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THE DEATH OF GODS IN ANCIENT EGYPT Jane B. Sellars 1992 Page 204 "The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling: Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10 Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days. Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him. The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time. A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the / Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12) If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth. This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations. Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability. But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less than the figure of 25,920. With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, incorrect by a difference of from 2,397.9 years to 3,024. Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting' AN IMPORTANT POSTSCRIPT Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician. Page 206 Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12 This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers. Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury. Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten. Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13 Page 207 "...Feniusa Farsa, Graves equates this hero with Dionysus. Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14 Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15 Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16 In Hamlet's Mill de Santillana adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point) The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits. Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18 Whatever one may think-of some of these number coincidences, it becomes difficult to escape the suspicion that many signs (number and otherwise) - indicate that early man observed the results of the movement of Precession and that the - transmission of this information was considered of prime importance. With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts. But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced, that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation': "...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four. Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radius ekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up his piece of stripped and striped wallpaper, decorated / Page 209 /
with a number of scarlet circles - 'you can see it's more than random.'19 So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Cycles and Patterns Page 165 Patterns "The essence of mathematics is to look for patterns. Our minds seem to be organised to search for relationships and sequences. We look for hidden orders. These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac! Searching out patterns is a pure delight. Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden. And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."
YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO
1 6 3 8 1836 8 3 6 1
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Return to the Beginning Page 283 'I stand before the masters who witnessed the genesis, who were the authors of their own forms, who walked the dark, circuitous passages of their own becoming. . .
I stand before the masters who witnessed the transformation of the body of a man into the body in spirit, who were witnesses to resurrection when the corpse of Osiris entered the mountain and the soul of Osiris walked out shining. . . when he came forth from death, a shining thing, his face white with heat. . . I stand before the masters who know the histories of the dead, who decide which tales to hear again, who judge the books of lives as either full or empty, who are themselves authors of truth. And they are Isis and Osiris, the divine intelligences. And when the story is written and the end is good and the soul of a man is perfected, with a shout they lift him into heaven. . .' Ancient Egyptian Book of the Dead (Norrnandi Ellis translation)
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STRIKE A LIGHT LUCIFER MEETS ITS MATCH
THUS HAVE I HEARD IN THE KINGDOM OF THE MIND THE ONE I'D MAN IS KING
OSIRIS SO IRIS IS IS IRIS SO OSIRIS ISIS IS IS ISIS OSIRIS SO IRIS IS IS IRIS SO OSIRIS
IS ASTROLOGY A STARRY LOGO ASTROLOGY A STARRY LOGO I S
SHEM SU HOR ROH US MEHS SHEM HORUS SUROHMEHS
FINGERPRINTS OF THE GODS Graham Hancock 1995 City of the Sun, Chamber of the Jackal Page 381(Part VII) "Heliopolis (City of the Sun) was referred to in the Bible as On but was originally known in the Egyptian language as Innu, or Innu Mehret - meaning 'the pillar' or 'the northern pillar'.3 It was a district of immense sanctity, associated with a strange group of nine solar and stellar deities, and was old beyond reckoning when Senuseret chose it as the site for his obelisk. Indeed, together with Giza (and the distant southern city of Abydos) Innu / Heliopolis was believed to have been part of the first land that emerged from the primeval waters at the / Page 382 / moment of creation, the land of the 'First Time', where the gods had commenced their rule on earth.. ATUM 1234 ATUM
'shapeless, black with the blackness of the blackest night' BLACK B LACK OF LIGHT C BLACK
The sky had not been created, the earth had not been created, the children of the earth and the reptiles had not been fashioned in that place. . . I, Atum, was one by myself. . . There existed no other who worked with me .'. .6 Conscious of being alone, this blessed and immortal being contrived to create two divine offspring, Shu, god of the air and dryness, and Tefnut the goddess of moisture: 'I thrust my phallus into my closed hand. I made my seed to enter my hand. I poured it into my own mouth. I evacuated under the form of Shu, I passed water under the form of Tefnut.,7 Despite such apparently inauspicious beginnings, Shu and Tefnut (who were always described as 'Twins' and frequently depicted as lions) grew to maturity, copulated and produced offspring of their own: Geb the god of the earth and Nut, the goddess of the sky. These two also mated, creating Osiris and Isis, Set and Nepthys, and so completed the Ennead, the full company of the Nine Gods of Heliopolis. Of the nine, Ra, Shu, Geb and Osiris were said to have ruled in Egypt as kings, followed by Horus, and lastly - for 3226 years - by the Ibis-headed wisdom god Thoth.8 3x2x2x6 IS 72 IS 72 IS 6x2x2x3 Who were these people - or creatures, or beings, or gods? Were they figments of the priestly imagination, or symbols, or ciphers? Were the stories told about them vivid myth memories of real events which had taken place thousands of years previously? Or were they, perhaps, part of a coded message from the ancients that had been transmitting itself over and over again down the epochs - a message only now beginning to be unravelled and understood? Page 382 "I, Atum, was one by myself. . . There existed no other who worked with me .'"
I ATUM 1234 ATUM I ATUM 1234 ATUM I ATUM 1234 ATUM I ATUM 1234 ATUM I ATUM 1234 ATUM I ATUM 1 ATUM 1 ATUM 1 ATUM
ATUM ATUM 1234 ATUM ATUM
Atum - Ancient Egypt Atum 'The All' or 'Perfection'. Appearance: Man with the double crown. Atum was a creator god. The ancient Egyptians believed that Atum was the first god to exist on earth. Atum. The ancient Egyptians believed that Atum rose from the waters of chaos (Nun) and created all the gods.
THE HERMETICA THE LOST WISDOM OF THE PHARAOHS Timothy Freke & Peter Gandy To the Memory of Giordano Bruno 1548 - 1600 Mundus Nihil Pulcherrimum The World is a Beautiful Nothing Page 23 "Although we have used the familiar term 'God' in the explanatory notes which accompany each chapter, we have avoided this term in the text itself. Instead we have used 'Atum - one of the ancient Egyptian names for the Supreme One God."
Page 45 The Being of Atum "Atum is Primal Mind." Page 45 The Being of Atum Give me your whole awareness, and concentrate your thoughts, for Knowledge of Atum's Being requires deep insight, which comes only as a gift of grace. It is like a plunging torrent of water whose swiftness outstrips any man who strives to follow it, leaving behind not only the hearer, but even the teacher himself. Fly up into the heavens - you won't need wings! Nothing can obstruct you - not the burning heat of the sun, or the swirling planets. Pass on to the limits of creation. Do you want to break out beyond the boundaries of the Cosmos? For your mind, even that is possible. Can you sense what power you possess? If you can do all this, then what about your Creator? Try and understand that Atum is Mind. This is how he contains the Cosmos. All things are thoughts which the Creator thinks."
ATUM ATUM 1234 ATUM ATUM
"ATUM" GOOGLE SEARCH AM 1/6/2018. About 8,210,000 results (0.59 seconds)
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THE LIGHT IS RISING NOW RISING IS THE LIGHT
EVOLVE LOVE EVOLVE LOVE SOLVES LOVE EVOLVE LOVE EVOLVE
CITY OF REVELATION John Michell 1972 Page 77 CHAPTER SEVEN 3168, The Perimeter of the Temple "The number 144 or 122 is characteristic of the New Jerusalem scheme, and 3168 demonstrates the value of (pi symbol 22/7 omitted) in terms of this number, for 144 x 7 = 1008 and 144 x 22 = 3168 Page 80 "31,680 is divisible by all the numbers1-12 with the exception of 7"
City Of Revelations John Michell 1973 Page 78 “A remarkable use of the number 3168 occurs in Plato’s account in Book V of Laws”
Just Six Numbers Martin Rees 1999 Page 24 Chapter 2
GOD’S SECRET FORMULA Page 114 “…I knew that the first three numbers would contain a very explosive mixture.
GOD’SECRET FORMULA Page 116
GOD’SECRET FORMULA Page 122
Alexandra David-Neel 1965 Page 123 “Some lamas undertake tours to perform chod near 108 lakes, and 108 cemeteries.”
Osireion - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Osireion The Osirion or Osireon is located at Abydos at the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th ... From Wikipedia, the free encyclopedia The Osirion at the rear of the temple of Seti I at Abydos, the underground entry to the Osireion is at the top of the picture, see image below
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IS ALIVE IS DEAD IS ALIVE IS THAT THAT THAT IS IS THAT THAT THAT UNIVERSAL MIND ISISIS MIND UNIVERSAL ISISIS DEAD ISISIS ALIVE ISISIS DEAD ISISIS GO DO GOOD GODS GODDESSES GODS GOOD DO GO GO DO GOOD GODDESSES GODS GODDESSES GOOD DO GO
REAL REALITY REVEALED AM I AM REVEALED REALITY REAL
GREATORS PERFECT CREATORS BALANCING PERFECT CREATORS DEAD AND ALIVE IMMORTAL R U I ME I R U IMMORTAL ALIVE AND DEAD ALIVE AND DEAD IMMORTAL R U I ME I R U IMMORTAL DEAD AND ALIVE THAT GREAT SEE I THAT UNIVERSAL MIND UNIVERSAL THAT I SEE GREAT THAT
GOOD EVIL BLACK WHITE LIGHT DARK NEGATIVE POSITIVE NEGATIVE POSITIVE DARK LIGHTWHITE BLACK EVIL GOOD
THINKS WATER THINKS WATER THINKS THINKS I SEE THAT SEE I SEE THAT SEE I THINKS THAT I KNOW I KNOW THAT --I THAT AM AT MAAT AT AM ISISIS MAAT ISISIS REAL REALITY REVEALED AM I AM REVEALED REALITY REAL THINKS ALWAYS DIVINE THOUGHT PLASMAS GODS PLASMAS THOUGHT DIVINE ALWAYS THINKS
BEN BEN STONE 255 255 12655 STONE BEN BEN
REARRANGEMENT OF THE EGYPTIAN ROOMS F the rearrangements in the ...
Archaeological News
Full text of "American journal of archaeology"
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Pi - Wikipedia, the free encyclopediaπ (sometimes written pi) is a mathematical constant whose value is the ratio of any circle's circumference to its diameter in the Euclidean plane; ... Fundamentals - History - Open questions - Use in mathematics and science
PiFrom Wikipedia, the free encyclopediaJump to: navigation, search π (sometimes written pi) is a mathematical constant whose value is the ratio of any circle's circumference to its diameter in the Euclidean plane; this is the same value as the ratio of a circle's area to the square of its radius. It is approximately equal to 3.14159265 in the usual decimal notation. Many formulae from mathematics, science, and engineering involve π, which makes it one of the most important mathematical constants.[1] π is an irrational number, which means that its value cannot be expressed exactly as a fraction m/n, where m and n are integers. Consequently, its decimal representation never ends or repeats. It is also a transcendental number, which implies, among other things, that no finite sequence of algebraic operations on integers (powers, roots, sums, etc.) can be equal to its value; proving this was a late achievement in mathematical history and a significant result of 19th century German mathematics. Throughout the history of mathematics, there has been much effort to determine π more accurately and to understand its nature; fascination with the number has even carried over into non-mathematical culture. Probably because of the simplicity of its definition, the concept of π has become entrenched in popular culture to a degree far greater than almost any other mathematical construct.[2] It is, perhaps, the most common ground between mathematicians and non-mathematicians.[3] Reports on the latest, most-precise calculation of π (and related stunts) are common news items.[4][5][6] The current record for the decimal expansion of π, if verified, stands at 5 trillion digits.[7] The Greek letter π, often spelled out pi in text, was first adopted for the number as an abbreviation of the Greek word for perimeter "περίμετρος" (or as an abbreviation for "perimeter/diameter") by William Jones in 1706. The constant is also known as Archimedes' Constant, after Archimedes of Syracuse who provided an approximation of the number, although this name for the constant is uncommon in modern English-speaking contexts. Contents [hide] There are various other ways of finding the Lengths or Areas of particular Curve Lines, or Planes, which may very much facilitate the Practice; as for instance, in the Circle, the Diameter is to the Circumference as 1 to ... 3.14159, &c. = π[13] The capital letter pi (Π) has a completely different mathematical meaning; it is used for expressing products (notice that the word "product" begins with the letter "p" just like "perimeter/diameter" does). It can also refer to the osmotic pressure of a solution. Geometric definition in Euclidean plane geometry, π is defined as the ratio of a circle's circumference C to its diameter d:[9] The ratio C/d is constant, regardless of a circle's size. For example, if a circle has twice the diameter d of another circle it will also have twice the circumference C, preserving the ratio C/d. Alternatively π can be defined as the ratio of a circle's area A to the area of a square whose side is equal to the radius r of the circle:[9][14] These definitions depend on results of Euclidean geometry, such as the fact that all circles are similar, and the fact that the right-hand-sides of these two equations are equal to each other (i.e. the area of a disk is Cr/2). These two geometric definitions can be considered a problem when π occurs in areas ofmathematics that otherwise do not involve geometry. For this reason, mathematicians often prefer to define π without reference to geometry, instead selecting one of its analytic properties as a definition. A common choice is to define π as twice the smallest positive x for which the trigonometric function cos(x) equals zero.[15
EUCLID 533394 EUCLID PI 79 PI PHI 789 PHI
DIVINE PROPORTION Johannes Kepler [1571-1630] "Geometry has two great treasures: one is the theorem of Pythagoras; the other, the division of a line into extreme and mean ratio. The first we may compare to a measure of gold; the second we may name a precious jewel." - Johannes Kepler [1571-1630] (Illustratins omitted) Any objective observation we make must include a discussion of proportion for it is the rule of proportion in the examination of nature that causes us to observe an organized universe and a universe in chaos, rational and irrational numbers, harmony and discord, truth and falsity. These descriptions are merely proportional effects of the opposition that is inherent in all things. We see harmony expressed by those emotions, feelings, and characteristics present within ourselves. This harmony is viewed within nature as the Divine Proportion. The Divine Proportion ascribed to our collective state of observation has been expressed, "For of three magnitudes, if the greatest (AB) is to the mean (CB) as the mean (CB) is to the least (AC), they therefore all shall be one." AB/CB = CB/AC = 1.618... Throughout history, Phi has been observed to evoke emotion or aesthetic feelings within us. The ancient Egyptians used it in the construction of the great pyramids and in the design of hieroglyphs found on tomb walls. At another time, thousands of miles away, the ancients of Mexico embraced Phi while building the Sun Pyramid at Teotihuacan. The Greeks studied Phi closely through their mathematics and used it in their architecture. The Parthenon at Athens is a classic example of the use of the Golden Rectangle. Plato in his Timaeus considered it the most binding of all mathematical relations and makes it the key to the physics of the cosmos. During the Renaissance, Phi served as the "hermetic" structure on which great masterpieces were composed. Renowned artists such as Michelangelo, Raphael, and Leonardo da Vinci made use of it for they knew of its appealing qualities. Evidence suggests that classical music composed by Mozart, Beethoven, and Bach embraces Phi. Whether it was by design or intuitive is not known. Phi must be considered in its relation to the human psyche since it is the psyche that interprets this phenomena. Although Phi appears to be fixed in nature, it actually is not. The only reason it seems fixed is because it is fixed within our own minds. This proportion corresponds to the mental vibrations that are within us and dictate our sense of pleasure and pain, beauty and ugliness, love and hate, etc. The result is we are held captive by these memories fixed by both body and mind. For if we were to view nature from an altered state of consciousness, the proportion would also be altered. Therefore, the Divine Proportion presents itself in the very physical nature of Creation. It is seen as the beauty and organization within the cosmos. It is the harmony and glue that holds the unity of the universe.
