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A MAZE IN ZAZAZA ENTERS AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321
BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
Page 250 THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THE LIGHT IS RISING NOW RISING IS THE LIGHT
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LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."
"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE"
"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"
DNA AND DNA DNA AND DNA DNA AND DNA
DNA AND DNA DNA AND DNA DNA AND DNA
FINGERPRINTS OF THE GODS A QUEST FOR THE BEGINNING AND THE END Graham Hancock 1995 Chapter 32 Speaking to the Unborn Page 285 "It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers. A message in the bottle of time 'Of all the other stupendous inventions,' Galileo once remarked, what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3 If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps. "What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them" "WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
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THE LIGHT IS RISING NOW RISING IS THE LIGHT
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 351 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 126 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 9 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A
ABCDEFGH I JKLMNOPQ R STUVWXYZ = 351 = ZYXWVUTS R QPONMLKJ I HGFEDCBA ABCDEFGH I JKLMNOPQ R STUVWXYZ = 126 = ZYXWVUTS R QPONMLKJ I HGFEDCBA ABCDEFGH I JKLMNOPQ R STUVWXYZ = 9 = ZYXWVUTS R QPONMLKJ I HGFEDCBA
EVOLVE LOVE EVOLVE LOVE SOLVES LOVE EVOLVE LOVE EVOLVE
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."
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THE LIGHT IS RISING NOW RISING IS THE LIGHT
Encyclopedia of Ancient Egypt - Page 386 - books.google.co.uk/books?isbn=1438109970 Margaret Bunson - 2009 - Social Science Sopdu (Sopdet) He was an ancient Egyptian god and the star known to the Greeks as Sirius, Sothis, or the Dogstar, Alpha Canis Majoris. The appearance of Sopdu signaled the beginning of AKHET the season of inundation of the Nile. Sopdu was also a divinity of the eastern desert and the god of the four corners of the earth with HORUS, SET, and THOTH. When associated with Horus, the god was "the Sharp Horus" The star was sometimes represented in a feminine form and then was associated with the goddess Hathor. His consort was Sopdet. Sopdu's name meant "to prepare" and he was represented by a zodiacal light on a tall cone. He probably was eastern in origin and was transformed into the husband of Sah (Orion) Sopdu was mentioned in the PYRAMID TEXTS. The god was also depicted on an Abydos ivory tablet, owned by DJER of the First Dynasty (2920 - 2770 BCE)
Sopdu www.reshafim.org.il/ad/egypt/religion/sopdu.htm Har-Sopdu was the result of the deceased king's (or of Osiris in his astral form as Sah) union with Isis in her astral form of Sopdet (Sothis, i.e. the star Sirius). Sopdu - sopdu Be not in ignorance of Unas, Har-Sopdu Pyramid of Unas, PT 262 (line [465])
148: Your head is that of Horus of the Duat, O Imperishable One, your brow is the One-with-the-Two-Eyes, O Imperishable One, your ears are (those of) the Twins of Atum, O Imperishable One, your eyes are (those of) the Twins of Atum, O Imperishable One, your nose is (that of) a jackal, O Imperishable One, your teeth are (those of) Sopdu, O Imperishable One, Faulkner, Pyramid Texts, Utt.215 --------------------------------------------------------------------------------
THE LION PATH YOU CAN TAKE IT WITH YOU A Manual of the Short Path to Regeneration for our times by Musaios Page 33 It is time to examine the regenerative process - the way out of our limited state of body and awareness - a state that was thought of in this doctrine as "larval" to that which would ensue, just as the effectively one - dimensional or linear caterpillar has the hidden ability to spin a self - made cocoon - tomb and then turn into a pupal case, with future wings already outlined on it - a stage that can again metamorphose into the winged imago or mature form that emerges from the shell of the tomb - egg of the cocoon and flies aloft into the sky.
THE MAGIC MOUNTAIN Thomas Mann 1875-1955 Page 466 "Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."
THE TRUE DEATH ON THE CROSS THE TRUE AT ONE MENT
ATONEMENT
CRUCIFIXION
CRUCIFIED
Scofield References Page 1117 A.D. 30. Jesus answered and said unto him, Verily, verily,
IN SEARCH OF THE MIRACULOUS Fragments of an Unknown Teaching P.D.Oupensky 1878-1947 Page 217 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.'
I AM THAT LAZARUS COME FROM THE DEAD COME BACK TO TELL YOU ALL I SHALL TELL YOU ALL
Wilbur Smith 1993 Page 64 "...Out of the chaos and darkness of Nun rose Ammon-Ra, He- Who- Creates-Himself. I watched Ammon-Ra stroke his generative member, masturbating and spurting out his seminal seed in mighty waves that left the silver smear that we know as the Milky Way across the dark void. From this seed were generated Geb and Nut, the earth and the heaven. ' 'Bak-her!' a single voice broke the tremulous silence of the temple. 'Bak-her! Amen!' The old abbot had not been able to contain himself, and now he endorsed my vision of the creation. I was so astonished by his change of heart that I almost forgot my next line. After all, he had been my sternest critic up to that time. I had won him over completely, and my voice soared in triumph. 'Geb and Nut coupled and copulated, as man and women do, and from their dreadful union were born the gods Osiris and Seth, and the goddesses Isis and Nephthys.'..." Page 63 "...At the rear of the stage, hanging from floor to ceiling, were tightly stretched sheets of linen on which the artists from the necropolis had painted marvellous landscapes. In the half-light of the dusk and the flicker of the torches in their brackets the effect was so realistic as to transport the beholder into a different world in a distant time. There were other delights that I had prepared for Pharaoh's amuse- ment, from cages of animals, birds and butterflies that would be released to simulate the creation of the world by the great god Ammon-Ra, to flares and torches that I had doctored with chemicals to bum with brilliant flames of crimson and green, and flood the stage with eerie light and smoke-clouds, like those of the underworld where the gods live. 'Mamose, son of Ra, may you be granted eternal life! We your loyal subjects, the citizens of Thebes, beg you to draw nigh and give your divine attention to this poor play that we dedicate to Your Majesty.' My Lord Intef concluded his address of welcome and resumed his seat. To a fanfare of hidden rams' horns, I stepped out from behind the pillar and faced the audience. They had endured discomfort and boredom on the hard flagstones, and by now were ripe for the entertainment to begin. A raucous cheer greeted my entrance and even Pharaoh smiled in anticipation. I held up both hands for silence, and only when it was total did I begin to speak my overture. 