THE
FAR YONDER SCRIBE
AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN SOME AMAZE
THE
ZED ALIZ ZED
IN
SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS
11 |
THE ADVENT |
- |
- |
- |
|
THE |
33 |
15 |
|
|
ADVENT |
66 |
21 |
|
9 |
THE ADVENT |
99 |
36 |
9 |
- |
- |
9+9 |
3+6 |
- |
2 |
THE ADVENT |
9 |
9 |
9 |
WISE WISDOM LOST AT SEA DROWNED IN A SEE OF KNOWLEDGE
OUT OF ZERO COMETH ONE
MIN DOTH DREAM WHAT DOTH MIN MEAN
- |
MIND |
- |
- |
- |
3 |
|
36 |
18 |
|
1 |
|
4 |
4 |
|
|
MIND |
|
|
|
|
- |
4+0 |
2+2 |
1+3 |
|
MIND |
|
|
|
SECRET CHAMBERS
Robert Bauval
1
999
Page 46
"The point that is being made here is that there existed a sacred science in Egypt that could only be imparted to gifted individuals with a strong predisposition for intuitive learning - the type of learning that is done with the human apparatus of perception, with the fine tuning of the five senses such that they functioned jointly as super receivers and transmitters of messages. Thus the initiation or training of natural magicians was to fine-tune the sensory perception. Anyone can fine-tune his sense to 'read' the messages of nature. However, to be a magician is to be able to reverse the process, i.e. to transmit the messages to others by using the 'language of the gods'. This is the arcana arcanorum, the ultimate secret of the magician. Thoth, the inventor of this magic, was supreme in its application. Equipped with such a cognition of Thoth, we can now examine the purpose of his divine mission as 'messenger' of the gods."
THE DEATH OF GODS IN ANCIENT EGYPT
Jane B. Sellars 1992
Page 204
"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:
Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly, too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10
Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.
Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.
The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.
A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the / Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)
If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.
This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.
Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.
But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a
trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he
gave figures of 45" to 46" a year, while the truer precessional
lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less
than the figure of 25,920.
With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, incorrect by a difference of from 2,397.9 years to 3,024.
Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'
AN IMPORTANT POSTSCRIPT
Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.
Page 206
Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12
This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.
Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.
Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe
was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.
Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13
Page 207
"...Feniusa Farsa, Graves equates this hero with Dionysus. Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials
We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14
Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a book hinting that 'the secret involves the truth that the Christian
dogma, and rituals, are the refinement of a great body of
primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15
Frances A. Yates, historian of Renaissance hermetisma tells, us
the cabala had 72 angels through which the sephiroth (the powers
of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident
there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16
In Hamlet's Mill de Santillana adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)
The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from
the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits.
Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18
Whatever one may think-of some of these number coincidences, it becomes difficult to escape the suspicion that many signs (number and otherwise) - indicate that early man observed the results of the movement of Precession and that the - transmission of this information was considered of prime importance.
With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.
But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced, that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':
"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four. Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radius ekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up his piece of stripped and striped wallpaper, decorated / Page 209 /
with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.
So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"
NATO phonetic alphabet - Wikipedia
https://en.wikipedia.org/wiki/NATO_phonetic_alphabet
These Phonetic Spelling Alphabets are not a phonetic alphabet in the sense in which that term ...... The NATO Phonetic Alphabet". North Atlantic Treaty Organization. The Military Alphabet (Phonetic from Alpha Bravo Charlie Delta to Zulu).
?International Civil Aviation · Spelling alphabet · ?APCO radiotelephony spelling ...
NATO phonetic alphabet
The International radiotelephony spelling alphabet, commonly known as the ICAO phonetic alphabet, or ITU phonetic alphabet and figure code, sometimes called the NATO phonetic alphabet or spelling alphabet or just phonetic alphabet, is the most widely used radiotelephonic spelling alphabet. Although often called "phonetic alphabets", spelling alphabets are unrelated to phonetic transcription systems such as the International Phonetic Alphabet. Instead, the International Civil Aviation Organization (ICAO) alphabet assigned codewords acrophonically to the letters of the English alphabet, so that critical combinations of letters and numbers are most likely to be pronounced and understood by those who exchange voice messages by radio or telephone, regardless of language differences or the quality of the communication channel.[1]
Nato Phonetic Alphabet - Best for Puzzles
bestforpuzzles.com/reference/phonetic-alphabet.html
The NATO phonetic alphabet, more formally the international radiotelephony spelling alphabet, is the most widely used spelling alphabet. Code words are ...
