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
--
-
-
-
-
--
-
-
3
-
--
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
5
-
-
-
-
5
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
6
-
-
-
-
6
-
-
-
-
6
-
-
6
occurs
x
3
=
18
1+8
9
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
9
-
9
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
3
=
27
2+7
9
13
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
37
-
-
13
-
72
-
36
1+3
-
9
-
9
-
-
-
-
-
9
-
-
-
-
-
3+7
-
-
1+3
-
7+2
-
3+6
4
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
10
-
-
4
-
9
-
9
-
7
9
6
9
4
1
5
6
2
9
3
5
6
-
-
1+0
-
-
-
-
-
-
-
4
G
I
O
R
D
A
N
O
B
R
U
N
O
-
-
1
-
-
4
-
9
-
9

 

 

BELOVED OF GOD OF GOD BELOVED

 

 

C
=
3
-
6
CORPUS
92
29
2
H
=
8
-
10
HERMETICUM
115
52
7
S
-
11
4
16
Add to Reduce
207
81
9
-
S
1+1
S
1+6
Reduce to Deduce
2+0+7
8+1
-
S
-
2
4
7
Essence of Number
9
9
9

 

 

-
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-
-
-
-
-
-
-
-
-
-
24
-
-
6
-
-
-
1
-
8
-
-
-
-
-
9
-
-
-
+
=
24
2+4
=
6
=
6
=
6
51
-
-
15
-
-
-
19
-
8
-
-
-
-
-
9
-
-
-
+
=
51
5+1
=
6
=
6
=
6
-
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-
-
-
-
-
-
-
-
-
-
57
-
3
-
9
7
3
-
-
-
5
9
4
5
2
-
3
3
4
+
=
57
5+7
=
12
1+2
3
=
3
156
-
3
-
18
16
21
-
-
-
5
18
13
5
20
-
3
21
13
+
=
156
1+5+6
=
12
1+2
3
=
3
-
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-
-
-
-
-
-
-
-
-
-
207
-
3
15
18
16
21
19
-
8
5
18
13
5
20
9
3
21
13
+
=
207
2+0+7
=
9
=
9
=
9
81
-
3
6
9
7
3
1
-
8
5
9
4
5
2
9
3
3
4
+
=
81
8+1
=
9
=
9
=
9
-
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
--
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
3
-
-
-
3
-
-
-
-
-
-
-
-
-
3
3
-
-
-
3
occurs
x
4
=
12
1+2
3
4
-`-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
5
--
-
-
-
-
-
-
-
-
5
-
-
5
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-`-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
--
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
9
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
9
occurs
x
3
=
27
2+7
9
45
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-
-
45
-
-
16
-
81
-
45
4+5
-
-
-
9
/
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
4+5
-
-
1+6
-
8+1
-
4+5
9
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-
-
9
-
-
7
-
9
-
9
-
-
3
6
9
7
3
1
-
8
5
9
4
5
2
9
3
3
4
-T
-
-
-
-
-
-
-
-
-
9
16
C
O
R
P
U
S
-
H
E
R
M
E
T
I
C
U
M
-
-
9
-
-
7
-
9
-
9

 

 

-
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-
-
-
-
-
-
-
-
-
-
24
-
-
6
-
-
-
1
8
-
-
-
-
-
9
-
-
-
+
=
24
2+4
=
6
=
6
=
6
51
-
-
15
-
-
-
19
8
-
-
-
-
-
9
-
-
-
+
=
51
5+1
=
6
=
6
=
6
-
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-
-
-
-
-
-
-
-
-
-
57
-
3
-
9
7
3
-
-
5
9
4
5
2
-
3
3
4
+
=
57
5+7
=
12
1+2
3
=
3
156
-
3
-
18
16
21
-
-
5
18
13
5
20
-
3
21
13
+
=
156
1+5+6
=
12
1+2
3
=
3
-
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-
-
-
-
-
-
-
-
-
-
207
-
3
15
18
16
21
19
8
5
18
13
5
20
9
3
21
13
+
=
207
2+0+7
=
9
=
9
=
9
81
-
3
6
9
7
3
1
8
5
9
4
5
2
9
3
3
4
+
=
81
8+1
=
9
=
9
=
9
-
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
--
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
3
-
-
-
3
-
-
-
-
-
-
-
-
3
3
-
-
-
3
occurs
x
4
=
12
1+2
3
4
-`-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
5
--
-
-
-
-
-
-
-
5
-
-
5
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-`-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
--
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
9
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
9
occurs
x
3
=
27
2+7
9
45
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-
-
45
-
-
16
-
81
-
45
4+5
-
-
-
9
/
-
-
-
-
9
-
-
-
9
-
-
-
-
-
4+5
-
-
1+6
-
8+1
-
4+5
9
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-
-
9
-
-
7
-
9
-
9
-
-
3
6
9
7
3
1
8
5
9
4
5
2
9
3
3
4
-T
-
-
-
-
-
-
-
-
-
9
16
C
O
R
P
U
S
H
E
R
M
E
T
I
C
U
M
-
-
9
-
-
7
-
9
-
9

 

 