ELECTRIC ET CIRCLE ET CIRCLE ET ELECTRIC
EUCLID ID CLUE EUCLID EUCLID 94 3335 EUCLID EUCLID ID CLUE EUCLID
EUCLID L DICE U EUCLID EUCLID 3 4935 3EUCLID EUCLID L DICE U EUCLID
PENTAGRAM 5 PENTAGRAM 755217914 FIVE 5 FIVE 755217914 PENTAGRAM 5 PENTAGRAM
The Meaning Of A Pentagram www.angelfire.com/id/robpurvis/pentagram.html The Pentagram is a symbol of a star encased in a circle. Always with 5 points (one pointing upward), each has its own meaning. The upward point of the star is ... The number 5 - Human stars - Golden proportion - Protection against evil
Pentagram - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Pentagram The Sumerian pentagrams served as pictograms for the word "UB" meaning "corner, angle, nook; a small room, cavity, hole; pitfall", suggesting something very ... Classification - Early history - European occultism - Religious symbolism
Pentagrams: Meaning and History (The Cauldron: A Pagan Forum) www.ecauldron.net › Article Library › Miscellaneous While the Pentagram is often associated with Satanists in the modern American mind, it has a long history of positive usage both by Pagans and Christians, ...
Symbols and their meaning www.crossroad.to/Books/symbols1.html Keep in mind that many of these symbols have double or multiple meanings. For example, the pentagram has been used to transmit occult power in all kinds of ... The Pentagram and Ram's Head www.jesus-is-savior.com/False%20Religions/.../pentagram.htm
PENTACLES AND PENTAGRAMS www.religioustolerance.org/wic_pent.htm 22 Sep 1999 – The terms pentagram and pentacle are sometimes used interchangeably. However, we believe that the most common precise meanings are: ...
The pentagram freemasonry.bcy.ca/anti-masonry/pentagram.html 18 Jun 2007 – Pentagram: from the Greek, "pente", meaning five and "gramma", a letter; the pentagram is a five pointed figure formed by producing the sides ...
What is the meaning of the pentagram wiki.answers.com › ... › Alternative Religions › Paganism The pentagram is drawn with a single interwoven line. A pentacle is a pentagram with a circle drawn around it. The meanings of this vary. To me, it symbolizes ...
From here to there | Pentacle Wicca Meaning, Pentagram Wiccan ... spellworks.net/?page_id=18 The Pentagram The pentacle, or pentagram, is the most revered and most popular sign of the craft. It is similar to the Cross or Crucifix of the Christian.
The Meaning of the Pentagram on LDS Temples www.softcom.net/.../... To say that the LDS Church is Satanic because of its use of the inverted pentagram, is like saying that Buddhists are Nazi's for their use of the swastika.
STARS 5 STARS PENT 55 PENT PENTAGRAM 5 PENTAGRAM
PENTATEUCH 5 PENTATEUCH PENT U TEACH 5 TEACH U PENT PENTATEUCH 5 PENTATEUCH FIVE BOOKS 5 BOOKS FIVE PENTATEUCH 5 PENTATEUCH PENTATEUCH 5 PENTATEUCH PENT U TEACH 5 TEACH U PENT PENTATEUCH 5 PENTATEUCH
TORAH TO RAH TO RAH TORAH IS THAT SOME OF MOSES 5 IS 5 IS 5 MOSES OF SOME THAT IS
TORAH GENESIS EXODUS LEVITICUS NUMBERS DEUTERONOMY
"The Pentateuch consists of the first five books of the. OT: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy ". Torah - Wikipedia, the free encyclopedia Scholars usually refer to the first five books of the Hebrew Bible as the Pentateuch, a term first used in the Hellenistic Judaism of Alexandria, meaning five books, ...
Torah reading - Torah study - Sefer Torah - Mishneh Torah A. The Pentateuch consists of the first five books of the. OT: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy B. The term "Pentateuch" comes from the ...
CATHOLIC ENCYCLOPEDIA: Pentateuch The name of the first five books of the Old Testament.
Pentateuch - Definition and More from the Free Merriam-Webster ...
PENTATEUCH - JewishEncyclopedia.com The five books of Moses. The word is a Greek adaptation of the Hebrew expression "ḥamishshah ḥumshe ha-Torah" (five-fifths of the Law) applied to the books ...
The Pentateuch -- the first five books of the Bible
Pentateuch - definition of Pentateuch by the Free Online Dictionary ...
Chapter 3: The Analysis of the Pentateuch
Pentateuch | Define Pentateuch at Dictionary.com
Amazon.com: The Pentateuch as Narrative: A Biblical-Theological ... Searches related to pentateuch septuagint pentateuch pronunciation pentateuch books pentateuch definition talmud torah pentateuch pronounce
PARADISE THE GARDEN OF EDEN PARADE EYES IN THE GARDEN OF NEED
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THE HEART OF GODS ART THE ART OF GODS ART THE R HEAT HEART OF GODS ART SQUARING THE CIRCLE THE SQUARING
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Mycenaean Greek - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Mycenaean_Greek (see also: Greek alphabet) .... The use of -eus to produce agent nouns; The third person singular ending -ei; The infinitive ending -ein (contracted from -e-en) ...
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THE WHITE GODDESS Robrert Graves circa 1960 "eus"
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FROM ATLANTIS TO THE SPHINX RECOVERING THE LOST WISDOM OF THE ANCIENT WORLD Colin Wilson 1996 Page 262 9 Of Stars and Gods IN THE SUMMER OF 1933, a 39-year-old Scot named Alexander Thom anchored his sailing yacht in East Loch Roag, north-west of the island of Lewis in the Hebrides. Thom was an aeronautical engineer whose lifelong passion was sailing. As the moon rose, he looked up and saw, silhouetted against it, the standing stones of Callanish, 'Scotland's Stonehenge'. After dinner, Thorn walked up to it, and looking along the avenue of menhirs, realised that its main north-south axis pointed direct at the Pole Star. But Thom knew that when the stones were erected - probably before the Great Pyramid - the Pole Star was not in its present position. So how did the men who built it manage to point it with such accuracy to geographical north? To do this, with such incredible precision as is revealed at Callanish, would require something more than guesswork. One way would be to observe the exact position of the rising sun and the setting sun, and then bisect the line between them - but that can only be done accurately in flat country, where both horizons are level. Another would be to observe some star close to the pole in the evening, then again twelve hours later before dawn, and bisect that line.Thom could see that it would be an incredibly complicated business involving plumb lines and upright stakes. Obviously, these ancient engineers were highly sophisticated. Page 263 Thom began to study other stone circles, most of them, virtually unknown. They convinced him that he was dealing with men whose intelligence was equal to, or superior to, his own - a television programme about his ideas. referred to them. as 'prehistoric Einsteins'. The idea staggered - and enraged - most archaeologisrs. The astronomer Sir Norman Lockyer had observed, around the beginning of the twentieth century, that Stonehenge might be a kind of astronomical calculator, marking the positions of the sun and moon, but no one - had taken him very seriously, for most 'experts' were convinced that the builders of Stonehenge were superstitious savages, who probably conducted human sacrifices on the altarstone.Thom was asserting that, on the contrary, they were master-geometers. Moreover, most of. these stone circles were not circles: some were shaped like eggs, some like letter Ds, Yet the geometry as Thom discovered through years of study and calculation - was always precise. How did they do it? Thom finally worked out that the 'circles' were built around 'Pythagorean triangles' - triangles whose sides -were, respectively 3, 4 and 5 units long (so the square on the hypotenuse was equal to the sum of the squares on the - other two sides). And why did they want these circles? That was more difficult to answer. Presumably to work out such things as the phases of the moon, the movement of the sun between the solstices and equinoxes, and to predict eclipses. But why did they want to predict-eclipses?' Thom admitted that he did 'not know, but he mentioned a story of, two ancient Chinese astronomers losing their heads because. they failed to predict an eclipse - which. meant that the ancients attached immense importance to eclipses. 'There was another interesting problem. If these ancient men were so skilled in geometry, how did they' remember it all? No stone or clay-tablets inscribed with-geometrical / Page 265 / propositions has come down to us from the megalith builders. But then, we do know that the ancient Greeks . knew their Homer - and other poets by heart. They had trained their memories until they could recite hundreds of, thousands of lines. The Iliad. and Odyssey we read in books had been passed down for centuries in the memory of bards - this is why bards. Were so highly respected. When Alexander Thom died, at the age of 91, in 1985, he was no longer regarded as a member of the lunatic fringe; many. respectable archaeologists and experts on ancient Britain had become his firmest supporters. Moreover, the British astronomer Gerald Hawkins had confirmed Thom's most important assertions by feeding the data from monuments like Stonehenge through his computer at Harvard, and proving. that there were astronomical alignments. One of Thom's most interesting followers, the Scottish academic Anne Macaulay, has followed in Thom's foot steps with a theory that is just as controversial. In Science and Gods in Megalithic Britain, she starts from Thom's assumption that the earliest geometry was a tradition which was not written down, and that it was connected with astronomy.' She then asked. herself how ancient astronomers could have stored their knowledge in the absence of phonetic writing (which was developed by the Greeks and Phoenicians after 2000 BC). Obviously, memory has to be the answer. But not memory in the sense we speak of it today. It is a little-known fact that the ancients had developed a complex art of memory, which they regarded as comparable to any of the other arts or sciences. The scholar Frances Yates has written about it in her book The Art of Memory (1966) and shows how we can trace it back to the ancient Greeks, and how it survived down to the time of Shakespeare. The art of memory did not simply depend on brain power, but upon a complicated series of mnemonics (devices for helping us remember, like 'roygbiv' for the / Page 266 / colours of the rainbow). Anne Macaulay's suggestion is that the phonetic alphabet was created as a series of mnemonics to record positions of the polar stars, and that the word 'Apollo' - the god of music - was one of these basic mnemonics. The letters, from A to U, were created as mnemonics for certain geometric theorems or figures, with which numbers were associated. (In fact, Anne Macaulay's starting point was her study of the ancient Greek musical scale.) Her theory of ancient history, and the geometry of megalithic circles, is too complicated to detail here. But she reaches one thought-provoking conclusion: that when this 'code' is used to encapsulate the extreme southerly rising of the moon, the ideal spot to build an observatory is precisely where Stonehenge is placed. Another is that all this indicates that ancient Greek science - including Pythagoras (who was born about 540 BC) - probably originated in Europe - the exact reverse of a suggestion' made in the nineteenth. century that Stonehenge was built by Mycenaean Greeks. She suggests that the early Greeks may have been British tin traders from Cornwall. Since we know that the construction of Stonehenge began about 3100 BC, her theory also implies that phonetic writing is about fifteen hundred years older than we at present assume. From our point of view, the importance of this whole argument is its suggestion that geometry and astronomy existed in a sophisticated form long before there was an accurate method of writing it down. Anne Macaulay believes - as Thom does - that it can be read in the geometry of megalithic circles and monuments, and that their builders are trying to pass a message on to us - just as Robert Bauval and Graham Hancock believe (as we shall see) that the ancient Egyptians were passing on a message in the geometry of Giza. Page 267 When did our ancestors begin to use mnemonics to record the movements of the sun and moon? Incredibly, the answer to that question seems to be at least 35,000 years ago. In the 1960s, a research fellow of the Peabody Museum named Alexander Marshack was studying the history of civilisation, and was troubled by what he called 'a series of "suddenlies" '. Science had begun 'suddenly' with the Greeks, mathematics and astronomy had appeared 'suddenly' among the Egyptians, the Mesopotamians and the Chinese, civilisation itself had begun 'suddenly' in the Fertile Crescent in the Middle East. In short, Marshack was bothered by the same question that had troubled Schwaller de Lubicz and John Anthony West. And, like Schwaller and West, Marshack decided that these things had not appeared 'suddenly', but after thousands of years of preparation. .He was curious to know whether there was any archaeological evidence that man indulged in seasonal (he calls them 'time factored') activities like agriculture in the days 'before civilisation'. At this point, he became fascinated by strange markings on pieces of bone dating from the Stone Age. Under a microscope, he could see that they were made with many different tools, which indicated that they were not made at the same time. He finally reached the conclusion that one series of marks forming a curved line on a 35,000- year-old bone were notations of the phases of the moon. Which meant that, in a sense, Cro-Magnon man had invented 'writing'. But why? Why should he care about the movements of the sun and moon? To begin with, because he was intelli gent - as intelligent as modern man. He probably regarded himself as highly civilised, just as we do. And an intelligent person needs a sense of time, of history. Marshack mentions a 'calendar stick' of the Pima Indians of America, which represents their history over 44 years. This means / Page 268 / that the Indian 'story teller' could take the stick, point out some distant year, and recount its history - represented-by dots or spirals or other faint marks. Cro-Magnon man' of :)5,000 years ago would probably have done-much-the same thing. And then, of course, a calendar would be