A ALFA or ALPHA B BRAVO C CHARLIE D DELTA E ECHO F FOXTROT G GOLF H HOTEL IINDIA
J JULIET K KILOL LIMA M MIKEN N NOVEMBER O OSCAR P PAPA Q QUEBEC R ROMEO
S SIERRA T TANGO U UNIFORM V VICTOR W WHISKEY X X-RAY OR XRAY Y YANKEE Z ZULU
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1 |
5 |
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38 |
11 |
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2 |
5 |
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58 |
22 |
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3 |
7 |
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56 |
38 |
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4 |
5 |
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42 |
15 |
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5 |
4 |
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31 |
22 |
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6 |
7 |
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118 |
37 |
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7 |
4 |
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40 |
22 |
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8 |
5 |
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60 |
24 |
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9 |
5 |
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37 |
28 |
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45 |
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47 |
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480 |
219 |
30 |
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10 |
6 |
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77 |
23 |
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11 |
4 |
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47 |
20 |
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12 |
4 |
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35 |
17 |
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13 |
4 |
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38 |
20 |
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14 |
8 |
|
94 |
40 |
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15 |
5 |
|
56 |
29 |
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16 |
4 |
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34 |
16 |
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17 |
6 |
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53 |
26 |
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18 |
5 |
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66 |
30 |
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45 |
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46 |
|
500 |
221 |
41 |
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19 |
6 |
|
70 |
43 |
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20 |
5 |
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57 |
21 |
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21 |
7 |
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96 |
42 |
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22 |
6 |
|
87 |
33 |
|
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23 |
7 |
|
100 |
46 |
|
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24 |
4 |
|
68 |
23 |
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25 |
6 |
|
61 |
25 |
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26 |
4 |
|
80 |
17 |
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36 |
|
45 |
|
619 |
250 |
43 |
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1+0 |
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1+6 |
1+0 |
2+4 |
2+1 |
2+4 |
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|
First Total |
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1+2+6 |
|
1+3+8 |
Add to Reduce |
1+5+9+9 |
6+9+0 |
1+1+4 |
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9 |
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|
Second Total |
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1+2 |
Reduce to Deduce |
2+4 |
1+5 |
1+0 |
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Third Total |
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Reduce to Deduce |
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Essence of Number |
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1 |
5 |
|
38 |
11 |
|
|
|
|
|
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|
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|
|
|
|
2 |
5 |
|
58 |
22 |
|
|
|
|
|
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|
|
|
|
|
|
3 |
7 |
|
56 |
38 |
|
|
|
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|
|
|
4 |
5 |
|
42 |
15 |
|
|
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|
|
|
|
|
5 |
4 |
|
31 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
7 |
|
118 |
37 |
|
|
|
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|
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|
|
|
7 |
4 |
|
40 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
5 |
|
60 |
24 |
|
|
|
|
|
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|
|
|
|
9 |
5 |
|
37 |
28 |
|
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10 |
6 |
|
77 |
23 |
|
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11 |
4 |
|
47 |
20 |
|
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12 |
4 |
|
35 |
17 |
|
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13 |
4 |
|
38 |
20 |
|
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|
14 |
8 |
|
94 |
40 |
|
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15 |
5 |
|
56 |
29 |
|
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16 |
4 |
|
34 |
16 |
|
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|
|
17 |
6 |
|
53 |
26 |
|
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18 |
5 |
|
66 |
30 |
|
|
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19 |
6 |
|
70 |
43 |
|
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20 |
5 |
|
57 |
21 |
|
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|
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21 |
7 |
|
96 |
42 |
|
|
|
|
|
|
|
|
|
|
|
|
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|
22 |
6 |
|
87 |
33 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
7 |
|
100 |
46 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
4 |
|
68 |
23 |
|
|
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|
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|
|
|
25 |
6 |
|
61 |
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
26 |
4 |
|
80 |
17 |
|
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|
|
1+0 |
|
1+6 |
1+0 |
2+4 |
2+1 |
2+4 |
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|
|
|
|
First Total |
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|
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|
|
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|
|
|
|
|
|
1+2+6 |
|
1+3+8 |
Add to Reduce |
1+5+9+9 |
6+9+0 |
1+1+4 |
|
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|
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|
9 |
|
|
Second Total |
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|
|
|
|
|
|
1+2 |
Reduce to Deduce |
2+4 |
1+5 |
1+0 |
|
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Third Total |
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Reduce to Deduce |
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Essence of Number |
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6 |
7 |
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118 |
37 |
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9 |
5 |
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37 |
28 |
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23 |
7 |
|
100 |
46 |
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1 |
5 |
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38 |
11 |
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3 |
7 |
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56 |
38 |
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11 |
4 |
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47 |
20 |
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13 |
4 |
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38 |
20 |
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15 |
5 |
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56 |
29 |
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18 |
5 |
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66 |
30 |
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20 |
5 |
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57 |
21 |
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2 |
5 |
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58 |
22 |
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5 |
4 |
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31 |
22 |
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7 |
4 |
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40 |
22 |
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14 |
8 |
|
94 |
40 |
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10 |
6 |
|
77 |
23 |
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24 |
4 |
|
68 |
23 |
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4 |
5 |
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42 |
15 |
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8 |
5 |
|
60 |
24 |
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21 |
7 |
|
96 |
42 |
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22 |
6 |
|
87 |
33 |
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16 |
4 |
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34 |
16 |
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19 |
6 |
|
70 |
43 |
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25 |
6 |
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61 |
25 |
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12 |
4 |
|
35 |
17 |
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17 |
6 |
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53 |
26 |
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26 |
4 |
|
80 |
17 |
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1+0 |
|
1+6 |
1+0 |
2+4 |
2+1 |
2+4 |
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First Total |
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1+2+6 |
|
1+3+8 |
Add to Reduce |
1+5+9+9 |
6+9+0 |
1+1+4 |
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9 |
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Second Total |
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1+2 |
Reduce to Deduce |
2+4 |
1+5 |
1+0 |
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Third Total |
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Reduce to Deduce |
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Essence of Number |
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The 26 code words in the International phonetic alphabet are assigned to the 26 letters of the English alphabet in alphabetical order as follows: Alpha, Bravo, Charlie, Delta, Echo, Foxtrot, Golf, Hotel, India, Juliet, Kilo, Lima, Mike, November, Oscar, Papa, Quebec, Romeo, Sierra, Tango, Uniform, Victor, Whiskey, X-ray, Yankee, Zulu.