-
5
Z
O
H
A
R
-
-
-
-
-
-
-
-
-
-
-
-
8
6
8
-
-
+
=
22
2+2
=
4
=
4
=
4
-
-
26
15
8
-
-
+
=
49
4+9
=
13
1+3
4
=
4
-
5
Z
O
H
A
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
9
+
=
10
1+0
=
1
=
1
=
1
-
-
-
-
-
1
18
+
=
19
1+9
=
10
1+0
1
=
1
-
5
Z
O
H
A
R
-
-
-
-
-
-
-
-
-
-
-
-
26
15
8
1
18
+
=
68
6+8
=
14
1+4
5
=
5
-
-
8
6
8
1
9
+
=
32
3+2
=
5
=
5
=
5
-
5
Z
O
H
A
R
-T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
8
-
8
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
21
5
Z
O
H
A
R
-
-
24
-
-
5
-
32
-
23
2+1
-
-
-
-
-
9
-
-
2+4
-
-
-
-
3+2
-
2+3
3
5
Z
O
H
A
R
-
-
6
-
-
5
-
5
-
5
-
-
8
6
8
1
9
-
-
-
-
-
-
-
-
-
-
3
5
Z
O
H
A
R
-
-
6
-
-
5
-
5
-
5

 

 

5
Z
O
H
A
R
-
-
-
-
-
-
-
-
-
-
-
8
6
8
-
-
+
=
22
2+2
=
4
=
4
=
4
-
26
15
8
-
-
+
=
49
4+9
=
13
1+3
4
=
4
5
Z
O
H
A
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
9
+
=
10
1+0
=
1
=
1
=
1
-
-
-
-
1
18
+
=
19
1+9
=
10
1+0
1
=
1
5
Z
O
H
A
R
-
-
-
-
-
-
-
-
-
-
-
26
15
8
1
18
+
=
68
6+8
=
14
1+4
5
=
5
-
8
6
8
1
9
+
=
32
3+2
=
5
=
5
=
5
5
Z
O
H
A
R
-T
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
occurs
x
1
=
1
=
1
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
8
-
8
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
5
Z
O
H
A
R
-
-
24
-
-
5
-
32
-
23
-
-
-
-
-
9
-
-
2+4
-
-
-
-
3+2
-
2+3
5
Z
O
H
A
R
-
-
6
-
-
5
-
5
-
5
-
8
6
8
1
9
-
-
-
-
-
-
-
-
-
-
5
Z
O
H
A
R
-
-
6
-
-
5
-
5
-
5

 

 

-
ZOHAR
-
-
-
2
Z+O
41
14
5
2
H+A
9
9
9
1
R
18
9
9
5
ZOHAR
68
32
14
=
-
6+8
3+2
1+4
5
ZOHAR
14
5
5
=
-
1+4
-
-
5
ZOHAR
5
5
5

 

 

THE

SWORD OF WORDS

 

 

-
6
S
P
I
R
I
T
-
-
-
-
3
-
-
-
-
-
-
-
1
-
9
-
9
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
19
-
9
-
9
-
+
=
37
3+7
=
10
1+0
1
=
1
-
6
S
P
I
R
I
T
-
-
-
-
3
-
-
-
-
-
-
-
-
7
-
9
-
2
+
=
18
1+8
=
9
=
9
=
9
-
-
-
16
-
18
-
20
+
=
54
5+4
=
9
=
9
=
9
-
6
S
P
I
R
I
T
-
-
-
-
3
-
-
-
-
-
-
-
19
16
9
18
9
20
+
=
91
9+1
=
10
1+0
1
=
1
-
-
1
7
9
9
9
2
+
=
37
3+7
=
10
1+0
1
=
1
-
6
S
P
I
R
I
T
-
-
-
-
3
-
-
-
-
-
---
-
1
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
---
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
3
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
3
-
3
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
3
-
3
-
-
-
-
6
SIX
6
-
-
-
-
-
---
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
9
9
9
--
-
-
9
occurs
x
3
=
27
2+7
9
26
6
S
P
I
R
I
T
-
-
19
-
-
6
-
37
-
19
2+6
-
-
-
9
9
9
-
-
-
1+0
-
-
-
-
3+7
-
1+9
8
6
S
P
I
R
I
T
-
-
1
-
-
6
-
10
-
10
-
-
1
7
9
9
9
2
-
-
-
-
-
-
-
1+0
-
1+0
8
6
S
P
I
R
I
T
-
-
1
-
-
6
-
1
-
1

 

 

6
S
P
I
R
I
T
-
-
-
-
-
-
-
-
1
-
9
-
9
-
+
=
19
1+9
=
10
1+0
1
=
1
-
19
-
9
-
9
-
+
=
37
3+7
=
10
1+0
1
=
1
6
S
P
I
R
I
T
-
-
-
-
-
-
-
-
-
-
-
-
7
-
9
-
2
+
=
18
1+8
=
9
=
9
=
9
-
-
16
-
18
-
20
+
=
54
5+4
=
9
=
9
=
9
6
S
P
I
R
I
T
-
-
-
-
-
-
-
-
-
-
-
19
16
9
18
9
20
+
=
91
9+1
=
10
1+0
1
=
1
-
1
7
9
9
9
2
+
=
37
3+7
=
10
1+0
1
=
1
6
S
P
I
R
I
T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
=
2
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
9
9
9
-
-
-
9
occurs
x
3
=
27
2+7
9
6
S
P
I
R
I
T
-
-
19
-
-
6
-
37
-
19
-
-
-
9
9
9
-
-
-
1+0
-
-
-
-
3+7
-
1+9
6
S
P
I
R
I
T
-
-
1
-
-
6
-
10
-
10
-
1
7
9
9
9
2
-
-
-
-
-
-
-
1+0
-
1+0
6
S
P
I
R
I
T
-
-
1
-
-
6
-
1
-
1