useful to hunters, telling them when the deer or other prey would be returning. It would be useful to pregnant women who :wanted to know when they were due to give birth. In fact, a calendar is one of the basic needs of civilisation, the equivalent of modern man's digital watch. But of course, we are forgetting. another vital' factor. If Schwaller is correct, Cro-Magnon man was interested in the sun and moon, for another reason: because he was sensitlveto their rhythms, and experienced them as living forces. Today, even the most sceptical scientist acknowledges the. influence of the moon on mental patients; any doctor who has worked in a hospital. will verify that certain patients are affected by the full moon. Yet compared to aboriginal peoples, civilised man has lost most of his sensitivity to nature. If. we want to understand our Cro-Magnon ancesters, then we have to try to imagine human beings who are as sensitive.to the sun, moon and other natural forces (like (earth magnetism) as a mental patient is to the full moon. In The Roots of Civilisation, Marshack. comments: 'Though In the Upper Palaeolithic explanations were by story and via image and symbol, there was a high intelligence, cognition, rationality, knowledge and technical skill involved.'2 In other words, Stone Age man possessed all the abilities needed to create civilisation. And yet although he was poised on the brink of civilisiation 35,OOO years ago, living in' a community sufficiently sophisticated to need a knowledge of astronomy, we are asked to believe that it actually took him another 25,000 years before he began to take the, first hesitant steps towards building the earliest cities. Page 269 It sounds, on the whole, rather unlikely. In his bafflingly obscure book, The White Goddess, the poet Robert Graves puts forward a view that is in total accord with Marshack's conclusions. He argues-'that worship of the-moon goddess (the 'white goddess') was the original universal religion of mankind, which was supplanted at a fairly late stage by worship of the sun god . Apollo, whom he regards as a symbol of science and ' rationality - that is, of left-brain knowledge, as opposed to the right-brain intuition that he associates with the goddess . Graves explains that he was reading Lady Charlotte Guest's translation of the Welsh epic The Mabinogion when he came upon an incomprehensible poem called 'The Song of Taliesin'. Suddenly he knew ('don't ask me how') that the lines were a series of mediaeval riddles, to which' he knew the answers. He also knew ('by inspiration') that the riddles were linked with a Welsh tradition about a Battle of the Trees, which was actually about a struggle between two Druid priesthoods for the control of learning. The Druid alphabet was a closely guarded secret, but its eighteen letters were the names of trees, whose consonants stood for the months of which the trees were characteristic, and the vowels for the positions of the sun.with its equinoxes and solstices. The 'tree calendar' was in use through out Europe and the Middle East in the Bronze Age, and was associated with the Triple Moon Goddess. This cult, says Graves, was slowly repressed by 'the busy rational cult of the Solar God Apollo, who rejected. the Orphic tree-alphabet in favour of the commercial Phoenician alphabet - the familiar ABC - and initiated European literature and science.' Graves's idea supports Anne Macaulay's notion that the modern alphabet was associated with Apollo. It also supports many of the suggestions made in the last chapter / Page 270 / about the 'magical' mentality of Cro-Magnon man, which has slowly given way to the 'bicameral' mind of today. According to Graves, he did not have to 'research' The White Goddess in the normal sense; he had it 'thrust upon him'. And what was 'thrust upon him' was a whole knowledge system that is based upon a mentality that is totally different from our own - upon 'lunar' rather than 'solar' premises. And this, clearly, is also what Schwaller is attempting to outline in books like Sacred Science, and helps to explain . their obscurity: he is trying to describe a remote and.for gotten vision of reality in a language that is totally unsuited to it.
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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 Lull was 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.
Page 282 "By THE LADDER OF MINERVA we rise from the first to the last..."
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NAMED ME AND U AND ME NAMED ME AND GODS DIVINE THOUGHT NAMED ME NAMED THOUGHT DIVINE GODS AND ME NAMED ME AND U AND ME NAMED
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art. hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it. The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews. An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements. The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala. It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism. Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking. The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations. Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures. Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity. The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10 As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy. Page 17 The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking. And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity. The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'. Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa. The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a startingpoint. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino. Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola. It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.
TRIANGLE 5 TRIANGLE CIRCLE 5 CIRCLE SQUARE 9 SQUARE
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL Page 13 An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
ABCD 1234 ABCD BCDEFGHIK 234567892 BCDEFGHIK
THREES 3 THREES
LULL 3333 LULL
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 136 Page 135 (number omitted) "No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line." "Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)" "Page 139 He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned. Awaiting damnation he calls on Christ, and there comes the famous line " See see where Christs bloud streames in the firmament.11"
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT 155 155 58595 3899121 23634 12951451 95 285 699414552 IS 9 IS 9 IS 9 IS 155 155 58595 3899121 23634 12951451 95 285 699414552 SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
ZOHAR 5 ZOHAR 5 ZOHAR 5 ZOHAR
SEPHIROTH 1 SEPHIROTH PHI'S OTHER NAME OTHER PHI'S SEPHIROTH 1 SEPHIROTH
SEPHIROTH 1 SEPHIROTH PHI'S OTHER CIRCLE OTHER PHI'S SEPHIROTH 1 SEPHIROTH
IS NAUTILUS NEMO OMEN NEMO NAUTILUS IS
MOON SOL SOLOMON IS IS SOLOMON SOL MOON SOLOMON SOL MOON IS IS MOON SOL SOLOMON MOON SOL SOLOMON IS IS SOLOMON SOL MOON
HEART EARTH TERAH THERA THE RA IS IS RA THE THERA TERAH EARTH HEART EARTH THE R THE EARTH HEART THE R THE HEART TERAH THE R THE TERAH THERA THE R THE THERA THE RA IS IS RA THE HEART EARTH TERAH THERA
ISRAEL IS RA EL EL IS RA ISRAEL RA EL IS IS EL RA IS REAL REAL IS RA EL IS IS EL RA ISRAEL IS RA EL EL IS RA ISRAEL
IS RA REAL IS IS REAL RA IS
WISE W IS E WISE W IS E WISE W IS E WISE
WISE W IS E WISE 5 IS 5 WISE W IS E WISE
LUCIFER L U C FIRE IS IS FIRE LUC LUCIFER LUCFIRE IS IS LUCFIRE GODS NAME RE IS IS RE NAME GODS GODS NAME EL IS IS EL NAME GODS SEE L FIRE IS IS FIRE EL SEE U C L FIRE LUCIFER IS IS LUCIFER FIRE UCL GODS NAME RE IS IS RE NAME GODS GODS NAME 95 IS IS 95 NAME GODS GODS NAME RE IS IS RE NAME GODS GOD GAVE NOAH THE RAINBOW SIGN NO MORE WATER FIRE NEXT TIME
1234 5 6789 ONE TWO THREE FOUR 5FIVE5 SIX SEVEN EIGHT NINE 1234 5 6789
THAT THAT THAT IS THAT SEE SAW SEE IS 5 IS SEE SAW SEE
ALL QUIET ON THE WESTERN FRONT IS IT FOR YOU FOR YOU IS IT ?
THE E AZIN OUGHT OF THE OUGHT AZIN THOUGHT THROUGHOUT THAT THAT THAT ISISIS UNIVERSAL MINDS I MINDS UNIVERSAL
I THAT AM THAT TIME EMIT
THE MAHABHARATA
MAHABHARATA ABRAHAM MAHABHARATA
C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C SO C RISH 999 RISH C SO C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C
CREATION C RE ACTION RE C CREATION REACTORS CREATORS REACTORS
ATUM 1234 ATUM GOD IS GREAT IS GREAT IS GOD
Allahu Akbar (disambiguation) - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Allahu_Akbar_(disambiguation) Allahu Akbar (Arabic: الله أكبر) is a phrase, called Takbir in Arabic, meaning "God is greater" or "God is [the] greatest". Allahu Akbar or Allahu Ekber and similar ...
ALLAHU AKBAR 133183 ALLAHU AKBAR TAKBIR 212200 TAKBIR GOD IS GREATER IS GOD GOD IS GREATEST IS GOD ALLAHU EKBER 133183
IRVING BERLIN WROTE "I'LL BE LOVING YOU, ALWAYS" IN 1925. JOSEPHINE BAKER MADE THE FIRST RECORDING IN 1926.
FRANK SINATRA RECORDED THE SONG IN 1942. THAT SAME YEAR, THE SONG BECAME THE THEME MUSIC FOR "PRIDE OF THE YANKEES", THE STORY ABOUT LOU GEHRIG.
THE MOVIE STARRED GARY COOPER, TERESA WRIGHT, AND WALTER BRENNAN. IT WAS NOMINATED FOR ELEVEN ACADEMY AWARDS. "OLD BLUE EYES" IS SINGING "I'LL BE LOVING YOU, ALWAYS." 1915-1998
I'LL BE LOVING YOU, ALWAYS, WITH A LOVE THAT'S TRUE, ALWAYS. WHEN THE THINGS YOU'VE PLANNED, NEED A HELPING HAND, I WILL UNDERSTAND, ALWAYS, ALWAYS...
DAYS MAY NOT BE FAIR, ALWAYS, THAT'S WHEN I'LL BE THERE, ALWAYS. NOT FOR JUST AN HOUR, NOT FOR JUST A DAY, NOT FOR JUST A YEAR, BUT ALWAYS.
I'LL BE LOVING YOU, ALWAYS, WITH A LOVE THAT'S TRUE, ALWAYS. WHEN THE THINGS YOU'VE PLANNED, NEED A HELPING HAND, I WILL UNDERSTAND, ALWAYS, ALWAYS...
NOT FOR JUST AN HOUR, NOT FOR JUST A DAY, NOT FOR JUST A YEAR, BUT ALWAYS WITH A LOVE THAT'S TRUE, ALWAYS. WHEN THE THINGS YOU'VE PLANNED, NEED A HELPING HAND, I WILL UNDERSTAND, ALWAYS, ALWAYS...
DAYS MAY NOT BE FAIR, ALWAYS, THAT'S WHEN I'LL BE THERE, ALWAYS. NOT FOR JUST AN HOUR, NOT FOR JUST A DAY, NOT FOR JUST A YEAR, BUT ALWAYS.
W.B. Yeats (1865–1939). The Wind Among the Reeds. 1899. 9. The Song of Wandering Aengus
I WENT out to the hazel wood,
Matthew Arnold - Morality With aching hands and bleeding feet Then, when the clouds are off the soul, And she, whose censure thou dost dread, 'There is no effort on my brow-- 'I knew not yet the gauge of time,
'If'by Rudyard Kipling, famous inspirational poems and quotes
home » amusement/stress relief » if - rudyard kipling if - rudyard kipling The beauty and elegance of 'If' contrasts starkly with Rudyard Kipling's largely tragic and unhappy life. He was starved of love and attention and sent away by his parents; beaten and abused by his foster mother; and a failure at a public school which sought to develop qualities that were completely alien to Kipling. In later life the deaths of two of his children also affected Kipling deeply. Rudyard Kipling achieved fame quickly, based initially on his first stories and poems written in India (he returned there after College), and his great popularity with the British public continued despite subsequent critical reaction to some of his more conservative work, and critical opinion in later years that his poetry was superficial and lacking in depth of meaning. Significantly, Kipling turned down many honours offered to him including a knighthood, Poet Laureate and the Order of Merit, but in 1907 he accepted the Nobel Prize for Literature. Kipling's wide popular appeal survives through other works, notably The Jungle Book (1894) the novel, Kim (1901), and Just So Stories (1902).
'if' by rudyard kipling
If you can dream - and not make dreams your master, If you can make one heap of all your winnings If you can talk with crowds and keep your virtue, Rudyard Kipling (1865-1936)
Kipling is said to have written the poem 'If' with Dr Leander Starr Jameson in mind, who led about five-hundred of his countrymen in a failed raid against the Boers, in southern Africa. The 'Jameson Raid' was later considered a major factor in starting the Boer War (1899-1902).
Desiderata poem, max ehrmann, go placidly amid the noise and haste ...
desiderata by max ehrmann Whatever the history of Desiderata, the Ehrmann's prose is inspirational, and offers a simple positive credo for life.
desiderata - by max ehrmann As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant, they too have their story. Avoid loud and aggressive persons, they are vexations to the spirit. If you compare yourself with others, you may become vain and bitter; for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time. Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially, do not feign affection. Neither be cynical about love, for in the face of all aridity and disenchantment it is perennial as the grass. Take kindly to the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with imaginings. Many fears are born of fatigue and loneliness. Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe, no less than the trees and the stars; you have a right to be here. And whether or not it is clear to you, no doubt the universe is unfolding as it should. Therefore be at peace with God, whatever you conceive Him to be, and whatever your labors and aspirations, in the noisy confusion of life, keep peace in your soul. With all its sham, drudgery and broken dreams, it is still a beautiful world. Be cheerful. Strive to be happy. Max Ehrmann c.1920
THE CONCISE OXFORD DICTIONARY OF QUOTATIONS 1964 Page 85 Charles Dickens 1812-1870 29 "It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had every- thing before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way". A Tale of Two Cities, bk.i,ch.l 30 "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known." Page 279 W.B.Yeats 1865-1939 And a small cabin build there, of clay and wattles made: Nine bean-rows will I have there, a hive for the honey-bee, And live alone in the bee-loud glade." The Lake Isle of Innisfree Page 94 T.S.Eliot 1888-1965 9 "Macavity, Macavity, there's no one like Macavity, There never was a Cat of such deceitful-ness and suavity. He always has an alibi, and one or two to spare: At whatever time the deed took place- MACAVITY WASN'T THERE!" Macavity: The Mystery Cat Page 93 9 Because I do not hope to know again The infirm glory of the positive hour. Ash Wednesday,1 10 Teach us to care and not to care Teach us to sit still.