'While I walked in the sunlight, young and filled with the vigour of youth, I heard the fatal music the reeds by the bank of the Nile. I did not recognize the sound of this harp, and I had no fear, for I was in the full bloom of my manhood and secure in the affection of my beloved. 'The music was of surpassing beauty. Joyously I went to find the musician, and could not know that he was Death and that he played his harp to summon me alone.' We Egyptians are fascinated by death, and I had at once touched a deep chord within my audience. They sighed and shuddered. 'Death seized me and bore me up in his skeletal arms towards Ammon-Ra, the sun god, and I was become one with the white light of his being. At a great distance I heard my beloved weep, but I could not see her and all the days of my life were as though they had never been.' This was the first public recitation of my prose, and I knew almost at once that I had them, their faces were fascinated and intent. There was not a sound in the temple. 'Then Death set me down in a high place from which I could see the world like a shining round shield in the blue sea of the heavens. I saw all / Page 64 / men and all creatures who have ever lived. Like a mighty river, time ran backwards before mine eyes. For a hundred thousand years I watched their strivings and their deaths. I watched all men go from death and old age to infancy and birth. Time became more and more remote, going back until the birth of the first man and the first woman. I watched them at the moment of their birth and then before. At last there were no men upon the earth and only the gods existed. 'Yet still the river of time flowed back beyond the time of the gods into Nun, into the time of darkness and primordial chaos. The river of time could flow no further back and so reversed itself. Time began to run forward in the manner that was familiar to me from my days of life upon the earth, and I watched the passion of the gods played out before me.' My audience were all of them well versed in the theology of our pantheon, but none of them had ever heard the mysteries presented in such a novel fashion. They sat silent and enthralled as I went on. 'Out of the chaos and darkness of Nun rose Ammon-Ra, He- Who- Creates-Himself. I watched Ammon-Ra stroke his generative member, masturbating and spurting out his seminal seed in mighty waves that left the silver smear that we know as the Milky Way across the dark void. From this seed were generated Geb and Nut, the earth and the heaven. ' 'Bak-her!' a single voice broke the tremulous silence of the temple. 'Bak-her! Amen!' The old abbot had not been able to contain himself, and now he endorsed my vision of the creation. I was so astonished by his change of heart that I almost forgot my next line. After all, he had been my sternest critic up to that time. I had won him over completely, and my voice soared in triumph. 'Geb and Nut coupled and copulated, as man and women do, and from their dreadful union were born the gods Osiris and Seth, and the goddesses Isis and Nephthys.' I made a wide gesture and the linen curtains were drawn slowly aside to reveal the fantasy world that I had created. Nothing like this had ever been seen in Egypt before and the audience gasped with amazement. With measured tread I withdrew, and my place upon the stage was taken by the god Osiris. The audience recognized him instantly by the tall, bottle-shaped head-dress, by his arms crossed over his chest and by the crook and the flail he held before him. Every household kept his statuette in the family shrine. A droning cry of reverence went up from every throat, and indeed the sedative that I had administered to Tod glittered weirdly in his eyes and gave him a strange, unearthly presence that was convincingly godlike. With the crook and the flail Osiris made mystical gestures and declaimed in sonorous tones, 'Behold Atur, the river!' ..."
THE RIVER GOD Wilbur Smith 1993 "...Now came that action of the play that had given me, the author, considerable pause, for how could I contrive fecundity without a stout peg to hang it on? We had just seen Osiris forcefully deprived of his. In the end I was forced to stoop to that tired old theatrical device that I so scorned in the work of other playwrights, namely the intervention of the gods and their supernatural powers.
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Page 254 "...Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have. That common language is science and mathematics. The laws of Nature are the same everywhere:..." Page 255 " In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context is understood, we have also to consider the amazing profusion of funerary texts that have come down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must follow. We recall a remark made by Giorgio de Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual story-tellers.6 In other words as long as a myth continues to be told true, it will also continue to transmit any higher message that may be concealed within its structure - even if neither the teller nor the hearer understands that message."
THE MAGIC MOUNTAIN Thomas Mann 1875-1955 Page 417 "I preach mathematics." "I tell them: that if they will occupy themselves with the study of mathematics they will find in it the best remedy against the lusts of the flesh. Lawyer Paravant was a bad case; he took my advice, he is now busy squaring the circle, and gets great relief. But most of them are too witless and lazy, God help them!"
SQUARING THE CIRCLE THE CIRCLE THE SQUARING
AGAIN GAIA N GAIA AGAIN AGAIN GAIA 5 GAIA AGAIN AGAIN GAIA N GAIA AGAIN
A MIN E OF INFORMATION
I ME I ME MINS MINDS I MINDS MINS
MINDS I MINDS I DIM N DIM DIM 5 DIM
I ME MIN MINE MIND MINE MIN ME I
ADVENT 1141 ADVENT
THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
H. E. Ayang Rinpoche offers Phowa teachings in Bodh Gaya, India, each January. As is his annual tradition, the teachings are offered free of charge. ...
Naropa said, “There are nine Gates which are of the world, but there is only one which is the gate of Mahamudra (Nirvana). If you shut the nine Gates then you will get the Path of liberation without any doubt.”
BHAGAVAD- GITA Page 287 THE CITY OF NINE GATES "When the embodied living being controls his nature and mentally renounces all actions, he resides happily in the city of nine gates." "The body consists of nine gates (two eyes, two nostrils, two ears, one mouth, the anus and the genitals.)"
THE KINGDOM OF EVEN
www.fisheaters.com/angelus.html About the Catholic practice of ringing the Angelus Bell, with prayers in English and Latin. ... R, Be it done unto me according to thy word. All, Hail Mary, full of ...
