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A

MAZE

IN

ZAZAZA ENTERS AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

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

 

 

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

 

....

 

A
B
C
D
E
F
G
H
I
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
J
K
L
M
N
O
P
Q
R
10
11
12
13
14
15
16
17
18
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
S
T
U
V
W
X
Y
Z
I
19
20
21
22
23
24
25
26
9
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
ME
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
I
ME
I
ME
I
ME
I
ME
I
9
18
9
18
9
18
9
18
9
=
1+8
=
1+8
=
1+8
=
1+8
=
=
9
=
9
=
9
=
9
=
I
ME
I
ME
I
ME
I
ME
1
9
9
9
9
9
9
9
9
9
I
ME
I
ME
I
ME
I
ME
1

 

 

 

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

 

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

 

 

NUMBER

9

The Search for the Sigma Code

Cecil Balmond

Page 45

"From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over"


FROM ANCIENT TIMES NINE WAS SEEN AS A FULL COMPLEMENT

IT WAS THE CUP OF SPECIAL PROMISE THAT BRIMMED OVER

 

 

THE JESUS MYSTERIES

Timothy Freke & Peter Gandy

1999

Page 177

THE GOSPELS ARE ACTUALLY ANONYMOUS WORKS, IN WHICH EVERYTHING WITHOUT EXCEPTION, IS WRITTEN IN CAPITAL LETTERS, WITH NO PUNCTUATION OR SPACES BETWEEN WORDS.

 

 

CITY OF REVELATION

John Michell 1972

"The great alchemists, whose ultimate aspiration was to procure the birth of a divinity among men found it necessary first to invoke within themselves the spirit they wished to share with others. In the same tradition Plato wrote that the man who aquires the art of stereometry, the likening of unlike things which is function of the canon, sanctifies not only himself but also the city and the age in which he lives. The thought behind these various expressions was that the state of a society is determined by the individuals who comprise it; that the cosmic influences are manifest on earth through the medium of the human mind, and this is the instrument by which they may be controlled and held in balance. For the instument to be effective, it requires that the individual become aware of the current influences to which he is subject, and to this end the canon was devised; for by analogy with the dynamics of geometrical and numerological relationships, the world of phenomena is revealed as the product of archetyple forces, whose behaviour in any circumstances is predicatable once the nature is understood."

"the art of stereometry, the likening of unlike things"

 

THE ART OF STEREOMETRY

THE LIKENING OF UNLIKE THINGS

 

-
-
-
-
-
STEREOMETRY
-
-
-
S
=
1
-
1
S
19
10
1
T
=
2
-
1
T
20
2
2
E
=
5
-
1
E
5
5
5
R
=
9
-
1
R
18
9
9
E
=
5
-
1
E
5
5
5
O
=
6
-
1
O
15
6
6
M
=
4
-
1
M
13
4
4
E
=
5
-
1
E
5
5
5
T
=
2
-
1
T
20
2
2
R
=
9
-
1
R
18
9
9
Y
=
7
-
1
Y
25
7
7
-
-
44
-
11
STEREOMETRY
163
64
55
-
-
4+4
-
1+1
-
1+6+3
6+4
5+5
-
-
4
-
2
STEREOMETRY
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
4
-
2
STEREOMETRY
1
1
1

 

 

THE ART OF STEREOMETRY

 

-
-
-
-
-
STEREOMETRY
-
-
-
T
=
2
-
3
THE
33
15
6
A
=
1
-
3
ART
39
12
3
O
=
6
-
2
OF
21
12
3
S
=
1
-
11
STEREOMETRY
163
55
1
-
-
10
-
19
Add to Reduce
256
94
13
-
-
1+0
-
1+9
First Total
2+5+6
9+4
1+3
-
-
1
-
10
Reduce to Deduce
13
13
4
-
-
-
-
1+0
Second Total
1+3
1+3
-
-
-
1
-
1
Essence of Number
4
4
4

 

 

THE LIKENING OF UNLIKE THINGS

 

-
-
-
-
-
STEREOMETRY
-
-
-
T
=
2
-
3
THE
33
15
6
L
=
3
-
8
LIKENING
81
45
9
O
=
6
-
2
OF
21
12
3
U
=
3
-
6
UNLIKE
72
27
9
T
=
2
-
6
THINGS
77
32
5
-
-
16
-
25
Add to Reduce
284
131
32
-
-
1+6
-
2+5
First Total
2+8+4
1+3+1
3+2
-
-
7
-
7
Reduce to Deduce
14
5
5
-
-
-
-
-
Second Total
1+4
-
-
-
-
7
-
7
Essence of Number
5
5
5

 

 

-
-
-
-
-
STEREOMETRY
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
3
ART
39
12
3
-
-
-
3
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
11
STEREOMETRY
163
55
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
L
=
3
-
8
LIKENING
81
45
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
U
=
3
-
6
UNLIKE
72
27
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
6
THINGS
77
32
5
-
-
-
-
-
5
-
-
-
-
-
-
26
-
44
Add to Reduce
540
225
45
-
1
2
9
4
5
12
7
8
18
-
-
2+6
-
4+4
Reduce to Deduce
5+4+0
2+2+5
4+5
-
-
-
-
-
-
1+2
-
-
1+8
-
-
8
-
8
Essence of Number
9
9
9
-
1
2
9
4
5
3
7
8
9

 

 

-
-
-
-
-
STEREOMETRY
-
-
-
-
1
3
5
6
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
6
-
A
=
1
-
3
ART
39
12
3
-
-
3
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
3
-
-
-
S
=
1
-
11
STEREOMETRY
163
55
1
-
1
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
6
-
L
=
3
-
8
LIKENING
81
45
9
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
3
-
-
-
U
=
3
-
6
UNLIKE
72
27
9
-
-
-
-
-
9
T
=
2
-
6
THINGS
77
32
5
-
-
-
5
-
-
-
-
26
-
44
Add to Reduce
540
225
45
-
1
9
5
12
18
-
-
2+6
-
4+4
Reduce to Deduce
5+4+0
2+2+5
4+5
-
-
-
-
1+2
1+8
-
-
8
-
8
Essence of Number
9
9
9
-
1
9
5
3
9

 

 

-
-
-
-
-
STEREOMETRY
-
-
-
-
-
-
-
-
STERO R METRY
-
-
-
R
=
9
-
3
RESTORE
100
37
1
M
=
4
-
2
ME
18
9
9
T
=
2
-
6
TRY
63
18
9
-
-
15
-
11
Add to Reduce
181
64
19
-
-
1+5
-
1+1
First Total
1+8+1
6+4
1+9
-
-
6
-
2
Reduce to Deduce
10
10
10
-
-
-
-
-
Second Total
1+0
1+0
1+0
-
-
6
-
2
Essence of Number
1
1
1

 

 

FINGERPRINTS OF THE GODS
 
G Hancock1995

Page 287

"What one would look for, therefore, would be a universal language"

 

"WHAT ONE WOULD LOOK FOR, THEREFORE, WOULD BE A UNIVERSAL LANGUAGE"

 

 

WORK DAYS OF GOD

Herbert W Morris D.D.circa 1883

Page 22

"As all the words in the English language are composed out of the twenty-six letters of the alphabet,.."

 

 

"ALL THE WORDS IN THE ENGLISH LANGUAGE ARE COMPOSED OUT OF THE TWENTY SIX LETTERS OF THE ALPHABET"

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
W
=
2
-
5
WORDS
79
25
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
E
=
5
-
7
ENGLISH
74
38
2
-
-
2
-
-
-
-
-
-
-
L
=
3
-
8
LANGUAGE
68
32
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ARE
24
15
6
-
-
-
-
-
-
6
-
-
-
C
=
3
-
8
COMPOSED
90
36
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
3
OUT
56
11
2
-
-
2
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
6
TWENTY
107
26
8
-
-
-
-
-
-
-
-
8
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
L
=
3
-
7
LETTERS
99
27
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
60
-
79
First Total
936
360
99
-
1
6
6
4
10
30
21
8
18
-
-
6+0
-
7+9
Add to Reduce
9+3+6
3+6+0
9+9
-
-
-
-
-
1+0
3+0
2+1
-
1+8
-
-
6
-
16
Second Total
18
9
18
-
1
6
6
4
1
3
3
8
9
-
-
-
-
1+6
Reduce to Deduce
1+8
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
6
-
7
Essence of Number
9
9
9
-
1
6
6
4
1
3
3
8
9

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone?

We believe there is a common language that all technical civilizations, no matter how different, must have.

That common language is science and mathematics.

The laws of Nature are the same everywhere:..."

 

R
=
9
-
7
ROSETTA
98
26
8
S
=
1
-
5
STONE
73
19
1
-
-
10
-
12
Add to Reduce
171
45
9
-
-
1+0
-
1+2
Reduce to Deduce
1+7+1
4+5
-
Q
-
1
-
3
Essence of Number
9
9
9

 

 

"...Is there in any sense an interstellar Rosetta Stone?

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
5
THERE
56
29
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ANY
40
13
4
-
-
-
-
4
-
-
-
-
-
S
=
1
-
5
SENSE
62
17
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
2
AN
15
6
6
-
-
-
-
-
-
6
-
-
-
I
=
9
-
12
INTERSTELLAR
153
54
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
7
ROSETTA
98
26
8
-
-
-
-
-
-
-
-
8
-
S
=
1
-
5
STONE
73
19
1
-
1
-
-
-
-
-
-
-
-
-
-
42
-
43
First Total
548
188
44
-
2
2
3
4
5
6
7
16
9
-
-
4+2
-
4+3
Add to Reduce
5+4+8
1+8+8
4+4
-
-
-
-
-
-
-
-
1+6
-
-
-
6
-
7
Second Total
17
17
8
-
2
2
3
4
5
6
7
7
9
-
-
-
-
-
Reduce to Deduce
1+7
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
7
Essence of Number
8
8
8
-
2
2
3
4
5
6
7
7
9

 

 

We believe there is a common language that all technical civilizations, no matter how different, must have.

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
-
2
WE
28
10
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
7
BELIEVE
60
33
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
5
THERE
56
29
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
C
=
3
-
6
COMMON
73
28
1
-
1
-
-
-
-
-
-
-
-
L
=
3
-
8
LANGUAGE
68
32
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
9
TECHNICAL
75
39
3
-
-
-
3
-
-
-
-
-
-
C
=
3
-
13
CIVILIZATIONS
168
69
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
2
NO
29
11
2
-
-
2
-
-
-
-
-
-
-
M
=
4
-
6
MATTER
77
23
5
-
-
-
-
-
5
-
-
-
-
H
=
8
-
3
HOW
46
19
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
9
DIFFERENT
87
51
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
4
MUST
73
10
1
-
1
-
-
-
-
-
-
-
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
-
-
66
-
88
First Total
979
403
61
-
6
4
3
4
10
18
7
8
9
-
-
6+6
-
8+8
Add to Reduce
9+7+9
4+0+3
6+1
-
-
-
-
-
1+0
1+8
-
-
-
-
-
12
-
16
Second Total
25
7
7
-
6
4
3
4
1
9
7
8
9
-
-
1+2
-
1+6
Reduce to Deduce
2+5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
Essence of Number
7
7
7
-
6
4
3
4
1
9
7
8
9

 

 

That common language is science and mathematics.

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
C
=
3
-
6
COMMON
73
28
1
-
1
-
-
-
-
-
-
-
-
L
=
3
-
8
LANGUAGE
68
32
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
7
SCIENCE
58
31
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
11
MATHEMATICS
112
40
4
-
-
-
-
4
-
-
-
-
-
-
-
23
-
41
First Total
407
164
20
-
3
4
3
12
5
6
7
8
9
-
-
2+3
-
4+1
Add to Reduce
4+0+7
1+6+4
6+1
-
-
-
-
1+2
-
-
-
-
-
-
-
5
-
5
Second Total
11
11
7
-
3
4
3
3
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+1
1+1
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
2
2
7
-
3
4
3
3
5
6
7
8
9

 

 

The laws of Nature are the same everywhere:..."

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
L
=
3
-
4
LAWS
55
10
1
-
1
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
6
NATURE
79
25
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
ARE
23
15
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
4
SAME
38
11
2
-
-
2
-
-
-
-
-
-
-
E
=
5
-
10
EVERYWHERE
134
62
8
-
-
-
-
-
-
-
-
8
-
-
-
25
-
35
First Total
417
165
39
-
1
2
3
4
5
18
7
8
9
-
-
2+5
-
3+5
Add to Reduce
4+0+7
1+6+5
3+9
-
-
-
-
-
-
1+8
-
-
-
-
-
7
-
-
Second Total
12
12
12
-
1
2
3
4
5
9
7
8
9
-
-
-
-
-
Reduce to Deduce
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
Essence of Number
3
3
3
-
1
2
3
4
5
9
7
8
9

 

 

THE

ENGLISH LANGUAGE

TRANSMUTED INTO NUMBER

IS

ONE OF THE MAIN CONDUITS

THROUGH WHICH APPEAR CLEARER UNDERSTANDING

OF

THOSE REFRACTED PATTERNS AND SENSIBILITIES APPARENTLY RANDOM

DESCRIBING ENERGIES WHICH INTERMINGLED WITHIN THE GREAT HERE AND NOW

ARE

CONSIDERED

THE

CREATIVE LIVING EXPERIENCE

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

FINGERPRINTS OF THE GODS

  G Hancock1995

Page 287

"What one would look for, therefore, would be a universal language"

 

"WHAT ONE WOULD LOOK FOR, THEREFORE, WOULD BE A UNIVERSAL LANGUAGE"

 

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

 

LOVE LOVE LOVE 999 LOVE LOVE LOVE

EVOLVE LOVE 99999 LOVE EVOLVE

DIVINE LOVE REAL 999 REAL LOVE DIVINE

DIVINE 9 LOVE 9 LOVE 9 DIVINE

 

 

THE EGYPTIAN BOOK OF THE DEAD

E. A. Wallace Budge

1899

OF LIVING NIGH UNTO RA

Page 397

Or,
"The Chapter of making the way into heaven nigh unto Ra "
Chap. cxxxi. 5]
[From the Papyrus of Nu (Brit. Mus. No. 10,477, sheets 17 and 18).)
Vignette: This Chapter is without vignette, both in the Papyrus of Nu and in the Saite Recension (see Lepsius, OF. cit., Bl. 54).
Text: (1)

THE CHAPTER OF HAVING EXISTENCE NIGH UNTO RA.

1 The overseer of the house of the overseer of the seal, Nu, triumphant, saith :-

"I am that god Ra who shineth in the night. Every "(2) being who followeth in his train shall have life in " the following of the god Thoth, and he shall give "unto him the risings of Horus in the darkness. The " heart of Osiris Nu, the overseer of the house of the overseer of the seal, triumphant, is glad (3) because "he is one of those beings, and his enemies have been "destroyed by the divine princes. I am a follower of "Ra, and [I have] received his iron weapon. (4) I "have- come unto thee, O my father Ra, and I have " advanced to the god Shu. I have cried unto the "mighty goddess, I have equipped the god Hu (5) and "I alone have removed the Nebt god from the path of "' Ra. I am a Khu, and I have come to the divine "' prince at the bounds of the horizon. I have met / Page 398 / [Chap. cxxxi. 6 " (6) and I have received the mighty goddess. I have "raised up thy soul in the following of thy strength, "and my soul [liveth] through thy victory and thy "mighty power; it is I who give commands (7) in "speech to Ra in heaven. Homage to thee, O great " god in the east of heaven, let me embark in thy boat, " O Ra, let me open myself out in the form of a divine "hawk, (8) let me give my commands in words, let me " do battle in my Sekhem (?), let me be master under "my vine. Let me embark in thy boat O Ra, in "peace, (9) and let me sail in peace to the beautiful " Amentet. Let the god Tem speak unto me, [saying], " 'Wouldst [thou] enter therein?' The lady, the "goddess Mehen, is a million of years, yea, two million "years in (10) duration, and dwelleth in the house of "Urt and Nif-urt [and in} the Lake of a million years; "the whole company. of the gods move about among "those who are at the side of him who is the lord of "divisions of places (?). And I say, 'On every road " and among (11) these millions of years is Ra the lord, "and his path is in the fire; and they go round about "behind him, and they go round about behind him.'"

And I say, 'On every road " and among (11) these millions of years is Ra the lord, "and his path is in the fire; and they go round about "behind him, and they go round about behind him.'"

 

 

GODS AND SPACEMAN IN THE ANCIENT EAST

New evidence on the unexplained mysteries of civilization in the ancient East

W. Raymond Drake 1968

Page 135

Children of impotent revolt) into the eastern part of heaven, whereupon there arose a battle in heaven and in all the earth.
'O Thou, who art in the Egg (i.e. Ra) who shinest from thy disk and risest in thy horizon and dost shine like gold above the, sky, like unto whom there is none among the Gods, who sailest over the Pillars of Shu (the ether) who givest blasts of fire from the mouth (who makest the two lands bright with thy radiance deliver) the faithful worshippers from the God whose forms are hidden, whose eyebrows are like unto the two arms of the balance on the night of the reckoning of destruction.
Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds which may be interpreted as meaning Spacemen.
This description of a Celestial in a shining spacecraft speeding through the skies, blasting armies with fire, recalls those flaming `shields' mentioned in the Annales Laurissenses which in the year An 776 routed the Saxons besieging the Franks at Sigiburg."'
The same Chapter XVII continues:
`(112) . . . I know the being, Matchet, (the Oppressor) who is among them in the House of Osiris shooting rays of light from (his) Eye, but he himself is unseen. He goeth round about heaven robed in the flames of his mouth, commanding Hapi (lands of the Nile) but remaining himself unseen. . . . I fly as a hawk. I cackle as a goose. I ever slay, even as the Serpent Goddess, Nehebka....'
`(140) . . Thou livest according to thy will, thou art Uatchit, the Lady of the Flame, (141) Evil cometh among those who set themselves up against thee . . . (145) Uatchit, the Lady of the Flames, is the Eye of Ra....'
The ancient Stanzas of Dzyan honour the 'Lords of the Flame', Sanskrit Vedas mention 'Lords of Light', the Egyptian The Book of the Dead praises the 'Lady of the Flame'. Surely this suggests Extra-terrestrials with laser-light weapons dominating our Earth in far Antiquity?
Several references in The Book of the Dead are made to the `Shining Ones' possibly Wondrous Beings from the stars; the Bible would call them 'Angels of the Lord'.
`Behold, O ye Shining Ones, ye Men and Gods . . . Osiris. Ani is victorious over his foes in the heavens above and (on the earth) beneath in the presence of the god-like Rulers of all the Gods and Goddesses' (Chapter 134,15/17).

Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds

 

 

THE MORNING OF THE MAGICIANS

Lois Pauwels and Jacques Bergier 1963

Page 226

"...dreams can foretell even distant future events,* and two German research workers, Moufang and Stevens, in a work entitled The Mystery of Dreams have cited a number of cases, which have been carefully checked, in which dreams revealed future events and led to important scientific discoveries.
The celebrated atomic scientist, Niels Bohr, when he was a student, had a strange dream. He saw himself on a Sun consisting of burning gas. Planets whizzed by, whistling as they passed. They were attached to the Sun by thin filaments, and revolved round it. Suddenly the gas solidified and the Sun and planets crumbled away. Niels Bohr then woke up and realized that he had just discovered the model of the atom, so long sought after. The 'Sun' was the fixed centre round which the electrons revolve. The whole of modem atomic physics and its applications have come out of this dream."

"He saw himself on a Sun consisting of burning gas. Planets whizzed by, whistling as they passed"

"The 'Sun' was the fixed centre round which the electrons revolve"

In 1913 Bohr perfected the Rutherford theory of the atom by an early use of quantum theory. An electron moving in a circle around the nucleus can be held in orbit by a balance between the electrostatic force of attraction to the nuclei and the centrifugal force due to its motion.

 

 

A HISTORY OF GOD

Karen Armstrong 1993

UNITY THE GOD OF ISLAM

Page 182

"As they converge on the Kaba, clad in the traditional pilgrim dress that obliterates all distinctions of race or class, they feel that they have been liberated / Page 183 / from the egotistic preoccupations of their daily lives and been caught up into a community that has one focus and orientation. They cry in unison; 'Here I am at your service, O al-Lah' before they begin the circumambulations around the shrine. The essential meaning of this rite is brought out well by the late Iranian philosopher All Shariati:

As you circumambulate and move closer to the Kabah, you feel like a small stream merging with a big river. Carried by a wave you lose touch with the ground. Suddenly, you are floating, carried on by the flood. As you approach the centre, the pressure of the crowd squeezes you so hard that you are given a new life. You are now part of the People; you are now a Man, alive and eternal. . .

The Kabah is the world's sun whose face attracts you into its orbit. You have become part of this universal system. Circumambulating around Al-lah, you will soon forget yourself. . . You have been transformed into a particle that is gradually melting and disappearing. This is absolute love at its peak.".

 

 

The RA Expeditions

Thor Heyerdal 1970

Page 14

"The largest reed boats in Peru were depicted as two deckers. Quantities of water jars and other cargo were painted in on the lower deck, as well as rows of little people, and on the upper deck usually stood the earthly representative of the sun-god the priest king, larger than all his companions, surrounded by bird-headed men who were often hauling on ropes to help the reed boat through the water. The tomb paintings in Egypt also portrayed the sun-god's earthly representative, the priest-king known as the pharaoh, like an imposing giant on his reed boat, surrounded by minature people, while / Page 15 / the same mythical men with bird heads towed the reed boat through the water.
Reed boats and bird-headed men seemed to go together, for some inexplicable reason. For we had found them far out in the Pacific Ocean too, on Easter Island, where the sun-god's mask, the reed boats with sails, and the men with bird heads formed an inseperable trio amomg the wall-paintings and reliefs in the ancient ceremonial village of Orongo, with its solar observatory. Easter Island, Peru, Egypt. These strange parrallels could hardly have been found further apart. Apparently they could hardly furnish better proof that men must have arrived independently at the same time in widely seperated places. Apparently. But what was even more strange was that the aboriginal people of Easter Island called the sun ra. Ra was the name for the sun on all the hundreds of Polynesian islands, so it could be no mere accident.Ra was also the name for the sun in ancient Egypt. No word was more important to the ancient Egyptian religion than Ra, the sun, the sun-god, ancestor of the pharaohs. The one who sailed reed boats, with an entourage of bird headed men. Giant monolithic statues as high as houses had been erected in honour of the sun-god's earthly priest-kings on Easter Island, in Peru and in ancient Egypt. And in all three places, solid rock had been sliced up like cheese into blocks as big as railway trucks and fitted together in stepped pyramids designed on an astronomical basis according to the movements of the sun. All in honour of the common ancestor, the sun, Ra. Was there some connection, or was it just coincidence?"

 

 

THE COSMIC SERPENT

Jeremy Narby

1

999

Page 53

"For several hours after drinking the brew, I found myself, although awake, in a world literally beyond my wildest dreams. I met bird-headed people, as well as dragon-like creatures who explained that they were the true gods of this world.

Page 54

After several minutes he found himself falling into a world of true hallucinations. After arriving in a celestial cavern where "a supernatural carnival of demons" was in full swing, he saw two strange boats floating through the air that combined to form "a huge dragon-headed prow, not unlike that of a Viking ship." On the deck, he could make out "large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird­headed gods of ancient Egyptian tomb paintings."

After multiple episodes, which would be too long to describe here, Hamer became convinced that he was dying. He tried call­ /Page 55/ ing out to his Conibo friends for an antidote without managing to pronounce a word. Then he saw that his visions emanated from "giant reptilian creatures" resting at the lowest depths of his brain. These creatures began projecting scenes in front of his eyes, while informing him that this information was reserved for the dying and the dead:

Page 53

"I met bird-headed people"

Page54

"not unlike the bird­headed gods of ancient Egyptian tomb paintings."

"large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird­headed gods of ancient Egyptian tomb paintings."

 

 

The RA Expeditions

Thor Heyerdal 1970

Page 15

Ra was also the name for the sun in ancient Egypt. No word was more important to the ancient Egyptian religion than Ra, the sun, the sun-god, ancestor of the pharaohs. The one who sailed reed boats, with an entourage of bird headed men.

"The one who sailed reed boats, with an entourage of bird headed men."

 

 

GODS AND SPACEMAN IN THE ANCIENT EAST

New evidence on the unexplained mysteries of civilization in the ancient East

W. Raymond Drake 1968

Page 135

Children of impotent revolt) into the eastern part of heaven, whereupon there arose a battle in heaven and in all the earth.
'O Thou, who art in the Egg (i.e. Ra) who shinest from thy disk and risest in thy horizon and dost shine like gold above the, sky, like unto whom there is none among the Gods, who sailest over the Pillars of Shu (the ether) who givest blasts of fire from the mouth (who makest the two lands bright with thy radiance deliver) the faithful worshippers from the God whose forms are hidden, whose eyebrows are like unto the two arms of the balance on the night of the reckoning of destruction.
Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds which may be interpreted as meaning Spacemen.

"Hieroglyphics in Ani's Papyrus represent Ra and Horus as human-headed birds

 

 

THE MAGIC MOUNTAIN

Thomas Mann

1875-1955

Page 888

"Now Isis, the Great One of the island, Eset, a millionfold fertile in guile, felt that her moment was come. Her wisdom embraced heaven and earth, like that of the old superannuated old Re himself. But there was one thing she did not know or command, and the lack of it / Page 889 / hampered her: she did not know the last, most secret name of Re, his very final one, knowledge of which would give power over him. Re had very many names, each one more secret than the one before, yet not utterly hopeless to find out, save one, the very last and mightiest. That he still witheld; whoso could make him name it, he could compel him and outdistance him and put him under his feet.
Therefore Eset conceived and devised a serpent, which should sting Re in his golden flesh."
"Then the intolerable pain of the sting, which only great Eset could cure who made the worm, would force Re to tell her his name. Now as she contrived it so was it fulfilled. The old Re was stung, and in torments was forced to come out with one of his secret names after another, always hoping that the goddess would be satisfied before they got to the last one. But she kept on to the uttermost, until he had named her the most secret of all, and the power of her knowledge over him was absolute. After that it cost her nothing to heal his wound; but he only got a little better, within the wretched limits in which so old a creature can; and soon thereafter he gave up and joined the great majority."

 

 

-
2
R
E
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
18
5
+
=
23
2+3
=
5
=
5
-
2
R
E
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
18
5
+
=
23
2+3
=
5
=
5
-
2
R
E
-
-
-
-
-
--
-
-
-
-
18
5
+
=
23
2+3
=
5
=
5
-
-
9
5
+
=
14
1+4
=
5
=
5
-
2
R
E
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
3
THREE
3
-
-
-
4
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
5
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
31
2
R
E
-
-
14
-
-
2
-
14
3+1
-
9
-
-
-
1+4
-
-
-
-
1+4
4
2
R
E
-
-
5
-
-
2
-
5
-
-
9
5
-
-
-
-
-
-
-
-
4
2
R
E
-
-
5
-
-
2
-
5

 

 

2
R
E
-
-
-
-
-
--
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
18
5
+
=
23
2+3
=
5
=
5
2
R
E
-
-
-
-
-
--
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
18
5
+
=
23
2+3
=
5
=
5
2
R
E
-
-
-
-
-
--
-
-
-
18
5
+
=
23
2+3
=
5
=
5
-
9
5
+
=
14
1+4
=
5
=
5
2
R
E
-
-
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
1
=
5
-
9
-
-
-
9
occurs
x
1
=
9
2
R
E
-
-
14
-
-
2
-
14
-
9
-
-
-
1+4
-
-
-
-
1+4
2
R
E
-
-
5
-
-
2
-
5
-
9
5
-
-
-
-
-
-
-
-
2
R
E
-
-
5
-
-
2
-
5

 

 

OBJECTIVE REALITY

Poems and Essays

by

Lloyd C. Daniel 1985

Page 32

sun

energy

energy

energy

energy

energy

energy

energy

energy

energy

energy

rrrraaaaaaaahhhhhhhhhhhhhhhh!

 

 

I

AM ME

I

AM FREE

David Icke 1996

Page 33

The Global Dictatorship

"I'm sorry, would you just excuse me once more?

Aaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhhhhhh!!!"

 

 

OF

TIME AND STARS

Arthur C. Clarke 1972

THE NINE BILLION NAMES OF GOD

Page15 (number omitted)

" ' This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a ma-chine. Could you explain just what you intend to do with it?'

'Gladly,' replied the lama, readjusting his silk robes and carefully putting away the slide rule he had been Using for currency conversions. 'Your Mark V Computer can carry out any routine mathtiilatical operation involving up to ten digits. However, for our work we are interested in letters, not numbers. As we wish you to modify the output circuits, the machine will be printing words, not columns of figures.'

'I don't quite understand. . .'

'This is a project on which we have been working for the last three centuries - since the lamasery was founded, in fact. It is somewhat alien to your way of thought, so I hope you will listen with an open mind while I explain it.'

'Naturally.'

'It is really quite simple. We have been compiling a list which shall contain all the possible names of God.'

'I beg your pardon?'

Page 16

The Nine Billion Names of God

'We have reason to believe,.' continued the lama imper-turbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.'

'And you have been doing this for three centuries?'

'Yes: we expected it would take us about fifteen thousand years to complete the task.'

'Oh,' Dr Wagner looked a little dazed. 'Now I see why you wanted to hire one of our machines. But what exactly is the purpose of this project?'

The lama hesitated for a fraction of a second, and Wagner wondered if he had offended him. If so, there was no trace of annoyance in the reply.

'Call it ritual, if you like, but it's a fundamental part of our belief. All the many names of the Supreme Being - God, Jehova, Allah, and so on - they are only man-made labels. There is a philosophical problem of some difficulty here, which I do not propose to discuss, but somewhere among all the possible combinations of letters that can occur are what one may call the real names of God. By systematic per-mutation of letters, we have been trying to list them all.'

"I see. You've been starting at A A A A A A A . . . and work- ing up to Z Z Z Z Z Z Z Z . . .'

'Exactly - though we use a special alphabet of our own. Modifying the electromatic typewriters to deal with this is, of course, trivial. A rather more interesting problem is that of devising suitable circuits to eliminate ridiculous com- binations. For example, no letter must occur more than times in succession.'

' Three? Surely you mean two.'

'Three is correct: I am afraid it would take too long to explain why, even if you understood our language.'

Page 17

The Nine Billion Names of God


'I'm sure it would,' said Wagner hastily. 'Go on.'

'Luckily, it will be a simple matter to adapt your Automatic Sequence Computer for this work, since once it has been programmed properly it will permute each letter in turn and print the result. What would have taken us fifteen thousand years it 'will be able to do in a hundred days.'

Dr Wagner was scarcely conscious of the faint sounds from the Manhattan streets far below. He was in a different world, a world of natural, not man-made, mountains. High up in their remote aeries these monks had been patiently at work, generation after generation, compiling their lists of meaningless words. Was there any limit to the follies of man- kind? Still, he must give no hint of his inner thoughts. The customer was always right. . .

'There's no doubt replied the doctor, 'that we can modify the Mark V to print lists of this nature."

Page20

' Well they believe that when they have listed all his names - and they reckon that there are about nine billion of them - Gods purpose will be achieved. "

Page 16

"I see. You've been starting at A A A A A A A . . . and work-ing up to Z Z Z Z Z Z Z Z . . .'

 

 

NUMBER

9

The Search for the Sigma Code

Cecil Balmond

Page 45

"From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over"


FROM ANCIENT TIMES NINE WAS SEEN AS A FULL COMPLEMENT

IT WAS THE CUP OF SPECIAL PROMISE THAT BRIMMED OVER

 

 

THE NEW ELIZEBETHAN REFERENCE DICTIONARY

Fourth Edition

Editor Peter Finch

incandesce (in kan des) [L. incandescere] (IN- (1), candescere, incept. of candere, to be white)], v.i. To glow with heat. v.t. To cause to glow with heat. incandescence, n incandescent, a Glowing with heat; in-tensely luminous with heat. incandescent lamp: An electric or other lamp in which a filament or mantle is made intensely luminous by heat."

 

 

MUSIC OF THE MIND

Darryl Reanney 1994

Page 140

"So only this 'moment' was right for us, or something like us, to evolve. It takes 104° units of time for the universe to create complex creatures with brains powerful enough to surge through the limitations of matter. As the Jesuit scientist Teilhard de Chardin said:

We already knew that everywhere the active lines of life gtow warm with consciousness towards the summit. But in one well-marked region at the heart of the mammals, where the most powerful brains ever made by nature are to be found, they become red hot, And right in the heart of that glow burns a point of incandescence.

We must not lose sight of that line, crimsoned by the dawn. After thousands of years rising below the horizon, a flame bursts forth at a stricrly localised point.

Thought is born.l27"

"And right in the heart of that glow burns a point of incandescence."

"a point of incandescence"

"incandescence"

"Thought is born"

 

5
LIGHT
56
29
2
4
HEAT
34
16
7
9
LIGHT HEAT
90
45
9
-
-
9+0
4+5
-
9
LIGHT HEAT
9
9
9
-
INCANDESCENCE
-
-
-
-
I
9
9
9
-
NCA
18
9
9
-
ND
18
9
9
-
ESC
27
9
9
-
ENCE
27
18
9
13
INCANDESCENCE
99
54
45
-
Add to Reduce
9+9
5+4
4+5
13
INCANDESCENCE
18
9
9
-
-
1+8
-
-
13
INCANDESCENCE
9
9
9
-
-
-
-
-
-
-
-
-
-
-
GODS
45
18
9
-
LOVE
54
18
9
-
DIVINE
63
36
9
-
THOUGHT
99
36
9
1
I
9
9
9
2
ME
18
9
9
3
THE
33
15
6
7
RA-IN-BOW
82
37
1
5
LIGHT
56
29
2
15
First Total
171
81
9
-
Add to Reduce
1+7+1
8+1
-
-
Essence of Number
9
9
9
8
GODS LOVE
99
36
9

 

THOUGHT DIVINE THOUGHT

 

 

E
=
5
-
6
ENERGY
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
-
N
14
5
5
-
-
-
-
-
E
5
5
5
-
-
-
-
-
R
18
9
9
-
-
-
-
-
G
7
7
7
-
-
-
-
-
Y
25
7
7
E
=
5
-
6
ENERGY
74
38
38
-
-
-
-
-
-
7+4
3+8
3+8
E
=
5
-
6
ENERGY
11
11
11
-
-
-
-
-
-
1+1
1+1
1+1
E
=
5
-
6
ENERGY
2
2
2

 

 

E
=
5
-
6
ENERGY
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
-
N
14
5
5
-
-
-
-
-
E
5
5
5
-
-
-
-
-
R
18
9
9
-
-
-
-
-
G+Y
32
14
5
E
=
5
-
6
ENERGY
74
38
38
-
-
-
-
-
-
7+4
3+8
3+8
E
=
5
-
6
ENERGY
11
11
11
-
-
-
-
-
-
1+1
1+1
1+1
E
=
5
-
6
ENERGY
2
2
2

 

 

E
=
5
-
6
ENERGY
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
-
N
14
5
5
-
-
-
-
-
E
5
5
5
-
-
-
-
-
R+G+Y
50
23
5
E
=
5
-
6
ENERGY
74
38
20
-
-
-
-
-
-
7+4
3+8
2+0
E
=
5
-
6
ENERGY
11
11
2
-
-
-
-
-
-
1+1
1+1
-
E
=
5
-
6
ENERGY
2
2
5

 

 

LOVE LOVE LOVE 999 LOVE LOVE LOVE

EVOLVE LOVE 99999 LOVE EVOLVE

DIVINE LOVE REAL 999 REAL LOVE DIVINE

DIVINE 9 LOVE 9 LOVE 9 DIVINE

 

 

THE NEW ELIZEBETHAN REFERENCE DICTIONARY

Fourth Edition

Editor Peter Finch

incandesce (in kan des) [L. incandescere] (IN- (1), candescere, incept. of candere, to be white)], v.i. To glow with heat. v.t. To cause to glow with heat. incandescence, n incandescent, a Glowing with heat; in-tensely luminous with heat. incandescent lamp: An electric or other lamp in which a filament or mantle is made intensely luminous by heat."