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
9
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
57
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+7
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
12
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+2
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

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

 

 

EVOLVE LOVE LOVE EVOLVE

 

-
EVOLVE LOVE LOVE EVOLVE
-
-
-
-
EVOLVE
-
-
-
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
-
EVOLVE
-
-
-
-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
-
LOVE
-
-
-
-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
-
LOVE
-
-
-
-
EVOLVE
-
-
-
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
-
EVOLVE
-
-
-
20
EVOLVE LOVE LOVE EVOLVE
270
90
45
2+0
-
2+7+0
9+0
4+5
2
EVOLVE LOVE LOVE EVOLVE
9
9
9
-
-
-
-
-
2
EVOLVE LOVE LOVE EVOLVE
9
9
9

 

REVOLVER EVOLVER LOVER

 

-
-
-
-
-
REVOLVER
-
-
-
-
-
-
-
1
R
18
9
9
-
-
-
-
2
E+V
27
9
9
-
-
-
-
2
O+L
27
9
9
-
-
-
-
2
V+E
27
9
9
-
-
-
-
1
R
18
9
9
R
=
9
-
8
REVOLVER
117
45
45
-
-
-
-
-
EVOLVER
-
-
-
-
-
-
-
2
E+V
27
9
9
-
-
-
-
2
O+L
27
9
9
-
-
-
-
2
V+E
27
9
9
-
-
-
-
1
R
18
9
9
E
=
5
-
7
EVOLVER
99
36
36
-
-
-
-
-
LOVER
-
-
-
-
5
-
-
2
L+O
27
9
9
-
1
-
-
2
V+E
27
9
9
-
1
-
-
1
R
18
9
9
L
=
3
-
5
LOVER
72
27
27
-
-
-
-
-
-
-
-
-
-
-
17
-
20
288
108
108
-
-
1+7
-
2+0
-
2+7+0
1+0+8
1+0+8
-
-
8
-
2
9
9
9

 

REVOLVER EVOLVER LOVER

 

 

WORKS WELL WHEN WATCHED

 

-
-
-
-
-
WORKS
-
-
-
-
-
-
-
1
W
23
5
5
-
-
-
-
1
O
15
6
6
-
-
-
-
1
R
18
9
9
-
-
-
-
1
K
11
2
2
-
-
-
-
1
S
19
10
1
W
=
5
-
5
WORKS
86
32
23
-
-
-
-
-
WELL
-
-
-
-
-
-
-
1
W
23
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
1
L
12
3
3
-
-
-
-
1
L
12
3
3
W
=
5
-
4
WELL
52
16
16
-
-
-
-
-
WHEN
-
-
-
-
-
-
-
1
W
23
5
5
-
-
-
-
1
H
8
8
8
-
-
-
-
1
E
5
5
5
-
-
-
-
1
N
14
5
5
W
=
5
-
4
WHEN
50
23
23
-
-
-
-
-
WATCHED
-
-
-
-
-
-
-
1
W
23
5
5
-
-
-
-
1
A
1
1
1
-
-
-
-
1
T
20
2
2
-
-
-
-
1
C
3
3
3
-
-
-
-
1
H
8
8
8
-
-
-
-
1
E
5
5
5
-
-
-
-
1
D
4
4
4
W
=
5
-
7
WATCHED
64
28
28
-
-
-
-
-
-
-
-
-
-
-
20
-
20
252
99
90
-
-
2+0
-
2+0
-
2+7+0
9+9
9+0
-
-
2
-
2
9
9
9

 

WORKS WELL WHEN WATCHED

 

 

T
=
1
-
2
TO
35
8
8
B
=
2
-
2
BE
7
7
7
O
=
6
-
2
OR
33
15
6
N
=
1
-
3
NOT
49
13
4
T
=
1
-
2
TO
35
8
8
B
=
2
-
2
BE
7
7
7
T
=
2
-
4
THAT
49
13
4
I
=
9
-
2
IS
28
10
1
T
=
3
-
3
THE
33
15
6
Q
=
8
-
8
QUESTION
120
39
3
-
-
36
-
30
-
396
135
54
-
-
3+6
-
3+0
-
3+9+6
1+3+5
5+4
Q
-
9
Q
3
Q
18
9
9
-
-
-
-
-
-
1+8
-
-
-
-
9
-
3
-
9
9
9

 

 

GODS DIVINE EVERLASTINGNESSEVERLASTINGNESS DIVINE GODS

 

 

-
EVERLASTINGNESS
-
-
-
4
EVER
50
23
5
4
LAST
52
7
7
3
ING
30
21
3
4
NESS
57
12
3
15
EVERLASTINGNESS
189
63
18
1+5
-
1+8+9
1+8
1+8
6
EVERLASTINGNESS
18
9
9
-
-
1+8
-
-
6
EVERLASTINGNESS
9
9
9