The Angelus Domini, shortened to "the Angelus," is the ringing of the church bell -- in three groups of three chimes with a pause in between each group, followed by 9 consecutive strokes -- at 6AM, Noon, and 6PM roughly, and its associated prayers, which spring from the monastic practice of praying the tres orationes at Matins, Prime and Compline. While the monastics said their prayers at the sound of the Angelus Bell, the faithful would stop what they were doing and say 3 Hail Marys in honor of the Incarnation. Later, since at least A.D. 1612, verses were added to these Hail Marys such that we get the form of the Angelus we have today (see below). During Paschaltide (the Easter Season), the humbling Angelus prayer below is replaced with the more celebratory, joyous Regina Coeli prayer at the direction of Pope Benedict XIV in 1742. Some of the earliest bells used for this purpose, dating to the 13th and 14th centuries, still survive and are engraved with inscriptions attesting to their purpose. Some of these inscriptions are (from the Catholic Encyclopedia): Ave Maria, gratia plena, Dominus tecum (Hail Mary, full of grace, the Lord is with thee) Dulcis instar mellis campana vocor Gabrielis (I am sweet as honey, and am called Gabriel's bell) Ecce Gabrielis sonat hæc campana fidelis (Behold this bell of faithful Gabriel sounds) Missi de coelis nomen habeo Gabrielis (I bear the name of Gabriel sent from heaven) Missus vero pie Gabriel fert læta Mariæ (Gabriel the messenger bears joyous tidings to holy Mary) O Rex Gloriæ Veni Cum Pace (O King of Glory, Come with Peace) Sadly, there are few places where the Angelus is still rung consistently. Vatican City, of course, still chimes the Angelus, as do traditional monasteries and convents and various institutions in the Republic of Ireland, but in this latter case, the cause of "diversity" is challenging the practice. Christendom is losing once again. The prayers of the Angelus (and the Regine Coeli) are below, but first is a video of the prayers chanted by the Daughters of Mary. The Prayers of the Angelus The Angelus During Paschaltide, this prayer, said kneeling, is replaced by the Regina Coeli (see below) V The Angel of the Lord declared unto Mary. R And she conceived of the Holy Spirit. All Hail Mary, full of Grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and in the hour of our death. V Behold the handmaid of the Lord. R Be it done unto me according to thy word. All Hail Mary, full of Grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and in the hour of our death. V And the Word was made Flesh. R And dwelt among us. All Hail Mary, full of Grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and in the hour of our death. V Pray for us, O Holy Mother of God. R That we may be made worthy of the promises of Christ. V Let us pray. Pour forth, we beseech Thee, O Lord, Thy grace into our hearts; that, we to whom the Incarnation of Christ, Thy Son, was made known by the message of an Angel, may by His Passion and Cross, be brought to the glory of His Resurrection. Through the same Christ our Lord. All Amen. Latin Version: V R Et concepit de Spiritu Sancto. All Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen. V Ecce ancilla Domini. R Fiat mihi secundum verbum tuum. All Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen. V Et Verbum caro factum est. R Et habitavit in nobis. All Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen. V Ora pro nobis, sancta Dei Genetrix. R Ut digni efficiamur promissionibus Christi. V Oremus.Gratiam tuam, quaesumus, Domine, mentibus nostris infunde; ut qui, Angelo nuntiante, Christi Filii tui incarnationem cognovimus, per passionem eius et crucem, ad resurrectionis gloriam perducamur. Per eundem Christum Dominum nostrum. All Amen. Regina Coeli This prayer, said standing, is used to replace the Angelus during Paschaltide. All Queen of Heaven rejoice, alleluia: For He whom you merited to bear, alleluia, Has risen as He said, alleluia. Pray for us to God, alleluia. V Rejoice and be glad, O Virgin Mary, alleluia. R Because the Lord is truly risen, alleluia. V Let us pray : O God, who by the Resurrection of Thy Son, our Lord Jesus Christ, granted joy to the whole world: grant we beg Thee, that through the intercession of the Virgin Mary, His Mother, we may lay hold of the joys of eternal life. Through the same Christ our Lord. R Amen. Latin Version: All Regina coeli, laetare, alleluia: Quia quem meruisti portare, alleluia. Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia. V Gaude et laetare, Virgo Maria, Alleluia, R Quia surrexit Dominus vere, alleluia. V Oremus : Deus qui per resurrectionem Filii tui, Domini nostri Iesu Christi, mundum laetificare dignatus es: praesta, quaesumus, ut per eius Genetricem Virginem Mariam, perpetuae capiamus gaudia vitae. Per eundem Christum Dominum nostrum. R Amen
AMEN THE NAME THE NAME AMEN NAME MEAN AMEN MANE MAN I NAME THEE E THEE NAME I MAN
RE INCARNATES RE
THE HOLY GRAIL A HOLY GIRL IS
VIRGIN V ORIGIN V VIRGIN VAGINA V AGAIN V AGAIN V VAGINA SPINE PINES PENIS PINES SPINE
THE LIGHT IS RISING NOW RISING IS THE LIGHT
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 Page 465 / 466 "They talked of "humanity," of nobility - but it was / the spirit alone that distinguished man, as a creature largely divorced from nature, largely opposed to her in feeling, from all other forms of organic life. In man's spirit, then, resided his true nobility and his merit - in his state of disease, as it were; in a word, the more ailing he was, by so much was he the more man. The genius of disease was more human than the genius of health. How, then, could one who posed as the. friend of man shut his eyes to these fundamental truths concerning man's humanIty? Herr Settembrini had progress ever on his lips: was he aware that all progress, in so far as there was such a thing, was due to illness, and to illness alone? In other words, to genius, which was the same thing? Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 1875 1955 FOREWORD "THE STORY of Hans Castorp, which we would here set forth, not on his own account, for in him the reader will make acquaintance with a simple-minded though pleasing young man, but for the sake of the story itself, which seems to us highly worth telling- though it must needs be borne in mind, in Hans Castorp's behalf, that it is his story, and not every story happens to everybody- this story, we say, belongs to the long ago; is already, so to speak, covered with historic mould, and unquestionably to be presented in the tense best suited to a narrative out of the depth of the past. We shall tell it at length, thoroughly, in detail-for when did a narrative seem too long or too short by reason of the actual time or space it took up? We do not fear being called meticulous, inclining as we do to the view that only the exhaustive can be truly interesting. Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 BY THE OCEAN OF TIME CHAPTER SEVEN Page 541"CAN one tell - that is to say, narrate - time, time itself', as such, for its own sake? That would surely be an absurd undertaking. A story which read: "Time passed, It ran on, the time. flowed on-ward" and so forth - no one in his senses could consider that a narrative. It would be as though one .held a single note or chord fora whole hour, and called it music. For narration resembles music in this, that it fills up the time. It " fills it in " and " breaks it up." so that there's something to it," " something going on" - to quote, with due and mouriiful piety, those casual phrases of our departed Joachim, all echo of which so long ago died away. So long ago, indeed, that we wonder if the reader is clear how long ago it was. For time is the medium of narration, as it is the medium of life. Both are in extricably bound up with it, as inextricably as are bodies in space. Similarly, time is the medium of music; music divides, measures, articulates time, and can shorten it, yet enhance its value, both at once. Thus music and narration are alike, in that they can only present themselves as a flowing, as a succession in time, as one thing after another; and both differ from the plastic arts, which are complete in the present, and unrelated to time save as all bodies are, whereas narration - like music - even if it should try to be completely present at any given moment, would need time to do it in.