NATO Phonetic Alphabet - Fourmilab
https://www.fourmilab.ch/documents/phoneticalphabet/
Phonetic Alphabet. Alpha, Kilo, Uniform, 0 Zero. Bravo, Lima, Victor, 1 Wun. Charlie, Mike, Whiskey, 2 Too. Delta, November, Xray, 3 Tree. Echo, Oscar, Yankee ...
Phonetic Alphabet |
Alpha |
Kilo |
Uniform |
0 Zero |
Bravo |
Lima |
Victor |
1 Wun |
Charlie |
Mike |
Whiskey |
2 Too |
Delta |
November |
Xray |
3 Tree |
Echo |
Oscar |
Yankee |
4 Fower |
Foxtrot |
Papa |
Zulu |
5 Fife |
Golf |
Quebec |
|
6 Six |
Hotel |
Romeo |
. Decimal |
7 Seven |
India |
Sierra |
. Stop |
8 Ait |
Juliet |
Tango |
|
9 Niner |
A - Alfa
B - Bravo
C - Charlie
D - Delta
E - Echo
F - Foxtrot
G - Golf
H - Hotel
I - India
J - Juliet
K - Kilo
L - Lima
M - Mike
N - November
O - Oscar
P - Papa
Q - Quebec
R - Romeo
S - Sierra
T - Tango
U - Uniform
V - Victor
W - Whiskey
X - X-ray
Y - Yankee
Z - Zulu
NATO - Declassified: The NATO phonetic alphabet – Alfa, Bravo ...
https://www.nato.int/cps/fr/natohq/declassified_136216.htm
The NATO phonetic alphabet is used worldwide in radio communications by militaries and civilians alike. Yet many people are not aware that it was NATO ...
“Alfa, Bravo, Charlie, Delta, Echo, Foxtrot, Golf, Hotel, India, Juliet, Kilo, Lima, Mike,
November, Oscar, Papa, Quebec, Romeo, Sierra, Tango, Uniform, Victor, Whiskey, X-ray, Yankee, Zulu"
NATO Phonetic Alphabet - Dynamoo.com
www.dynamoo.com/technical/phonetic.htm
NATO Phonetic Alphabet - alpha, bravo, charlie, delta..
0 - Zero
1 - Wun (One)
2 - Two
3 - Tree (Three)
4 - Fower (Four)
5 - Fife (Five)
6 - Six
7 - Seven
8 - Ait (Eight)
9 - Niner (Nine)
NATO Phonetic Alphabet
The NATO phonetic alphabet, more formally the international radiotelephony spelling alphabet, is the most widely used spelling alphabet. Code words are assigned to the letters of the English alphabet acrophonically so that critical combinations of letters can be pronounced and understood by those who transmit and receive voice messages by radio or telephone regardless of their native language, especially when the safety of navigation or persons is essential.
It is used by many national and international organizations, including the International Civil Aviation Organization (ICAO), the International Telecommunication Union (ITU), the International Maritime Organization (IMO), the North Atlantic Treaty Organisation (NATO), the Federal Aviation Administration (FAA), and the American National Standards Institute (ANSI).
NUMBER
9
THE SEARCH FOR THE SIGMA CODE
Cecil Balmond 1998
Cycles and Patterns
Page 165
Patterns
"The essence of mathematics is to look for patterns.
Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.
These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!
Searching out patterns is a pure delight.
Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.
And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."
OF TIME AND STARS
Arthur C. Clarke 1972
FOREWORD
"'Into the Comet' and 'The Nine Billion Names of God' both involve computers and the troubles they may cause us. While writing this preface, I had occasion to call upon my own HP 9100A computer, Hal Junior, to answer an interesting question. Looking at my records, I find that I have now written just about one hundred short stories. This volume contains eighteen of them: therefore, how many possible 18-story collections will I be able to put together? The answer as I am sure will be instantly obvious to you - is 100 x 99. . . x 84 x 83 divided by 18 x 17 x 16 ... x .2 x 1. This is an impressive number - Hal Junior tells me that it is approximately 20,772,733,124,605,000,000.
3 |
|
33 |
15 |
|
4 |
|
42 |
24 |
|
7 |
|
73 |
37 |
|
5 |
|
52 |
16 |
|
2 |
|
21 |
12 |
|
3 |
|
26 |
17 |
|
|
- |
|
|
|
|
- |
2+4+7 |
1+2+1 |
3+1 |
|
- |
|
|
|
|
- |
1+3 |
- |
|
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Page 15
The Nine Billion Names of God
'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 machine. 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 far currency conversions. 'Your Mark V Computer can carry out any routine mathematical 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?'
Page16
'We have reason to believe,' continued the lama imperturbably, '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 permutation of letters, we have been trying to list them all.'
'I see. You've been starting at AAAAAAA . . . and working up to ZZZZZZZZ . . .'