11 Round and round the circle Completing the charm So the knot be unknotted The crossed be uncrossed The crooked be made straight And the curse be ended. The Family Reunion,II.iii 12 Sometimes these cogitations still amaze The troubled midnight and the noon's re-pose. La Figlia Che Piange 13 Time present and time past Are both perhaps present in time future, And time future contained in time past. Four Quartets. Burnt Norton, 1 14 Humankind Cannot bear very much reality. 15 In my beginning is my end. East Coker, I 16 A way of putting it-not very satis- factory: A periphrastic study in a worn-out poetic- al fashion, Leaving one still with the intolerable wrestle With words and meanings. 17 The wounded surgeon plies the steel That questions the distempered part; Beneath the bleeding hands we feel The sharp compassion of the healer's art Resolving the enigma of the fever chart. 18 Each venture Is a new beginning, a raid on the inarticu-late With shabby equipment always deteriorat-ing In the general mess of imprecision of feeling. 19 What we call the beginning is often the end And to make an end is to make a begin-ning. The end is where we start from. Little Gidding, 20 We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. 21 An old man in a dry month. Gerontion 22 We are the hollow men We are the stuffed men Leaning together Headpiece filled with straw. Alas! The Hollow Men,1 23 Here we go round the prickly pear Prickly pear prickly pear. 24 This is the way the world ends Not with a bang but a whimper. 25 A cold coming we had of it, Just the worst time of the year For a journey, and such a long journey: The ways deep and the weather sharp, The very dead of winter. Journey of the Magi;. See 2:11 1 And the cities hostile and the towns un-friendly And the villages dirty and charging high prices. 2 But set down This set down This: were we led all that way for Birth or Death? There was a Birth, certain-ly, We had evidence and no doubt. I had seen birth and death, But had thought they were different; this Birth was Hard and bitter agony for us, like Death, our death. We returned to our places, these King-doms, But no longer at ease here, in the old dispensation, With an alien people clutching their gods. I should be glad of another death. 3 Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table. The Love Song of J. Alfred Prufrock 4 In the room the women come and go Talking of Michelangelo. The yellow fog' that rubs its back upon the window-panes. 5 I have measured out my life with coffee spoons. 6 I should have been a pair of ragged claws Scuttling across the floors of silent seas. 7 No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two. 8 I grow old...I grow old... I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mennaids singing, each to each; I do not think that they will sing to me. 9 Macavity, Macavity, there's no one like Macavity, There never was a Cat of such deceitful- ness and suavity. He always has an alibi, and one or two to spare: At whatever time the deed took place- MACAVITY WASN'T THERE!" Macavity: The Mystery Cat 10 I am aware of the damp souls of house- maids Sprouting despondently at area gates. Morning at the Window 11 Yet we have gone on living, Living and partly living. Murder ill the Cathedral, pt. I 12 Friendship should be more than biting Time can sever. 13 The last temptation is the greatest treason: To do the right deed for the wrong reason. 14 The Naming of Cats is a difficult matter, It isn't just one of your holiday games; At first you may think I'm as mad as a hatter When I tell you a cat must have THREE DIFFERENT NAMES. The Naming of Cats 15 The winter evening settles down With smell of steaks in passageways. Six o'clock. The burnt-out ends of smoky days. Preludes, I 16 You'd be bored. Birth, and copulation, and death. That's all the facts when you come to brass tacks: Birth, and copulation and death. I've been born, and once is enough. Sweeney Agonistes, Fragment of an Agon 17 The nightingales are singing near The convent of the Sacred Heart, And sang within the bloody wood When Agamemnon cried aloud And let their liquid siftings fall To stain the stiff dishonoured shroud. Sweeney Among the Nightingales 18 April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. The Waste Land. I. The Burial of the Dead 19 And I will show you something different from either Your shadow at morning striding behind you, Or your shadow at evening rising to meet you I will show you fear in a handful of dust. 20 A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Page 95 8 Whispers of Imortality
ALICE'S ADVENTURES IN WONDERLAND Lewis Carroll Page 161 "...and was just saying to herself, 'if one only knew the right way to change them-' when she was a little startled by seeing the Cheshire Cat sitting on a bough of a tree a few yards off. The Cat only grinned when it saw Alice. It looked good-natured, she thought: still it had very long claws and a great many teeth, so she felt that it ought to be treated with respect. 'Cheshire Puss,' she began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. 'Come, it's pleased so far,' thought Alice, and she went on. 'Would you tell me, please, which way I ought to go from here?' 'That depends a good deal on whsre you want to get to,'said the Cat. 'I don't much care where-' said Alice. 'Then it doesn't matter which way you go,' said the Cat. '-so long as I get somewhere,' Alice added as an explanation. 'Oh, you're sure to do that;' said the Cat, 'if you only walk long enough.' Alice felt that this could not be denied, so she tried another question. 'What sort of people live about here?' 'In that direction,' the Cat said, waving its right paw round, 'lives a Hatter: and in that direction,' waving the other paw, 'lives a March Hare. Visit either you like: they're both mad.' 'But I don't want to go among mad people,' Alice remarked. 'Oh, you ca'n't help that,' said the Cat: 'we're all mad here.I'm mad, You're mad.' 'How do you know I'm mad?' said Alice. 'You must be,' said the Cat; 'or you wouldn't have come here,'
Stephen Hawking Quest for a Theory of Everything The story of his life and work Kitty Ferguson 1991 Page 95 "A few physicists like to make a connection between an observer-dependent universe and some of the ideas in Eastern mysticism: Hinduism, Buddhism, and Tao/Page 96/ism. They get no encouragement from Hawking, who says "The universe of Eastern mysticism is an illusion."
The Death Of Forever A New Future for Human Consciousness Darryl Reanney (1995 Edition) Page 218 " The father of the so-called 'Copenhagen interpretation'of quantum mechanics , Niels Bohr speculated as far back as 1958 that key points in the regulatory mechanisms of the brain might be so delicately balanced that they could be affected by quantum me-chanical events. Significantly, eminent brain biologist John.C.Eccles seems to agree. As Eccles has observed : This means that the Y node choices that are almost evenly /Page 219 /balanced between two outcomes are most likely to be susceptible to quantum influences because it is only in these near-equipoise situations that the quantum flunctuations are the 'feather on the scale' that tips the balance one way or the other." Page 219"…Quantum fluctuations could also express those thoughts that come to us 'in a flash'or 'out of no where'. I wonder what role, if any, they play in intuition. It is possible that the neural centre that 'sees' unity, no matter how much it is 'perfected' by unselfishness, is incapable of determining when it will have its deeper insights. That may well still be a matter of complete chance, or, on the above hypothesis, of quasi-chance and non-causal cross-linkaging. If some Y node choices were quantum in nature, a profound and enduring link would be established between the dynamics of consciousness and the structure of the cosmos itself. It is not in the sense of a presently available scientific theory that I intuitively sense a 'rightness' in Hoyles idea but in the sense of a song of truth, an insight. It may take science years to formulate such a concept in a mathematical way that will win acceptance. Page 219 "Synchronicity refers to the apparently inexplicable coincidences that crop up from time to time. We all have experiences of this type. Page 220 For no apparent reason you may suddenly think of a friend you have not seen for years at the very moment We are getting into deep waters where ordinary experience cannot guide us. So again, as has become my habit in this penultimate Chapter, I will let a more eloquent voice speak for me. Not the voice of a scientist but a poet-writer. In her remarkable retelling of the legend of Arthur, The Mists of Avalon, Marian Zimmer-Bradley Makes her heroine, Morgan le Fay say: for this is the great secret, which was known to all educated men in our day, that by what men think, we create the world around us, daily new. With this discussion of synchronicity and self- consistency, we have arrived at the point where we can begin to see the strange relationship between consciousness and the universe, between the 'thought' within and the 'thing' without.
The Death Of Forever A New Future for Human Consciousness Darryl Reanney (1995 Edition) Page 219 (It was this indeterminate character of quantum mechanics that caused Einstein to complain that God 'did not play dice with the world'.)
QUANTUM ATUM QUANTUM ATUM QUANTUM ATUM QUANTUM ATUM QUANTUM ATUM QUANTUM
The Magic Mountain Page 511 / 512 "The learner must be of dauntless courage and athirst for knowledge, to speak in the style of our theme. The grave, the sepulchre, has always been the emblem of initiation into the society. The neophyte coveting admission to the mysteries must always preserve undaunted courage in the face of their terrors; it is the purpose of the order that he should be tested in them ,led down into and made to linger among them,and later fetched up from them by the hand of an unknown Brother. Hence the winding passages, the dark vaults , through which the novice is made to wander; the black cloth with which the Hall of Strict Observance was hung , the cult of the sarcophagus , which played so important a role in the ceremonial of meetings and initia-tions. The path of mysteries and purification was encompassed by /dangers, it led through the pangs of death , through the kingdom of dissolution; and the learner, the neophyte, is youth itself, thirsting after the miracles of life, clamouring to be quickened to a demonic capacity of experience, and led by shrouded forms which are the shadowing forth of the mystery."
The Magic Mountain "The Making Of" Page726 / 727 "…in the course of his experiences, overcomes his inborn attraction to death and arrives at an Page 727 " "... The Quester legend " "The Quester of the Grail Legend, at the beginning of his wanderings, is often called a fool, a great fool, a guileless fool." Page728 "The seeker of the Grail, before he arrives at the Sacred Castle, has to undergo various frightful and mysterious ordeals in a wayside chapel called the Atre Perilleux. Probably these ordeals were originally rites of initiation, conditions of the permission to approach the esoteric mystery; the idea of knowledge, wisdom, is always bound up with the 'other world,' with night and death." "In The Magic Mountain there is a great deal said of an alche-mistic, hermetic pedagogy, of Page728 "...-who voluntarily, all too voluntarily embraces disease and death, because its very first contact with them gives promise of extraordinary enlightenment and adventurous advancement, bound up, of course, with correspondingly great risks." Page 728/9 "And perhaps you will find out what the Grail is; the knowledge and the wisdom, the consecration the highest reward, for which not only the foolish hero but the book itself is seeking." Page 729 "It is the idea of the human being, the conception of a future humanity that has passed through and survived the profoundest knowledge of disease and death. The Grail is a mystery, but humanity is a mystery too. For man himself is a mystery, and all humanity rest upon reverence before the mystery that is man."
Thomas Wolfe 1900-1938 "The life of a book can be as mysterious and wonderful as the life of a man. Its destiny, like that of man, is often 'touched by that dark miracle of chance which makes new magic in a dusty world."
The Concise Oxford Dictionary of Current English 1974 Edition. 'Exoteric Of doctrines modes of speech, of disciples not admitted to esoteric teaching; commonplace, ordinary, popular;...'
"The Making Of " The Magic Mountain Page711 "These were the moments when the "Seven Sleeper" not knowing what had happened was slowly stirring himself..." Page713 "And we are shrinking shadows by the way side shamed by the security of our shadowdom,"
SRI KRISHNA RISHI KRISHNA SRI KRSNA RISHI KRSNA SHRI KRISHNA RISHI KRISHNA SHRI
CHRIST C HR IS T CHRIST C HERE IS IS HERE C SEE HERE IS THE CHRISTOS THE CHRISTOS IS HERE SEE SO HEAR THIS SEE R I R SEE THIS HEAR SO
THE HOLY CROSS HOLY IS IS HOLY IS LIGHT LOVE LIFE LOVE LIGHT ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE
THE SEE INNER SINNER INNER SEE THE SEE HEAR SEER HEAR SEE GODS I ME I GODS LOVE EVOLVE EVOLVE LOVE
I I THAT AM PERFECT CREATIVITY PERFECT CREATIVITY AM I I THAT AM I AM THAT I NEGATIVE POSITIVE PERFECT BALANCING PERFECT POSITIVE NEGATIVE CREATORS GOOD AND EVIL LIVE VEIL GODS VEIL LIVE EVIL AND GOOD CREATORS ALL R THIS DIVINE THE THOUGHT GODS THOUGHT THE DIVINE THIS R ALL
THE HE AS IN SHE THAT IS ME THAT IS THEE I ME I THEE IS THAT ME IS THAT SHE IS AS HE
DEVIL LIVED GODS GO DO GOOD GODS GODDESSES GODDESSES GODS GOOD DO GO GODS LIVED DEVIL
THERA TERAH EARTH HEART HEAT R R HEAT HEART EARTH TERAH THERA
I ME I THAT AM I AM THAT I THAT THAT THAT TIME EMIT TIME I ME TIME THAT TIME CHANGE THAT CHANGE THAT I ME I THAT KNOW GODS REALITY GODS KNOW REAL REALITY REVEALED IS GODS IS REVEALED REALITY REAL
TIMELESS EARTH Peter Kolosimo 1980 Chapter NINETEEN Page 192 "The Indians say that thousands of years ago their ancestors travelled on great golden discs which were kept airborne by means of sound vibrations at a certain pitch, produced by continual hammer-blows. This is not so absurd as it may seem. Vibrations of a set frequency may have had the effect of increasing the atomic energy of gold, thus re-ducing the weight of the disc and enabling it to overcome gravity.'