THE MAGIC MOUNTAIN Thomas Mann 1824-1955 HIGHLY QUESTIONABLE Page 659 "It was learned, further, that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - invisible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her parents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turkish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners somewhat hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room. Hans Castorp, when Fraulein Kleefeld related this to him, expressed the view that there was some sort of sense in it: the apparition here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition. A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the apparatus Hermine had provided, consisting of a mediumsized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Fraulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of cold feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded table-lamp, as Fraulein Kleefeld, in concession to the mood of the gathering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move. That should happen with ease. The top of the table was smooth, the rim of the grass well ground, the pressure of the tremulous fingers, however lightly laid on, certainly unequal, some of it being exerted vertically, some rather sidewise, and probably in sufficient strength to cause the glass finally to move from its position in the centre of the table. On the periphery of its field it would come in contact with the marked counters; and if the letters on these, when put together, made words that conveyed any sort of sense, the resultant phenomenon would be complex and contaminate, a mixed product of conscious, half -conscious, and unconscious elements; the actual desire and pressure of some, to whom the wish was father to the act, whether or not they were aware of what they did; and the secret acquiescence of some dark stratum in the soul of the generality, a common if subterranean effort toward seemingly strange experiences, in which the sup / Page 661 / pressed self of the individual was more or less involved, most strongly, of course, that of little Elly. This they all knew beforehand - Hans Castorp even blurted out something of the sort, after his fashion, as they sat and waited. The ladies' palpitation and cold extremities, the forced hilarity of the men, arose from their knowledge that they were come together in the night to embark on an unclean traffic with their own natures, a fearsome prying into unfamiliar regions of themselves, and that they were awaiting the appearance of those illuso.ry or half-realities which we call magic. It was almost entirely for form's sake, and came about quite conventionally, that they asked the spirits of the departed to speak to them through the movement of the glass. Herr Albin offered to be spokesman and deal with such spirits as manifested themselves - he had already had a little experience at seances. Twenty minutes or more went by. The whisperings had run dry, the first tension relaxed. They supported their right arms at the elbow with their left hands. The Czech Wenzel was almost dropping off. Ellen Brand rested her finger lightly on the glass and directed her pure, childlike gaze away into the rosy light from the table-lamp. They were all Startled; favourably, yet with some alarm. Frau Stohr whimpered that she would like to stop, but they told her she should have thought of that before, she must just keep quiet now. Things seemed in train. They stipulated that, in order to answer yes or no, the glass need not run to the letters, but might give one or two knocks instead. " Is there an Intelligence present? " Herr Albin asked, severely directing his gaze over their heads into vacancy. Ater some hesitation, the glass tipped and said yes. " What is your name? " Herr Albin asked, almost gruffly, and emphasized his energetic speech by shaking his head. The glass pushed off. It ran with resolution from one point te another, executing a zigzag by returning each time a little distance toward the centre of the table. It visited H, O, and L, then seemed exhausted; but pulled itself together again and sought out the G, and E, and the R. Just as they thought. It was Holger in person, the spirit Holger, who understood such matters as the / Page 661 / pinch of salt and that, but knew better than to mix into lessons at school. He was there, floating in the air, above the heads of the little circle. What should they do with him? A certain diffidence possessed them; they took counsel behind their hands, what they were to ask him. Herr Albin decided to question him about his position and occupation in life, and did so, as before, severely, with frowning brows; as though he were a cross-examining counsel. The glass was silent awhile. Then it staggered over to the P, zigzagged and returned to O. Great suspense. Dr. Ting-Fu giggled and said Holger must be a poet. Frnu Stohr began to laugh hysterically; which the glass appeared to resent, for after indicating the E it stuck and went no further. However, it seemed fairly clear that Dr. Ting-Fu was right. What the deuce, so Holger was a poet? The glass revived, and superfluously, in apparent pridefulness, rapped yes. A lyric poet, Fraulein Kleefeld asked? She said lyric, as Hans Castorp involuntarily noted. Holger was disinclined to specify. He gave no new answer, merely spelled out again, this time quickly and unhesitatingly, the word poet, adding the T he had left off before. "Beautiful, brown, brown curls," the glass responded, deliberately spelling out the word brown twice. There was much merri / Page 663 / ment over this. The ladies said they were in love with him. They kissed their hands at the ceiling. Dr. Ting-Fu, giggling, said Mister Holger must be rather vain. Ah, what a fury the glass fell into! It ran like mad about the table, quite at random, rocked with rage, fell over and rolled into Frau Stohr's lap, who stretched out her anns and looked down at it pallid with fear. They apologetically conveyed it back to its station, and rebuked the Chinaman. How had he dared to say such a thing - did he see what his indiscretion had led to? Suppose Holger was up and off in his wrath, and refused to say another word! And lo, the good glass yielded and said yes! Truly there was something placable and good-humoured about the way it tapped. And then Holger the spirit began to poetize, and kept it up, copiously, circumstantially, without pausing for thought, for dear knows how long. It seemed impossible to stop him. And what a surprising poem it was, this ventriloquistic effort, delivered to the admiration of the circle - stuff of magic, and shoreless as the sea of which it largely dealt. Sea-wrack in heaps and bands along the narrow strand of the broad-flung bay; an islanded coast, girt by steep, cllify dunes. Ah, see the dim green distance faint and die into eternity, while beneath broad veils of mist in dull cannine and milky radiance the summer sun delays to sink! No word can utter how and when the watery mirror turned from silver into untold changeful colour-play, to bright or pale, to spreading, opaline and moonstone gleams - or how, mysteriously as it came, the voiceless magic died away. The sea slumbered. Yet the last traces of the sunset linger above and beyond. Until deep in the night it has not grown dark: a ghostly twilight reigns in the pine forests on the downs, bleaching the sand until it looks like snow- A simulated winter forest all in silence, save where an owl wings rustling flight. Let us stray here at this hour - so soft the sand beneath our tread, so sublime, so mild the night! Far beneath us the sea respires slowly, and murmurs a long whispering in its dream. Does it crave thee to see it again? Step forth to the sallow, glacierlike cliffs of the dunes, and climb quite up into the softness, that runs coolly into thy shoes. The land falls harsh and bushy steeply down to the pebbly shore, and still the last parting remnants of the day haunt the edge of the vanishing sky. Lie down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty little mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour-glass, that solemn, fragile toy that adorns the hermit's hut. An open book, a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn, mysterious essence. . . .