'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 combinations. For example, no letter must occur more than three 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.' "
I = 9 9 = I
R = 9 9 = R
OF
T9ME AND STA9S
A9thu9 C. Cla9ke,1972
Page 15
THE N9NE B9LL9ON NAMES OF GOD
'Th9s 9s a sl9ghtly unusual 9equest,'sa9d D9 Wagne9, w9th what he hoped was commendable 9est9a9nt.' As fa9 as 9 know, 9t's the f99st t9me anyone's been asked to supply a T9betan monaste9y with an Automat9c Sequence Compute9. 9 don't w9sh to be 9nqu9s9t9ve, but 9 should ha9dly have thought that you9- ah - establ9shment had much use for such a mach9ne.Could you expla9n just what you 9ntend to do w9th 9t?'
'Gladly,' 9epl9ed the lama, 9eadjust9ng h9s s9lk 9obes and ca9efully putting away the sl9de 9ule he had been us9ng fo9 cu99ency conve9s9ons. 'You9 Ma9k V Compute9 can ca99y out any 9out9ne mathemat9cal ope9at9on 9nvolv9ng up to ten d9g9ts. Howeve9, for ou9 wo9k we a9e 9nte9ested 9n lette9s, not numbe9s. As we w9sh you to mod9fy the output c9rcu9ts,the mach9ne w9ll be p99nt9ng wo9ds not columns of f9gu9es.'
'9 dont qu9te unde9stand…'
'Th9s 9s a p9oject on wh9ch we have been work9ng fo9 the last th9ee centu99es - s9nce the lamase9y was founded, 9n fact.9t 9s somewhat al9en to you9 way of thought, so9 hope you w9ll l9sten with an open m9nd wh9le 9 expla9n 9t
'Natu9ally.'
'9t 9s 9eally qu9te s9mple.We have been comp9l9ng a l9st wh9ch shall conta9n all the poss9ble names of God'
'9 beg you9 pa9don?' / Page16 / 'We have 9eason to bel9eve' cont9nued the lama 9mpe9tu9bably, ' that all such names can be w99tten with not mo9e than n9ne lette9s 9n an alphabet we have dev9sed,'
'And you have been do9ng th9s for three centu99es?
'Yes: we expected9t would take us about f9fteen thousand yea9s to complete the task.'
'Oh, Dr Wagne9 looked a l9ttle dazed. 'Now9 see why you wanted to h99e one of ou9 mach9nes. But what exactly9s the pu9pose of th9s p9oject ?
'The lama hes9tated fo9 a f9act9on of a second, and Wagne9 wonde9ed9f he had offended h9m.9f so the9e was no t9ace of annoyance9n the 9eply.
'Call9t 99tual, 9f you l9ke, but 9t's a fundamental pa9t of ou9 bel9ef. All the many names of the Sup9eme Be9ng - God , Jehova , Allah , and so on - they a9e only man made labels. The9e 9s a ph9losoph9cal p9oblem of some d9ff9culty he9e, wh9ch9 do not p9opose to d9scuss, but somewhe9e among all the poss9ble comb9nat9ons of lette9s that can occu9 a9e what one may call the 9eal names of God. By systemat9c pe9mutat9on of lette9s, we have been t9y9ng to l9st them all'
9 see. You've been sta9t9ng at AAAAAAA… and wo9k-9ng up to ZZZZZZZZ …'
'Exactly - though we use a spec9al alphabet of ou9 own. Mod9fy9ng the elect9omat9c typew99te9s to deal w9th th9s 9s of cou9se t99v9al. A 9athe9 mo9e 9nte9est9ng p9oblem 9s that of dev9s9ng su9table c99cu9ts to el9m9nate 9 9d9culous comb9nat9ons. Fo9 example, no lette9 must occu9 mo9e than th9ee t9mes 9n sucess9on.'
'Th9ee? Su9ely you mean two.'
'Th9ee 9s co99ect; 9 am af9a9d 9t would take too long to expla9n why , even 9f you unde9stood ou9 language.'/ Page 17 / '9'm su9e 9t would,' sa9d Wagne9 hast9ly. 'Go on.'
'Luck9ly, 9t w9ll be a s9mple matte9 to adapt you9 Automat9c Sequence Compute9 fo9 th9s wo9k, s9nce once 9t has been p9og9ammed p9ope9ly 9t w9ll pe9mute each lette9 9n tu9n and p99nt the 9esult. What would have taken us f9fteen thousand years 9t w9ll be able to do 9n a hund9ed days.'
'Dr Wagne9 was sca9cely consc9ous of the fa9nt sounds f9om the Manhatten st9eets fa9 below. He was 9n a d9ffe9ent wo9ld, a wo9ld of natu9al, not man-made mounta9ns. H9gh up 9n the99 9emote ae99es these monks had been pat9ently at wo9k gene9at9on afte9 gene9at9on, comp9l9ng the99 l9sts of mean9ngless wo9ds. Was the9e any l9m9ts to the foll9es of mank9nd ? St9ll, he must g9ve no h9nt of h9s 9nne9 thoughts. The custome9 was always 99ght…"
Page 68
Into the Comet
"Pickett's fingers danced over the beads, sliding them up and down the wires with lightning speed. There were twelve wires in all, so that the abacus could handle numbers up to 999,999,999,999 - or could be divided into separate sections where several independent calculations could be carried out simultaneously.
'374072,' said Pickett, after an incredibly brief interval of time. 'Now see how long you take to do it, with pencil and paper.'