The Death Of Forever A New Future for Human Consciousness Darryl Reanney (1995 Edition) Page 33 "The laws of physics have no inbuilt time asymmetery.They work just as well in the future-to-past sense as the past-to-future sense. We see this clearly when we look at the quantum wave .The wave is a ripple of possibility, not a real thing It has neither past nor future; it can be described as travelling forwards in time and backward in time with equal validity. This is true not just of the quantum wave. Subatomic particles exhibit the same disregard for time. "
QUANTUM ATOM ATUM ATOM QUANTUM I HAVE COME HAVE COME HAVE I SO IRIS ISIS OSIRIS IS IS OSIRIS ISIS IRIS SO SO THIS SIRIUS THIS SO OR ION ORION ION OR THE HOURS OF HORUS THE HORUS OF HOURS R ARRIVED ARRIVED R
The Elixir And The Stone A history of Magic and Alchemy 1998 Michael Baigent And Richard Leigh Page 43 " The most famous, important and influential of Arab alchemists Jabir ibn Hayyam was also a Sufi "
The Lure and Romance of Alchemy C. J. S.Thompson 1999 Page 31 / 32 note 1 Julius Ruska ,Tabula Smaragdini 1926 "A translation from an Arab collection of commentaries of the early twelth century known as " "True it is, without falsehood certain most true.That which is
The Lure and Romance of Alchemy A history of the secret link between magic and science Page 33 " In the account of the emerald tablet given by Roger Bacon in the Secretum Secretorum it is stated that "It may be well to quote another and freer translation of this historic text; it can be judged more clearly from this that the writer designed to teach the doctrines of alchemy that were common in the early Christian era. I speak not fictious things, but that which is most certain and most True. What is below is like that which is above , and what is above is like that which is below to accomplish the miracles of One /Page 34/ Thing. And as all things were produced by the One Word of One Being , so all things were produced from the One Thing by adaptation, Its father is the Sun, its mother the Moon , the wind carries it in its belly, its nurse is the earth. It is the father of all perfection throughout the world. The power is vigorous if it be changed into earth. Separate the earth from the the fire , the subtle from the gross, acting prudently and with judgement.Ascend with the sagacity from the earth to heaven, and then again descend to the earth and unite together the power of things superior and things inferior. Thus you will obtain the glory of the whole world and obscurity will fly far from you.This has more fortitude than fortitude itself,because it conquers every solid thing and can penetrate every solid. Thus was the world formed . Hence proceed wonders which are here established .Therefore I am called Hermes Trismegistus, having three parts of the philosophy of the whole world.That which I had to say concerning the operation of the sun is completed." Page (number omitted) "Now you have some idea of the laws governing the life of the macrocosmos and have returned to the earth. Recall to yourself: "as above, so below" I think that already, without any further explanation, you will not dispute the statement that the life of individual man - the microcosmos - is governed by the same laws - "Glimpses of Truth."
AS ABOVE SO BELOW IS AN EXPRESSION WHICH REFERS TO COSMOSES
The Magic Mountain Thomas Mann 1875-1955 Page 510 "The higher degrees of Freemasonary were initiates of the 'physica et mystica ,'the representatives of a magic natural science, they were in the main great alchemists" / Page 511 / of sulphur and mercury,the res bina,the double-sexed prima ma-teria was no more ,and no less, than the principle of levitation, of the upward impulse due to the working of influences from with-out. Instruction in magic if you like." The primary symbol of alchemic transmutation "
The FULCANELLI phenomenon Kenneth Rayner Johnson 1980 Page 195 " As Prince Stanislas Klossowski de Rola expresses it: / Page 196 / coagula. This formula and this emblem symbolize the alternating role of the two indespensible halves that compose the whole. Solve et coagula is an injunction to alternate dissolution, which is a spiritualization or sublimation of solids, with coagulation, that is to say a re-matrialization of the purified products of the first operation. Its cyclic aspect is clearly expressed by Nicholas Valois: " Solvite corpora et coagulate spiritum " ; " Dissolve the body and coagulate the spirit." ' note 1 / Page197 / of the fire remains red, as it were flesh. But our son the King / Page 198 / inevitable re-formation. ( This may be compared quite favourably with a cyclic universe, which begins as a primal atom containing everything,explodes to form the cosmos, then ultimately collapses back upon itself eventually to repeat the process over again ad infinitum)This process similarly applied on a lesser scale to all living entities including the earth, which went through an obvious cycle of birth, growth, decay death, and re-birth annually. Man himself also followed this assumed pattern of birth, life death and re-birth.
Supernature Lyall Watson 1974 Edition Page 97/ 98 "Sound, of course, is a vibration that can be conducted only through an elastic medium; it cannot travel through a vac-uum. Electromagnetic waves do travel through free space, and we know far less about factors governing their resonance. There is however, one quite extraordinary piece of evidence which suggests that shape could be important in receiving even cosmic stimuli. It comes from those favourites of mystics throughout the ages-the pyramids of Egypt. Page 99 "…We can only guess that the Great Pyramid and its little imitations acts as lenses that focus en-ergy or as resonaters that collect energy,…"
The Magic Mountain Thomas Mann 1875-1955 Page 511 "Hermetics - what a lovely word "
Brahma
TIMELESS EARTH Peter Kolosimo 1980 Chapter NINETEEN Page 190 " The territory known to scholars as ancient Peru is not coter-minous with that country as it exists today, but extends to the headwaters of the Amazon, the Andean zones of Equador and Bolivia, and parts of northern Chile and north-western Argentina. Throughout this large area, day to day life showed a considerably higher level of civilization than in Central America and the contrasts between culture and barbarism were less marked. / Page 192 / ports on Andean heights we may quote the following as we received it from La Paz: Page 193 '… To quote Pauwels and Bergier (op. Cit.,p. 197: ' The U.S. archaeologist Hyatt Verrill spent thirty years investigating the lost civilizations of Central and South America. . . In his fine novel, The Bridge of Light, he described a pre-Incaic city protected by a rocky defile which could only be crossed by a bridge con-structed of ionized matter which could be made to appear and diappear at will. Verrill,who died at the age of eighty, insisted to the last that this was much more than a legend, and his wife who survives him, is of the same opinion.' Page 195 "A message from the Infinite"
CHAPTER TWENTY Page 200 " The Chimu empire, with Chanchan as its capital, extended along the northern coast of Peru from north of Lima to the present border with Ecuador.The Chimu people must have descended from inhabitants of Mexico who sailed southward about the beginning of the Christian era founding the cultures of Salinar,Gallinazo and Mochica. As time went on, these settlements united with others along the Moche river creating an empire which lasted from about A.D. 500 to 1400; it was then conquered by the Incas, who borrowed much from it in the field of art, customs and mythology." Page 203 " This brings our story as far as the Incas. We shall use this name for them, as do most archaeologists and historians, but it should be born in mind that 'Inca'was a title originally confined to the ruler and the aristocracy, while the common folk were called Quechua Indians (as they still are today)." The first ruler who emerges from myth into a shadowy form of history is Sinchi Roca, who reigned about 1150. "The ancient American sovereigns were called 'sons of the Sun'as were those of Egypt, Assyria and Crete and also the Chinese emperors, especially the Chou dynasty" Page 182 "Garcilaso Inca de la Vega. Garcilaso, who lived from 1539 to 1616" "…We may also quote from Beltran Garcia, a Spaniard who wishes to revive the sun worship of the Incas and claims to be a descendant of Garcilaso Inca de la Vega. Garcilaso, who lived from 1539 to 1616, was the son of a conquistador and an Inca princess; he wrote a history of the Incas and is said by / his descendant to have left important documents that remain unpublished. One of the most bizzare of Beltran Garcia's stories, allegedly based on these documents, is as follows;
The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein, [1] describes a psychological phenomenon involving a vague and ... en.wikipedia.org/wiki/Pareidolia The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein,[1] describes a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include images of animals or faces in clouds, the man in the moon, and hidden messages on records played in reverse. The word comes from the Greek para- — beside, with or alongside — and eidolon — image (the diminutive of eidos — image, form, shape). Pareidolia is a type of apophenia. EXAMPLES Religious Further information: Perceptions of religious imagery in natural phenomena There have been many instances of perceptions of religious imagery and themes, especially the faces of religious figures, in ordinary phenomena. Many involve images of Jesus, the Virgin Mary, or the word Allah. In 1978, a New Mexican woman found that the burn marks on a tortilla she had made appeared similar to Jesus Christ's face. Thousands of people came to see the framed tortilla.[2] The recent publicity surrounding sightings of religious figures and other surprising images in ordinary objects, combined with the growing popularity of online auctions, has spawned a market for such items on eBay. One famous instance was a grilled-cheese sandwich with the Virgin Mary's face.[3] In September, 2007, the so-called "monkey tree phenomenon" caused a minor social mania in Singapore. A callus on a tree there resembles a monkey, and believers have flocked to the tree to pay homage to the Monkey God.[4] [edit] Rorschach test Main article: Rorschach inkblot test
The Rorschach inkblot test uses pareidolia to attempt to gain insight into a person's mental state.[2][edit] Audio In 1971, Konstantin Raudive wrote Breakthrough, detailing what he believed was the discovery of electronic voice phenomenon (EVP). EVP has been described as auditory pareidolia.[2] The allegations of backmasking in popular music have also been described as pareidolia.[2] edit] Explanations [edit] Carl Sagan Carl Sagan hypothesized that as a survival technique, human beings are "hard-wired" from birth to identify the human face. This allows people to use only minimal details to recognize faces from a distance and in poor visibility, but can also lead them to interpret random images or patterns of light and shade as being faces.[5] [edit] Clarence Irving Lewis In his 1929 book Mind and the World Order, epistemologist and logician Clarence Irving Lewis, a founder of the philosophical school of conceptual pragmatism, used the question of how to determine whether a perception is a mirage as a touchstone for his philosophical approach to knowledge. Lewis argued that one has no way of knowing whether or not perceptions are "true" in any absolute sense; all one can do is determine whether one's purpose is thwarted by regarding it as true and acting on that basis. According to this approach, two people with two different purposes will often have different views on whether or not to regard a perception as true. [6] Gallery (Images omitted)
FROM ATLANTIS TO THE SPHINX RECOVERING THE LOST WISDOM OF THE ANCIENT WORLD Colin Wilson 1996 Page 294 Bauval and Hancock suggest, very reasonably, that Snofru built them in that place for a purpose - to signal the beginning of the great design. And where is Osiris (Orion) at this time? He has also arrived virtually in 'Sokar'. The vernal point and the con stellation of Orion - and the star Sirius (Isis) - are now in the same area of the sky. It was not so in 10,500 BC. As you faced due east towards Leo - which is where the vernal point was situated - you had to turn through a full 90 degrees to look at Orion. Now, eight thousand years later, they have come together. This, say Bauval and Hancock, is why the Great Pyramid was built eight thousand years after the Sphinx. The 'heavens' were finally ready for it. And their logic seems virtually irrefutable. Provided you agree that the ancient Egyptians knew all about precession - and no one now seriously doubts this - and that Orion was their most important constellation, then it is impossible to disagree that the moment when the vernal point moved into the same area as Orion was perhaps the most important moment in Egyptian history. What followed was the building of the pyramids at Rostau, with their arrangement pointing back clearly to the 'first time' in 10,500 BC. Then came the ceremony that the pharaoh now under took to send Osiris back to his proper home, which would also gain immortality for himself and for his people. This ceremony took place at the time of the dawn-rising of Sirius. But it began ten weeks earlier. Sirius was absent for seventy days below the horizon (due, of course, to the fact that the earth is tilted on its axis). So, of course, was its near neighbour Orion - Osiris. It seems highly probable that a ceremony to 'rescue' Osiris took place every year. But the ceremony that took place at the time of the summer solstice - the event that announced the flooding of the Nile - in the year after Page 295 the completion of the Great Pyramid, would have been climactic. The Horus-pharaoh - presumably Cheops - had to undertake, a journey to bring his father Osiris back to life, In his form as the sun, he had to cross the great river -e the Milky Way - in his solar boat, and journey to the eastern horizon, where Osiris was held captive. Inhis form as the king, he had to cross the Nile in a boat; then journey to Giza, to stand before the breast of the Sphinx. Bauval and Hancock write: As the 'son of Osiris' he emerged from' the womb of Isis, i.e. the star Sirius, at dawn on the summer solstice ... It was then - and there - both at the sky horizon and the earth 'horizon' that the Horus-King was meant to find himself in front of the Gateway to Rostau. Guarding that Gateway on the earth-horizon he would encounter the giant figure of a lion -the, Great Sphinx. And guarding that Gateway in the sky- - horizon his celestial counterpart would find - what? The answer, of course, is the constellation of Leo. The Pyramid texts explain that the, beginning of the journey of Horus into -the Underworld occurred 70 days before the great ceremony. Twenty-five days later, the sun has crossed, the 'river' - the Milky Way - and is now moving east towards the constellation of Leo. And 45 days later - the, end of the 70 days - the sun is between the . paws of Leo. On the ground, the pharaoh stands on the east bank of the Nile, crosses it in the solar boat - perhaps the boat found.buried.near the Pyramid in 1954 - then makes his way; via' the two pyramids at Dahshur, to the breast of the Sphinx. ' , At rhispoint, according to the texts, he has to .face a, ' ritual ordeal, rather like those of the Freemasons described in Mozart's Magic Flute. He is given