 

 

MUSIC OF THE MIND

Darryl Reanney 1994

Page 140

"So only this 'moment' was right for us, or something like us, to evolve. It takes 104° units of time for the universe to create complex creatures with brains powerful enough to surge through the limitations of matter. As the Jesuit scientist Teilhard de Chardin said:

We already knew that everywhere the active lines of life gtow warm with consciousness towards the summit. But in one well-marked region at the heart of the mammals, where the most powerful brains ever made by nature are to be found, they become red hot, And right in the heart of that glow burns a point of incandescence.

We must not lose sight of that line, crimsoned by the dawn. After thousands of years rising below the horizon, a flame bursts forth at a stricrly localised point.

Thought is born.l27"

"And right in the heart of that glow burns a point of incandescence."

"a point of incandescence"

"incandescence"

"Thought is born"

 

5
LIGHT
56
29
2
4
HEAT
34
16
7
9
LIGHT HEAT
90
45
9
-
-
9+0
4+5
-
9
LIGHT HEAT
9
9
9
-
INCANDESCENCE
-
-
-
-
I
9
9
9
-
NCA
18
9
9
-
ND
18
9
9
-
ESC
27
9
9
-
ENCE
27
18
9
13
INCANDESCENCE
99
54
45
-
Add to Reduce
9+9
5+4
4+5
13
INCANDESCENCE
18
9
9
-
-
1+8
-
-
13
INCANDESCENCE
9
9
9
-
-
-
-
-
-
-
-
-
-
-
GODS
45
18
9
-
LOVE
54
18
9
-
DIVINE
63
36
9
-
THOUGHT
99
36
9
1
I
9
9
9
2
ME
18
9
9
3
THE
33
15
6
7
RA-IN-BOW
82
37
1
5
LIGHT
56
29
2
15
First Total
171
81
9
-
Add to Reduce
1+7+1
8+1
-
-
Essence of Number
9
9
9
8
GODS LOVE
99
36
9

 

THOUGHT DIVINE THOUGHT

 

 

E
=
5
-
6
ENERGY
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
-
N
14
5
5
-
-
-
-
-
E
5
5
5
-
-
-
-
-
R
18
9
9
-
-
-
-
-
G
7
7
7
-
-
-
-
-
Y
25
7
7
E
=
5
-
6
ENERGY
74
38
38
-
-
-
-
-
-
7+4
3+8
3+8
E
=
5
-
6
ENERGY
11
11
11
-
-
-
-
-
-
1+1
1+1
1+1
E
=
5
-
6
ENERGY
2
2
2

 

 

E
=
5
-
6
ENERGY
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
-
N
14
5
5
-
-
-
-
-
E
5
5
5
-
-
-
-
-
R
18
9
9
-
-
-
-
-
G+Y
32
14
5
E
=
5
-
6
ENERGY
74
38
38
-
-
-
-
-
-
7+4
3+8
3+8
E
=
5
-
6
ENERGY
11
11
11
-
-
-
-
-
-
1+1
1+1
1+1
E
=
5
-
6
ENERGY
2
2
2

 

 

E
=
5
-
6
ENERGY
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
-
N
14
5
5
-
-
-
-
-
E
5
5
5
-
-
-
-
-
R+G+Y
50
23
5
E
=
5
-
6
ENERGY
74
38
20
-
-
-
-
-
-
7+4
3+8
2+0
E
=
5
-
6
ENERGY
11
11
2
-
-
-
-
-
-
1+1
1+1
-
E
=
5
-
6
ENERGY
2
2
5

 

 

OBJECTIVE REALITY

Poems and Essays

by

Lloyd C. Daniel 1985

Page 32

sun

energy

energy

energy

energy

energy

energy

energy

energy

energy

energy

rrrraaaaaaaahhhhhhhhhhhhhhhh!

 

 

I

AM ME

I

AM FREE

David Icke 1996

Page 33

The Global Dictatorship

"I'm sorry, would you just excuse me once more?

Aaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhhhhhh!!!"


OF

TIME AND STARS

Arthur C. Clarke 1972

THE NINE BILLION NAMES OF GOD

Page 16

"I see. You've been starting at A A A A A A A . . . and work- ing up to Z Z Z Z Z Z Z Z . . .'

A HISTORY OF GOD

Karen Armstrong 1993

Page 278

"All I can say remembering you', the prayer concluded, 'is ayyyy and ahhhhhhhh"

 

 

THE NINE FREEDOMS

George King, D. D.1963

Enlightenment

Page173

CHAPTER

9

"THE NINTH FREEDOM WILL BE SOLAR EXISTENCE"

 

 

THE COSMIC SERPENT

Jeremy Narby

1

999

Page 53

"In reading the literature on Amazonian shamanism, I had no­ticed that the personal experience of anthropologists with indigenous hallucinogens was a gray zone. I knew the problem well for having skirted around it myself in my own writings. One of the categories in my reading notes was called "Anthropologists and Ayahuasca." I consulted the card corresponding to this category, which I had filled out over the course of my investigation, and noted that the first subjective description of an ayahuasca experi­ence by an anthropologist was published in 1968-whereas sev­eral botanists had written up similar experiences a hundred years previously. 10

The anthropologist in question was Michael Harner. He had devoted ten lines to his own experience in the middle of an aca­demic article: "For several hours after drinking the brew, I found myself, although awake, in a world literally beyond my wildest dreams. I met bird-headed people, as well as dragon-like creatures who explained that they were the true gods of this world. I enlisted the services of other spirit helpers in attempting to fly through the far reaches of the Galaxy. Transported into a trance where the supernatural seemed natural, I realized that anthropol­ogists, including myself, had profoundly underestimated the im­portance of the drug in affecting native ideology."11"

At first Michael Hamer pursued an enviable career, teaching in reputable universities and editing a book on shamanism for Ox­ford University Press. Later, however, he alienated a good portion of his colleagues by publishing a popular manual on a series of shamanic techniques based on visualization and the use of drums.

Page 54

Hamer explains that in the early 1960s, he went to the Peru­vian Amazon to study the culture of the Conibo Indians. After a year or so he had made little headway in understanding their reli­gious system when the Conibo told him that if he really wanted to leam, he had to drink ayahuasca. Hamer accepted not without fear, because the people had wamed him that the experience was terrifying. The following evening, under the strict supervision of his indigenous friends, he drank the equivalent of a third of a bot­tle. After several minutes he found himself falling into a world of true hallucinations. After arriving in a celestial cavern where "a supernatural carnival of demons" was in full swing, he saw two strange boats floating through the air that combined to form "a huge dragon-headed prow, not unlike that of a Viking ship." On the deck, he could make out "large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird­headed gods of ancient Egyptian tomb paintings."

After multiple episodes, which would be too long to describe here, Hamer became convinced that he was dying. He tried call­ /Page 55/ ing out to his Conibo friends for an antidote without managing to pronounce a word. Then he saw that his visions emanated from "giant reptilian creatures" resting at the lowest depths of his brain. These creatures began projecting scenes in front of his eyes, while informing him that this information was reserved for the dying and the dead: "First they showed me the planet Earth as it was eons ago, before there was any life on it. I saw an ocean, barren land, and a bright blue sky. Then black specks dropped from the sky by the hundreds and landed in front of me on the barren landscape. I could see the 'specks' were actually large, shiny, black creatures with stubby pterodactyl-like wings and huge whale-like bodies. . . . They explained to me in a kind of thought language that they were fleeing from something out in space. They had come to the planet Earth to escape their enemy. The creatures then showed me how they had created life on the planet in order to hide within the multitudinous forms and thus disguise their presence. Before me, the magnificence of plant and animal creation and speciation-hundreds of millions of years of activity-took place on a scale and with a vividness impossible to describe. I learned that the dragon-like creatures were thus in­side all forms of life, including man."

 

THE WASTE LAND

and other poems

T. S. Elliot

The Love Song of J. Alfred Prufrock

"I AM LAZARUS COME FROM THE DEAD COME BACK TO TELL YOU ALL I SHALL TELL YOU ALL"

 

THE

NETERS NET THE INTERNET

DEOXY.ORG

"South American Ayahuasca Practice

This brew, commonly called yage, or yaje, in Colombia, ayahuasca (Inca 'vine of the dead'*) in Ecuador and Peru, and caapi in Brazil, is prepared from segments of a species of the vine Banisteriopsis, a genus belonging to the Malpighiaceae.-Michael Harner

*Inca "vine of the dead, vine of the souls," aya means in Quechua "spirit," "ancestor," "dead person," while huasca means "vine," "rope").

Pablo's Warning: Ayahuasca is not something to play with. It may even kill, not because it is toxic in itself, but because the body may not be able to stand the spiritual realm, the vibrations from the spirit world. Pablo said he had several frightening experiences with ayahuasca. Three times he thought he was going to die.*One needs courage, a strong discipline, and to proceed by degrees. It is a long process that might take two or three years before one can venture into the higher realms. One needs a teacher that shows the correct procedures, and how to defend oneself against supernatural attack. But after some time, one needs to continue alone, because even one's teacher might become jealous of one's progress and could take away all one has learned.
*Frightening ayahuasca experiences are quite frequent. It is common that people take ayahuasca only once, and are afraid to take it again."

From Ayahuasca Visions by Luna and Amaringo

"Ayahuasca is not something to play with. It may even kill, not because it is toxic in itself, but because the body may not be able to stand the spiritual realm, the vibrations from the spirit world. Pablo said he had several frightening experiences with ayahuasca. Three times he thought he was going to die.*One needs courage, a strong discipline, and to proceed by degrees. It is a long process that might take two or three years before one can venture into the higher realms."

"Frightening ayahuasca experiences are quite frequent. It is common that people take ayahuasca only once, and are afraid to take it again."

 

 

SUPER SCIENCE

Michael White

1

999

Page 98 / " The alchemists, Jung believed had been inadvertantly tap-ping into the collective unconscious. This led them to assume / Page 99 / they were following a spiritual path to enlightenment-when they were actuafly liberatiing their subconscious minds through the use of ritual. This is not far removed from other ritualistic events- those exploited by faith healers, the ecstasy experienced by ritualistic voodoo dancers, or charismatic Christian services. Jung said of alchemy: 'The alchemical stone symbolises some­thing that can never be lost or dissolved, something eternal that some alchemists 'Compared to the mystical experience of God within one's own soul.It tusually takes prolonged suffering to burn away all the superfluous psychic elements.concealing the stone. But some profound inner experience of the Self does occur to most people at least once in a lifetime. From the psychological standpoint, a genuinely religious atiitude consists of an effort to discover this unique. experience and; gradually to keep in tune wth it (it is,relevant that the stone is itself something permanent), so that the Self becomes an inner partner towards whom one's attention is continually turned.'5 To the alchemist, the most important factor in the practice was participation of the individual experimenter in .the process of transmutation. The genuine alchemist was convinced that the emotional and spiritual characteristics of the individual experimenter was involved intiimately wth the success or failure of the experiment. And, it is this concept, more than any other aspect of, alchemy, that distinguishes it from orthodox chemistry,- the scientific discipline that began to supersede it at the end of the seventeenth Century. The alchemist placed inordinate importance upon the spiritual element.of his work and for many sceptics it was this which.pushed the subject into the realms of magic and left it forever beyond the boundaries of 'science'."

.

SUPER SCIENCE

Michael White

1

999

Page

99

'The alchemical stone symbolises some­thing that can never be lost or dissolved, something eternal that some alchemists 'Compared to the mystical experience of God within one's own soul.It usually takes prolonged suffering to burn away all the superfluous psychic elements.concealing the stone. But some profound inner experience of the Self does occur to most people at least once in a lifetime.'

 

 

CITY OF REVELATION

John Michell 1972

Page 160

"All who study the cabalistic science and the geo-metry and numbers of creation are attacked by melancholy, some-times fatally, the suicide rate among cabalists being notoriously high. The Point is clearly made in Durer's Melancholia. The garden of paradise, symbol of the ultimate perfection of human consciousness, has many delightful inhabitants which are at the same time dangerous beasts to whoever fails to recognise their nature and function; and of these the most treachorous is the mercurial old serpent of wisdom, that leads men on in the search of the treasure of which it is in itself the the venomous custodian."

 

 

PARADISE

THE GARDEN OF EDEN

PARADE EYES IN THE GARDEN OF NEED

 

 

DOCTOR FAUSTUS

Thomas Mann 1947

Page 91

Chapter Twelve

"The room was not much more than adequate, with some slight indications of middle-class amenity in the shape of a red plush cover on the square in the front of the table, where his books lay / Page 92 / and he drank his morning coffee. He had supplemented the arrangements with a rented cottage piano always strewn with sheets of music, some written by himself. On the wall above the piano was an arithmet-ical diagram fastened withdrawing-pins, something he had found in in a second-hand shop: a so-called magic square, such,as also appears in Durer's Melancolia, along with the hour glass-glass, the circle,the scale, the polyhedron, and other symbols. Here as there, the figure was, divided into sixteen Arabic numbered fields, in such a way that number one was in the right-hand lower corner, sixteen in the upper left; and the magic or the oddity; simply consisted in the fact that the sum of these numerals, howevcer you added them, straight down, crosswise, or diagonally,always came to thirty-four. What the principle was upon which this magic uniformity rested I never made out, but by virtue of the prominent place Adrian, had given it over the piano, it always attracted the eye, and I believe I never visited his room without giving a quick glance slanting up, or straight down and testing once more the invariable, incredible result."

 

www.mathpuzzle.com/ Melancholia

Magic Squares

"Several palindromic magic squares can be found at The World of Numbers. The World of Palindromic numbers would be more appropriate".

"Here is the most famous magic square, from Albrecht Durer's Melancholia. He did it in 1514."

 

 

.THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Chapter 1

"Number 34"

"But come and see your room now"

"What a nice room! I can spend a couple of weeks here with pleasure."

Page 663

"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 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. . ."

"For the moment, how-ever, and before Holger withdrew to the tranquillity of his hasten-ing while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?

The answer was yes. But now they discovered a great perplex-ity - what should they ask? It was as in the fairy story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was difficult to choose. At length, as no one else seemed able to sttle, Hans Castorp, with his finger on the glass supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer which none of them succeeded in fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that."

 

 

"WHAT WAS THE SENSE OF THAT"

?

 

THE MAGIC OF NUMBER

 

.THE NEW VIEW OVER ATLANTIS

John Michell 1972

Page 124

seven orders of magic squares and their traditional planetary associations. The smallest consists of the numbers 1-9 and the largest of I-8I, so arranged that the sum of numbers in each row, column and diagonal is the same. Each square has its characteristic numbers which,in the Sun square, are HI (the sum of each line) and 666 (the sum of the numbers I-36 contained in it). The squares can also be given geometric expressions (see page I95).

SATURN

4 9 2
3 5 7
8 1 6

THE

MAGIC OF NUMBER

 

THE NEW VIEW OVER ATLANTIS

John Michell 1972

Page 121

"THE PURPOSE FOR WHICH the great stone monuments of the ancient world were so carefully planned and sited can only be understood in terms of the scientific ideals of their builders, which were very different from the ideals of modern science. They were not based, as today, on respect for inventiveness and the notion of progress, but arose from the traditional world-view of the earth as a living creature in a living universe, whose health and prosperity was bound up with that of its inhabitants.

Ancient science was based on number and measure, as is science today; but modern arithmetic, as it is now applied to the torture of schoolchildren, scarcely touches on the aspect of number which the ancients most particularly emphasized - its structure and symbolism. A common assertion in traditional creation myths is that the Maker of the World first laid down a pattern of number, from which all else proceeded. Number was thus regarded as the first archetype or paradigm of nature. This was found apparent from both reason and observation. In the first place, number itself outlasts all the phenomena which it numbers, and so presumably preceded them. Secondly, every natural form of growth and movement evidently conforms to certain cycles and patterns, which themselves relate to certain combinations of numerical types. With this in mind, the ancient philosophers were concerned above all to seek out the patterns in number which correspond to those in nature, and to set them up as models in the conduct of human affairs.