There was a much longer delay before Martens, who like most mathematicians was poor at arithmetic, called out '375072'. A hasty check soon confirmed that Martens had taken at least three times as long as Pickett to arrive at the wrong answer.
The atronomer's face was a study in mingled chagrin, astonishment, and curiosity.
'Where did you learn that trick?' he asked. 'I thought those things could only add and subtract.'
'Well - multiplication's only repeated addition, isn't it? All I did was to add 856 seven times in the unit column, three times in the tens column, and four times in the hundreds column. You do the same thing when you use pencil and paper. Of course, there are some short cuts, but if you think I'm fast, you should have seen my granduncle. He used to work in a Yokohama bank, and you couldn't see his fingers / Page 69 / when he was going at speed"
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A |
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1 |
1 |
A |
1 |
1 |
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B |
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2 |
1 |
B |
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2 |
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A |
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3 |
1 |
A |
1 |
1 |
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C |
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4 |
1 |
C |
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U |
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5 |
1 |
U |
21 |
3 |
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S |
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6 |
1 |
S |
19 |
10 |
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- |
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1+1 |
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4+7 |
2+0 |
1+1 |
- |
- |
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- |
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- |
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1+1 |
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1+1 |
- |
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- |
- |
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- |
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- |
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A |
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1 |
1 |
A |
1 |
1 |
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A |
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3 |
1 |
A |
1 |
1 |
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S |
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6 |
1 |
S |
19 |
10 |
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B |
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2 |
1 |
B |
|
2 |
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C |
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4 |
1 |
C |
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U |
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5 |
1 |
U |
21 |
3 |
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- |
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1+1 |
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|
4+7 |
2+0 |
1+1 |
- |
- |
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- |
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- |
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1+1 |
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1+1 |
- |
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- |
- |
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- |
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- |
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A |
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1 |
A |
1 |
1 |
1 |
C |
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8 |
COUNTING |
103 |
40 |
4 |
T |
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5 |
TABLE |
40 |
13 |
4 |
|
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|
14 |
Add to Reduce |
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|
1+4 |
Reduce to Deduce |
1+4+4 |
5+4 |
1+6 |
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5 |
Essence of Number |
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OF
T9ME AND STA9S
A9thu9 C. Cla9ke,1972
Page 68
Into the Comet
"Pickett's fingers danced over the beads, sliding them up and down the wires with lightning speed. There were twelve wires in all, so that the abacus could handle numbers up to 999,999,999,999 - or could be divided into separate sections where several independent calculations could be carried out simultaneously.
'374072,' said Pickett, after an incredibly brief interval of time. 'Now see how long you take to do it, with pencil and paper.'
There was a much longer delay before Martens, who like most mathematicians was poor at arithmetic, called out '375072'. A hasty check soon confirmed that Martens had taken at least three times as long as Pickett to arrive at the wrong answer.
The atronomer's face was a study in mingled chagrin, astonishment, and curiosity.
'Where did you learn that trick?' he asked. 'I thought those things could only add and subtract.'
'Well - multiplication's only repeated addition, isn't it? All I did was to add 856 seven times in the unit column, three times in the tens column, and four times in the hundreds column. You do the same thing when you use pencil and paper. Of course, there are some short cuts, but if you think I'm fast, you should have seen my granduncle. He used to work in a Yokohama bank, and you couldn't see his fingers / Page 69 / when he was going at speed"
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Abacus - Wikipedia
https://en.wikipedia.org/wiki/Abacus
The abacus (plural abaci or abacuses), also called a counting frame, is a calculating tool that was in use in Europe, China and Russia, centuries before the adoption of the written Hindu–Arabic numeral system. The exact origin of the abacus is still unknown.
The abacus (plural abaci or abacuses), also called a counting frame, is a calculating tool that was in use in Europe, China and Russia, centuries before the adoption of the written Hindu–Arabic numeral system. The exact origin of the abacus is still unknown. Today, abaci are often constructed as a bamboo frame with beads sliding on wires, but originally they were beans or stones moved in grooves in sand or on tablets of wood, stone, or metal.
Abaci come in different designs. Some designs, like the bead frame consisting of beads divided into tens, are used mainly to teach arithmetic, although they remain popular in the post-Soviet states as a tool. Other designs, such as the Japanese soroban, have been used for practical calculations even involving several digits. For any particular abacus design, there usually are numerous different methods to perform a certain type of calculation, which may include basic operations like addition and multiplication, or even more complex ones, such as calculating square roots. Some of these methods may work with non-natural numbers (numbers such as 1.5 and ?3/4).
Although today many use calculators and computers instead of abaci to calculate, abaci still remain in common use in some countries. Merchants, traders and clerks in some parts of Eastern Europe, Russia, China and Africa use abaci, and they are still used to teach arithmetic to children.[1] Some people who are unable to use a calculator because of visual impairment may use an abacus.