a choice of two ways, / Page 296 /either by land or by water, by which he can journey to the Underworld to rescue his father. The land route, the authors believe, was an immense causeway (of which there are still remains) linking the Valley Temple with the Great Pyramid. It was once roofed with limestone slabs and had stars painted on its ceiling. The 'water route' is still undiscovered - but the authors believe that it was an underground corridor that was kept half filled (or perhaps more than half) with water drawn by capillary action from the Nile. (They cite a French engineer, Dr Jean Kerisel, who suggests that the Sphinx -- may stand over a 700"metre-long tunnel leading to the Great Pyramid.) What happened next is pure conjecture - except that it - must have ended with the reappearance of Orion and Sirius over the- eastern horizon. Bauval and Hancock believe that this ceremony was the symbolic uniting of Upper and Lower Egypt - that is, of heaven and earth. Clearly, the priests who planned it saw it as the central event of Egyp tian history after 'the first time'. And who were these priests? Bauval and Hancock write: We shall argue that 'serious and intelligent men' - and women too - were indeed at work behind the stage of prehistory in Egypt, and propose that one of the many names by which they were known was the 'Fol -lowers of Horus'. We propose, too, that their purpose, to which their generations adhered for thousands of years with the rigour of a messianic cult,may have been to bring to fruition a great cosmic blueprint. They go on to speak of the Temple of Edfu, parts of which date back to the Pyramid Age, although its present form was built from 237 BC to 57 BC. Its 'Building Texts' speak of earlier ages going back to the 'First Time', when the words of the Sages were copied by the god Thoth into a book with the oddly modern title Specifications of the / Page 297 / Mounds of the' Early Primeval Age, including the Great Primeval Mound itself, where the world was created. This mound is believed by Professor Iodden Edwards to be the huge rock on which the Great Pyramid was erected. According to the Building Texts, the various temples and mounds were designed by Seven Sages, including the 'mansion of the god' (presumably the Great Pyramid) - which would seem to support Bauval's belief that the pyra mids were planned (and perhaps partly constructed) at the same time as the Sphinx. The Seven Sages were. survivors of a. catastrophic flood, and came from an island. These Seven Sages seem to be identieal with 'Builder gods', 'Senior ones' and 'Followers of Horus' (Shemsu Hor) referred to in other writings such as the Pyramid Texts. The Followers of Horus were not gods, but humans who rebuilt the world after the great catastrophe =which was predated by the Age of the Gods. .. This, then, is the basic thesis of Keeper of Genesis: that a group of priests, survivors of some catastrophe, virtually created ancient Egypt as we know it. It could be regarded as a sequel to Hamlet's Mill, and Jane B. Sellers' Death of the Gods in Ancient Egypt, which also argues powerfully that the ancient Egyptians knew all about precession. But, - it goes further than these books in its mathematical. and astronomical arguments (of which I have only had space to present a crude outline). Its arguments about the astro nomical alignments of the Sphinx and the pyramids are a tour de force. Jane Sellers had already discussed a 'precessional code' of numbers, and Graham Hancock summarises her results in Fingerprints of the Gods. But Bauval's use of computer simulations raises all this to a new level of precision, with the result that evefl those who feel dubious about the idea of a priestly succession lasting forthousands of years will have to admit that the math ematics seems uncontradictable. i l'heauthors reach one more i'nteresting. conclusion, where precisely; they asked the computer, was the vernal / Page 298 / point situated in 10,500 BC? The-answer was 'that it lay exactly 111.111 degrees east of the station that it had ; occupied at 2500 BC. Then it had been at the head of the Hyades-Taurus, close to the right hank of the Milky Way; 8000 years earlier it lay directly under the rear paws of the constellation of Leo.' And-if this point has an 'earthly. double', then it would seem to hint at some undiscovered "secret below the -rear paws of the Sphinx. The Coffin Texts speak about 'a sealed thing, which is in darkness, with fire about it, which contains the efflux of Osiris, and is put in Rostau'. Could- it be that 'something hidden' - in a chamber under the rear paws of the Sphinx - is a 'treasure' that will transform our knowledge of ancient Egypt? Edgar Cayce predicted the discovery of a 'Hallof Records' beneath the Sphinx towards the end of the twentieth century, and Hancock and Bauval speculate whether this is not even now being investigated by the team of 'official Egyptologists' who are the only ones permitted near the Sphinx. So Keeper of Genesis -'" as is perhaps inevitable -eends " on a question mark. For the real question that lies behind this search into the remote past is: what does it all mean? We have to recognise that even the most precise knowledge of " the Egyptian precessional code and their religion of resurrection still brings us no closer to answering some _ of the most obvious questions about their achievement ...., " even one as straight forward as how they raised 200-ton blocks ... 10 The Third Force IN CHAPTER 1, we saw that both.Schwaller and Gurdjieff believed that the men of today have degenerated " from their former level. Schwaller, obviously, was talking about ancient Egypt, and the earlier civilisation from which it derived its knowledge. But what was it that - according to Schwaller - made these men of former.times 'giants'? What emerges clearly from his books is the idea that modern man has forgotten something of central importance. . Some notion of what he had in mind can be derived from the researches of American anthropologist Edward t. Hall, who spent" much of his life working with or studying Native American Indians - Hopi, .Navajo,' Puebloand Quiche (the descendants of the Maya). His bookThe Dance of Life (1983) -isabout time, and about the fact that the time System of the Indians is so totally.different from that of American-Europeans (which he shortens to AE) that it is virtually a differehtkind of time. He notes that the Hopi do not even have a word for time, and that Hopi verbs have no tenses. They live in an 'eternal present', indifferent to western science, technology and philosophy. Hall coins the term 'polychronic time' to distinguish this Native American 'eternal present' from the 'monochronic' time of western-civilisation, with its ever-ticking dock.
The Third Force Page 303 "Egypt was, as Schwaller is never tired of pointing out, a sacred society.
Page 303 Each day, Hall explains, has special characteristics - just as, in ancient Egypt (according to Schwaller) each hour has its special neters - and /Page 304 / it takes a special shaman-diviner to provide a proper interpretation of the day. This is particularly import ant when critical decisions are contemplated. Not only does each of the twenty days have a proper name and character that is divine, but also a number. The 'nature' of the days 'change depending on the numeri cal accompaniment, as well as the actions or moves contemplated during that particular day. A 'good' day in one context may- be bad in another. There are favourable and unfavourable combinations, and it is the combination that determines how the day should be interpreted. Again, it is important to realise that all this is quite distinct from a 'belief'. The 'right-brain' state of mind permits deeper perception.
DAILY MAIL Thursday, January 24 WATCH THIS SPACE Michael Hanlon Science Editor THE proper word for it is pareidolia: the phenomenon where people tend to see human faces and other familiar forms in otherwise unfamiliar objects. We have all seen faces and creatures in the sky. When Hamlet saw a strange cloud, he explained to Polonius, 'Methinks it is like a weasel' (Polonius, for his part thought it more like a camel). People are forever seeing Jesus or the Virgin Mary in tortillas, buns, the swirls in their coffee and reflections in windows. But, for some reason, one of the most popular places to see these unlikely visions is in space. This week, the Mail showed an extraordinary photograph taken by the Nasa Mars Rover, Spirit, which has been trundling across the surface of the Red Planet for four years. In the picture, which I have no reason to suspect was doctored or altered, there appears to be a greenish-brown human figure, a woman perhaps, perched on a rock, staring rather wistfully at the crater floor below her. The longer you stare at this picture, the more convincing the 'human becomes. But it is an illusion; there is no woman, green or otherwise, on the surface of Mars. If there were, she would suffocate and freeze in short order. This is simply a trick of the light, shadow and perspective, the brain seeing something familiar in an alien jumble of volcanic rocks under a strange orange-pink sky. Yet this will not be the first or the last - time we have seen strange apparitions on Mars, on Earth and on other planets. The first and best - known example of pareidolia in space was of course the Man in the Moon. I have never found its surface to look particularly human, but many people insist the pattern of dark lava plains and brighter highland areas look for all the world like a human nose, mouth and two eyes. If I squint, I suppose I can just about see it. Mars, for some unknown reason, is home to many strange apparitions. People have been 'seeing' things on the Red Planet that aren't there for more than a century.
Daily Mail Thursday, February 26,2009 Page 37 The eye of God! IT STARES down at us from the depths of space, watching our tiny world from 700 light years away. Scientists have nicknamed the image - captured by a giant telescope on the Chilean mountains - the eye of God.
Daily Mail Tuesday, April 14, 2009 Page 11 Hand of God Eye in the sky: The Helix nebula By Dan Newlin; (Image omitted) WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
Devnagri Script - Sanskrit - Prakrit - Hindi - Brahmi - Haryana ... Cached - Similar pagesDevanagari script block
www.unesco.org/most/lnindia.htm - 14k - Cached - Similar pagesNational Language Of India, Official Language Of India, Regional ...
Devanagari - Wikipedia, the free encyclopedia Devanagari Rigveda manuscript in Devanāgarī (early 19th century) Devanāgarī (देवनागरी, pronounced /ˌdeɪvəˈnɑːɡəriː/ in English[1]), or Nāgarī, is an abugida alphabet of India and Nepal. It is written from left to right, lacks distinct letter cases, and is recognizable by a distinctive horizontal line running along the tops of the letters that links them together. Devanāgarī is the main script used to write Hindi, Marathi, and Nepali. Since the 19th century, it has been the most commonly used script for Sanskrit. Devanāgarī is also employed for Gujari, Bhili, Bhojpuri, Konkani, Magahi, Maithili, Marwari, Newari, Pahari (Garhwali and Kumaoni), Santhali, Tharu, and sometimes Sindhi, Panjabi, and Kashmiri. It was formerly used to write Gujarati.
Daily Mail Monday, May 18, 2009 LETTERS We are ALL to blame for this lack of morals Page 53 IT'S amusing how some politicians are now so desperate to win back the confidence of the public. No.10: Follow The Money (The Proclaimers). No 9: Money's Too Tight To Mention (Simply Red). No.8: Money Honey (Elvis Presley). No.7: Money Makes The World Go Round (from the film Cabaret). No.6: Money (Flying Lizards). No.5: We're In The Money (the goldiggers' song) No.4: Money (Pink Floyd). No.3: Easy Money (King Crimson). No.2: Money, Money, Money (Abba) No.1: Money For Nothing (Dire Straits) Maybe all these artists (except Elvis, of course) could get together for a one-off benefit performance to raise some money for our MPs on holiday? MARTIN LAWRENCE, South Croydon,
Daily Mail Tuesday, May 19, 2009 Page 8 THE CROMWELL WAY "HISTORY provides a lesson in how to deal with a Parliament seen as corrupt and finished. In 1653, Oliver Cromwell lost patience with the House after learning that it was attempting to stay in session despite an agreement to dissolve. His speech will still resonate today with disgusted voters. This is what he said: "It is High time for me to put an end to your sitting in this place, which you have dishonoured by your contempt of all virtue, and defiled by your practice of every vice; ye are a factious crew, and enemies to all good government; ye are a pack of mercenary wretches, and would like Esau sell your country for a mess of pottage, and like Judas betray your God for a few pieces of money. Is there a single virtue now remaining amongst you? Is there one vice you do not possess? Ye have no more religion than my horse; gold is your God; which of you have not barter'd your conscience for bribes? is there a man amongst you that has the least care for the good of the Commonwealth? Ye sordid prostitutes have you not defil'd this sacred place, and turn'd the Lord's temple into a den of thieves, by your immoral principles and wicked practices? Ye are grown intolerably odious to the whole nation; you were deputed here by the people to get grievances redress'd, are yourselves become the greatest grievance. Your country therefore calls upon me to cleanse this Augean stable, by putting a final period to your iniquitous proceedings in this House; and which by God's help and the strength he has given me, I am now come to do; I command ye therefore, upon the peril of your lives, to depart immediately out of this place; go, get you out! Make haste! Ye venal slaves be gone! So! Take away that shining bauble there, and lock up the doors. In the name of God, go!'" OLIVER CROMWELL
THE HOLY BIBLE Scofield References DEUTERONOMY Page 227 Chapter 9 Verses 1 Hear, O Israel: Thou art to pass over Jordan this day, to go in to possess nations greater and mightier than thyself, cities great and fenced up to heaven, 2 A people great and tall, the children of the Anakims, whom thou knowest, and of whom thou hast heard say, Who can stand before the children of Anak! 3 Understand therefore this day, that the LORD thy God is he which goeth over before thee; as a consuming fire he shall destroy them, and he shall bring them down before thy face: so shalt thou drive them out, and destroy them quickly, as the LORD hath said unto thee. 4 Speak not thou in thine heart, after that the LORD thy God hath cast them out from before thee, saying, For my righteousness the LORD hath brought me in to possess this land: but for the wickedness of these nations the LORD doth drive them out from before thee. 5 Not for thy righteousness, or for the uprightness of thine heart, dost thou go to possess their land: but for the wickedness of these nations the LORD thy God doth drive them out from before thee, and that he may perform the word which the LORD sware unto thy fathers, Abraham, Isaac, and Jacob. 6 Understand therefore, that the LORD thy God giveth thee not this good land to possess it for thy righteousness; for thou art a stiffnecked people. 7 Remember, and forget not, how thou provokedst the LORD thy God to wrath in the wilderness: from the day that thou didst depart out of the land of Egypt, until ye came unto this place, ye have been rebellious against the LORD 8 Also in Horeb ye provoked the LORD to wrath, so that the LORD was angry with you to have destroyed you.