The most highly regarded studies in the ancient world were those which were considered most particularly numerical and thus closest to the essence of things. These were arithmetic, music, astronomy, geometry and stereometry (the study of geometric solids and the structure of the universe). To modern ways of thought it seems strange that the very same code or canon of number was applied to all these subjects in common; but such was the case. And the same numerical canon was further applied to activities which are now considered / Page 122 /

THE NEW VIEW OVER ATLANTIS

John Michell 1972

Page 124 expressing the notes of the traditional musical scales in terms of the smallest possible integers or whole numbers. Music in the ancient world was intimately related to measure, the lengths of strings and of wind instruments representing certain measuring units. These same units were used by architects, who also planned the proportions of their buildings by the ratios of canonical music. Why they should have insisted on this correspondence is not easy to understand. An aesthetic explanation was given by the Renaissance architect, Leon Battista Alberti, who wrote that 'the numbers by means of which the agree­ment of sounds affects our ears with delight, are the very same which please our eyes and our .minds'. In other words, proportions in architecture have the same pleasing effects as in music. Yet the matter is deeper than that. In the design of temples, to give human satisfaction was only one part of the architect's purpose. The chief object for which a temple was built was to attract the gods or forces in nature to which it was dedicated. This was done by use of the principle of sympathetic resonance or 'like attracts like'. Each temple was so framed as to include symbolic references to the appro­priate deity. It was orientated according to the season and the heavenly body corresponding to that deity, whose characteristic numbers were also expresseq in the dimensions of the building. Certain patterns of number, each with corresponding musical and geometric types, represented certain aspects of universal energy. Thus, according to the theory of ritual magic, they were effective in invoking that energy. Examples of number patterns, traditionally used for magical in vocation, occur in those curious figures known as 'magic squares', as illustrated here, in which are encodified certain numbers of reputed magical potency. Among them are the numbers found prominent in the plans of ancient / temples.

 

LOVE LOVE LOVE = 999

LOVE LOVE LOVE

DIVINE LOVE REAL 999 REAL LOVE DIVINE

DIVINE = 9 LOVE = 9 LOVE 9 DIVINE

 

 

 

THE STRANGE DREAM OF VIOLA LIUZZO 1965

 

LOVE LOVE LOVE = 999 = LOVE LOVE LOVE

DIVINE LOVE REAL 999 REAL LOVE DIVINE

DIVINE = 9 LOVE = 9 LOVE 9 DIVINE

 

 

 

 

 

A
T
U
M
-
R
A
-
A
R
-
M
U
T
A
1
20
21
13
-
18
1
-
1
18
-
13
21
20
1
1
2
3
4
-
9
1
-
1
9
-
4
3
2
1
A
T
U
M
-
R
A
-
A
R
-
M
U
T
A
1
-
-
-
-
-
1
-
1
-
-
-
-
-
1
-
2
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
3
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
A
T
U
M
-
R
A
-
A
R
-
M
U
T
A

 

 

-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
-
4
-
-
-
-
-
4
-
-
-
-
-
3
-
-
-
-
-
-
-
3
-
-
-
2
-
-
-
-
-
-
-
-
-
2
-
1
-
-
-
-
1
-
1
-
-
-
-
1
A
T
U
M
R
A
-
A
R
M
U
T
A
1
20
21
13
18
1
-
1
18
13
21
20
1
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A

 

 

-
-
-
4
-
4
-
-
-
-
-
3
-
-
-
3
-
-
-
2
-
-
-
-
-
2
-
1
-
-
-
-
-
-
-
1
A
T
U
M
-
M
U
T
A
1
20
21
13
-
13
21
20
1
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A

 

 

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

 

 

A
=
1
-
6
ATUM RA
-
-
-
-
-
-
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
-
-
-
-
-
U
21
3
3
-
-
-
-
-
M
13
4
4
R
=
9
-
2
RA
-
-
-
A
R
10
-
-
R
18
9
9
-
-
1+0
-
-
A
1
1
1
A
=
1
-
6
ATUM RA
74
20
20
-
-
-
-
-
-
7+4
2+0
2+0
A
=
1
-
6
ATUM RA
11
2
2
-
-
-
-
-
-
1+1
-
-
A
=
1
-
6
ATUM RA
2
2
2

 

 

-
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
-
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
-
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
-
6
A
T
U
M
-
R
A
-T
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
5
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
26
6
A
T
U
M
-
R
A
-
-
19
-
-
6
-
20
2+6
-
-
-
-
-
-
9
-
-
-
1+9
-
-
-
-
2+0
8
6
A
T
U
M
-
R
A
-
-
10
-
-
6
-
2
-
-
1
2
3
4
-
9
1
-
-
1+0
-
-
-
-
-
8
6
A
T
U
M
-
R
A
-
-
1
-
-
6
-
2

 

 

6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
-
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
-
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
-
R
A
-T
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
2
-
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
6
A
T
U
M
-
R
A
-
-
19
-
-
6
-
20
-
-
-
-
-
-
9
-
-
-
1+9
-
-
-
-
2+0
6
A
T
U
M
-
R
A
-
-
10
-
-
6
-
2
-
1
2
3
4
-
9
1
-
-
1+0
-
-
-
-
-
6
A
T
U
M
-
R
A
-
-
1
-
-
6
-
2

 

 

6
A
T
U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-
-
-
-
-
--
-
-
`-
1
20
21
13
18
1
+
=
74
7+4
=
11
1+1
2
-
1
2
3
4
9
1
+
=
20
2+0
=
2
-
2
6
A
T
U
M
R
A
-T
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
1
occurs
x
2
=
2
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
-
-
-
3
-
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
6
A
T
U
M
R
A
-
-
19
-
-
6
-
20
-
-
-
-
-
9
-
-
-
1+9
-
-
-
Q
2+0
6
A
T
U
M
R
A
-
-
10
-
-
6
-
2
-
1
2
3
4
9
1
-T
-
1+0
-
-
-
-
-
6
A
T
U
M
R
A
-
-
1
-
-
6
-
2

 

 

R
=
9
-
6
RE ATUM
-
-
-
-
-
-
-
2
RE
-
-
-
-
-
-
-
-
R
18
9
9
-
-
-
-
-
E
5
5
5
A
=
1
-
4
ATUM
-
-
-
-
-
-
-
-
A
1
1
1
-
-
-
-
-
T
20
2
2
R
A
10
-
-
U
21
3
3
-
-
1+0
-
-
M
13
4
4
R
A
1
-
6
RE ATUM
60
24
24
-
-
-
-
-
-
6+0
2+4
2+4
R
A
1
-
6
RE ATUM
6
6
6

 

 

-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
-
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
-
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
-
6
R
E
-
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
21
6
R
E
-
A
T
U
M
-
-
14
-
-
6
-
24
2+1
-
9
5
-
1
2
3
4
-
-
1+4
-
-
-
-
2+4
3
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6
-
-
9
5
-
1
2
3
4
-
-
-
-
-
-
-
-
3
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6

 

 

6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
`-
18
-
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
-
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-
-
-
-
-
--
-
-
`-
18
5
-
1
20
21
13
+
=
60
6+0
=
6
=
6
-
9
5
-
1
2
3
4
+
=
24
2+4
=
6
=
6
6
R
E
-
A
T
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
9
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
6
R
E
-
A
T
U
M
-
-
14
-
-
6
-
24
-
9
5
-
1
2
3
4
-
-
1+4
-
-
-
-
2+4
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6
-
9
5
-
1
2
3
4
-
-
-
-
-
-
-
-
6
R
E
-
A
T
U
M
-
-
5
-
-
6
-
6

 

 

A
T
U
M
-
R
A
-
A
R
-
M
U
T
A
1
20
21
13
-
18
1
-
1
18
-
13
21
20
1
1
2
3
4
-
9
1
-
1
9
-
4
3
2
1
A
T
U
M
-
R
A
-
A
R
-
M
U
T
A
1
-
-
-
-
-
1
-
1
-
-
-
-
-
1
-
2
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
3
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
A
T
U
M
-
R
A
-
A
R
-
M
U
T
A
1
2
3
4
-
9
1
-
1
9
-
4
3
2
1
A
T
U
M
-
R
A
-
A
R
-
M
U
T
A

 

 

A
T
U
M
R
A
-
A
R
M
U
T
A
1
20
21
13
18
1
-
1
18
13
21
20
1
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A
-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
-
4
-
-
-
-
-
4
-
-
-
-
-
3
-
-
-
-
-
-
-
3
-
-
-
2
-
-
-
-
-
-
-
-
-
2
-
1
-
-
-
-
1
-
1
-
-
-
-
1
A
T
U
M
R
A
-
A
R
M
U
T
A
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A
1
2
3
4
9
1
-
1
9
4
3
2
1
A
T
U
M
R
A
-
A
R
M
U
T
A

 

 

A
T
U
M
-
M
U
T
A
1
20
21
13
-
13
21
20
1
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A
-
-
-
4
-
4
-
-
-
-
-
3
-
-
-
3
-
-
-
2
-
-
-
-
-
2
-
1
-
-
-
-
-
-
-
1
A
T
U
M
-
M
U
T
A
1
20
21
13
-
13
21
20
1
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A
1
2
3
4
-
4
3
2
1
A
T
U
M
-
M
U
T
A

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

 

 

Daily Mail. Tuesday. March 31, 2015

Page 68

The point of pentangles

ANSWERS TO CORRESPONDENTS

QUESTION
Which culture first used the pentangle and how did it become associated with the occult?

THE pentangle is usually represented as the pentagram, a five-pointed, linear star within a circle, worn or drawn with the point facing up.

It served to mark directions in Sumerian texts, dating from about 30BC, and is found in most early cultures. The ancient Greeks established its symbolic status.

Greek mathematician and philosopher Pythagoras believed five was the number of perfection, because of the fivefold division of the body (head, arms and legs outstretched) mirroring the division of the soul into fire, water, air, earth and psyche. The Pythagoreans held the pentacle sacred to Hygeia, the goddess of healing.

Early Christians wore the pentagram to represent the five wounds of Christ and to symbolise the five senses.

In the 14th-century English poem Sir Gawain And The Green Knight, the symbol decorates the shield of the hero, Gawain. The anonymous poet credits the symbol's origin to King Solomon, and explains that each of the five interconnected points represents a virtue tied to a group of five: Gawain is keen in his five senses, dextrous in his five fingers, faithful to the salvation provided through the Five Wounds of Christ, takes courage from the five joys that Mary had of Jesus and exemplifies the five virtues of knighthood.

Renaissance-era ritual magicians, Henry Cornelius Agrippa von Nettesheim (14861535) and Giordano Bruno (1548-1600), used the pentagram to represent the perfection of the human body. To Bruno, five was the `number of the soul' because the human form is bound by five outer points. He warned magicians and sorcerers could perform spells by using the pentagram as it was a window to the soul.

As Bruno and other Renaissance philosophers and magicians were executed under the Inquisition, perhaps the symbol came to be associated with evil forces.

By the mid-19th century, a further distinction had developed among occultists regarding the pentagram's orientation. With a single point upwards it depicted a spirit presiding over the four elements of matter and was essentially 'good'.

Occultists and satanists now claimed that the inverted pentagram was evil, the sign of the Devil even. Influential French occultist Eliphas Levi (1810-75) stated: 'A reversed pentagram, with two points projecting upwards, is a symbol of evil and attracts sinister forces because it overturns the proper order of things and demonstrates the triumph of matter over spirit. 'It is the goat of lust attacking the heavens with its horns, a sign execrated by initiates.'

Symbolic: Anton LaVey, of the Church of Satan, with an inverted pentangle (image omitted)

Brian Cummings, Hay-on-Wye, Powys.

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

CHANGE AND DECAY

Page 394/395/397

A HOUSE DIVIDED

WENDJEBAENDJEDET

 

-
-
-
-
-
WENDJEBAENDJEDET
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
-
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
D
=
4
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
J
=
1
-
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
D
=
4
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
J
=
1
-
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
D
=
4
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
59
-
16
WENDJEBAENDJEDET
131
59
59
-
3
4
3
12
40
6
7
8
9
-
-
5+9
-
1+6
-
1+3+1
5+9
5+9
-
-
-
-
1+2
4+0
-
-
-
-
-
-
14
-
7
WENDJEBAENDJEDET
5
14
14
-
3
4
3
3
4
6
7
8
9
-
-
1+4
-
-
-
-
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
5
-
7
WENDJEBAENDJEDET
5
5
5
-
3
4
3
3
4
6
7
8
9

 

 

-
-
-
-
-
WENDJEBAENDJEDET
-
-
-
-
1
2
4
5
W
=
5
-
1
W
23
5
5
-
-
-
-
5
E
=
5
-
1
E
5
5
5
-
-
-
-
5
N
=
5
-
1
N
14
5
5
-
-
-
-
5
D
=
4
-
1
D
4
4
4
-
-
-
4
-
J
=
1
-
1
J
10
1
1
-
1
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
B
=
2
-
1
B
2
2
2
-
-
2
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
N
=
5
-
1
N
14
5
5
-
-
-
-
5
D
=
4
-
1
D
4
4
4
-
-
-
4
-
J
=
1
-
1
J
10
1
1
-
1
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
D
=
4
-
1
D
4
4
4
-
-
-
4
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
59
-
16
WENDJEBAENDJEDET
131
59
59
-
3
4
12
40
-
-
5+9
-
1+6
-
1+3+1
5+9
5+9
-
-
-
1+2
4+0
-
-
14
-
7
WENDJEBAENDJEDET
5
14
14
-
3
4
3
4
-
-
1+4
-
-
-
-
1+4
1+4
-
-
-
-
-
-
-
5
-
7
WENDJEBAENDJEDET
5
5
5
-
3
4
3
4

 

 

“WENDJEBAENDJEDET”

11 x 5 = 55 = 5 x 11


“W E N D+J E BA E N D+J E D E T”

WEND+JEBAEND+JEDET”

“W E N D+J E BA E N D+J E D E T”
5 5 5 5 5 5 5 5 5 5

B+A+D+T = 5

“WENDJEBAENDJEDET”
55555555555
WENDJEBAENDJEDET”

WENDJEBAENDJEDET”

5ENDJEBAENDJEDET”

 

 

-
-
-
-
-
WENDJEBAENDJEDET
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
-
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
D+J
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
B+A+T
23
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
D+J
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
W
=
5
-
16
WENDJEBAENDJEDET
131
59
59
-
3
4
3
4
55
6
7
8
9
-
-
-
-
1+6
-
1+3+1
5+9
5+9
-
-
-
-
-
5+5
-
-
-
-
W
=
5
-
7
WENDJEBAENDJEDET
5
14
14
-
3
4
3
4
10
6
7
8
9
-
-
-
-
-
-
-
1+4
1+4
-
-
-
-
-
1+0
-
-
-
-
W
=
5
-
7
WENDJEBAENDJEDET
5
5
5
-
3
4
3
4
1
6
7
8
9

 

 

-
-
-
-
-
WENDJEBAENDJEDET
-
-
-
-
4
5
W
=
5
-
1
W
23
5
5
-
-
5
-
-
-
-
1
E
5
5
5
-
-
5
-
-
-
-
1
N
14
5
5
-
-
5
-
-
-
-
1
D+J
14
5
5
-
-
5
-
-
-
-
1
E
5
5
5
-
-
5
-
-
-
-
1
B+A+T
23
5
5
-
-
5
-
-
-
-
1
E
5
5
5
-
-
5
-
-
-
-
1
N
14
5
5
-
-
5
-
-
-
-
1
D+J
14
5
5
-
-
5
-
-
-
-
1
E
5
5
5
-
-
5
-
-
-
-
1
D
4
4
4
-
4
-
-
-
-
-
1
E
5
5
5
-
-
5
W
=
5
-
16
WENDJEBAENDJEDET
131
59
59
-
4
55
-
-
-
-
1+6
-
1+3+1
5+9
5+9
-
-
5+5
W
=
5
-
7
WENDJEBAENDJEDET
5
14
14
-
4
10
-
-
-
-
-
-
-
1+4
1+4
-
-
1+0
W
=
5
-
7
WENDJEBAENDJEDET
5
5
5
-
4
1