Etymology[edit]
The use of the word abacus dates before 1387 AD, when a Middle English work borrowed the word from Latin to describe a sandboard abacus. The Latin word came from Greek ?ßa? abax which means something without base, and improperly, any piece of rectangular board or plank.[2][3][4] Alternatively, without reference to ancient texts on etymology, it has been suggested that it means "a square tablet strewn with dust",[5] or "drawing-board covered with dust (for the use of mathematics)"[6] (the exact shape of the Latin perhaps reflects the genitive form of the Greek word, ?ßa?o? abakos). Whereas the table strewn with dust definition is popular, there are those that do not place credence in this at all and in fact state that it is not proven.[7][nb 1] Greek ?ßa? itself is probably a borrowing of a Northwest Semitic, perhaps Phoenician, word akin to Hebrew ?abaq (???), "dust" (or in post-Biblical sense meaning "sand used as a writing surface").[8]
The preferred plural of abacus is a subject of disagreement, with both abacuses[9] and abaci[9] in use. The user of an abacus is called an abacist.[10]
R |
= |
9 |
- |
- |
RIVER |
- |
- |
- |
- |
- |
- |
- |
1 |
R |
18 |
9 |
9 |
- |
- |
- |
- |
1 |
I |
9 |
9 |
9 |
- |
- |
- |
- |
2 |
V+E |
27 |
9 |
9 |
- |
- |
- |
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1 |
R |
18 |
9 |
9 |
R |
= |
9 |
- |
5 |
RIVER |
72 |
36 |
36 |
- |
- |
- |
- |
- |
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7+2 |
3+6 |
3+6 |
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= |
9 |
- |
5 |
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THE SPLENDOUR THAT WAS EGYPT
Margaret A. Murray
Appendix
4
The New Year of God
Cornhill Magazine 1934
Page 231/233
"Three o'clock and a still starlight night in mid-September in Upper Egypt. At this hour the village is usually asleep, but to-night it is a stir for this is Nauruz Allah, the New Year of God, and the narrow streets are full of the soft sound of bare feet moving towards the Nile. The village lies on a strip of ground; one one side is the river, now swollen to its height, on the other are the floods of the inundation spread in a vast sheet of water to the edge of the desert. On a windy night the lapping of wavelets is audible on every hand; but to-night the air is calm and still, there is no sound but the muffled tread of unshod feet in the dust and the murmur of voices subdued in the silence of the night.
In ancient times throughout the whole of Egypt the night of High Nile was a night of prayer and thanks giving to the great god , the Ruler of the river, Osiris himself. Now it is only in this Coptic village that the ancient rite is preserved, and here the festival is still one of prayer and thanksgiving. In the great cities the New Year is a time of feasting and processions, as blatant and uninteresting as a Lord Mayor's Show, with that additional note of piercing vulgarity peculiar to the East.
In this village, far from all great cities, and-as a Coptic community-isolated from and therefore uninfluenced either by its Moslem neighbours or by foreigners, the festival is one of simplicity and piety. The people pray as of old to the Ruler of the river, no longer Osiris, but Christ; and as of old they pray for a blessing upon their children and their homes.
There are four appointed places on the river bank to which the village women go daily to fill their water-jars and to water their animals. To these four places the villagers are now making their way, there to keep the New Year of God.
The river gleams coldly pale and grey; Sirius blazing in the eastern sky casts a narrow path of light across the mile-wide waters. A faint glow low on the horizon shows where the moon will rise, a dying moon on the last day of the last quarter.
The glow gradually spreads and brightens till the thin crescent, like a fine silver wire, rises above the distant palms. Even in that attenuated form the moonlight eclipses the stars and the glory of Sirius is dimmed. The water turns to the colour of tarnished silver, smooth and glassy; the palm-trees close at hand stand black against the sky, and the distant shore is faintly visible. The river runs silently and without a ripple in the windless calm; the palm fronds, so sensitive to the least movement of the air, hang motionless and still; all Nature seems to rest upon this holy night.
The women enter the river and stand knee-deep in the running stream praying; they drink nine times, wash the face and hands, and dip themselves in the water. Here is a mother carrying a tiny wailing baby; she enters the river and gently pours the waternine times over the little head. The wailing ceases as the water cools the little hot face. Two anxious women hasten down the steep bank, a young boy between them; they hurriedly enter the water and the boy squats down in the river up to his neck, while the mother pours the water nine times with her hands over his face and shaven head. There is the sound of a little gasp at the first shock of coolness, and the mother laughs, a little tender laugh, and the grandmother says something under her breath, at which they all laugh softly together. After the ninth washing the boy stands up, then squats down again and is again washed nine times, and yet a third nine times; then the grandmother takes her turn and she also washes him nine times. Evidently he is very precious to the hearts of those two women, perhaps the mother's last surviving child. Another sturdy urchin refuses to sit down in the water, frightened perhaps, for a woman's voice speaks encouragingly, and presently a faint splashing and a little gurgle of childish laughter shows that he too is receiving the blessing of the Nauruz of God.
A woman stands alone, her slim young figure in its wet clinging garments silhouetted against the steel-grey water. Solitary she stands, apart from the happy groups of parents and children; then, stooping , she drinks from her once, pauses and drinks again; and so drinksnine times with a short pause between every drink and a longer pause between every three. Except for the movement of her hand as she lifts the water to her lips, she stands absolutely still, her body tense with the earnestness of her prayer, the very atmosphere round her charged with the agony of her supplication. Throughout the whole world there is only one thing which causes a woman to pray with such intensity, and that one thing is children. " This may be a childless woman praying for a child, or it may be that, in this land where Nature is as careless and wasteful of infant life as of all else, this a mother praying for the last of her little brood, feeling assured that on this festival of mothers and children her prayers must perforce be heard. At last she straightens herself, beats the water nine times with the corner of her garment, goes softly up the bank, and disappears in the darkness.