THE SIRIUS MYSTERY Robert K.G..Temple 1976 Page 145 "We must note Stecchini's remarks about Delphi as follows:38 The god of Delphi, Apollo, whose name means 'the stone', was identified with an object, the omphalos, 'navel'. which has been found. It consisted of an ovoidal stone . . . The omphalos of Delphi was similar to the object which represented the god Amon in Thebes, the 'navel' of Egypt." "Stecchini also explains his theory that the oracles originally functioned through the operations of computing devices: An object which resembles a roulette wheel, and actually is it's historical antecedent, was centred on top of the omphalos. The spinning of a ball gave the answers; each of the 36 spokes of the wheel corresponded to a letter symbol. In studying ancient computing devices, I have discovered that they were used also to obtain oracular answers. This is the origin of many of the oracular instruments we still use today, such as cards and ouija boards for calculating in terms of angles.
THE SIRIUS MYSTERY Robert K.G..Temple 1976 APPENDIX IV The Meaning of the E at Delphi Plutarch wrote a fascinating essay entitled 'The E at Delphi',' actually in the form of a dialogue, featuring Plutarch himself and several other speakers. It is to be remembered that Plutarch was a close personal friend of Clea, the Delphic priestess of his day, and he knew much and always sought to learn more about the nature and history of the oracles not only of Delphi but elsewhere as well. He was, however, most interested of all in Delphi itself, for he was one of the two priests of Apollo there. Page 266 The second explanation offered by Plutarch is in fact the correct one. This is how Plutarch suggests it: JEHUOVAO. Note that E is the second letter. We are faced with archaeological evidence that the second vowel, E, was prominently associated with the second oracle centre in descending order. (See Plate 12 of this book.) And we know from Herodotus that Dodona, the top oracle centre, was said to be founded by Egyptian priestesses from Thebes in Egypt. We also know that certain Egyptian priests sang the seven vowels (or eight vowels, including an aspirate) in succession. We have already seen that the geodetic oracle centres seem to have an octave structure. And as this book went to press a discovery became known which demonstrated the existence of the heptatonic, diatonic musical scale in the ancient Near East. We may even make a presumption that the uttering of the seven vowels in succession may possibly have corresponded to the seven notes of the octave (but we may never know that for certain). And it is most important to emphasize that, however bizarre to us, the association of a vowel with an oracle centre is not our invention or surmise. The E may not only be read about in Plutarch but seen on ancient coins and on the omphalos stone itself (for both of which see Plate 14). And this association of the second vowel with Delphi has never been explained by anyone.
Roulette - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Roulette Roulette is a casino game named after a French diminutive for little wheel. In the game, players may choose to place bets on either a single number or a range of ... Russian roulette - Bauernroulette - Category:Roulette and wheel Roulette From Wikipedia, the free encyclopedia This article is about the casino game. For other uses, see Roulette (disambiguation). Spinning Roulette wheel with ball "Gwendolen at the roulette table" - 1910 illustration to George Eliot' "Daniel Deronda". To determine the winning number and color, a croupier spins a wheel in one direction, then spins a ball in the opposite direction around a tilted circular track running around the circumference of the wheel. The ball eventually loses momentum and falls on to the wheel and into one of 37 (in French/European roulette) or 38 (in American roulette) colored and numbered pockets on the wheel. History 18th Century E.O. wheel with gamblers The game has been played in its present form since as early as 1796 in Paris. An early description of the roulette game in its current form is found in a French novel La Roulette, ou le Jour by Jaques Lablee, which describes a roulette wheel in the Palais Royal in Paris in 1796. The description included the house pockets, "There are exactly two slots reserved for the bank, whence it derives its sole mathematical advantage." It then goes on to describe the layout with, "...two betting spaces containing the bank's two numbers, zero and double zero." The book was published in 1801. An even earlier reference to a game of this name was published in regulations for New France (Québec) in 1758, which banned the games of "dice, hoca, faro, and roulette."[2] The roulette wheels used in the casinos of Paris in the late 1790s had red for the single zero and black for the double zero. To avoid confusion, the color green was selected for the zeros in roulette wheels starting in the 1800s. In 1843, in the German spa casino town of Homburg, fellow Frenchmen François and Louis Blanc introduced the single 0 style roulette wheel in order to compete against other casinos offering the traditional wheel with single and double zero house pockets.[citation needed] In some forms of early American roulette wheels - as shown in the 1886 Hoyle gambling books, there were numbers 1 through 28, plus a single zero, a double zero, and an American Eagle. The Eagle slot, which was a symbol of American liberty, was a house slot that brought the casino extra edge. Soon, the tradition vanished and since then the wheel features only numbered slots.[3] Existing wheels with Eagle symbols are exceedingly rare, with fewer than a half-dozen copies known to exist. Authentic Eagled wheels in excellent condition can fetch tens of thousands of dollars at auction. According to Hoyle "the single 0, the double 0, and eagle are never bars; but when the ball falls into either of them, the banker sweeps every thing upon the table, except what may happen to be bet on either one of them, when he pays twenty-seven for one, which is the amount paid for all sums bet upon any single figure." 1800s engraving French Roulette A legend says that François Blanc supposedly bargained with the devil to obtain the secrets of roulette. The legend is based on the fact that the sum of all the numbers on the roulette wheel (from 1 to 36) is 666, which is the "Number of the Beast".[4] Early American West Makeshift Game During the first part of the 20th century, the only casino towns of note were Monte Carlo with the traditional single zero French wheel, and Las Vegas with the American double zero wheel. In the 1970s, casinos began to flourish around the world. By 2008 there were several hundred casinos world wide offering roulette games. The double zero wheel is found in the U.S., Canada, South America, and the Caribbean, while the single zero wheel is predominant elsewhere.