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

CHANGE AND DECAY

Page 392

A HOUSE DIVIDED

A tale of two cities
Although the history of the late Twentieth Dynasty, the paralysis and eventual extinction of the New Kingdom, is written in the monuments and machinations of Thebes, the principal seat of government and the main royal residence always remained in the north of the country. Memphis had been the capital of Egypt since the dawn of history, and it retained its role as the headquarters of the national administration right through the Ramesside Period. Thebes may have taken on the mantle of the nation's religious capital, but it was at Memphis that royal decrees were issued, officials appointed and kings crowned. As for the principal residence of the pharaoh, Per-Ramesses had served _ that role ever since its foundation under Ramesses II. The Delta, not the Nile Valley, was the senior political partner in the union of Upper and Lower Egypt. For this reason, when control was formally divided between Herihor and Nesbanebdjedet after the death of Ramesses XI, it was the northern ruler, Nesbanebdjedet (1069-1045), who claimed the first prize, the kingship, while his brother-in-law had to play second fiddle as mere Army Commander and High Priest of Amun. In this way, a convenient fiction of political unity was maintained, even if the reality was a partnership of two quasi-independent kingdoms linked only by ties of marriage.
The division of Egypt into two parallel states was the defining feature of Libyan rule. Each half of the country had its own system of government, its own administration and its own ceremonial capital. No longer a mere theological conceit, the idea of the Two Lands was now a practical reality.
The Delta had borne the brunt of Libyan settlement in the dying days of the New Kingdom, and it was here that the new political order was most keenly felt. The inaccessible marshlands and winding waterways had always favoured political fragmentation, and in the heyday of Libyan domination the Delta divided readily into a patchwork of competing centres. Each was ruled by a Chief of the Ma or a Chief of the Libu (the two main Libyan tribes settled in Egypt) who owed /Page 393/ theoretical allegiance to the main royal line while, in practice, the 'king' was only first among equals. Even so, the monarchs based at Djanet (Classical Tanis) were conscious enough of their theoretical preeminence to embark upon a grand project worthy of their pharaonic status: the transformation of their royal residence into a ceremonial capital every bit as grand as Thebes.
From humble beginnings as a replacement for Per-Ramesses, Djanet grew rapidly under the patronage of the northern kings into the greatest city in the Delta. It was sited on one of the main Nile branches, in an area as favourable for trade as it was for fishing and fowling. To create space for residential quarters and public buildings, the first priority was to raise the banks of the main river and reclaim the land on either side. Only them could construction start in earnest.
If Djanet were to be a northern counterpart to Thebes, it needed an equally magnificent ceremonial centrepiece: a grand temple to the state god Amun-Ra. Unfortunately, many of Egypt's major quarries were under southern, Theban control, and the northern kings' economic power was severely circumscribed. A full-scale royal building project such as might have been undertaken in the glorious days of the New Kingdom was no longer a practical proposition. Instead, Nesbanebdjedet and his two successors, Amenemnisu (1045-1040) and Pasebakhaenniut I (1040-985), adopted an altogether simpler expedient, recycling monuments and building materials from nearby Per-Ramesses and other Delta sites. The once glittering Ramesside residence was systematically stripped of its stone, as obelisks, statues and building blocks were torn down to be dragged the twelve miles to Djanet and re-erected. Often the northern kings did not even bother to reinscribe the plundered monuments: a further sign that they paid only lip service to the age-old traditions of Egyptian monarchy.
On top of a large, sandy hill, where a cemetery for the local, rural poor had grown up in the Ramesside Period, Pasebakhaenniut I erected the centrepiece of his 'northern Thebes', a suite of temples to the Theban triad of Amun-Ra, Mut and Khonsu. To underline the sanctity of the complex, he had it surrounded by a great brick wall (in ancient Egyptian, 'sacred' and 'set apart' were the same word) and designated one area of the temple precinct as the royal necropolis of //Page 394/ his dynasty. Just as Thebes had been rendered sacred by the comb:- nation of divine temples and kingly tombs, so too would Djanet By New Kingdom architectural standards, the Libyan royal sepulchres at Djanet were deeply unimpressive: small, irregular chambers built from rough-hewn, reused blocks, with little ornament or decoration. But whatPasebakhaenniut's burial lacked in grandeur, it more than made up for in wealth. Within a great granite chest — pilfered, with no little irony, from the Theban tomb of Merenptah, scourge of the Libyans the king's mummy lay on a silver sheet, inside a silver coffin, its face covered with a mask of beaten gold. Around the body lay other costly treasures: inlaid bracelets and pectorals, a chunky necklace of lapis lazuli beads, silver and gold bowls and a gold sceptre. Even the king's fingers and toes were sheathed individually in gold leaf.
Yet this gilded opulence was not used to set the king apart from his subjects, as it would have been in earlier periods. An equally sumptuous set of equipment was provided for the man who shared Pasebakhaenniut's final resting place. In another sign of the times /Page 395/ (and of the feudalism of Libyan rule), he was not even a royal prince but merely one of the king's chief courtiers. Wendjebaendjedet was a general and army leader, like many of his ilk, and held temple office at Djanet as High Steward of Khonsu. In this capacity he may have functioned as the king's deputy in the daily temple rites. But there was no sense of second best in his burial. The amount of gold placed around his body demonstrated his exalted status: several magnificent golden cups, including one in the shape of a flower with alternating petals of gold and electrum; a heart scarab on a gold chain; gold pectorals; gold statuettes of deities; a remarkable figurine of the god Ptah, fashioned from lapis lazuli, nestling in a gold shrine; and a series of gold rings, one of them pilfered from the tomb of Ramesses IX.
This last object gives a clue as to the source of such great wealth. For the kings of Djanet and their loyal lieutenants derived their grave goods — like the rest of their city — not from trade or conquest, but from recycling and outright robbery. To understand the full extent to which the Egyptian monarchy had debased itself, we must turn our gaze southwards, to Thebes.
Unlike the Delta, with its concentrations of Libyan settlers and its tendency toward decentralisation, Upper Egypt presented a very different picture. Ethnically much more homogeneous, with native Egyptians forming the overwhelming majority of the population, the geography of the Nile Valley also lent itself to political cohesion. Thebes remained the largest and most important city: whoever ruled Thebes, ruled the Valley. So, for Upper Egypt in general, the collapse of the New Kingdom state brought not local autonomy but another long spell of Theban domination.
Despite its thoroughly Egyptian character, Thebes had also fallen under Libyan influence during the 'renaissance era' of Ramesses XI's reign, due to the presence of Libyan soldiers in the uppermost echelons of the Egyptian army. And it was under the military junta headed by Paiankh that the state-sponsored theft of valuables from the royal tombs had begun. While campaigning in Nubia, Paiankh sent one letter to Thebes ordering the scribe of the necropolis, Butehamun, and his assistant, Kar, to 'uncover a tomb amongst the tombs of the ancestors and preserve its seal until I return'.; The general's instructions to his henchmen /Page 396/ marked the beginning of a deliberate policy to strip royal tombs of their gdld, to finance the war against Panehsy and Paiankh's wider ambitions. The fact that all this was going on under the ancien regime shows where power really lay. Once Ramesses XI was safely dead, the New Kingdom monarchy consigned to history and the military rulers of Thebes de facto kings of Upper Egypt, the systematic dismantling of the royal necropolis could be openly pursued as official government policy.
At first, the main targets for the robbers were the tombs of the Seventeenth Dynasty, the burials of royal relatives in the Valley of the Queens, and the kings' mortuary temples at the edge of the cultivation. Then, on the pretext of safeguarding the integrity of all royal tombs, the authorities switched their focus to the Valley of the Kings itself. In the fourth year of Herihor's rule (1066), Butehamiin received an order to carry out 'work' in the tomb of Horemheb. It was the beginning of the end for the royal necropolis. Over the next decade, the tombs of the New Kingdom pharaohs were emptied, one by one. The workmen who carried out the task even seem to have had a map of the Valley (surely provided by the authorities) to assist the clearance. Their main objective was to expropriate the large quantities of gold and other valuables buried in the Theban hills. These were swiftly removed to the state treasury, leaving only the mummies — rudely unwrapped in the search for hidden jewels — to be taken to Butehamun's imposing office at Djeme for 'processing' and rewrapping. Little wonder that Butehamun was proud to call himself, without a hint of irony, `Overseer of the treasuries of the kings'. So rife was tomb robbery in the Theban necropolis at this time that private individuals designed their interments with an obsessive emphasis on inaccessibility, to make the robbers' job as hard as possible.
Besides larceny, Butehamun's exploratory work in the Valley of the Kings had a second aim: to identify a permanent repository for the royal corpses that had been so rudely removed from their resting places. The tomb of Amenhotep II (next to the tomb of Horemheb) was eventually identified as an ideal location. One fateful day around 105c, the sacred remains of Egypt's divine kings were unceremoniously gathered up and shoved higgledy-piggledy into one of the tomb's chambers. In the process, the great Amenhotep III ended up in a coffin inscribed for /Page 397/ Ramesses III, with an ill-fitting lid made for Seti II. Merenptah came to rest in the coffin of Sethnakht, while his own sarcophagus made its way north to Djanet to serve the burial of Egypt's new Libyan ruler (Pasebakhaenniut I). In this unholy mess, the dignified Thutmose IV lay cheek by jowl with the child-king Siptah, the military tough guy Sethnakht with the smallpox-ridden Ramesses V. It was a desecration of everything that ancient Egypt had hallowed. An even more illustrious gathering of royal ancestors — including the victors against the Hyksos, Ahhotep and Ahmose; the founders of the workmen's village, Ahmose Nefertari and Amenhotep I; and the greatest of all the warrior pharaohs, Thutmose III, Seti I, Ramesses II and Ramesses III — were bundled into a secondary cache in the tomb of a Seventeenth Dynasty queen, there to await a more secure, permanent resting place.
The result of all this robbery, officially represented as 'restoration', was to give the Army Commanders and High Priests of Amun who ruled Thebes wealth beyond their wildest dreams. Some of the plunder found its way north to their nominal suzerains at Djanet, there to be buried alongside Pasebakhaenniut I and his loyal lieutenant Wendjebaendjedet. (Indeed, the favoured 'chief courtier' who ended up with so much gold may have been the king's agent in Thebes, charged with overseeing the clearance of the royal tombs on behalf of his master.) However, for every gold ring or pectoral transported downstream to the northern capital, a great deal more stayed behind in Thebes, to bolster the economic and political fortunes of the southern rulers. Both Herihor (1069-1063) and his successor as High Priest, Pinedjem I (1063-1033), felt secure enough of their position to claim royal titles, in a direct challenge to their overlords at Djanet. While Herihor seems to- have baulked at outright confrontation, restricting his claim to the inner parts of Ipetsut temple, Pinedjem showed no such reticence. Official inscriptions from the second and third decades of his rule were dated to the years of his independent 'reign', with scarcely a mention of the kings in Djanet. For his burial in the hills of Thebes, he reused coffins from the tomb of Thutmose I, to add a little Eighteenth Dynasty lustre to his own monarchical pretensions.
If the institution of kingship had survived the end of Ramesside rule, it had done so only by cannibalising the past.

Page 394

Wendjebaendjedet's cup of gold and electrum (Werner Forman Archive)

(Image omitted)

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

CHANGE AND DECAY

Page 394

A HOUSE DIVIDED

On top of a large, sandy hill, where a cemetery for the local, rural poor had grown up in the Ramesside Period, Pasebakhaenniut I erected the centrepiece of his 'northern Thebes', a suite of temples to the Theban triad of Amun-Ra, Mut and Khonsu. To underline the sanctity of the complex, he had it surrounded by a great brick wall (in ancient Egyptian, 'sacred' and 'set apart' were the same word) and designated one area of the temple precinct as the royal necropolis of //Page 394/ his dynasty. Just as Thebes had been rendered sacred by the comb:- nation of divine temples and kingly tombs, so too would Djanet By New Kingdom architectural standards, the Libyan royal sepulchres at Djanet were deeply unimpressive: small, irregular chambers built from rough-hewn, reused blocks, with little ornament or decoration. But whatPasebakhaenniut's burial lacked in grandeur, it more than made up for in wealth. Within a great granite chest — pilfered, with no little irony, from the Theban tomb of Merenptah, scourge of the Libyans the king's mummy lay on a silver sheet, inside a silver coffin, its face covered with a mask of beaten gold. Around the body lay other costly treasures: inlaid bracelets and pectorals, a chunky necklace of lapis lazuli beads, silver and gold bowls and a gold sceptre. Even the king's fingers and toes were sheathed individually in gold leaf.
Yet this gilded opulence was not used to set the king apart from his subjects, as it would have been in earlier periods. An equally sumptuous set of equipment was provided for the man who shared Pasebakhaenniut's final resting place. In another sign of the times /Page 395/ (and of the feudalism of Libyan rule), he was not even a royal prince but merely one of the king's chief courtiers. Wendjebaendjedet was a general and army leader, like many of his ilk, and held temple office at Djanet as High Steward of Khonsu. In this capacity he may have functioned as the king's deputy in the daily temple rites. But there was no sense of second best in his burial. The amount of gold placed around his body demonstrated his exalted status: several magnificent golden cups, including one in the shape of a flower with alternating petals of gold and electrum; a heart scarab on a gold chain; gold pectorals; gold statuettes of deities; a remarkable figurine of the god Ptah, fashioned from lapis lazuli, nestling in a gold shrine; and a series of gold rings, one of them pilfered from the tomb of Ramesses IX.

 

Pasebakhaenniut I erected the centrepiece of his 'northern Thebes', a suite of temples to the Theban triad of Amun-Ra, Mut and Khonsu.

 

-
-
-
-
-
PASEBAKHAENNIUT
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
1
1
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
K
=
2
-
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
57
-
15
PASEBAKHAENNIUT
147
57
57
-
4
6
3
4
20
6
7
8
9
-
-
5+7
-
1+5
-
1+4+7
5+7
5+7
-
-
-
-
-
2+0
-
-
-
-
-
-
12
-
6
PASEBAKHAENNIUT
12
12
12
-
4
6
3
4
2
6
7
8
9
-
-
1+2
-
-
-
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
6
PASEBAKHAENNIUT
3
3
3
-
4
6
3
4
2
6
7
8
9

 

 

-
-
-
-
-
PASEBAKHAENNIUT
-
-
-
-
1
2
3
5
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
7
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
S
=
1
-
1
S
1
1
1
-
1
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
K
=
2
-
1
K
11
2
2
-
-
2
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
8
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
57
-
15
PASEBAKHAENNIUT
147
57
57
-
4
6
3
20
7
8
9
-
-
5+7
-
1+5
-
1+4+7
5+7
5+7
-
-
-
-
2+0
-
-
-
-
-
12
-
6
PASEBAKHAENNIUT
12
12
12
-
4
6
3
2
7
8
9
-
-
1+2
-
-
-
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
3
-
6
PASEBAKHAENNIUT
3
3
3
-
4
6
3
2
7
8
9

 

 

-
-
-
-
-
PASEBAKHAENNIUT
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
1
1
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
K
=
2
-
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
57
-
15
PASEBAKHAENNIUT
147
57
57
-
4
6
3
4
20
6
7
8
9
-
-
5+7
-
1+5
-
1+4+7
5+7
5+7
-
-
-
-
-
2+0
-
-
-
-
-
-
12
-
6
PASEBAKHAENNIUT
12
12
12
-
4
6
3
4
2
6
7
8
9
-
-
1+2
-
-
-
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
6
PASEBAKHAENNIUT
3
3
3
-
4
6
3
4
2
6
7
8
9

 

 

-
-
-
-
-
PASEBAKHAENNIUT
-
-
-
-
1
2
3
5
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
S
=
1
-
1
S
1
1
1
-
1
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
B
=
2
-
1
B
2
2
2
-
-
2
-
-
-
-
-
K
=
2
-
1
K
11
2
2
-
-
2
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
9
-
-
57
-
15
PASEBAKHAENNIUT
147
57
57
-
4
6
3
20
7
8
9
-
-
5+7
-
1+5
-
1+4+7
5+7
5+7
-
-
-
-
2+0
-
-
-
-
-
12
-
6
PASEBAKHAENNIUT
12
12
12
-
4
6
3
2
7
8
9
-
-
1+2
-
-
-
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
3
-
6
PASEBAKHAENNIUT
3
3
3
-
4
6
3
2
7
8
9

 

 

P
=
7
-
-
PASEBAKHAENNIUT
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
3
P+A+S
36
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
3
B+A+K
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
H+A
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
-
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
2
U+T
41
5
5
-
-
-
-
-
5
-
-
-
-
P
=
7
-
15
PASEBAKHAENNIUT
147
57
57
-
1
2
3
4
30
6
7
8
27
-
-
-
-
1+5
-
1+4+7
5+7
5+7
-
-
-
-
-
3+0
-
-
-
2+7
P
=
7
-
6
PASEBAKHAENNIUT
12
12
12
-
1
2
3
4
3
6
7
8
3
-
-
-
-
-
-
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
P
=
7
-
6
PASEBAKHAENNIUT
3
3
3
-
1
2
3
4
3
6
7
8
9

 

 

P
=
7
-
-
PASEBAKHAENNIUT
-
-
-
-
5
9
-
-
-
-
3
P+A+S
36
9
9
-
-
9
-
-
-
-
1
E
5
5
5
-
5
-
-
-
-
-
3
B+A+K
14
5
5
-
5
-
-
-
-
-
1
H+A
9
9
9
-
-
9
-
-
-
-
1
E
5
5
5
-
5
-
-
-
-
-
1
N
14
5
5
-
5
-
-
-
-
-
1
N
14
5
5
-
5
-
-
-
-
-
1
I
9
9
9
-
-
9
-
-
-
-
2
U+T
41
5
5
-
5
-
P
=
7
-
15
PASEBAKHAENNIUT
147
57
57
-
30
27
-
-
-
-
1+5
-
1+4+7
5+7
5+7
-
3+0
2+7
P
=
7
-
6
PASEBAKHAENNIUT
12
12
12
-
3
3
-
-
-
-
-
-
1+2
1+2
1+2
-
-
-
P
=
7
-
6
PASEBAKHAENNIUT
3
3
3
-
3
9

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

Page Page 107/108

WENI

WENI 5559 WENI

 

 

THE NEW VIEW OVER ATLANTIS

John Michell 1983

Page 150

"A series of clues to the composition of the final pyramidion at the very apex of the Pyramid begins with an observation in A.E. Berriman's Historical Metrology on the antiquity of the British or Imperial inch. There are a number of old Egyptian weights in the British Museum, and others from Greece and Babylon, whose standard of reference has proved to be the cubic inch of gold. Were it not for the common but inappropriate use of metric units in publishing details of antique weights, that feature would be more generally recognized. Five is the number chiefly associated with the pyramid form; which has five faces and five corners,

PYRAMID = 86 = PYRAMID

PYRAMID = 41 = PYRAMID

PYRAMID = 5 = PYRAMID

Five is the number chiefly associated with the pyramid form; which has five faces and five corners,

 

 

-
-
-
-
-
PYRAMID
-
-
-
-
-
-
-
1
P+Y
41
14
5
-
-
-
-
1
R
18
9
9
-
-
-
-
1
A+M
14
5
5
-
-
-
-
1
I
9
9
9
-
-
-
-
1
D
D
4
4
P
=
7
-
7
PYRAMID
86
41
32
-
-
-
-
-
-
8+6
4+1
3+2
P
=
7
-
7
PYRAMID
14
5
5
-
-
-
-
-
-
1+4
-
-
P
=
7
-
7
PYRAMID
5
5
5

 

Y RAM MARY MARY Y RAM

 