Little family parties come down to the river, a small child usually riding proudly on her father's shoulder. The men often affect to despise the festival as a woman's affair, but with memories in their hearts of their own mothers and their own childhood they sit quietly by the river and drink nine times. A few of the rougher young men fling themselves into the water and swim boisterously past, but public feeling is against them, for the atmosphere is one of peace and prayer enhanced by the calm and silence of the night.
Page 232 and 233 Continued.
For thousands of years on the night of High Nile the mothers of Egypt have stood in the great river to implore from the God of the Nile a blessing upon their children; formerly from a God who Himself has memories of childhood and a Mother. Now, as then, the stream bears on its broad surface the echo of countless prayers, the hopes and fears of human hearts; and in my memory remains a vision of the darkly flowing river, the soft murmur of prayer, the peace and calm of the New Year of God.
Abu Nauruz hallal.
THE WORD "NINE" OCCURS x 9 AND "NINTH" x 1
A |
= |
1 |
- |
3 |
ABU |
24 |
6 |
6 |
N |
= |
5 |
- |
6 |
NAURUZ |
101 |
29 |
2 |
A |
= |
1 |
- |
5 |
ALLAH |
34 |
16 |
7 |
- |
- |
7 |
|
14 |
First Total |
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- |
- |
- |
- |
1+4 |
Add to Reduce |
1+5+9 |
5+1 |
1+5 |
- |
- |
7 |
- |
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Second Total |
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- |
- |
- |
- |
- |
Reduce to Deduce |
1+5 |
- |
- |
- |
- |
7 |
- |
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Essence of Number |
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Page 231/233
"Three o'clock and a still starlight night in mid-September in Upper Egypt. At this hour the village is usually asleep, but to-night it is a stir for this is Nauruz Allah, the New Year of God
N |
= |
5 |
- |
6 |
NAURUZ |
101 |
29 |
2 |
A |
= |
1 |
- |
5 |
ALLAH |
34 |
16 |
7 |
- |
- |
6 |
- |
11 |
Add to Reduce |
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- |
- |
- |
- |
1+1 |
Reduce to Deduce |
1+3+5 |
4+5 |
- |
- |
- |
6 |
- |
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Essence of Number |
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Page 231/233
"Three o'clock and a still starlight night in mid-September in Upper Egypt. At this hour the village is usually asleep, but to-night it is a stir for this is Nauruz Allah, the New Year of God
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
N |
= |
5 |
- |
3 |
NEW |
42 |
15 |
6 |
Y |
= |
7 |
- |
4 |
YEAR |
49 |
22 |
4 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
G |
= |
7 |
- |
3 |
GOD |
26 |
17 |
8 |
- |
- |
27 |
- |
15 |
Add to Reduce |
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- |
- |
2+7 |
- |
1+5 |
Reduce to Deduce |
1+7+1 |
8+1 |
2+7 |
- |
- |
9 |
- |
|
Essence of Number |
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KNOCK KNOCK KNOCK 999 KNOCK KNOCK KNOCK
Alle warten auf das Licht
fürchtet euch fürchtet euch nicht
die Sonne scheint mir aus den Augen
sie wird heut Nacht nicht untergehen
und die Welt zählt laut bis zehn
Eins
Hier kommt die Sonne
Zwei
Hier kommt die Sonne
Drei
Sie ist der hellste Stern von allen
Vier
Hier kommt die Sonne
Die Sonne scheint mir aus den Händen
kann verbrennen, kann euch blenden
wenn sie aus den Fäusten bricht
legt sich heiß auf das Gesicht
sie wird heut Nacht nicht untergehen
und die Welt zählt laut bis zehn
Eins
Hier kommt die Sonne
Zwei
Hier kommt die Sonne
Drei
Sie ist der hellste Stern von allen
Vier
Hier kommt die Sonne
Fünf
Hier kommt die Sonne
Sechs
Hier kommt die Sonne
Sieben
Sie ist der hellste Stern von allen
Acht, neun
Hier kommt die Sonne
Die Sonne scheint mir aus den Händen
kann verbrennen, kann dich blenden
wenn sie aus den Fäusten bricht
legt sich heiß auf dein Gesicht
legt sich schmerzend auf die Brust
das Gleichgewicht wird zum Verlust
lässt dich hart zu Boden gehen
und die Welt zählt laut bis zehn
Eins
Hier kommt die Sonne
Zwei
Hier kommt die Sonne
Drei
Sie ist der hellste Stern von allen
Vier
Und wird nie vom Himmel fallen
Fünf
Hier kommt die Sonne
Sechs
Hier kommt die Sonne
Sieben
Sie ist der hellste Stern von allen
Acht, neun
Hier kommt die Sonne
Everyone is waiting for the light
be afraid, do not be afraid
the sun is out of my sight
She will not go down tonight
and the world counts loudly to ten