9 When I was gone up into the mount to receive the tables of stone, even the tables of the covenant which the LORD made with you then I abode in the mount forty days and forty nights, I neither did eat bread nor drink water: 10 And the LORD delivered unto me two tables of stone written with the finger of God; and on them was written according to all the words, which the LORD spake with you in the mount out of the midst of the fire in the day of the assembly. 11 And it came to pass at the end of forty days and forty nights, that the LORD gave me the two tables of stone, even the tables of the covenant. 12 And the LORD said unto me, Arise, get thee down quickly from hence; for thy people which thou hast brought forth out of Egypt have corrupted themselves; they are quickly turned aside out of the way which I commanded them; they have made them a molten image. 13 Furthermore the LORD spake unto me, saying, I have seen this people, and, behold, it is a stiffnecked people: 14 Let me alone, that I may destroy them, and blot out their name from under heaven: and I will make of thee a nation mightier and greater than they. 15 So I turned and came down from the mount, and the mount burned with fire: and the two tables of the covenant were in my two hands. 16 And I looked, and, behold, ye had sinned against the LORD your God, and had made you a molten calf: ye had turned aside quickly out of the way which the LORD had commanded you. 17 And I took the two tables, and cast them out of my two hands, and brake them before your eyes. 18 And I fell down before the LORD, as at the first, forty days and forty nights: I did neither eat bread, nor drink water, because of all your sins which ye sinned, in doing wickedly in the sight of the LORD, to provoke him to anger. 19 For I was afraid of the anger and hot displeasure, wherewith the LORD was wroth against you to destroy you. But the LORD hearkened unto me at that time also. 20 And the LORD was very angry with Aaron to have destroyed him: and I prayed for Aaron also the same time. 21 And I took your sin, the calf which ye had made, and burnt it with fire, and stamped it, and ground it very small, even until it was as small as dust: and I cast the dust thereof into the brook that descended out of the mount. 22 And at Taberah, and at Massah, and at Kibrothhattaavah, ye provoked the LORD to wrath. 23 Likewise when the LORD sent you from Kadeshbarnea, saying, Go up and possess the land which I have given you; then ye rebelled against the commandment of the LORD your God, and ye believed him not, nor hearkened to his voice. 24 Ye have been rebellious against the LORD from the day that I knew you. 25 Thus I fell down before the LORD forty days and forty nights, as I fell down at the first; because the LORD had said he would destroy you. 26 I prayed therefore unto the LORD, and said, O Lord GOD, destroy not thy people and thine inheritance, which thou hast redeemed through thy greatness, which thou hast brought forth out of Egypt with a mighty hand. 27 Remember thy servants, Abraham, Isaac, and Jacob; look not unto the stubbornness of this people, nor to their wickedness, nor to their sin: 28 Lest the land whence thou broughtest us out say, Because the LORD was not able to bring them into the land which he promised them, and because he hated them, he hath brought them out to slay them in the wilderness. 29 Yet they are thy people and thine inheritance, which thou broughtest out by thy mighty power and by thy stretched out arm.
I SHALL SOUND THE QUESTION THE QUESTION SOUND I WHITHER GOEST THOU AND THOU GOEST WHITHER GODS GODDESSES ALWAYS LOVE BALANCING LOVE ALWAYS GODDESSES GODS
Daily Mail Tuesday, April 14, 2009 Page 11 Eye in the sky: The Helix nebula By Dan Newlin; (Image omitted) WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
GODS AND SPACEMEN IN THE ANCIENT EAST W. Raymond Drake 1968 New evidence on the unexplained mysteries of civilization in the ancient East Page 124 "it is said that in the ancient Egyptian language OS-IRIDE meant 'mouth of the iris'168 or 'the voice of the light..."
OS-IRIDE SO R I DE SO OS-IRIDE
OSIRIS SO IRIS ISIS IS ISIS IRIS SO OSIRIS
YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART WITH ME
THE EASTER FESTIVAL GOOD FRIDAY 10TH OF THE 4TH 2009 SATURDAY 11TH OF THE 4TH 2008 SUNDAY 12TH OF THE 4TH 2009 MONDAY 13TH OF THE 4TH 2009 HALLELUJAH
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT PLANETS STARS AND LIFE Page 24 A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'
THE HOURS OF HORUS IS ARRIVED HURRAH FOR RAH FOR RAH HURRAH AMEN THAT NAME GODS NAME AMEN RA IN BOW LIGHT GODS LIGHT RA IN BOW THE LIGHT IS RISEN NOW RISEN IS THE LIGHT
AWAKENING INNER AWARENESS
The Abbe Sieyes author of the pamphlet What is the third estate? intrigued with Napoleon Bonaparte and became a Consul of the French Republic.
Qu'est-ce que le tiers état? ( What is the third estate? ). The Abbé Sieyès "... it was in Paris that he spent his last days in 1836."
Pan (mythology) - Wikipedia, the free encyclopedia
The Death of Pan Robert Graves (The Greek Myths) suggested that the Egyptian Thamus apparently misheard Thamus Pan-megas Tethnece 'the all-great Tammuz is dead' for 'Thamus, Great Pan is dead!' Certainly, when Pausanias toured Greece about a century after Plutarch, he found Pan's shrines, sacred caves and sacred mountains still very much frequented.
GREAT PAN IS NOT DEAD
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words and music by eden ahbez Nature Boy Nat King Cole There was a boy And then one day "the greatest thing you’ll ever learn
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I SAY YOU CAN UNDERSTAND IT THAT IT UNDERSTAND CAN YOU UNDERSTAND IT UNDERSTAND WHAT ? GODS DIVINE EVERLASTINGNESSGODSEVERLASTINGNESS DIVINE GODS
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HOLY BIBLE Scofield References Page114/5/6 John Chapter 1 1 In the beginning was the Word, and the Word was with God, and the Word was God. 2 The same was in the beginning with God. 3 All things were made by him; and without him was not any thing made that was made. 4 In him was life; and the life was the light of men. 5 And the light shineth in darkness; and the darkness comprehended it not. 6 There was a man sent from God, whose name was John. 7 The same came for a witness, to bear witness of the Light, that all men through him might believe. 8 He was not that Light, but was sent to bear witness of that Light. 9 That was the true Light, which lighteth every man that cometh into the world. 10 He was in the world, and the world was made by him, and the world knew him not. 11 He came unto his own, and his own received him not. 12 But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name: 13 Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God. 14 And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth. 15 John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me. 16 And of his fulness have all we received, and grace for grace. 17 For the law was given by Moses, but grace and truth came by Jesus Christ. 18 No man hath seen God at any time, the only begotten Son, which is in the bosom of the Father, he hath declared him. 19 And this is the record of John, when the Jews sent priests and Levites from Jerusalem to ask him, Who art thou? 20 And he confessed, and denied not; but confessed, I am not the Christ. 21 And they asked him, What then? Art thou Elias? And he saith, I am not. Art thou that prophet? And he answered, No. 22 Then said they unto him, Who art thou? that we may give an answer to them that sent us. What sayest thou of thyself? 23 He said, I am the voice of one crying in the wilderness, Make straight the way of the Lord, as said the prophet Esaias. 24 And they which were sent were of the Pharisees. 25 And they asked him, and said unto him, Why baptizest thou then, if thou be not that Christ, nor Elias, neither that prophet? 26 John answered them, saying, I baptize with water: but there standeth one among you, whom ye know not; 27 He it is, who coming after me is preferred before me, whose shoe's latchet I am not worthy to unloose. 28 These things were done in Bethabara beyond Jordan, where John was baptizing. 29 The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world. 30 This is he of whom I said, After me cometh a man which is preferred before me: for he was before me. 31 And I knew him not: but that he should be made manifest to Israel, therefore am I come baptizing with water. 32 And John bare record, saying, I saw the Spirit descending from heaven like a dove, and it abode upon him. 33 And I knew him not: but he that sent me to baptize with water, the same said unto me, Upon whom thou shalt see the Spirit descending, and remaining on him, the same is he which baptizeth with the Holy Ghost. 34 And I saw, and bare record that this is the Son of God. 35 Again the next day after John stood, and two of his disciples; 36 And looking upon Jesus as he walked, he saith, Behold the Lamb of God! 37 And the two disciples heard him speak, and they followed Jesus. 38 Then Jesus turned, and saw them following, and saith unto them, What seek ye? They said unto him, Rabbi, (which is to say, being interpreted, Master,) where dwellest thou? 39 He saith unto them, Come and see. They came and saw where he dwelt, and abode with him that day: for it was about the tenth hour. 40 One of the two which heard John speak, and followed him, was Andrew, Simon Peter's brother. 41 He first findeth his own brother Simon, and saith unto him, We have found the Messias, which is, being interpreted, the Christ. 42 And he brought him to Jesus. And when Jesus beheld him, he said, Thou art Simon the son of Jona: thou shalt be called Cephas, which is by interpretation, A stone. 43 The day following Jesus would go forth into Galilee, and findeth Philip, and saith unto him, Follow me. 44 Now Philip was of Bethsaida, the city of Andrew and Peter. 45 Philip findeth Nathanael, and saith unto him, We have found him, of whom Moses in the law, and the prophets, did write, Jesus of Nazareth, the son of Joseph. 46 And Nathanael said unto him, Can there any good thing come out of Nazareth? Philip saith unto him, Come and see. 47 Jesus saw Nathanael coming to him, and saith of him, Behold an Israelite indeed, in whom is no guile! 48 Nathanael saith unto him, Whence knowest thou me? Jesus answered and said unto him, Before that Philip called thee, when thou wast under the fig tree, I saw thee. 49 Nathanael answered and saith unto him, Rabbi, thou art the Son of God; thou art the King of Israel. 50 Jesus answered and said unto him, Because I said unto thee, I saw thee under the fig tree, believest thou? thou shalt see greater things than these. 51 And he saith unto him, Verily, verily, I say unto you, Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of man.
HOLY BIBLE Scofield References Page1117 John Chapter 1 1 There was a man of the Pharisees, named Nicodemus, a ruler of the Jews: 2 The same came to Jesus by night, and said unto him, Rabbi, we know that thou art a teacher come from God: for no man can do these miracles that thou doest, except God be with him. 3 Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God. 4 Nicodemus saith unto him, How can a man be born when he is old? can he enter the second time into his mother's womb, and be born? 5 Jesus answered, Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God. 6 That which is born of the flesh is flesh; and that which is born of the Spirit is spirit. 7 Marvel not that I said unto thee, Ye must be born again. 8 The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh, and whither it goeth: so is every one that is born of the Spirit. 9 Nicodemus answered and said unto him, How can these things be? 10 Jesus answered and said unto him, Art thou a master of Israel, and knowest not these things? 11 Verily, verily, I say unto thee, We speak that we do know, and testify that we have seen; and ye receive not our witness. 12 If I have told you earthly things, and ye believe not, how shall ye believe, if I tell you of heavenly things? 13 And no man hath ascended up to heaven, but he that came down from heaven, even the Son of man which is in heaven. 14 And as Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up: 15 That whosoever believeth in him should not perish, but have eternal life. 16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life. 17 For God sent not his Son into the world to condemn the world; but that the world through him might be saved. 18 He that believeth on him is not condemned: but he that believeth not is condemned already, because he hath not believed in the name of the only begotten Son of God. 19 And this is the condemnation, that light is come into the world, and men loved darkness rather than light, because their deeds were evil. 20 For every one that doeth evil hateth the light, neither cometh to the light, lest his deeds should be reproved. 21 But he that doeth truth cometh to the light, that his deeds may be made manifest, that they are wrought in God. 22 After these things came Jesus and his disciples into the land of Judaea; and there he tarried with them, and baptized. 23 And John also was baptizing in Aenon near to Salim, because there was much water there: and they came, and were baptized. 24 For John was not yet cast into prison. 25 Then there arose a question between some of John's disciples and the Jews about purifying. 26 And they came unto John, and said unto him, Rabbi, he that was with thee beyond Jordan, to whom thou barest witness, behold, the same baptizeth, and all men come to him. 27 John answered and said, A man can receive nothing, except it be given him from heaven. 28 Ye yourselves bear me witness, that I said, I am not the Christ, but that I am sent before him. 29 He that hath the bride is the bridegroom: but the friend of the bridegroom, which standeth and heareth him, rejoiceth greatly because of the bridegroom's voice: this my joy therefore is fulfilled. 30 He must increase, but I must decrease. 31 He that cometh from above is above all: he that is of the earth is earthly, and speaketh of the earth: he that cometh from heaven is above all. 32 And what he hath seen and heard, that he testifieth; and no man receiveth his testimony. 33 He that hath received his testimony hath set to his seal that God is true. 34 For he whom God hath sent speaketh the words of God: for God giveth not the Spirit by measure unto him. 35 The Father loveth the Son, and hath given all things into his hand. 36 He that believeth on the Son hath everlasting life: and he that believeth not the Son shall not see life; but the wrath of God abideth on him.
MNEMONICS 455465931 MNEMONICS
MNEMONICS 9 6 9 MNEMONICS
ESOTERIC 51625993 ESOTERIC O SECRET I 6 SECRET 9 O SECRET I ESOTERIC 51625993 ESOTERIC
MNEMONICS 9 6 9 MNEMONICS
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THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 13 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews.
RE GODS NAME GODS RE AS IN THREE IS IS THREE AS IN RE
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art. hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it. The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews. An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements. The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala. It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism. Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking. The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations. Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures. Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity. The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10 As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy. Page 17 The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking. And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity. The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'. Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa. The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a startingpoint. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino. Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola. It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.