-
-
-
-
-
PYRAMID
-
-
-
-
-
-
-
1
P
16
7
7
-
-
-
-
1
Y
25
7
7
-
-
-
-
1
R
18
9
9
-
-
-
-
1
A
1
1
1
-
-
-
-
1
M
13
4
4
-
-
-
-
1
I
9
9
9
-
-
-
-
1
D
4
4
4
P
=
7
-
7
PYRAMID
86
41
41
-
-
-
-
-
-
8+6
4+1
4+1
P
=
7
-
7
PYRAMID
14
5
5
-
-
-
-
-
-
1+4
-
-
P
=
7
-
7
PYRAMID
5
5
5

 

 

-
-
-
-
-
PYRE
-
-
-
-
-
-
-
2
P+Y
41
14
5
-
-
-
-
1
R
18
9
9
-
-
-
-
1
E
5
5
5
P
=
7
-
4-
PYRE
-
-
-
-
-
-
-
-
AMID
-
-
-
-
-
-
-
2
A+M
14
5
5
-
-
-
-
1
I
9
9
9
-
-
-
-
1
D
4
4
4
A
=
1
-
-
AMID
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
8
-
91
46
37
-
-
-
-
-
-
8+6
4+6
3+7
-
-
8
-
8
-
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
8
-
8
-
1
1
1

 

PYRE AMIDST THE STONE

 

P
=
7
-
7
PYRAMID
86
41
5
P
=
7
-
7
PHARAOH
67
40
4
-
-
14
-
14
Add to Reduce
153
81
9
-
-
1+4
-
1+4
Reduce to Deduce
1+5+3
8+1
1+8
-
-
5
-
5
Essence of Number
9
9
9

 

 

T
=
2
-
3
THE
33
15
6
G
=
7
-
5
GREAT
51
24
6
P
=
7
-
7
PYRAMID
86
41
5
O
=
6
-
2
OF
21
12
3
G
=
7
-
4
GIZA
43
25
7
-
-
29
-
21
First Total
234
117
27
-
-
2+9
-
2+1
Add to Reduce
2+3+4
1+1+7
2+7
-
-
11
-
3
Second Total
9
9
9
-
-
1+1
-
-
Reduce to Deduce
-
-
-
-
-
2
-
3
Essence of Number
9
9
9

 

 

4
ISIS
56
20
2
6
OSIRIS
89
35
8
5
ORION
71
35
8

 

 

-
-
-
-
-
OSIRIS
-
-
-
I
=
9
-
1
I
9
9
9
R
=
9
-
1
R
18
9
9
I
=
9
-
1
I
9
9
9
S
=
1
-
3
SOS
53
26
8
-
-
28
-
6
OSIRIS
89
53
35
-
-
2+8
-
-
-
8+9
5+3
3+5
-
-
10
-
6
OSIRIS
17
8
8
-
-
1+0
-
-
-
1+7
-
-
-
-
1
-
6
OSIRIS
8
8
8

 

 

-
-
-
-
-
OSIRIS
-
-
-
S
=
1
-
3
SO
34
16
7
I
=
9
-
1
I
9
9
9
R
=
9
-
1
R
18
9
9
I
=
9
-
1
IS
28
10
1
-
-
28
Q
6
OSIRIS
89
53
35
-
-
2+8
-
-
-
8+9
5+3
3+5
-
-
10
-
6
OSIRIS
17
8
8
-
-
1+0
-
-
-
1+7
-
-
-
-
1
-
6
OSIRIS
8
8
8

 

 

 

-
EGYPT
-
-
-
-
-
-
1
E
5
5
5
--
-
5
1
G
7
7
7
-
7
-
1
Y
25
7
7
-
7
-
1
P
16
7
7
-
7
-
1
T
20
2
2
--
-
2
5
EGYPT
73
28
28
-
21
7
-
-
7+3
2+8
2+8
-
2+1
-
5
EGYPT
10
10
10
--
3
7
-
-
1+0
1+0
1+0
-
-
-
5
EGYPT
1
7
7
--
3
7

 

 

THE TUTANKHAMUN PROPHECIES

Maurice Cotterell

1
999

BEHIND THE WALL OF SILENCE

Page 190

The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9"

"The message concealed here is that the 3 should be squared, which equals 9"

 

 

STEPHEN HAWKING

Quest For A Theory Of Everything

Kitty Ferguson 1992

Page 103

"...The square root of 9 is 3. So we know that the third side”

This occurs on the 33rd line down of page 103

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

Page 30

DIVINE RIGHT (5000-2175 BC

In total, Atum and his immediate descendants numbered nine deities, three times three expressing the the ancient Egyptian concept of completeness.

“nine deities, three times three

 

 

TRANSFORMATION THE BREAKTHROUGH

Whitley Strieber 1988

“nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three

“nine of them in three groups of three

 

 

TRANSFORMATION THE BREAKTHROUGH

Whitley Strieber 1988

Page 128

"Dr Gliedman had given me his essay "Quantum Entanglements: On Atomic Physics and the Nature of Reality," and I had been reading it..."

"Page 129

"I returned to Dr. Gliedman's essay.

I read the following sentence: "The mind is not the playwright of reality."

At that moment there came a knocking on the side of the house. This was a substantial noise, very regular and sharp. The knocks were so exactly spaced that they sounded like they were being produced by a machine. Both cats were riveted with terror. They stared at the wall. The knocks went on, nine of them in three groups of three, followed by a tenth lighter double-knock that communicated an impression of finality.

These knocks were coming from just below the line of the roof, at a spot approximately eighteen feet above the gravel driveway. Below the point of origin of the knocks were two open windows. Had anybody been out on the driveway with a ladder I would certainly have heard their movements on the gravel.

In addition, to get a ladder to that point they would have activated the movement-sensitive lights. But it was dark beyond the windows.

It would be next to impossible to stand on the sharply angled roof that covers the living room of the cabin. While the angle of the roof above the upstairs bedroom is almost flat, this roof is extremely steep. What's more, I would certainly have heard anybody crawling around on the roof. There would have been creaks and groans from the boards, and there is no question but that I would have noticed the sounds, given the profound silence of the country night.

I am absolutely dead certain about the reality of the knocks. They were not made by the house settling. Nothing but an intentional act could have produced such loud, evenly spaced sounds. They were not a prank being played by neighbors. In the summer of 1986 I had not yet told my neighbors about the visitors. What's more, the prank explanation was hopelessly impractical.

To reach the place from which I heard the knocks..."

Page 131

cannot be put down to disease. Such a thing is not a symptom. My cats would not have reacted to something happening in my mind. I am reporting a true event. It was the first definite, physical indication I had while in a state of commpletely normal consciousness that the visitors were part of this world.

They were responding to my attempts to develop the relationship and accept my fear by making their physical reality more plain.

The stunning event of August 27, 1986, strengthened my wavering resolve to keep the matter where it belongs, which is in question. It is an awfully serious business, and it cannot be removed from question except as we learn more facts. Should we decide to believe something about this that is not true, we will ruin it for ourselves. We will form yet another mythology around the visitors, as I suspect we have been doing throughout our history.

The moment after the nine knocks I thought to go outside. I also thought, You're not ready yet. You just go up to bed.

The next morning I thought that was exactly what I had done. But there was something wrong. While the knocks were taking place I was unquestionably in a normal state of mind. As soon as I began to move from the chair, though, I feel that I may have entered another state.

Unfortunately, I did not remember that something may have happened after the knocks until weeks later. On the morning after, my immediate thought was that I had failed miserably. The visitors had come, had knocked-and I'd just sat there, too scared even to open the door!

I therefore dont know whether I concocted the subsequent memories to make myself feel better, or if they were hidden by a more prosaic screen memory.

One day I glanced at the clock on our videotape machine and suddenly remembered seeing it when it said 2:18 A.M. An instant later I recalled that I'd seen it reading that time as I went upstairs on the night of the nine knocks. But they...

Page 134 (number omitted)

TWELVE

Fire of the Question

"In the days after I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three perfectly measured, exactly spaced sounds, each precisely as loud as the one previous. And then there had been a soft double-knock completely different in tone from the others. It had communicated a distinct sense of finality, and seemed by its lightness of tone not to be a part of the group. The nine knocks were a sort of communication. The tenth was punctuation..."

Page 135

"The nine knocks made me struggle even harder to understand. And I did not understand. But I had a few ideas

It was as if I had discovered an unknown world that has always been around us, that may be an even greater reality..."
"In the days after I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three perfectly measured, exactly spaced sounds,”

 

 

The Knocks - Whitley Strieber (Breakthrough) - Alien UFOs

https://www.alien-ufos.com/.../46554-knocks-whitley-strieber-breakthroug...

15 Dec 2011 - 10 posts - ‎2 authors
“I saw the stars,” she reported, “but there was a very bright haze. ... And after it stopped our lights went out and they were out for a few hours. ... were awakened by a series of nine knocks in three groups of three ... Noises are far more common in the night when the most rapid change in temperature occurs.

PUBLIC PROOF Comes In Many Forms. This Is One

In February of 1988 my book Transformation was being bound and shipped. Thus, nothing in the book could now be changed, and only I, my editors and some friends knew its contents. Reviewers were just beginning to get copies. In the second week March, a first few books would appear in stores in the larger cities.
It was at this precise moment in the life of Transformation--after it had been finished and could no longer be altered, but before the public knew about it--that the proof came.

On February 27, 1988, eighteen months to the day after the incident of the nine knocks at my cabin that I reported in Transformation, but before they could have been publicly known, A large number of people in this town were awakened by a series of nine knocks in three groups of three and on their cars, on the sides or roofs of their houses, or on their doors. The three part series of three dull thuds was reported by many residents who believed it was made by direct physical contact on the outside of their dwellings.

 

 

Toby Wilkinson 2010 “In total, Atum and his immediate descendants numbered nine deities, three times three expressing the the ancient Egyptian concept of completeness.”

Whitley Strieber 1988 “I heard the nine knocks I was shattered, overwhelmed. I remembered their eerie precision-three groups of three
“nine of them in three groups of three

Maurice Cotterell 1999 "The message concealed here is that the 3 should be squared, which equals 9"

Kitty Ferguson 1992 "...The square root of 9 is 3. So we know that the third side

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

Page 145

Just as profound as the opening of the afterlife was the change in how it was envisaged. Many of the Pyramid Texts had stressed the age-old belief in the king's journey to the stars and his destiny among the 'indestructibles', but some of the spells had also introduced a newer concept, the dead king's association with Osiris

 

-
-
-
-
-
ISIS
-
-
-
I
=
9
-
1
I
9
9
9
S
=
1
-
1
S
19
10
1
I
=
9
-
1
I
9
9
9
S
=
1
-
1
S
19
10
1
-
-
20
-
4
ISIS
56
38
20
-
-
2+0
-
-
-
5+6
3+8
2+0
-
-
2
-
4
ISIS
11
11
2
-
-
-
-
-
-
1+1
1+1
-
-
-
2
-
4
ISIS
2
2
2

 

 

-
-
-
-
-
OSIRIS
-
-
-
O
=
6
-
1
O
15
6
6
S
=
1
-
1
S
19
10
1
I
=
9
-
1
I
9
9
9
R
=
9
-
1
R
18
9
9
I
=
9
-
1
I
9
9
9
S
=
1
-
1
S
19
10
1
-
-
35
-
6
OSIRIS
89
53
35
-
-
3+5
-
-
-
8+9
5+3
3+5
-
-
7
-
6
OSIRIS
17
8
8
-
-
-
-
-
-
1+7
-
-
-
-
7
-
6
OSIRIS
8
8
8

 

 

-
-
-
-
-
SIRIUS
-
-
-
S
=
1
-
1
S
19
10
1
I
=
9
-
1
I
9
9
9
R
=
9
-
1
R
18
9
9
I
=
9
-
1
I
9
9
9
U
=
3
-
1
U
21
3
3
S
=
1
-
1
S
19
10
1
-
-
32
-
6
SIRIUS
95
50
32
-
-
3+2
-
-
-
9+5
5+0
3+2
-
-
5
-
6
SIRIUS
14
5
5
-
-
-
-
-
-
1+4
-
-
-
-
5
-
6
SIRIUS
5
5
5

 

 

-
-
-
-
-
OSIRIS ISIS SIRIUS
-
-
-
-
1
2
3
4
5
6
7
8
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
87
-
16
OSIRIS ISIS SIRIUS
240
141
87
-
6
6
3
4
5
6
7
8
72
-
-
8+7
-
1+6
-
2+4+0
1+4+1
8+7
-
-
-
-
-
-
-
-
-
7+2
-
-
15
-
7
OSIRIS ISIS SIRIUS
6
6
15
-
6
6
3
4
5
6
7
8
9
-
-
1+5
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
6
-
7
OSIRIS ISIS SIRIUS
6
6
6
-
6
6
3
4
5
6
7
8
9

 

 

-
-
-
-
-
OSIRIS ISIS SIRIUS
-
-
-
-
1
3
6
9
O
=
6
-
1
O
15
6
6
-
-
-
6
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
3
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
87
-
16
OSIRIS ISIS SIRIUS
240
141
87
-
6
3
6
72
-
-
8+7
-
1+6
-
2+4+0
1+4+1
8+7
-
-
-
-
7+2
-
-
15
-
7
OSIRIS ISIS SIRIUS
6
6
15
-
6
3
6
9
-
-
1+5
-
-
-
-
-
1+5
-
-
-
-
-
-
-
6
-
7
OSIRIS ISIS SIRIUS
6
6
6
-
6
3
6
9

 

 

-
-
-
-
-
OSIRIS ISIS SIRIUS
-
-
-
-
1
2
3
4
5
6
7
8
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
87
-
16
OSIRIS ISIS SIRIUS
240
141
87
-
6
6
3
4
5
6
7
8
72
-
-
8+7
-
1+6
-
2+4+0
1+4+1
8+7
-
-
-
-
-
-
-
-
-
7+2
-
-
15
-
7
OSIRIS ISIS SIRIUS
6
6
15
-
6
6
3
4
5
6
7
8
9
-
-
1+5
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
6
-
7
OSIRIS ISIS SIRIUS
6
6
6
-
6
6
3
4
5
6
7
8
9

 

 

-
-
-
-
-
OSIRIS ISIS SIRIUS
-
-
-
-
1
3
6
9
O
=
6
-
1
O
15
6
6
-
-
-
6
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
U
=
3
-
1
U
21
3
3
-
-
3
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
9
-
-
87
-
16
OSIRIS ISIS SIRIUS
240
141
87
-
6
3
6
72
-
-
8+7
-
1+6
-
2+4+0
1+4+1
8+7
-
-
-
-
7+2
-
-
15
-
7
OSIRIS ISIS SIRIUS
6
6
15
-
6
3
6
9
-
-
1+5
-
-
-
-
-
1+5
-
-
-
-
-
-
-
6
-
7
OSIRIS ISIS SIRIUS
6
6
6
-
6
3
6
9

 

 

-
-
-
-
-
OSIRIS HORUS ISIS
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
H
=
8
-
5
HORUS
81
27
9
I
=
9
-
4
ISIS
56
20
2
-
-
23
-
15
OSIRIS HORUS ISIS
226
82
19
-
-
2+3
-
1+5
-
2+2+6
8+2
1+9
-
-
5
-
6
ISIS HORUS OSIRIS
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
5
-
6
OSIRIS HORUS ISIS
1
1
1

 

 

-
-
-
-
-
OSIRIS ISIS SET
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
I
=
9
-
4
ISIS
56
20
2
S
=
1
-
3
SET
44
8
8
-
-
16
-
13
OSIRIS ISIS SET
189
63
18
-
-
1+6
-
1+3
-
1+8+9
6+3
1+8
-
-
7
-
4
SET ISIS OSIRIS
18
9
9
-
-
-
-
-
-
1+8
-
-
-
-
7
-
4
OSIRIS ISIS SET
9
9
9

 

 

-
-
-
-
-
OSIRIS ISIS SET HORUS
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
I
=
9
-
4
ISIS
56
20
2
S
=
1
-
3
SET
44
8
8
H
=
8
-
5
HORUS
81
27
9
-
-
24
-
18
OSIRIS ISIS SET HORUS
270
63
90
-
-
2+4
-
1+8
-
2+7+0
6+3
9+0
-
-
6
-
9
OSIRIS ISIS SET HORUS
9
9
9

 

 

O
=
6
-
-
OSIRIS
-
-
-
-
-
-
-
1
S+O
19
10
1
-
-
-
-
1
I
9
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
1
I
9
9
9
-
-
-
-
1
S
19
10
1
O
=
6
-
6
OSIRIS
89
53
35
-
-
-
-
-
-
8+9
5+3
3+5
O
=
6
-
6
OSIRIS
17
8
8
-
-
-
-
-
-
1+7
-
-
O
=
6
-
6
OSIRIS
8
8
8

 

 

O
=
6
-
-
OSIRIS
-
-
-
-
-
-
-
1
I
9
9
9
-
-
-
-
1
R
18
9
9
-
-
-
-
1
I
9
9
9
-
-
-
-
3
SOS
53
26
1
O
=
6
-
6
OSIRIS
89
53
35
-
-
-
-
-
-
8+9
5+3
3+5
O
=
6
-
6
OSIRIS
17
8
8
-
-
-
-
-
-
1+7
-
-
O
=
6
-
6
OSIRIS
8
8
8

 

 

-
RA OSIRIS
-
-
-
1
R
18
9
9
3
A
35
17
8
3
O
35
17
8
3
S
35
17
8
1
I
9
9
9
1
R
18
9
9
1
I
9
9
9
8
RA OSIRIS
108
45
36
-
 
1+0+8
4+6
3+6
8
RA OSIRIS
9
9
9

 

 

-
RA OSIRIS
-
-
-
1
R
18
9
9
3
A+O+S
35
17
8
1
I
9
9
9
1
R
18
9
9
1
I
9
9
9
1
S
19
10
1
8
RA OSIRIS
108
45
36
-
 
1+0+8
4+6
3+6
8
RA OSIRIS
9
9
9

 