MIN 495 MIN
Min (god) - Wikipedia, the free encyclopedia en.wikipedia.org/wiki/Min_(god) Min is an Ancient Egyptian god whose cult originated in predynastic times (4th millennium BC). He was represented in many different forms, but was often ... Min (god) From Wikipedia, the free encyclopedia Min The fertility dark-skinned god Min, with an erect penis and a flail Parents Siblings Consort Repit Min is an Ancient Egyptian god whose cult originated in predynastic times (4th millennium BC).[1] He was represented in many different forms, but was often represented in male human form, shown with an erect penis which he holds in his left hand and an upheld right arm holding a flail. As Khem or Min, he was the god of reproduction; as Khnum, he was the creator of all things, "the maker of gods and men".[2] [edit] Myths and function
en.wikipedia.org/wiki/Daedalus In Greek mythology, Daedalus /di:dəlɪs/ or /dɛdəlɪs/ (Ancient Greek: Δαίδαλος, meaning "clever worker"; Latin: Daedalos; Etruscan: Taitale) was a skillful ... Daedalus Family His parentage was supplied as a later addition to the mythos, providing him with a father in either Metion,[3] Eupalamus[4] or Palamaon,[5] and a mother, either Alcippe, Athena,[6] Iphinoe[7] or Phrasimede.[8] Daedalus had two sons: Icarus[9] and Iapyx,[10] along with a nephew, whose name was Perdix. Athenians transferred Cretan Daedalus to make him Athenian-born, the grandson[11] of the ancient king Erechtheus, who fled to Crete, having killed his nephew. Over time, other stories were told of Daedalus. [edit] The Labyrinth Daedalus is first mentioned by Homer as the creator of a wide dancing-ground for Ariadne.[12] He also created the Labyrinth on Crete, in which the Minotaur (part man, part bull) was kept. In the story of the labyrinth Hellenes told, the Athenian hero Theseus is challenged to kill the Minotaur, finding his way with the help of Ariadne's thread. Daedalus' appearance in Homer is in an extended simile, "plainly not Homer's invention," Robin Lane Fox observes: "he is a point of comparison and so he belongs in stories which Homer's audience already recognized."[13] In Bronze Age Crete, an inscription da-da-re-jo-de has been read as referring to a place at Knossos,[14] and a place of worship.[15] In Homer's language, objects which are daidala are finely crafted. They are mostly objects of armour, but fine bowls and furnishings are daidala, and on one occasion so are the "bronze-working" of "clasps, twisted brooches, earrings and necklaces" made by Hephaestus while cared for in secret by the goddesses of the sea.[16] Ignoring Homer, later writers envisaged the Labyrinth as an edifice rather than a single dancing path to the center and out again, and gave it numberless winding passages and turns that opened into one another, seeming to have neither beginning nor end.[17] Ovid, in his Metamorphoses, suggests that Daedalus constructed the Labyrinth so cunningly that he himself could barely escape it after he built it.[18] Daedalus built the labyrinth for King Minos, who needed it to imprison his wife's son the Minotaur. The story is told that Poseidon had given a white bull to Minos so that he might use it as a sacrifice. Instead, Minos kept it for himself; and in revenge, Poseidon made his wife Pasiphaë lust for the bull with the help of Aphrodite.[19] For Pasiphaë, as Greek mythologers interpreted it, Daedalus also built a wooden cow so she could mate with the bull, for the Greeks imagined the Minoan bull of the sun to be an actual, earthly bull, the slaying of which later required a heroic effort by Theseus. This story thus encourages others to consider the long-term consequences of their own inventions with great care, lest those inventions do more harm than good. As in the tale of Icarus' wings, Daedalus is portrayed assisting in the creation of something that has subsequent negative consequences, in this case with his creation of the monstrous Minotaur's almost impenetrable Labyrinth which made slaying the beast an endeavour of legendary difficulty. Additionally, Daedalus' legend evokes the virtue of humility as the Daedalean labyrinth was defeated by a simple ball of thread that its architect had ostensibly failed to consider.[citation needed] [edit] Daedalus and Icarus The most familiar literary telling explaining Daedalus' wings is a late one, that of Ovid: in his Metamorphoses (VIII:183-235) Daedalus was shut up in a tower to prevent his knowledge of his Labyrinth from spreading to the public. He could not leave Crete by sea, as the king kept strict watch on all vessels, permitting none to sail without being carefully searched. Since Minos controlled the land and sea routes, Daedalus set to work to fabricate wings for himself and his young son Icarus. He tied feathers together, from smallest to largest so as to form an increasing surface. He secured the feathers at their midpoints with string and at their bases with wax, and gave the whole a gentle curvature like the wings of a bird. When the work was done, the artist, waving his wings, found himself buoyed upward and hung suspended, poising himself on the beaten air. He next equipped his son in the same manner, and taught him how to fly. When both were prepared for flight, Daedalus warned Icarus not to fly too high, because the heat of the sun would melt the wax, nor too low, because the sea foam would soak the feathers. They had passed Samos, Delos and Lebynthos by the time the boy, forgetting himself, began to soar upward toward the sun. The blazing sun softened the wax which held the feathers together and they came off. Icarus fell into the sea and drowned. His father cried, bitterly lamenting his own arts, and called the land near the place where Icarus fell into the ocean Icaria in memory of his child. An early image of winged Daedalus appears on an Etruscan jug of ca 630 BC found at Cerveteri, where a winged figure captioned Taitale appears on one side of the vessel, paired on the other side, uniquely, with Metaia, Medea:[20] "its linking of these two mythical figures is unparalleled," Robin Lane Fox observes: "The link was probably based on their wondrous, miraculous art. Magically, Daedalus could fly, and magically Medea was able to rejuvenate the old (the scene on the jug seems to show her doing just this)".