TRIANGLE 5 TRIANGLE CIRCLE 5 CIRCLE SQUARE 9 SQUARE
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL Page 13 An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. ABCD 1234 ABCD BCDEFGHIK 234567892 BCDEFGHIK
THREES = 3 = THREES
LULL 3333 LULL
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 135 (number omitted) "No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line." "Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)" "Page 139 He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned. Awaiting damnation he calls on Christ, and there comes the famous line " See see where Christs bloud streames in the firmament.11"
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT 155 155 58595 3899121 23634 12951451 95 285 699414552 IS 9 IS 9 IS 9 IS 155 155 58595 3899121 23634 12951451 95 285 699414552 SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
ZOHAR 5 ZOHAR 5 ZOHAR 5 ZOHAR
SEPHIROTH 1 SEPHIROTH PHI'S OTHER NAME OTHER PHI'S SEPHIROTH 1 SEPHIROTH
SEPHIROTH 1 SEPHIROTH PHI'S OTHER CIRCLE OTHER PHI'S SEPHIROTH 1 SEPHIROTH
IS NAUTILUS NEMO OMEN NEMO NAUTILUS IS
MOON SOL SOLOMON IS IS SOLOMON SOL MOON SOLOMON SOL MOON IS IS MOON SOL SOLOMON MOON SOL SOLOMON IS IS SOLOMON SOL MOON
HEART EARTH TERAH THERA THE RA IS IS RA THE THERA TERAH EARTH HEART EARTH THE R THE EARTH HEART THE R THE HEART TERAH THE R THE TERAH THERA THE R THE THERA THE RA IS IS RA THE HEART EARTH TERAH THERA
ISRAEL IS RA EL EL IS RA ISRAEL RA EL IS IS EL RA IS REAL REAL IS RA EL IS IS EL RA ISRAEL IS RA EL EL IS RA ISRAEL
IS RA REAL IS IS REAL RA IS
WISE W IS E WISE W IS E WISE W IS E WISE
WISE W IS E WISE 5 IS 5 WISE W IS E WISE
LUCIFER L U C FIRE IS IS FIRE LUC LUCIFER LUCFIRE IS IS LUCFIRE GODS NAME RE IS IS RE NAME GODS GODS NAME EL IS IS EL NAME GODS SEE L FIRE IS IS FIRE EL SEE U C L FIRE LUCIFER IS IS LUCIFER FIRE UCL GODS NAME RE IS IS RE NAME GODS GODS NAME 95 IS IS 95 NAME GODS GODS NAME RE IS IS RE NAME GODS GOD GAVE NOAH THE RAINBOW SIGN NO MORE WATER FIRE NEXT TIME
1234 5 6789 ONE TWO THREE FOUR 5FIVE5 SIX SEVEN EIGHT NINE 1234 5 6789
THAT THAT THAT IS THAT SEE SAW SEE IS 5 IS SEE SAW SEE
ALL QUIET ON THE WESTERN FRONT IS IT FOR YOU FOR YOU IS IT ?
THE E AZIN OUGHT OF THE OUGHT AZIN THOUGHT THROUGHOUT THAT THAT THAT ISISIS UNIVERSAL MINDS I MINDS UNIVERSAL
I THAT AM THAT TIME EMIT
THE MAHABHARATA
MAHABHARATA ABRAHAM MAHABHARATA
C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C SO C RISH 999 RISH C SO C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C
CREATION C RE ACTION RE C CREATION REACTORS CREATORS REACTORS
ATUM 1234 ATUM GOD IS GREAT IS GREAT IS GOD
Allahu Akbar (disambiguation) - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Allahu_Akbar_(disambiguation) Allahu Akbar (Arabic: الله أكبر) is a phrase, called Takbir in Arabic, meaning "God is greater" or "God is [the] greatest". Allahu Akbar or Allahu Ekber and similar ...
ALLAHU AKBAR 133183 ALLAHU AKBAR TAKBIR 212200 TAKBIR GOD IS GREATER IS GOD GOD IS GREATEST IS GOD ALLAHU EKBER 133183
I THAT AM CRUCIFIED A CROSS A CROSS
--
Macbeth 1 [iii] Shakespeare, "Thrice to thine and thrice to mine, and thrice again to make up nine" Number 9 The Search for the Sigma code Cecil Balmond Page 45 "Three times three, the trinity of trinities, gains select status then as the doubling and resourcing of special power. From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over. "
3 x 3 = 9 = 3 x 3
Daily Mail, Thursday, December 15, 2011 Page 57 At a formal dinner celebrating the opening of the Watford St Albans branch railway line in 1958 several toasts were drunk 'with three times three'. What does this mean? THE Watford to St Albans branch line, known locally as the Abbey Flyer, opened on May 5, 1858, so the dinner must have been part of the centenary celebrations. The 'three times three' is the traditional three cheers ('Hip, Hip, Hooray!' shouted three times). The origin of the cheer is obscure but it's recorded in 1816 when John Quincy Adams, an envoy to the English court, wrote in his diary that he had attended a dinner given by the Lord Mayor in the Mansion House and that 'every toast was drunk standing with what they call three time three hip! hip! hip! and nine huzzahs'. It is more usual now to proclaim only two hips and 'huzzah' has become 'hooray'. In the 17th and 18th centuries, three huzzahs - two short ones followed by a long sustained one - were given by the British infantry before a charge. It has been suggested 'hurrah' or 'hooray' comes from old Turkic and that the Turks used to shout 'Ur, ah!' meaning 'Come on, hit!". A less likely explanation is that 'hip' dates from the crusades and is an acronym of Hierosolyma est perdita -'Jerusalem is lost'. Equally unlikely is the idea that 'hurrah' is a corruption of the Slavonic hu-raj - paradise. In this scheme, 'Hip Hip Hooray!' would mean 'Jerusalem is lost; paradise here we come!' Barry Saunders, Watford.
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
RE GODS NAME GODS RE RE AS IN THREE IS IS THREE AS IN RE GODS NAMES MEANS E MEANS NAMES GODS
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 Lull was 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.
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 111 MEDIEVAL MEMORY AND THE FORMATION OF IMAGES "Petrarch makes his allusions to the art by introducing examples of men of antiquity famed for good memories and associating these with the classical art. His paragraph on the memories of Lucullus and Hortensius begins thus: - 'Memory is of two kinds, one for things, one for words.' 57 LUCULLUS 33333331 LUCULLUS
Daily Mail, Thursday, November 17, 2011 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?
Male Roman citizens typically had three names, their praenomen (given name), their nomen (clan name) and their' cognomen (nickname or family name), but in English classical Latin authors are generally known by a single name, often Anglicised. These sometimes derive from the nomen (for example, Horace's full name was Quintus Horatius Flaccus) and sometimes from the cognomen (as with Gaius Julius Caesar). In Cicero's case, he's today known by his cognomen, but has sometimes in the past been called Tully from his nomen. Despite coming from humble stock, Cicero's skill as an orator saw him rise to the supreme position of state in the Republic, the consulship, in 63BC and he played a key role in the defeat of the Catiline conspiracy. As a result of the rise to power of Julius Caesar, he took a lesser role in his later years, devoting himself to literature Instead. After Caesar's assassination in 44BC, Cicero returned to politics and took a key role in the senatorial opposition to Mark Antony. He was murdered on Antony's orders when he took power. Cicero's surviving letters form a key source for the history of the fall of the Roman Republic and its replacement by the rule of the emperors. 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
Daily Mail, Thursday, November 17, 2011 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?
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 Page 282 "By THE LADDER OF MINERVA we rise from the first to the last..."
Daily Mail, Thursday, November 17, 2011 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?
Male Roman citizens typically had three names, their praenomen (given name), their nomen (clan name) and their' cognomen (nickname or family name), but in English classical Latin authors are generally known by a single name, often Anglicised. These sometimes derive from the nomen (for example, Horace's full name was Quintus Horatius Flaccus) and sometimes from the cognomen (as with Gaius Julius Caesar). In Cicero's case, he's today known by his cognomen, but has sometimes in the past been called Tully from his nomen. Despite coming from humble stock, Cicero's skill as an orator saw him rise to the supreme position of state in the Republic, the consulship, in 63BC and he played a key role in the defeat of the Catiline conspiracy. As a result of the rise to power of Julius Caesar, he took a lesser role in his later years, devoting himself to literature Instead. After Caesar's assassination in 44BC, Cicero returned to politics and took a key role in the senatorial opposition to Mark Antony. He was murdered on Antony's orders when he took power. Cicero's surviving letters form a key source for the history of the fall of the Roman Republic and its replacement by the rule of the emperors. David Bradbury, London.
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).
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
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 111 MEDIEVAL MEMORY AND THE FORMATION OF IMAGES "Petrarch makes his allusions to the art by introducing examples of men of antiquity famed for good memories and associating these with the classical art. His paragraph on the memories of Lucullus and Hortensius begins thus: - 'Memory is of two kinds, one for things, one for words.' 57 LUCULLUS 33333331 LUCULLUS
"THE WORD FIRST USED FOR MAN IS LULLU" "THE WORD FIRST USED FOR MAN IS 33333" "THE WORD FIRST USED FOR MAN IS LULLU"
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish- The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ... I hereby name it Babylon, home of the great gods. The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.
ENUMA ELISH "The word used for man is lullu" LULLU 33333 LULLU "The word used for man is lullu"
ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
THE LULLABY
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
ISLAM EID ISLAM
EID I DIE
www.answers.com/topic/king-of-kings The 99 Attributes of Allah I found many different versions of the 99 names. The above 99 are on a poster I have. Another list includes Al-Mu'tiy - The Bestower, The Giver and does not have Al- Ahad - The One. Another list did not have Al- Ahad -The Sustainer, The Provider but did have Al - Razzaaq The Noble, The One who is Majid. Allah (subhanahu wa ta' ala)s' There are a couple of evidences, one is the du`aa where one calls upon Allah by the names He (subhanahu wa ta`ala) has kept to Himself (obviously not taking these names since Allah has not revealed them to us); another is the fact that in the narrations of the famous ninety nine names hadith that do contain 99 names, the names are not consistent between narrations (for example, imam al-bayhaqi reports two versions of this hadith, with different 99 names in each). It is suggested by one commentator that the names were not explicitly stated by the rasul (sallallahu `alayhi wa sallam).
THE HEART OF ISLAM Enduring Values for Humanity Seyyed Hossein Nasr 2002 ONE GOD, MANY PROPHETS The Unity of Truth and the Multiplicity of Revelations Say: He, God, is One, God the Self-Sufficient Besought of all. He begetteth not, nor is begotten, and none is like Him. Quran 112: v.1-41 Page 3/4 "To testify to this oneness lies at the heart of the credo of Islam, and the formula that expresses the truth of this oneness, La ilaha illa 'Llah, "There is no god but God," is the first of two testifications (shahadahs) by which a person bears witness to being a Muslim; the second is Muammadun rasal Allah, "Muhammad is the messenger of God." The oneness of God is for Muslims not only the heart of their religion, but that of every authentic religion. It is a reassertion of the revelation of God to the Hebrew prophets and to Christ, whom Muslims also consider to be their prophets, the revelation of the truth that "The Lord is one," the reconfirmation of that timeless truth that is also stated in the Catholic creed, Credo in unum Deum, "I believe in one God"."
LA ILAHA ILLA LLAH
LA ILAHA ILLA LLAH
ISLAM EID ISLAM
EID I DIE
THE HEART OF ISLAM Enduring Values for Humanity Seyyed Hossein Nasr 2002 ONE GOD, MANY PROPHETS The Unity of Truth and the Multiplicity of Revelations Say: He, God, is One, God the Self-Sufficient Besought of all. He begetteth not, nor is begotten, and none is like Him. Quran 112: v.1-41 Page 3/4 "To testify to this oneness lies at the heart of the credo of Islam, and the formula that expresses the truth of this oneness, La ilaha illa 'Llah, "There is no god but God," is the first of two testifications (shahadahs) by which a person bears witness to being a Muslim; the second is Muammadun rasal Allah, "Muhammad is the messenger of God." The oneness of God is for Muslims not only the heart of their religion, but that of every authentic religion. It is a reassertion of the revelation of God to the Hebrew prophets and to Christ, whom Muslims also consider to be their prophets, the revelation of the truth that "The Lord is one," the reconfirmation of that timeless truth that is also stated in the Catholic creed, Credo in unum Deum, "I believe in one God"."
www.answers.com/topic/king-of-kings The 99 Attributes of Allah I found many different versions of the 99 names. The above 99 are on a poster I have. Another list includes Al-Mu'tiy - The Bestower, The Giver and does not have Al- Ahad - The One. Another list did not have Al- Ahad -The Sustainer, The Provider but did have Al - Razzaaq The Noble, The One who is Majid. Allah (subhanahu wa ta' ala)s' There are a couple of evidences, one is the du`aa where one calls upon Allah by the names He (subhanahu wa ta`ala) has kept to Himself (obviously not taking these names since Allah has not revealed them to us); another is the fact that in the narrations of the famous ninety nine names hadith that do contain 99 names, the names are not consistent between narrations (for example, imam al-bayhaqi reports two versions of this hadith, with different 99 names in each). It is suggested by one commentator that the names were not explicitly stated by the rasul (sallallahu `alayhi wa sallam).
"Credo in unum Deum, "I believe in one God".
C RE ATUM ATUM RE C SEE ATUM RE ATUM RE SEE C RE ATUM ATUM RE C CREATION SEE REACTION CREATORS SEE CREATORS CREATIVE SEE REACTIVE SEE CREATIVE CREATUM 3951234 CREATUM CREATUM 3951234 CREATUM
OSIRIS ISISIS OSIRIS ISISIS OSIRIS ISISISISISIS SOIRIS IRIS OSIRIS ISIS SO IRIS ISIS SO OSIRIS ISISIS SO IR IS OSIRIS ISISIS SO IR IS 99 IS IR SO ?
From album "Strip" (2000) I Must have died a thousand times Time is on my side she said I Must have cried a thousand times How time flies Oh no no no no, oh no no no no
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT PLANETS STARS AND LIFE Page 24 A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'
EVOLVE LOVE LOVE EVOLVE
REVOLVER EVOLVER LOVER
REVOLVER EVOLVER LOVER
GODS DIVINE EVERLASTINGNESSEVERLASTINGNESS DIVINE GODS
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www.answers.com/topic/king-of-kings The 99 Attributes of Allah I found many different versions of the 99 names. The above 99 are on a poster I have. Another list includes Al-Mu'tiy - The Bestower, The Giver and does not have Al- Ahad - The One. Another list did not have Al- Ahad -The Sustainer, The Provider but did have Al - Razzaaq The Noble, The One who is Majid. Allah (subhanahu wa ta' ala)s' There are a couple of evidences, one is the du`aa where one calls upon Allah by the names He (subhanahu wa ta`ala) has kept to Himself (obviously not taking these names since Allah has not revealed them to us); another is the fact that in the narrations of the famous ninety nine names hadith that do contain 99 names, the names are not consistent between narrations (for example, imam al-bayhaqi reports two versions of this hadith, with different 99 names in each). It is suggested by one commentator that the names were not explicitly stated by the rasul (sallallahu `alayhi wa sallam).
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