 

-
-
-
-
-
OSIRIS SOKAR
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
S
=
1
-
5
SOKAR
64
19
1
-
-
7
-
11
OSIRIS SOKAR
153
54
9
-
-
-
-
1+1
-
1+5+3
5+4
-
-
-
7
-
2
OSIRIS SOKAR
9
9
9

 

 

-
-
-
-
-
OSIRIS UNAS
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
U
=
3
-
4
UNAS
55
10
1
-
-
9
-
10
OSIRIS UNAS
144
45
9
-
-
-
-
1+0
-
1+4+4
4+5
-
-
-
9
-
1
OSIRIS UNAS
9
9
9

 

OSIRIS UNAS

THIS UNAS IS NOT DEAD THIS UNAS A SUN IS

 

 

-
-
-
-
-
ISIS HORUS OSIRIS
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
H
=
8
-
5
HORUS
81
27
9
I
=
9
-
4
ISIS
56
20
2
-
-
23
-
15
OSIRIS HORUS ISIS
226
82
19
-
-
2+3
-
1+5
-
2+2+6
8+2
1+9
-
-
5
-
6
ISIS HORUS OSIRIS
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
5
-
6
OSIRIS HORUS ISIS
1
1
1

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
OSIRIS HORUS ISIS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
OSIRIS
-
-
-
-
-
-
-
-
-
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
-
-
35
-
6
OSIRIS
89
44
35
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
HORUS
-
-
-
-
-
-
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
-
-
27
-
5
HORUS
81
36
27
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ISIS
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
-
-
20
-
4
ISIS
56
38
20
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
82
-
15
ISISHORUS OSIRIS
226
118
82
-
5
2
3
4
5
12
7
8
54
-
-
8+2
-
1+5
-
2+2+7
1+1+8
8+2
-
-
-
-
-
-
1+2
-
-
5+4
-
-
10
4
6
-OSIRIS HORUS ISIS
2
10
10
-
5
2
3
4
5
3
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
4
6
-OSIRIS HORUS ISIS
2
1
1
-
5
2
3
4
5
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
OSIRIS HORUS ISIS
-
-
-
-
-
-
-
-
-
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
-
-
82
-
15
ISIS HORUS OSIRIS
226
118
82
-
5
2
3
4
5
12
7
8
54
-
-
8+2
-
1+5
-
2+2+7
1+1+8
8+2
-
-
-
-
-
-
1+2
-
-
5+4
-
-
10
4
6
-OSIRIS HORUS ISIS
2
10
10
-
5
2
3
4
5
3
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
4
6
-OSIRIS HORUS ISIS
2
1
1
-
5
2
3
4
5
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
OSIRIS HORUS ISIS
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
82
-
15
ISIS HORUS OSIRIS
226
118
82
-
5
2
3
4
5
12
7
8
54
-
-
8+2
-
1+5
-
2+2+7
1+1+8
8+2
-
-
-
-
-
-
1+2
-
-
5+4
-
-
10
4
6
-OSIRIS HORUS ISIS
2
10
10
-
5
2
3
4
5
3
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
1
4
6
-OSIRIS HORUS ISIS
2
1
1
-
5
2
3
4
5
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
3
6
8
9
-
-
-
-
-
OSIRIS HORUS ISIS
-
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
3
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
6
-
-
O
=
6
-
1
O
15
6
6
-
-
-
6
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
8
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
9
R
=
9
-
1
R
18
9
9
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
9
I
=
9
-
1
I
9
9
9
-
-
-
-
-
9
-
-
82
-
15
ISIS HORUS OSIRIS
226
118
82
-
5
3
12
8
54
-
-
8+2
-
1+5
-
2+2+7
1+1+8
8+2
-
-
-
1+2
-
5+4
-
-
10
4
6
-OSIRIS HORUS ISIS
2
10
10
-
5
3
3
8
9
-
-
1+0
-
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
1
4
6
-OSIRIS HORUS ISIS
2
1
1
-
5
3
3
8
9

 

 

-
-
-
-
-
ISIS HORUS OSIRIS
-
-
-
O
=
6
-
6
OSIRIS
89
35
8
H
=
8
-
5
HORUS
81
27
9
I
=
9
-
4
ISIS
56
20
2
-
-
23
-
15
OSIRIS HORUS ISIS
226
82
19
-
-
2+3
-
1+5
-
2+2+6
8+2
1+9
-
-
5
-
6
ISIS HORUS OSIRIS
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
5
-
6
OSIRIS HORUS ISIS
1
1
1

 

ISISSIRIUSOSIRISIRISISISSIRIUSOSIRISIRIS

 

4
LORD
49
22
4
2
OF
21
12
3
5
DEATH
38
20
2
11
F
108
54
9
1+1
-
1+0+8
5+4
-
2
-
9
9
9

 

 

10
SON OF WOMAN
-
-
-
3
SON
48
21
3
2
OF
21
12
3
5
WOMAN
66
21
3
10
SON OF WOMAN
135
54
9
1+0
-
1+3+5
5+4
-
1
SON OF WOMAN
9
9
9

 

BLESSED BE THE FRUIT OF THAT WOMBS FOETUS

 

8
SON OF MAN
-
-
-
3
SON
48
21
3
2
OF
21
12
3
3
MAN
28
10
1
8
SON OF MAN
97
43
7
-
-
9+7
4+3
-
8
SON OF MAN
16
7
7
-
-
1+6
-
-
8
SON OF MAN
7
7
7

 

 

IRINI MEANING PEACE

IRINI

99959

IRINI

IRINI MEANING PEACE

 

 

I
=
9
-
-
IRINI
-
-
-
-
-
-
-
1
I
9
9
9
-
-
-
-
1
R
9
9
9
-
-
-
-
1
I
9
9
9
-
-
-
-
1
N
14
5
5
-
-
-
-
1
I
9
9
9
I
=
9
-
5
IRINI
59
41
41
-
-
-
-
-
-
5+9
4+1
4+1
I
=
9
-
5
IRINI
14
5
5
-
-
-
-
-
-
1+4
-
-
I
=
9
-
5
IRINI
5
5
5

 

 

Irini | Name Meaning & Origin | Girl Name Irini | Baby Names ...
babynamesworld.parentsconnect.com/meaning_of_Irini.html

This page offers more name info like origin, popularity, variants, usage by language, ... Origin and Meaning of the Name Irini. Meaning: Peace. Origin: Greek.

Origin and Meaning of the Name Irini
Meaning:PeaceOrigin:GreekGender:Girl

 

Irene - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Irene

Irene is a name derived from εἰρήνη—the Greek for "peace". See Irene (given name). Irene, Irina, Irini, Eirene, Eireni, or Ireen may refer to: Irene ...
‎Irene (given name) - ‎Eirene - ‎Hurricane Irene - ‎Irene (1940 film)

 

Origin and Meaning of the Name Irini. Meaning: Peace.

 

I
=
9
-
-
IRINI
-
-
-
-
-
-
-
1
I
9
9
9
-
-
-
-
1
R
9
9
9
-
-
-
-
1
I
9
9
9
-
-
-
-
1
N
14
5
5
-
-
-
-
1
I
9
9
9
I
=
9
-
5
IRINI
59
41
41
-
-
-
-
-
-
5+9
4+1
4+1
I
=
9
-
5
IRINI
14
5
5
-
-
-
-
-
-
1+4
-
-
I
=
9
-
5
IRINI
5
5
5

 

 

INRI - Wikipedia, the free encyclopediaINRI is an acronym of the Latin inscription IESVS·NAZARENVS·REX·IVDÆORVM (Iesus Nazarenus, Rex Iudaeorum), which translates to English as "Jesus the ...

Western Christianity - Eastern Christianity - Versions - See also
en.wikipedia.org/wiki/INRI - Cached - Similar

 

INRI is an acronym of the Latin inscription IESVS·NAZARENVS·REX·IVDÆORVM (Iesus Nazarenus, Rex Iudaeorum), which translates to English as "Jesus the Nazarene (Galilean), King of the Jews (Judeans)". The Greek equivalent of this phrase, Ἰησοῦς ὁ Ναζωραῖος ὁ βασιλεὺς τῶν Ἰουδαίων (Iesous ho Nazoraios ho Basileus ton Ioudaion), appears in the New Testament of the Christian Bible in the Gospel of John (19:19). Each of the other accounts of Jesus' death has a slightly different version for the inscription on Jesus' cross: Matthew (27:37), "This is Jesus, the King of the Jews"; Mark (15:26), "The King of the Jews"; and Luke (23:38), "This is the King of the Jews." John and Luke state it was written in Hebrew, Greek, and Latin, while Matthew and Mark describe it as the charge for crucifying Jesus. Luke states that it was a statement hung above Jesus's head. Since John's form is the most complete it is the one that is usually found on depictions of the Crucifixion of Jesus.

In the Gospel of John (19:19-20), the inscription is explained:

And Pontius Pilate wrote a title, and put it on the cross. And the writing was JESUS OF NAZARETH THE KING OF THE JEWS. This title then read many of the Jews: for the place where Jesus was crucified was nigh to the city: and it was written in Hebrew, and Greek, and Latin. (King James Version)

According to all four Gospels, Pilate challenged Jesus to deny that he was the "King of the Jews" and Jesus did not deny the accusation.[1]

According to John, the chief priests asked Pilate to change the inscription so that it did not say "the King of the Jews", but rather, "This man said he was the King of the Jews", but Pilate refused to change it, saying, "What I have written, I have written". (John 19:20-22)

 

CRUCIFIXION

393396965

CRUCIFIXION

 

 

-
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
9
+
=
23
2+3
=
5
=
5
=
5
-
-
9
14
-
9
+
=
32
3+2
=
5
=
5
=
5
-
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
+
=
9
-
=
9
=
9
=
9
-
-
-
-
18
-
+
=
18
1+8
=
9
=
9
=
9
-
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
-
9
14
18
9
+
=
50
5+0
=
5
=
5
=
5
-
-
9
5
9
9
+
=
32
3+2
=
5
=
5
=
5
-
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
2
TWO
2
--
-
-
-
-
3
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
=
5
6
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
9
-
9
9
-
-
9
occurs
x
3
=
27
2+7
9
31
4
I
N
R
I
-
-
14
-
-
4
-
32
-
14
3+1
-
9
-
9
9
-
-
1+4
-
-
-
-
3+2
-
1+4
4
4
I
N
R
I
-
-
5
-
-
4
-
5
-
5
-
-
9
5
9
9
-
-
-
-
-
--
-
-
-
-
4
4
I
N
R
I
-
-
5
-
-
4
-
5
-
5

 

 

4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
9
5
-
9
+
=
23
2+3
=
5
=
5
=
5
-
9
14
-
9
+
=
32
3+2
=
5
=
5
=
5
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
+
=
9
-
=
9
=
9
=
9
-
-
-
18
-
+
=
18
1+8
=
9
=
9
=
9
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
9
14
18
9
+
=
50
5+0
=
5
=
5
=
5
-
9
5
9
9
+
=
32
3+2
=
5
=
5
=
5
4
I
N
R
I
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
=
5
-
9
-
9
9
-
-
9
occurs
x
3
=
27
2+7
9
4
I
N
R
I
-
-
14
-
-
4
-
32
-
14
-
9
-
9
9
-
-
1+4
-
-
-
-
3+2
-
1+4
4
I
N
R
I
-
-
5
-
-
4
-
5
-
5
-
9
5
9
9
-
-
-
-
-
--
-
-
-
-
4
I
N
R
I
-
-
5
-
-
4
-
5
-
5

 

 

And Pontius Pilate wrote a title, and put it on the cross. And the writing was JESUS OF NAZARETH THE KING OF THE JEWS. This title then read many of the Jews: for the place where Jesus was crucified was nigh to the city: and it was written in Hebrew, and Greek, and Latin. (King James Version)

According to all four Gospels, Pilate challenged Jesus to deny that he was the "King of the Jews" and Jesus did not deny the accusation.[1]

According to John, the chief priests asked Pilate to change the inscription so that it did not say "the King of the Jews", but rather, "This man said he was the King of the Jews", but Pilate refused to change it, saying, "What I have written, I have written". (John 19:20-22)

 

CRUCIFIXION

393396965

CRUCIFIXION

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
W
=
5
-
4
WHAT
52
16
7
-
-
-
-
-
-
-
7
-
-
2
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
3
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
4
-
W
=
5
-
7
WRITTEN
109
37
1
-
1
-
-
-
-
-
-
-
-
5
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
6
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
7
-
W
=
5
-
7
WRITTEN
109
37
1
-
1
-
-
-
-
-
-
-
-
28
-
-
-
49
-
28
First Total
360
144
45
-
2
2
3
4
5
6
7
8
36
2+8
-
-
-
4+9
-
2+8
Add to Reduce
3+6+0
1+9+7
4+5
-
-
-
-
-
-
-
-
-
3+6
10
-
-
-
13
4
10
Second Total
9
9
9
-
2
2
3
4
5
6
7
8
9
1+0
-
-
-
1+3
-
1+0
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
4
-
9
Essence of Number
9
9
9
-
2
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
7
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
W
=
5
-
4
WHAT
52
16
7
-
-
7
-
2
-
I
=
9
-
1
I
9
9
9
-
-
-
9
3
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
9
4
-
W
=
5
-
7
WRITTEN
109
37
1
-
1
-
-
5
-
I
=
9
-
1
I
9
9
9
-
-
-
9
6
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
9
7
-
W
=
5
-
7
WRITTEN
109
37
1
-
1
-
-
28
-
-
-
49
-
28
First Total
360
144
45
-
2
7
36
2+8
-
-
-
4+9
-
2+8
Add to Reduce
3+6+0
1+9+7
4+5
-
-
-
3+6
10
-
-
-
13
4
10
Second Total
9
9
9
-
2
7
9
1+0
-
-
-
1+3
-
1+0
Reduce to Deduce
-
-
-
-
-
-
-
1
-
-
-
4
-
9
Essence of Number
9
9
9
-
2
7
9

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
5
LOGOS
68
23
5
-
-
5
-
8
First Total
101
38
11
-
-
-
-
-
Add to Reduce
1+0+1
3+8
1+1
-
-
5
-
8
Second Total
2
11
2
-
-
-
-
-
Reduce to Deduce
-
1+1
-
-
-
5
-
8
Essence of Number
2
2
2

 

 

-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
6
1
+
=
13
1+3
=
4
=
4
=
4
-
-
-
15
-
15
19
+
=
49
4+9
=
13
1+3
4
=
4
-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
-
-
+
=
10
1+0
=
1
=
1
=
1
-
-
12
-
7
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
12
15
7
15
19
+
=
68
6+8
=
14
1+4
5
=
5
-
-
3
6
7
6
1
+
=
23
2+3
=
5
=
5
=
5
-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
--
1
-
-
1
occurs
x
1
=
1
-
1
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
3
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
-
-
6
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
-
7
8
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
28
5
L
O
G
O
S
-
-
17
-
-
5
-
23
-
14
2+8
-
-
-
-
-
-
-
-
1+7
-
-
-
-
2+3
-
1+4
10
5
L
O
G
O
S
-
-
8
-
-
5
-
5
-
5
1+0
-
3
6
7
6
1
-
-
-
-
-
-
-
-
-
-
1
5
L
O
G
O
S
-
-
8
-
-
5
-
5
-
5

 

 

-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
6
1
+
=
13
1+3
=
4
=
4
=
4
-
-
-
15
-
15
19
+
=
49
4+9
=
13
1+3
4
=
4
-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
-
-
+
=
10
1+0
=
1
=
1
=
1
-
-
12
-
7
-
-
+
=
19
1+9
=
10
1+0
1
=
1
-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
12
15
7
15
19
+
=
68
6+8
=
14
1+4
5
=
5
-
-
3
6
7
6
1
+
=
23
2+3
=
5
=
5
=
5
-
5
L
O
G
O
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
--
1
-
-
1
occurs
x
1
=
1
-
1
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
-
3
-
-
-
6
-
6
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
-
7
28
5
L
O
G
O
S
-
-
17
-
-
5
-
23
-
14
2+8
-
-
-
-
-
-
-
-
1+7
-
-
-
-
2+3
-
1+4
10
5
L
O
G
O
S
-
-
8
-
-
5
-
5
-
5
1+0
-
3
6
7
6
1
-
-
-
-
-
-
-
-
-
-
1
5
L
O
G
O
S
-
-
8
-
-
5
-
5
-
5

 

 

11
THIRTYTHREE
-
-
-
6
THIRTY
100
37
1
5
THREE
56
29
2
11
THIRTYTHREE
156
66
3
-
-
1+5+6
6+6
-
11
THIRTYTHREE
12
12
3
-
-
1+2
1+2
-
11
THIRTYTHREE
3
3
3

 

I AM THE OPPOSITE OF THE OPPOSITE I AM THE OPPOSITE OF OPPOSITE IS THE AM I

I

ALWAYS

AM

 

114
NINENINETYNINE
171
81
9
-
-
-
-
-
-
-
-
-
-
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
4
NINE
42
24
6
36
First Total
378
216
54
3+6
Add to Reduce
3+7+8
2+1+6
5+4
9
Second Total
18
9
9
-
Reduce tio Deduce
1+8
-
-
9
Essence of Number
9
9
9

 

 

11
THE STAR GATE
-
-
-
3
THE
33
15
6
4
STAR
58
13
4
4
GATE
33
15
6
11
THE STAR GATE
124
43
16
1+1
-
1+2+4
4+3
1+6
2
THE STAR GATE
7
7
7

 

 

15
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
7
RAINBOW
82
37
1
5
LIGHT
56
29
2
15
THE RAINBOW LIGHT
171
81
9
1+5
-
1+7+1
8+1
-
6
THE RAINBOW LIGHT
9
9
3

 

GREETINGS

CHILD

OF

THE

RAINBOW

 

6
ENTERS
81
36
9
3
THE
33
15
6
6
GOLDEN
57
30
3
5
CHILD
36
27
9
20
-
207
108
27
2+0
-
2+0+7
1+0+8
2+7
2
-
9
9
3

 

 

-
-
-
-
-
SOLAR DISK
-
-
-
S
=
1
-
5
SOLAR
65
20
2
D
=
4
-
4
DISK
43
16
7
-
-
5
-
9
SOLAR DISK
108
36
9
-
-
-
-
-
-
1+0+8
3+6
-
-
-
5
-
9
SOLAR DISK
9
9
9

 

 

THE

HOURS OF HORUS

THAT I OF THAT I OF THAT I THAT

 

THE ILLUSIONIST

Anita Mason 1983

Unless ye make the things of the right hand as those of the left, and those of the left as those of the right,
and those that are above as those that are below, and those that are behind as those that are before,
ye shall not have knowledge of the kingdom”.