 

 

-
15
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
5
-
5
-
1
1
+
=
22
2+2
=
4
=
4
=
4
-
-
-
-
-
-
-
-
19
-
9
14
-
14
-
19
19
+
=
85
8+5
=
13
1+3
4
=
4
-
15
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
5
4
5
9
3
1
-
2
-
-
7
-
5
-
-
+
=
41
4+1
=
5
=
5
=
5
-
-
5
22
5
18
12
1
-
20
-
-
7
-
5
-
-
+
=
104
1+0+4
=
5
=
5
=
5
-
15
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
=
-
-
-
-
-
5
22
5
18
12
1
19
20
9
14
7
14
5
19
19
+
=
189
1+8+9
=
18
1+8
9
=
9
-
-
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
+
=
63
6+3
=
9
=
9
=
9
-
15
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
1
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
5
-
5
-
-
-
-
-
-
5
-
5
5
-
-
-
-
5
occurs
x
5
=
25
2+5
7
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
14
15
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
31
-
-
15
-
63
-
36
1+4
1+5
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
3+1
-
-
1+5
-
6+3
-
3+6
5
6
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9
-
-
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
-
-
-
1
-
-
-
-
-
-
5
6
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9

 

 

E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
5
-
5
-
1
1
+
=
22
2+2
=
4
=
4
=
4
-
-
-
-
-
-
19
-
9
14
-
14
-
19
19
+
=
85
8+5
=
13
1+3
4
=
4
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
5
4
5
9
3
1
-
2
-
-
7
-
5
-
-
+
=
41
4+1
=
5
=
5
=
5
5
22
5
18
12
1
-
20
-
-
7
-
5
-
-
+
=
104
1+0+4
=
5
=
5
=
5
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
=
-
-
-
5
22
5
18
12
1
19
20
9
14
7
14
5
19
19
+
=
189
1+8+9
=
18
1+8
9
=
9
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
+
=
63
6+3
=
9
=
9
=
9
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
1
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
5
-
5
-
-
-
-
-
-
5
-
5
5
-
-
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
31
-
-
15
-
63
-
36
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
3+1
-
-
1+5
-
6+3
-
3+6
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
-
-
-
1
-
-
-
-
-
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9

 

 

-
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
9
-
-
-
+
5
-
+
-
-
-
-
-
-
1
-
9
5
-
5
-
1
1
+
=
41
4+1
=
5
=
5
=
5
-
-
-
-
-
7
14
9
-
-
-
+
14
-
+
-
-
-
-
-
-
19
-
9
14
-
14
-
19
19
+
=
131
1+3+1
=
5
=
5
=
5
-
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
+
-
5
2
5
9
-
+
2
7
+
1
-
4
+
5
4
5
9
3
1
-
2
-
-
7
-
5
-
-
+
=
76
7+6
=
13
1+3
4
=
4
+
-
5
20
5
18
-
+
20
25
+
1
-
4
+
5
22
5
18
12
1
-
20
-
-
7
-
5
-
-
+
=
193
1+9+3
=
13
1+3
4
=
4
-
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
+
-
5
20
5
18
14
9
20
25
+
1
14
4
+
5
22
5
18
12
1
19
20
9
14
7
14
5
19
19
+
=
324
3+2+4
=
9
=
9
=
9
+
-
5
2
5
9
5
9
2
7
+
1
5
4
+
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
+
=
117
1+1+7
=
9
=
9
=
9
-
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
1
-
-
1
occurs
x
5
=
5
=
5
-
-
-
2
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
7
-
-
-
-
-
-
-
4
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
5
-
5
-
5
-
-
-
-
-
5
-
-
5
-
5
-
-
-
-
-
-
5
-
5
5
-
-
-
-
5
occurs
x
9
=
45
4+5
9
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
9
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
14
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
31
-
-
15
-
63
-
45
1+4
2+6
-
-
-
9
-
9
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
3+1
-
-
1+5
-
6+3
-
4+5
5
8
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9
-
-
5
2
5
9
5
9
2
7
-
1
5
4
-
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
-
-
-
1
-
-
-
-
-
-
5
8
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9

 

 

6
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
9
-
-
-
+
5
-
+
-
-
-
-
-
-
1
-
9
5
-
5
-
1
1
+
=
41
4+1
=
5
=
5
=
5
-
-
-
-
7
14
9
-
-
-
+
14
-
+
-
-
-
-
-
-
19
-
9
14
-
14
-
19
19
+
=
131
1+3+1
=
5
=
5
=
5
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
5
2
5
9
-
+
2
7
+
1
-
4
+
5
4
5
9
3
1
-
2
-
-
7
-
5
-
-
+
=
76
7+6
=
13
1+3
4
=
4
-
5
20
5
18
-
+
20
25
+
1
-
4
+
5
22
5
18
12
1
-
20
-
-
7
-
5
-
-
+
=
193
1+9+3
=
13
1+3
4
=
4
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
5
20
5
18
14
9
20
25
+
1
14
4
+
5
22
5
18
12
1
19
20
9
14
7
14
5
19
19
+
=
324
3+2+4
=
9
=
9
=
9
-
5
2
5
9
5
9
2
7
+
1
5
4
+
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
+
=
117
1+1+7
=
9
=
9
=
9
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
1
-
-
1
occurs
x
5
=
5
=
5
-
-
2
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
7
-
-
-
-
-
-
-
4
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
5
-
5
-
5
-
-
-
-
-
5
-
-
5
-
5
-
-
-
-
-
-
5
-
5
5
-
-
-
-
5
occurs
x
9
=
45
4+5
9
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
9
-
9
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
26
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
31
-
-
15
-
63
-
45
2+6
-
-
-
9
-
9
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
3+1
-
-
1+5
-
6+3
-
4+5
8
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9
-
5
2
5
9
5
9
2
7
-
1
5
4
-
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
-
-
-
1
-
-
-
-
-
-
8
E
T
E
R
N
I
T
Y
-
A
N
D
-
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9