[21] The image of Daedalus demonstrates that he was already well known in the West. [edit] Sicily Further to the west, Daedalus arrived safely in Sicily, in the care of King Cocalus of Kamikos on the island's south coast; there Daedalus built a temple to Apollo, and hung up his wings, an offering to the god. In an invention of Virgil (Aeneid VI), Daedalus flies to Cumae and founds his temple there, rather than in Sicily; long afterwards Aeneas confronts the sculpted golden doors of the temple. Minos, meanwhile, searched for Daedalus by travelling from city to city asking a riddle. He presented a spiral seashell and asked for a string to be run through it. When he reached Kamikos, King Cocalus, knowing Daedalus would be able to solve the riddle, privately fetched the old man to him. He tied the string to an ant which, lured by a drop of honey at one end, walked through the seashell stringing it all the way through. Minos then knew Daedalus was in the court of King Cocalus and demanded he be handed over. Cocalus managed to convince Minos to take a bath first, where Cocalus' daughters killed Minos. In some versions, Daedalus himself poured boiling water on Minos and killed him. The anecdotes are literary, and late; however, in the founding tales of the Greek colony of Gela, founded in the 680s on the southwest coast of Sicily, a tradition was preserved that the Greeks had seized cult images wrought by Daedalus from their local predecessors, the Sicani.[22] [edit] Daedalus and Perdix Daedalus was so proud of his achievements that he could not bear the idea of a rival. His sister had placed her son, named variously as Perdix, Talus, or Calos,[23] under his charge to be taught the mechanical arts. He was an apt scholar and showed striking evidence of ingenuity. Walking on the seashore, he picked up the spine of a fish. According to Ovid, imitating it, he took a piece of iron and notched it on the edge, and thus invented the saw. He put two pieces of iron together, connecting them at one end with a rivet, and sharpening the other ends, and made a pair of compasses.[24] Daedalus was so envious of his nephew's accomplishments that he took an opportunity and caused him to fall from the Acropolis. Athena turned Perdix into a partridge and Daedalus left Athens due to this. [edit] Innovator Such anecdotal details as these were embroideries upon the reputation of Daedalus as an innovator in many arts. In Pliny's Natural History (7.198) he is credited with inventing carpentry "and with it the saw, axe, plumb-line, drill, glue, and isinglass". Pausanias, in travelling around Greece, attributed to Daedalus numerous archaic wooden cult figures (see xoana) that impressed him: "All the works of this artist, though somewhat uncouth to look at, nevertheless have a touch of the divine in them."[25] Daedalus gave his name, eponymously, to any Greek artificer and to many Greek contraptions that represented dextrous skill. At Plataea there was a festival, the Daedala, in which a temporary wooden altar was fashioned, and an effigy was made from an oak-tree and dressed in bridal attire. It was carried in a cart with a woman who acted as bridesmaid. The image was called Daedale and the archaic ritual given an explanation through a myth to the purpose In the period of Romanticism, Daedalus came to denote the classic artist, a skilled mature craftsman, while Icarus symbolized the romantic artist, whose impetuous, passionate and rebellious nature, as well as his defiance of formal aesthetic and social conventions, may ultimately prove to be self-destructive. Stephen Dedalus, in Joyce's Portrait of the Artist as a Young Man envisages his future artist-self "a winged form flying above the waves [...] a hawk-like man flying sunward above the sea, a prophecy of the end he had been born to serve”. Daedalus constructs wings for his son, Icarus, after a Roman relief in the Villa Albani, Rome (Meyers Konversationslexikon, 1888).
DAEDALUS DEAD ALL US R DEAD R US ALL DEAD
Klaatu gives Helen a chance by going with her to see her friend, Professor Barnhardt (John Cleese). The Professor tries to reason with Klaatu, saying that all civilizations only change when they're at the precipice of a crisis. He says human will change, now that they are really at the edge of destruction.
YOU SAY WE'RE ON THE BRINK OF DESTRUCTION AND YOU'RE RIGHT. BUT IT IS ONLY ON THE BRINK THAT PEOPLE FIND THE WILL TO CHANGE. ONLY AT THE PRECIPICE DO WE EVOLVE. THIS IS OUR MOMENT DON'T TAKE IT FROM US
"You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us, we are close to an answer".
The Day the Earth Stood Still (2008) - Memorable quotes www.imdb.com/title/tt0970416/quotes You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is... Regina Jackson: What is your purpose in coming here? Regina Jackson: What is your purpose in coming here? -------------------------------------------------------------------------------- Klaatu: The decision is made. -------------------------------------------------------------------------------- Klaatu: [to Helen] Your professor is right. At the precipice we change. -------------------------------------------------------------------------------- Guardswoman: [Catching Helen with a cellphone after they had been forbidden] Is that a cell phone? -------------------------------------------------------------------------------- Helen Benson: I need to know what's happening.
The Day the Earth Stood Still (2008) - Memorable quotes www.imdb.com/title/tt0970416/quotes You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is... Helen Benson: Oh God. -------------------------------------------------------------------------------- Professor Barnhardt: There must be alternatives. You must have some technology that could solve our problem. -------------------------------------------------------------------------------- Klaatu: There are some things I can't do. -------------------------------------------------------------------------------- Helen Benson: It's alright. He's here to help. -------------------------------------------------------------------------------- Professor Barnhardt: I have so many questions to ask you.
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The Day the Earth Stood Still (2008) « A Phil-for-an-ill Blog A revealing and very important dialogue transpires between Klaatu and Dr Benson:
"... it's only on the brink that people find the will to change. Only at ...