The Acts of Peter

 

 

THE WHITE GODDESS

A

historical grammar of poetic myth by

Robert Graves 1948

Chapter 27

POSTCRIPT 1960

Page 490

Chains of more-than-coincidence occur so often in my life that, if I am forbidden to call them supernatural hauntings, let me call them a habit. Not that I like the word `supernatural'; I find these happenings natural enough, though superlatively unscientific.
In scientific terms, no god at all can be proved to exist, but only beliefs in gods, and the effects of such beliefs on worshippers. The concept of a creative goddess was banned by Christian theologians almost two thousand years ago, and by Jewish theologians long before that. Most scientists, for social convenience, are God-worshippers; though I cannot make out why a belief in a Father-god's authorship of the universe, and its laws, seems any less unscientific than a belief in a Mother-goddess's inspiration of this artificial system. Granted the first metaphor, the second follows logically—if these are no better than metaphors. . . .
True poetic practice implies a mind so miraculously attuned and illuminated that it can form words, by a chain of more-than-coincidences, into a living entity—a poem that goes about on its own (for centuries after the author's death, perhaps) affecting readers with its stored magic. Since the source of poetry's creative power is not scientific intelligence, but inspiration—however this may be explained by scientists—one may surely attribute inspiration to the Lunar Muse, the oldest and most convenient European term for this source? By ancient tradition, the White Goddess becomes one with her human representative—a priestess, a prophetess, a queen-mother. No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident; just as no Apollonian poet can perform his proper function unless he lives under a monarchy or a quasi-monarchy. A Muse-poet falls in love, absolutely, and his true love is for him the embodiment of the Muse. As a rule, the power of absolutely falling in love soon vanishes; and, as a rule, because the woman feels embarrassed by the spell she exercises over her poet-lover and repudiates it; he, in disillusion, turns to Apollo who, at least, can provide him with a livelihood and intelligent entertainment, and reneges before his middle 'twenties. But the real, perpetually obsessed Muse-poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom and love of woman, and the individual woman whom the Goddess may make her instrument for a month, a year, seven years, or even more. The Goddess abides; and perhaps he will again have knowledge of her through his experience of another woman.

Being in love does not, and should not, blind the poet to the cruel side of woman's nature — and many Muse poems are written in helpless attestation of this by men whose love is no longer returned:

 

 

THE WHITE GODDESS

A

historical grammar of poetic myth by

Robert Graves 1948

Chapter 15

Page 121

THE SEVEN PILLARS

The Nile is called Ogygian by Aecschylus, and Eeustathius the Byzantine grammarian says that Ogygia was the earliest name for Egypt.

 

O
=
6
-
OGYGIA
-
-
-
-
-
-
--
--
--
1
O
15
6
6
--
-
6
-
-
-
1
G
7
7
7
-
7
-
-
-
-
1
Y
25
7
7
-
7
-
-
-
-
1
G
16
7
7
-
7
-
-
-
-
1
I
9
9
9
--
-
-
--
--
--
1
A
1
1
1
--
-
1
O
=
6
6
OGYGIA
64
37
37
-
21
7
-
-
-
-
-
6+4
3+7
3+7
-
2+1
-
O
=
6
6
OGYGIA
10
10
10
--
3
7
-
-
-
-
-
1+0
1+0
1+0
-
-
-
O
=
6
6
OGYGIA
1
1
1
--
3
7

 

 

E
=
5
-
EGYPT
-
-
-
-
-
-
--
--
--
1
E
5
5
5
--
-
5
-
-
-
1
G
7
7
7
-
7
-
-
-
-
1
Y
25
7
7
-
7
-
-
-
-
1
P
16
7
7
-
7
-
--
--
--
1
T
20
2
2
--
-
2
E
=
5
5
EGYPT
73
28
28
-
21
7
-
-
-
-
-
7+3
2+8
2+8
-
2+1
-
E
=
5
5
EGYPT
10
10
10
--
3
7
-
-
-
-
-
1+0
1+0
1+0
-
-
-
E
=
5
5
EGYPT
1
1
1
--
3
7

 

 

O
=
6
6
OGYGIA
64
37
1
E
=
5
5
EGYPT
73
28
1
-
-
11
11
-
137
65
2
-
-
1+1
1+1
-
1+3+7
6+5
-
--
--
2
2
--
11
11
2
-
-
-
-
-
1+1
1+1
-
--
--
2
2
--
2
2
2

 

 

10
AEGYPTIACA
88
43
7
5
EGYPT
73
28
1
15
Add to Reduce
161
71
8
1+5
Reduce to Deduce
1+6+1
7+1
-
6
Essence of Number
8
8
8

 

 

-
EGYPT
-
-
-
-
-
-
1
E
5
5
5
-
-
5
1
G
7
7
7
-
7
-
1
Y
25
7
7
-
7
-
1
P
16
7
7
-
7
-
1
T
20
2
2
-
-
2
5
EGYPT
73
28
28
-
21
7
-
-
7+3
2+8
2+8
-
2+1
-
5
EGYPT
10
10
10
--
3
7
-
-
1+0
1+0
1+0
-
-
-
5
EGYPT
1
1
1
-
3
7

 

 

THE RISE AND FALL OF ANCIENT EGYPT

The History of a Civilisation from 3000 BC to Cleopatra

Toby Wilkinson 2010

END OF INNOCENCE (2175-1541 BC)

PARADISE POSTPONED


Page 155

O shabti, detailed to (serve) me ... if I am summoned or if I am detailed to do any work which is to be done in the afterlife ... you shall detail yourself to me every time, (whether) for maintaining the fields, irrigating the banks or ferrying sand from east to west. 'Look, here I am', you shall say.'
When it came to life after death, a shabti was the perfect insurance policy.

Truth will out
One final, crucial aspect of the afterlife adventure also made its first appearance in the years following the collapse of the Old Kingdom. Like the Coffin Texts, magical objects and servant figurines, the concept of a last judgement reflected the mixture of hope and fear that beset the ancient Egyptians in their musings about life after death. Perhaps more than any other feature of Egyptian religion, the idea of a final, inevitable reckoning before a divine judge had a profound and lasting impact on the subsequent development of pharaonic beliefs. Unlike hedgehogs, hippos and shabtis, the last judgement was picked up by other religious traditions of the Near East as well notably Christianity.
The imaginary geography of The Book of Two Ways began with the Island of Fire, where the wicked were consumed in flames but the good were provided with refreshing water for their arduous journey through the underworld. The concept of 'trial by fire' is an ancient one, but this relatively simplistic notion of judgement — whereby the unrighteous dead were separated from the righteous by means of /Page 156/ a single, swift test — was itself to be refined in the flames of social. change. Once again, the shattered illusions that accompanied thie break-up of the Egyptian state proved a fertile breeding ground for new ideas. In troubled times, death came to be seen not as a transition to another dimension of creation, but as a discontinuiry, a break that might prove terminal. Whether an individual achieved rebirth as a divine being or suffered a second death depended on his or her own actions during life. The literary text known as The Instruction for Merikara, purportedly composed by a Herakleopolitan king, summed up this new belief:

When a man remains after passing away,

His deeds are set alongside him . . .

He who reaches (the next life) without wrongdoings

Will exist there like a god . . . 3

In this scheme of things, virtue was no longer enough: it had to be accompanied by freedom from vice. In inscriptions of the period, the boastfulness and bombast typical of Old Kingdom autobiographies are joined for the first time by notes of doubt and defensiveness. A man might enumerate his many qualities and achievements but also take pains to state 'I never spoke a falsehood against any living person'.4 The 'negative confession', a declaration not to have committed a prescribed list of wrongful acts, became an essential component of the judgement process.
Vindication before the divine tribunal required more, however, than a mere denial of wrong doing. It involved a fundamental assessment of a person's true worth, a weighing of their good and bad deeds in order to arrive at a balanced judgement of their character. Only those who passed this 'calculation of differences' were deemed fit to join Osiris and live for ever. On his stela from Abdju, the Eleventh Dynasty general Intef confidently proclaims that 'his voice is true in the calculation of differences'. In other words, he has been justified and found worthy of resurrection as a transfigured spirit. From such tentative beginnings, the concept of judgement rapidly acquired a central place in Egyptian funerary religion, to the extent that the term 'true of voice' became the most common euphemism for 'deceased'. In a society as / Page 157/ obsessed with bureaucracy and accountancy as ancient Egypt, it is perhaps not surprising that theologians imagined the weighing of a' poison's worth taking place on a giant set of goldsmith's scales. The accuracy of the balance perfectly expressed the unerring judgement of the divine tribunal. A spell from the Coffin Texts describes the scales as 'that balance of Ra on which Maat is lifted up',5 indicating that the judgement is authorised by Ra himself, god of the sun and of creation, and that the deeds of the deceased are to be weighed against Maat, the goddess of truth. In this ultimate assessment, there was no room for cheating. The outcome of the judgement process was visualised as a division of the deceased between the justified and the unjust, `numbering the dead and counting the blessed spirits'.6 The differing fates of the two groups were crystal clear.
With eternal survival at stake in the last judgement, the fevered Egyptian imagination swung into action. Conceiving further hurdles hand in hand with the means of overcoming them seems to have given the ancient Egyptians the courage to face the uncertainties of death. In the case of judgement before the tribunal, the greatest danger was that one's own heart — seat of the intellect, fount of emotion and storehouse of memories — might decide to bear false witness and so tip the balance against a favorable verdict. To counter this awful risk, powerful magic was required. Somehow, the heart had to be prevented from blurting out untruths (or hidden truths) that might seal its owner's fate. The ingenious solution was a new type of amulet, first introduced into burials in the late Middle Kingdom. It took the familiar shape of a scarab beetle, a potent symbol of rebirth (because young beetles hatch from a ball of dung, emblematic of death and decay). But unlike the usual scarab amulets it had a human head and was engraved with a protective spell, addressed to the heart. After the body had undergone mummification, the 'heart scarab' was placed over the heart, with clear instructions as to how the organ should behave at the moment of truth:

Do not stand up against me

Do not witness against me,

Do not oppose me in the tribunal,

Do not incline against me ... 7

Page 158

158
In time the heart itself came to stand for the deceased and his deeds, and the pictorial representation of the 'weighing of the heart' against the feather of Truth became an essential image for inclusion on a funerary papyrus, an encapsulation of the final judgement. It remains one of the most instantly recognisable, characteristic and evocative scenes from the entire repertoire of ancient Egyptian art.
And the concept of a 'dreadful day of judgement, when the secrets of all hearts shall be disclosed' is still with us, four thousand years later.

 

'his voice is true in the calculation of differences'

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
H
=
8
-
3
HIS
36
18
9
-
-
-
-
-
-
-
-
-
9
V
=
4
-
5
VOICE
54
27
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
4
TRUE
64
19
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
C
=
3
-
11
CALCULATION
111
39
3
-
-
-
3
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
D
=
4
-
11
DIFFERENCES
94
58
4
-
-
-
-
4
-
-
-
-
-
-
-
47
-
43
First Total
464
212
41
-
2
2
6
4
5
6
7
5
18
-
-
5+4
-
3+4
Add to Reduce
4+6+4
2+1+2
4+1
-
-
-
-
-
-
-
-
-
1+8
-
-
9
-
7
Second Total
14
5
5
-
2
2
6
4
5
6
7
5
9
-
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
7
Essence of Number
5
5
5
-
2
2
6
4
5
6
7
5
9

 

 

-
-
-
-
-
CALCULATION
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
39
-
11
CALCULATION
111
39
39
-
2
2
15
4
5
6
7
8
9
-
-
3+9
-
1+1
-
1+1+1
3+9
3+9
-
-
-
1+5
-
-
-
-
-
-
-
-
12
-
2
CALCULATION
3
12
12
-
2
2
6
4
5
6
7
8
9
-
-
1+2
-
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
2
CALCULATION
3
3
3
-
2
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
CALCULATION
-
-
-
-
1
2
3
5
6
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
6
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
-
-
-
-
39
-
11
CALCULATION
111
39
39
-
2
2
15
5
6
9
-
-
3+9
-
1+1
-
1+1+1
3+9
3+9
-
-
-
1+5
-
-
-
-
-
12
-
2
CALCULATION
3
12
12
-
2
2
6
5
6
9
-
-
1+2
-
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
3
-
2
CALCULATION
3
3
3
-
2
2
6
5
6
9

 

 

-
-
-
-
-
CALCULATION
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
39
-
11
CALCULATION
111
39
39
-
2
2
15
4
5
6
7
8
9
-
-
3+9
-
1+1
-
1+1+1
3+9
3+9
-
-
-
1+5
-
-
-
-
-
-
-
-
12
-
2
CALCULATION
3
12
12
-
2
2
6
4
5
6
7
8
9
-
-
1+2
-
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
2
CALCULATION
3
3
3
-
2
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
CALCULATION
-
-
-
-
1
2
3
5
6
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
5
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
6
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
9
-
-
39
-
11
CALCULATION
111
39
39
-
2
2
15
5
6
9
-
-
3+9
-
1+1
-
1+1+1
3+9
3+9
-
-
-
1+5
-
-
-
-
-
12
-
2
CALCULATION
3
12
12
-
2
2
6
5
6
9
-
-
1+2
-
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
3
-
2
CALCULATION
3
3
3
-
2
2
6
5
6
9

 

 

C
=
3
-
-
CALCULATIONS
-
-
-
-
1
3
9
-
-
-
-
1
C
3
3
3
-
-
3
-
-
-
-
-
1
A
1
1
1
-
1
-
-
-
-
-
-
1
L
12
3
3
-
-
3
-
-
-
-
-
1
C
3
3
3
-
-
3
-
-
-
-
-
1
U
21
3
3
-
-
3
-
-
-
-
-
1
L
12
3
3
-
-
3
-
-
-
-
-
2
A+T
3
3
3
-
-
3
-
-
-
-
-
1
I
9
9
9
-
-
-
9
-
-
-
-
3
O+N+S
48
21
3
-
-
3
-
C
=
3
-
12
CALCULATIONS
130
49
31
-
1
21
9
-
-
-
-
1+2
-
1+3+0
4+9
3+1
-
-
2+1
-
C
=
3
-
3
CALCULATIONS
4
13
4
-
1
3
9
-
-
-
-
-
-
-
1+3
-
-
-
-
-
C
=
3
-
3
CALCULATIONS
4
4
4
-
1
3
9

 

 

-
REAL
-
-
-
1
R
18
9
9
3
E+A+L
18
9
9
4
REAL
36
18
18
-
-
3+6
1+8
1+8
4
REAL
9
9
9

 

 

-
REALITY
-
-
-
1
R
18
9
9
3
E+A+L
18
9
9
1
I
9
9
9
2
T+Y
45
9
9
7
REALITY
90
36
36
-
-
9+0
3+6
3+6
7
REALITY
9
9
9

 

 

-
REVEALED
-
-
-
1
R
18
9
9
2
E+V
27
9
9
3
E+A+L
18
9
9
2
E+D
9
9
9
8
REVEALED
72
36
36
-
-
7+2
3+6
3+6
8
REVEALED
9
9
9

 

 

-
REAL
-
-
-
1
R
18
9
9
3
E+A+L
18
9
9
-
REALITY
-
-
-
1
R
18
9
9
3
E+A+L
18
9
9
1
I
9
9
9
2
T+Y
45
9
9
12
REVEALED
-
-
-
1
R
18
9
9
2
E+V
27
9
9
3
E+A+L
18
9
9
2
E+D
9
9
9
19
First Total
198
90
36
1+9
Add to Reduce
1+9+8
9+0
3+6
10
Second Total
18
9
9
1+0
Reduce to Deduce
1+8
-
-
1
Essence of Number
9
9
9

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

"...Is there in any sense an interstellar Rosetta Stone?

We believe there is a common language that all technical civilizations, no matter how different, must have.

That common language is science and mathematics.

The laws of Nature are the same everywhere:..."

 

 

R
=
9
-
7
ROSETTA
98
26
8
S
=
1
-
5
STONE
73
19
1
-
-
10
-
12
Add to Reduce
171
45
9
-
-
1+0
-
1+2
Reduce to Deduce
1+7+1
4+5
-
Q
-
1
-
3
Essence of Number
9
9
9

 

Supernova - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Supernova

A supernova is a stellar explosion that briefly outshines an entire galaxy, radiating as much energy as the Sun or any ordinary star is expected to emit over its entire life span, before fading from view over several weeks or months.

 

 

PEACE BE UNTO YOU

GOODWILL UNTO ALL SENTIENT BEINGS

LOVE DIVIN E THOUGHT IS IS THOUGHT DIVIN E LOVE

 

 
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