 

 

6
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
9
-
-
+
5
-
-
-
-
-
-
-
1
-
9
5
-
5
-
1
1
+
=
41
4+1
=
5
=
5
=
5
-
-
-
-
7
14
9
-
-
+
14
-
-
-
-
-
-
-
19
-
9
14
-
14
-
19
19
+
=
131
1+3+1
=
5
=
5
=
5
26
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
5
2
5
9
-
+
2
7
1
-
4
5
4
5
9
3
1
-
2
-
-
7
-
5
-
-
+
=
76
7+6
=
13
1+3
4
=
4
-
5
20
5
18
-
+
20
25
1
-
4
5
22
5
18
12
1
-
20
-
-
7
-
5
-
-
+
=
193
1+9+3
=
13
1+3
4
=
4
26
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
5
20
5
18
14
9
20
25
1
14
4
5
22
5
18
12
1
19
20
9
14
7
14
5
19
19
+
=
324
3+2+4
=
9
=
9
=
9
-
5
2
5
9
5
9
2
7
1
5
4
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
+
=
117
1+1+7
=
9
=
9
=
9
26
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
1
-
-
-
-
-
-
1
1
-
-
1
occurs
x
5
=
5
=
5
-
-
2
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
7
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
5
-
5
-
5
-
-
-
-
5
-
5
-
5
-
-
-
-
-
-
5
-
5
5
-
-
-
-
5
occurs
x
9
=
45
4+5
9
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
9
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
26
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
31
-
-
15
-
63
-
45
2+6
-
-
-
9
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
3+1
-
-
1+5
-
6+3
-
4+5
8
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9
-
5
2
5
9
5
9
2
7
1
5
4
5
4
5
9
3
1
1
2
9
5
7
5
5
1
1
-
-
-
1
-
-
-
-
-
-
8
E
T
E
R
N
I
T
Y
A
N
D
E
V
E
R
L
A
S
T
I
N
G
N
E
S
S
-
-
4
-
-
6
-
9
-
9

 

 

 

 

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.

 

 

W
=
5
-
7
WHITHER
91
46
1
G
=
7
-
5
GOEST
66
21
3
T
=
2
-
4
THOU
64
19
1
B
-
14
Q
16
First Total
221
86
5
-
-
1+4
-
1+6
Add to Reduce
2+2+1
8+6
-
-
-
5
-
7
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
5
-
7
Essence of Number
5
5
5

 

 

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
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
and asked if he was going far.
He said “As far as Golgotha.”
And then I knew and the cock crew.

 

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 APOSTLES

Page 1148 (Part quoted)

"MEN AND BRETHREN THIS SCRIPTURE MUST NEEDS HAVE BEEN FULFILLED

WHICH THE HOLY GHOST BY THE MOUTH OF DAVID SPAKE"

 

 

T
=
2
-
3
THE
33
15
6
S
=
1
-
4
STAR
58
13
4
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
B
-
13
Q
14
Add to Reduce
152
62
17
-
-
1+3
-
1+4
Reduce to Deduce
1+5+2
6+2
1+7
-
-
4
-
5
Essence of Number
8
8
8

 

 

T
=
2
-
3
THE
33
15
6
S
=
1
-
4
SONG
55
10
1
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
B
-
13
Q
14
First Total
149
59
14
-
-
1+3
-
1+4
Add to Reduce
1+4+9
5+9
1+4
-
-
4
-
5
Second Total
14
14
5
-
-
-
-
-
Reduce to Deduce
1+4
1+4
-
-
-
4
-
5
Essence of Number
5
5
5

 

 

I
=
9
-
1
I
9
9
9
A
=
1
-
2
AM
14
5
5
T
=
2
-
3
THE
33
15
6
R
=
9
-
4
ROOT
68
23
5
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
O
=
6
-
9
OFFSPRING
110
56
2
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
B
=
2
-
6
BRIGHT
64
37
1
A
=
1
-
3
AND
19
10
1
M
=
4
-
7
MORNING
90
45
9
S
=
1
-
4
STAR
58
13
4
-
-
51
-
58
First Total
630
297
63
-
-
5+1
-
5+8
Add to Reduce
6+3+0
2+9+7
6+3
Q
-
6
Q
13
Second Total
9
18
9
-
-
-
-
1+3
Reduce to Deduce
-
1+8
-
-
-
6
-
4
Essence of Number
9
9
9

 

 

 

CHEIRO'S BOOK OF NUMBERS

Circa 1926

Page106
"Shakespeare, that Prince of Philosophers, whose thoughts will adorn English literature for all time, laid down the well-known axiom: There is a tide in the affairs of men which if taken at the flood, leads on to fortune." 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?
My answer to this question is that the Great Architect of the Universe in His Infinite Wisdom so created all things in such harmony of design that He endowed the human mind with some part of that omnipotent knowledge which is the attribute of the Divine Mind as the Creator of all.