At the Precipice of Catastrophic Climate Change? At the Precipice of Catastrophic Climate Change? Some thoughts on what it will take for us to change our nature and try to prevent catastrophes instead of reacting too late with too little. Consider the 2008 remake of the film "The Day the Earth Stood Still." Klaatu’s last words, “At the precipice we change.” In this remake of the original 1951 film, the threat of Global Warming has replaced nuclear annihilation. The message being that the aliens will defend the continued habitability of one of the few such planets in their universe when they conclude we humans are on a path to environmental destruction. That therefore we must be eliminated to save the planet. Conservative reviewers were annoyed that the nuclear war danger was replaced with global warming, and put the film down for supposedly saying "Go Green or Die." Actually, the film says "Since we believe you won't change, you must be sacrificed to save the rest of life on the planet." Fortunately, in this film a very logical Nobel Prize-winning Professor Barnhardt (John Cleese, of Monty Python fame.) persuades Klaatu (Keanu Reeves) to re-consider, since the aliens own species only changed when faced with destruction, and that maybe humans too can change at the brink. The professor then advises Helen, the beautiful scientist (Jennifer Connelly) to use her self, not logic, to emotionally persuade Klaatu. Presumably, this can work since Klaatu is an alien in a man's body. Yea! Earth is saved and as a bonus, Keanu Reeves who after all is a robotic actor anyway, exits! However, the alien's bargain is that all electrical and carbon based energy is eliminated. My guess is that hydraulic and mechanical power might be allowed. The Crucial Scene: (Helen takes Klaatu and the Jacob to the home of the physicist who specializes in the evolutionary basis of altruism.) Klaatu: (appreciating Bach) It’s beautiful. Professor: So we are not so different after all. Klaatu: I wish that were true. Meanwhile: (The US government and military tries to open Gort, the giant robot, which releases the replicating insects that start eating humans and all our products.) The Professor: There must be alternatives. You must have some technology that can solve the problem. Klaatu: Your problem is not technology. The problem is you. You lack the will to change. Professor: Then help us change. Klaatu: I can not change your nature. You treat the world as you treat each other. Professor: But every civilization reaches a crisis point eventually. Klaatu: Most of them don't make it. Professor: Yours did. How? Klaatu: Our Sun was dying. We had to evolve in order to survive. Professor: So it was only when your world was threatened with destruction that you became what you are now. Klaatu: Yes. Professor: Well, that’s where we are. You say we're on the brink of destruction, and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us. We are close to an answer. Klaatu: (Pauses and then goes outside to see the military coming for him. They get ready to flee, suggesting that he now may want to get to his ship and maybe save humans.) Beautiful scientist: (To the professor) He can't get caught. What do I do? Professor: Change his mind. Not with reason, but with yourself. Beautiful scientist: (Kisses the professor's cheek and rushes off with Klaatu and the boy Jacob.) Final Scene: (Seeing the boy and scientist about to be consumed by the alien insects, Klaatu is moved to try to save them.) Beautiful scientist: Help him, please. Klaatu: (Takes the insects into himself.) Your professor was right. At the precipice we change. (Moved by the beautiful scientist and young fatherless boy to feel for humans, Klaatu decides at the last moment to stop the destruction and save humanity, but only with the elimination of electricity and fossil fuel power.) (The destruction stops and Klaatu leaves earth behind, without lights.) --- "The fate of mankind must not be left in the hands of robots turned into people or people turned into robots." Fidel Castro: Seven Daggers at the Heart of the Americas, 8/6/09 Walter Teague 3/8/10. -------------------------------------------------------------------------------- Some additional thoughts on the precipice: Seems we are on the precipice of catastrophic climate changes. Will we do what is necessity to try to prevent C3? Will we meet the challenge of organizing a public and political movement sufficient to do so. One of the major human difficulties, besides the political, economic and military barriers, is our seeming inability to act before crises, even the ones we see coming such as Katrina, Haiti, Tsunamis, etc. Consider that the two versions of the film classic "The Day the Earth Stood Still" are selling well on Amazon. In the original 1951 film "The Day the Earth Stood Still," the aliens warn us, don't take your destructive ways to space or we'll fry your planet! Well the thousands of atomic rockets remain and the outcome is still uncertain. While these are just movies, I'm left wondering what percentage of the viewers got the message, even if garbled and Hollywood-ish? Are we at the precipice? Perhaps. Will we change enough not to push ourselves over the edge? Perhaps. My question remains, what can we do to facilitate this alleged capacity to change in face of a real precipice? Walter Teague 3/14/10
Do People need to be on the Brink of Extinction to Change ?, page 1 www.abovetopsecret.com/forum/thread854406/pg1 11 posts - 8 authors - 24 Jun 2012 Professor Barnhardt Klaatu: Your problem is not technology. The problem is you. You lack the will to change.
IT'S ONLY ON THE BRINK THAT PEOPLE FIND THE WILL TO CHANGE ONLY AT THE PRECIPICE DO WE EVOLVE THIS IS OUR MOMENT DON'T TAKE IT FROM US
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THE ELEMENTS OF THE GODDESS Caitlin Mathews WE ARE ENTERING THE TIME OF THE NINE-POINTED STAR THE STAR OF MAKING REAL UPON EARTH THE GOLDEN DREAM OF PEACE THAT LIVES WITHIN US BROOKE MEDICINE EAGLE Page 72 "THE WAY OF THE DELIVERER IS THAT OF BONDAGE-BREAKER WHATEVER IS TRAPPED DENIED FREEDOM OF MOVEMENT THE DELIVERER PERSONALLY SETS FREE HER METHOD OF LIBERATION IS TO GO TO THE ROOTS OF THE BLOCKAGE AND LITERALLY BLAST IT FREE IN THIS THE DELIVERER BEARS A STRONG RESEMBLANCE TO THE SHAPER OF ALL WHO IS WILLING TO BE BROKEN INTO PIECES THE SYMBOLIC IMAGE OF THIS TRANSFORMATION IS THAT OF THE BUTTERFLY EMERGING FROM THE CHRYSALIS FROM APPARENT DEATH AND DESTRUCTION ARISES A NEW FORM OF LIFE SO ARE WE BORNE OF THE DELIVERER RESHAPED AND TRANSFORMED TO LIVE MORE EFFECTIVELY WITHIN OUR CHOSEN FIELD OF OPERATION Page 38 THIS ENNEAD OF ASPECTS IS ENDLESSLY ADAPTABLE FOR IT IS MADE UP OF NINE THE MOST AJUSTABLE AND YET ESSENTIALLY UNCHANGING NUMBER HOWEVER ONE CHOOSES TO ADD UP MULTIPLES OF NINE FOR EXAMPLE 54 72 108 THEY ALWAYS ADD UP TO NINE" "HOWEVER ONE CHOOSES TO ADD UP MULTIPLES OF NINE FOR EXAMPLE 54 72 108 THEY ALWAYS ADD UP TO NINE"
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