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

 

 

T
=
2
-
3
THE
33
15
6
Q
=
8
-
8
QUESTION
120
39
3
H
=
8
-
3
HAS
28
10
1
B
=
2
-
4
BEEN
26
17
8
A
=
1
-
5
ASKED
40
13
4
A
=
1
-
5
AGAIN
32
23
5
A
=
1
-
3
AND
19
10
1
A
=
1
-
5
AGAIN
32
23
5
I
=
9
-
2
IS
28
10
1
T
=
2
-
5
THERE
56
29
2
S
=
1
-
4
SOME
52
16
7
M
=
4
-
5
MEANS
52
16
7
O
=
6
-
2
OF
21
12
3
K
=
2
-
7
KNOWING
93
39
3
W
=
5
-
4
WHEN
50
23
5
T
=
2
-
3
THE
33
15
6
M
=
4
-
6
MOMENT
80
26
8
H
=
8
-
3
HAS
28
10
1
C
=
3
-
4
COME
36
18
9
T
=
2
-
2
TO
35
8
8
T
=
2
-
4
TAKE
37
10
1
T
=
2
-
3
THE
33
15
6
T
=
2
-
4
TIDE
38
20
2
A
=
1
-
2
AT
21
3
3
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FLOOD
52
25
7
B
-
87
Q
104
First Total
1108
460
118
-
-
8+7
-
1+0+4
Add to Reduce
1+1+0+8
4+6+0
1+1+8
-
-
15
-
5
Second Total
10
10
10
-
-
1+5
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
6
-
5
Essence of Number
1
1
1

 

 

YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO

 

 

8
QUO VADIS
108
36
9
6
VOX POP
108
36
9
11
SORROW
108
36
9
8
INSTINCT
108
36
9
11
DESCENDANTS
108
36
9
8
STARTING
108
36
9
9
NARRATIVE
108
36
9
9
SEQUENCES
108
36
9
9
COMPLETES
108
36
9
9
AMBIGUOUS
108
36
9
7
JOURNEY
108
36
9

 

 

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
C. J. S.Thompson

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
above is like to that which is below, and that which is below is like
to that which is above, to accomplish the miracles of one thing.
And as in all things whereby contemplation of one, so in all things
arose from this one thing by a single act of adoption.
The father thereof is the Sun the mother the Moon.
The wind carried it in its womb,the earth is the source thereof.
It is the father of all works throughout the world.
The power thereof is perfect.
If it be cast on to earth, it will separate the element of earth
from that of fire, the subtle from the gross.
With great sagacity it doth ascend gently from earth to heaven.
Again it doth descend to earth and uniteth in itself from
things superior and things inferior.
Thus thou wilt possess the brightness of the world, and all
obscurity will fly far from thee.
This thing is the strong fortitude of all strength, for it over-
cometh every subtle thing and doth penetrate every solid substance.
Thus was this world created.
Hence will there be marvellous adaptations achieved of which
the manner is this.
For this reason I am called Hermes Trismegistus because I hold
three parts of the wisdom of the whole world.
That which I had to say about the operation of Sol is completed."

 

 

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


Tonight the rain is falling
Full of memories of people and places
And while the past is calling
In my fantasy I remember their faces

The hopes we had were much too high
Way out of reach but we have to try
The game will never be over
Because we're keeping the dream alive

I hear myself recalling
Things you said to me
The night it all started
And still the rain is falling
Makes me feel the way
I felt when we parted

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one
The game will never be over
Because we're keeping the dream alive

I need you
I love you

The game will never be over
Because we're keeping the dream alive

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one

The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one

The game will never be over
Because we're keeping the dream alive

The game will never be over
Because we're keeping the dream alive

The game will never be over

Mmm mmm mmm mmm mmm mmm mmm mmm mmm.

 

3
MAM
27
9
9
5
CHILD
36
27
9
3
DAD
9
19
9
11
Add to Reduce
72
45
27
4+5
Reduce to Deduce
7+2
4+5
2+7
9
Essence of Number
9
9
9
-
--
-
-
-
-
--
-
-
-
3
THE
33
15
6
6
FAMILY
66
30
3
9
First Total
99
45
45
-
Add to Reduce
9+9
4+5
4+5
9
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

3
THE
-
-
-
6
FAMILY
-
-
-
-
T
20
2
2
-
H
8
8
8
-
E
5
5
5
-
THE
-
-
-
-
F
6
6
6
-
A
1
1
1
-
M
13
4
4
-
I
9
9
9
-
L
12
3
3
-
Y
25
7
7
-
FAMILY
-
-
-
9
Add to Reduce
99
45
45
-
Reduce to Deduce
9+9
4+5
4+5
9
Essence of Number
18
9
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
THE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
FAMILY
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
-
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
Y
=
7
-
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
FAMILY
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
THE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
45
-
9
-
99
45
45
-
1
2
3
4
5
6
7
8
9
-
-
4+5
-
-
-
9+9
4+5
4+5
-
-
-
-
-
-
-
-
-
-
-
-
9
-
9
-
18
9
9
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
THE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
FAMILY
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
-
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
-
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
FAMILY
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
THE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
45
-
9
-
99
45
45
-
1
2
3
4
5
6
7
8
9
-
-
4+5
-
-
-
9+9
4+5
4+5
-
-
-
-
-
-
-
-
-
-
-
-
9
-
9
-
18
9
9
-
1
2
3
4
5
6
7
8
9

 

 

3
THE
-
-
-
6
FAMILY
-
-
-
-
A
1
1
1
-
T
20
2
2
-
L
12
3
3
-
M
13
4
4
-
E
5
5
5
-
F
6
6
6
-
Y
25
7
7
-
H
8
8
8
-
I
9
9
9
3
THE
-
-
-
-
FAMILY
-
-
-
9
Add to Reduce
99
45
45
-
Reduce to Deduce
9+9
4+5
4+5
9
Essence of Number
18
9
9

 

 

GOD WITH US AND US WITH GOD

 

 

3
GOD
26
17
8
4
WITH
60
24
6
2
US
40
4
4
9
Add to Reduce
126
45
18
-
Reduce to Deduce
1+2+6
4+5
1+8
9
Essence of Number
9
9
9

 

 

"The virgin will conceive and give birth to a son, and they will call him Immanuel" (which means "God with us"). “Behold, the virgin shall conceive and bear a son, and they shall call his name Immanuel” (which means, God with us).

Matthew 1:23 "The virgin will conceive and give birth to a ...

biblehub.com/matthew/1-23.htm

 

 

The Meaning of Immanuel, God with Us

www.orlutheran.com/html/immanuel.html

And this very special Christmas name, as Matthew tells us, means "God with us." Jesus Christ is Immanuel, "God with us," and I'd like to share why this is so ...

Matthew 1:23 "The virgin will conceive and give birth to a ...

matthew/1-23.
“Behold, the virgin shall conceive and bear a son, and they shall call his name Immanuel” (which means, God with us). New American Standard Bible "BEHOLD ...

 

 

Christ Emmanuel or God with Us - Grace Gems!

www.gracegems.org/W/e1.htm

"They shall call His name Emmanuel, which being interpreted is, God with us. ... give birth to a son, and they will call him Immanuel– which means, 'God with us.

 

 

Isaiah 7:14 Explained - Immanuel God With Us

www.bibleanswerstand.org/immanuel.htm

This study is aimed at finding the true meaning of Immanuel in Isaiah 7:14. ... texts for the deity of Jesus Christ because of the words, “Immanuel,” (God with us).

 

 

Why wasn't Jesus named Immanuel? - GotQuestions.org

www.gotquestions.org/Immanuel-Jesus.html

by S. Michael Houdmann - Jesus was God making His dwelling among us (John 1:1,14). No, Jesus' name was not Immanuel, but Jesus was the meaning of Immanuel, "God with us.

 

Words Around "Emmanuel" in the English Dictionary

"The word Immanuel/Emmanuel means, "God with us." It conveys the idea of God come down in the flesh, mingling alongside mankind, subject to their brutality, while extending his love in bringing their redemption."

 

GOD WITH US AND US WITH GOD

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
G
=
7
-
3
GOD
26
17
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
4
WITH
60
24
6
-
-
-
-
-
-
6
-
-
-
U
=
3
-
2
US
40
4
4
-
-
-
-
4
-
-
-
-
-
-
-
1+5
-
9
Add to Reduce
126
45
18
-
1
2
3
4
5
6
7
8
9
-
-
6
-
-
Reduce to Deduce
1+2+6
4+5
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
Essence of Number
9
9
9
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
GOD WITH US
-
-
-
-
-
-
-
-
-
-
-
-
-
G
=
7
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
W
=
5
-
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
45
-
9
GOD WITH US
126
54
45
-
1
2
3
4
5
6
7
8
9
-
-
4+5
-
-
-
1+2+6
5+4
4+5
-
-
-
-
-
-
-
-
-
-
-
-
9
-
9
GOD WITH US
9
9
9
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
GOD WITH US
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
5
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
7
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
D
=
7
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
W
=
5
-
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
O
=
3
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
5
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
5
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
3
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
45
-
9
GOD WITH US
126
54
45
-
1
2
3
4
5
6
7
8
9
-
-
4+5
-
-
-
1+2+6
5+4
4+5
-
-
-
-
-
-
-
-
-
-
-
-
9
-
9
GOD WITH US
9
9
9
-
1
-
3
4
5
6
7
8
9

 

GOD WITH US 123456789 987654321 US WITH GOD

 

 

4
GODS
45
18
9
1
I
9
9
9
5
VOICE
54
27
9
10
Add to Reduce
108
54
27
1+0
Reduce to Deduce
1+0+8
5+4
2+7
1
Essence of Number
9
9
9

 

 

 

 

I

HAVE

COME

HAVE YOU COME FROM WHOLE SOURCE FROM WHOLE SOURCE HAVE

I

COME

 

GODISGODISGODISGODISGODISGODISGODISGODISGODISGOD

 

 

FLUX IS COOL COOL IS FLUX

6336 919 3663 3663 919 6336

18 19 18 18 19 18

9 1 9 9 1 9

18 19 18 18 19 18

6336 919 3663 3663 919 6336

FLUX IS COOL COOL IS FLUX

 

 

E
=
5
-
5
EARTH
52
25
7
F
=
6
-
4
FIRE
38
29
2
A
=
1
-
3
AIR
28
19
1
W
=
5
-
5
WATER
67
22
4
-
-
17
-
17
Add
185
95
14
-
-
1+7
-
1+7
Reduce
1+8+5
9+5
1+4
-
-
8
-
8
Total
14
14
5
-
-
-
-
-
Deduce
1+4
1+4
-
-
-
8
-
8
Essence
5
5
5

 

 

N
=
5
-
5
NORTH
75
30
3
S
=
1
-
5
SOUTH
83
20
2
E
=
5
-
4
EAST
45
9
9
W
=
5
-
4
WEST
67
13
4
-
-
17
-
18
Add
270
72
18
-
-
1+7
-
1+8
Reduce
2+7+0
7+2
1+8
-
-
8
-
9
Deduce
9
9
9

 

 

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

 

 

HOLY BIBLE

Scofield References

Chapter 9 Verse 2

The people that walked in darkness have seen a great light: they that dwell in the land of the shadow of death, upon them hath the light shined.

 

 

HOLY BIBLE

REVELATION

Chapter 21 V 1-7

Page 1351

A New Heaven and a New Earth

1And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. 2And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. 3And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God. 4And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.

5And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful. 6And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely. 7He that overcometh shall inherit all things; and I will be his God, and he shall be my son.


FOR SON ALSO READ DAUGHTER FOR DAUGHTER ALSO READ SON.

2ND OF MARCH 2018

TO MY DEAR AND LOVING FRIEND ZULA, ON THIS DAY OF DAYS.

 

The World Day of Prayer is an international ecumenical Christian laywomen's initiative.

It is run under the motto “Informed Prayer and Prayerful Action,” and is celebrated annually in over 170 countries on the first Friday in March.

2 Mar 2018 - In the international ecumenical movement “World Day of Prayer” praying together and acting in solidarity go together: informed prayer and prayerful action. Women active in World Day of Prayer (WDP) work are committed to learn and to strive for wisdom. They are also encouraged to take responsible action

Each year, on this day, Christians of many cultures, traditions, and races, in over 170 countries around the world unite in prayer. Of course, all people are always welcome and encouraged to participate. Program materials for 2018 were designed by the women of Suriname. The theme for for 2018 is "All God's Creation is ...

The 2018 Women's World Day of Prayer Service has the theme “All God's Creation is Very Good!” It is written by the Christian women of Suriname who focus on creation and our responsibility to care and look after it. The Executive Director of Women's World Day of Prayer

Women's World Day of Prayer - Weltgebetstag der Frauen
“All god's creation is very good”. The next Women's World Day of Prayer under the motto “All god's creation is very good” comes from Surinam and will be held on 3 March 2018. And certainly also where you live as well!

 

Holy Bible

The Beginning
John 1:1-5)

1 In the beginning God created the heaven and the earth.

2 And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.

3 And God said, Let there be light: and there was light. 4And God saw the light, that it was good: and God divided the light from the darkness. 5And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.

 

 

 

Did Spacemen Colonise the Earth?

Robin Collyns 1974

Page 206

"FINIS"

 

 

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
Upon its branches fair-"

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.
Shame of our shadow-safety! Away! No more!-But our friend? Was he hit? He thought so, for the moment. A great clod of earth struck him on the shin, it hurt, but he smiles at it. Up he gets, and staggers on, limping on his earth-bound feet, all unconsciously singing:

"Its waving branches whiispered
A message in my ear -"

and thus, in the tumult, in the rain, in the dusk, vanishes out of our sight.
Farewell, honest Hans Castorp, farewell, Life's delicate child!
Your tale is told. We have told it to the end, and it was neither short nor long, but hermetic. We have told it for its own sake, not for yours, for you were simple. But after all, it was your story, it befell you, you must have more in you than we thought; we will not disclaim the pedagogic weakness we conceived for / Page 716 / you in the telling; which could even lead us to press a finger delicately to our eyes at the thought that we shall see you no more, hear you no more for ever.
Farewell - and if thou livest or diest! Thy prospects are poor. The desperate dance, in which thy fortunes are caught up, will last yet many a sinful year; we should not care to set a high stake on thy life by the time it ends. We even confess that it is without great concern we leave the question open. Adventures of the flesh and in the spirit, while enhancing thy simplicity, granted thee to know in the spirit what in the flesh thou scarcely couldst have done. Moments there were, when out of death, and the rebellion of the flesh, there came to thee, as thou tookest stock of thyself, a dream of love. Out of this universal feast of death, out of this extremity of fever, kindling. the rain-washed evening sky to a fiery glow, may it be that Love one day shall mount?

FINIS OPERIS

 

 
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