one
Here comes the Sun
Two
Here comes the Sun
Three
She's the brightest star of all
Four
Here comes the Sun
The sun is out of my hands
can burn, can dazzle you
when she breaks out of her fists
puts on the face hot
She will not go down tonight
and the world counts loudly to ten
one
Here comes the Sun
Two
Here comes the Sun
Three
She's the brightest star of all
Four
Here comes the Sun
five
Here comes the Sun
six
Here comes the Sun
seven
She's the brightest star of all
Eight nine
Here comes the Sun
The sun is out of my hands
can burn, can dazzle you
when she breaks out of her fists
gets hot on your face
puts on the chest aching
the balance becomes a loss
lets you go down hard
and the world counts loudly to ten
one
Here comes the Sun
Two
Here comes the Sun
Three
She's the brightest star of all
Four
And will never fall from the sky
five
Here comes the Sun
six
Here comes the Sun
seven
She's the brightest star of all
Eight nine
Here comes the Sun
- |
- |
- |
- |
- |
THE SUNS ENERGY |
- |
- |
- |
T |
= |
2 |
- |
4 |
THE |
33 |
15 |
6 |
S |
= |
1 |
- |
4 |
SUNS |
73 |
28 |
1 |
E |
= |
5 |
- |
6 |
ENERGY |
74 |
38 |
2 |
- |
= |
8 |
- |
10 |
|
180 |
81 |
9 |
- |
- |
- |
- |
1+0 |
- |
1+8+0 |
8+1 |
- |
- |
- |
8 |
- |
1 |
|
9 |
9 |
9 |
W |
= |
5 |
5 |
WATER |
67 |
22 |
4 |
O |
= |
6 |
2 |
OF |
21 |
12 |
3 |
L |
= |
3 |
4 |
LIFE |
32 |
23 |
5 |
- |
- |
14 |
11 |
First Total |
|
|
|
- |
- |
1+4 |
1+1 |
Add to Reduce |
1+2+0 |
5+7 |
1+2 |
- |
- |
5 |
|
Second Total |
|
|
|
- |
- |
- |
- |
Reduce to Deduce |
- |
- |
- |
- |
- |
5 |
|
Essence of Number |
|
|
|
Happy Birthday =153 1+5+3 = 9
153 Fish landed in Galilee
Length of Grand Gallery in The Great Pyramid of Giza=153 feet.
153x12 inches is 1836 inches 1836.
Fraternal greetings of peace and love and light
to the all and sundry of Planet Earth.
Happy Birth Day Planet Earth
666NUMBER OF THE BEAST666
THE WATER OF LIFE
T |
= |
2 |
3 |
THE |
33 |
15 |
6 |
W |
= |
5 |
5 |
WATER |
67 |
22 |
4 |
O |
= |
6 |
2 |
OF |
21 |
12 |
3 |
L |
= |
3 |
4 |
LIFE |
32 |
23 |
5 |
- |
- |
16 |
14 |
Add to Reduce |
|
|
|
- |
- |
1+6 |
1+4 |
Reduce to Deduce |
1+5+3 |
7+2 |
1+8 |
- |
- |
7 |
|
Essence of Number |
|
|
|
IN
THE
BEGINNING
WAS THE WORD AND THE WORD WAS
WITH
GOD AND THE WORD WAS GOD
THE
SAME WAS IN THE BEGINNING WITH
GOD ALL THINGS WERE MADE BY GOD AND WITHOUT GOD
WAS
NOT
ANYTHING
MADE THAT WAS MADE
IN
GOD
WAS LIFE AND THE LIFE WAS
THE
LIGHT
OF
HUMANKIND
AND THE
LIGHT
SHINETH IN THE DARKNESS AND THE DARKNESS COMPREHENDED IT NOT
I
AM
ALPHA AND OMEGA
THE BEGINNING AND THE END THE FIRST AND THE LAST
I
AM
THE ROOT AND THE OFFSPRING
OF
DAVID
AND
THE BRIGHT AND MORNING STAR
AND
THE SPIRIT AND THE BRIDE SAY COME
AND
LET THEM THAT HEARETH SAY COME
AND
LET THEM THAT IS ATHIRST COME
AND
WHOSOEVER WILL LET THEM TAKE THE WATER OF LIFE FREELY
THE CHRISTOS THE
CHRIST
CHRISTOS SEE HERE IS THE CHRISTOS
OSIRIS
THE HERMETICA
THE LOST WISDOM OF THE PHARAOHS
Timothy Freke & Peter Gandy
To the Memory of Giordano Bruno 1548 - 1600
Mundus Nihil Pulcherrimum
The World is a Beautiful Nothing
Page 23
"Although we have used the familiar term 'God' in the explanatory notes which accompany each chapter, we have avoided this term in the text itself. Instead we have used 'Atum - one of the ancient Egyptian names for the Supreme One God."
Page 45
The Being of Atum
"Atum is Primal Mind."
Page 45
The Being of Atum
Give me your whole awareness, and concentrate your thoughts, for Knowledge of Atum's Being requires deep insight,
which comes only as a gift of grace.
It is like a plunging torrent of water whose swiftness outstrips any man who strives to follow it,
leaving behind not only the hearer, but even the teacher himself.
To conceive of Atum is difficult.
To define him is impossible.
The imperfect and impermanent cannot easily apprehend
the eternally perfected.
Atum is whole and conconstant.
In himself he is motionless, yet he is self-moving.
He is immaculate, incorruptible and ever-lasting.
He is the Supreme Absolute Reality. He is filled with ideas
which are imperceptible to the senses, and with all-embracing Knowledge.
Atum is Primal Mind.
Page 46
He is too great to be called by the name 'Atum'. He is hidden,
yet obvious everywhere.
His Being is known through thought alone, yet we see his form before our eyes.
He is bodiless,
yet embodied in everything. There is nothing which he is not. He has no name,
because all names are his name. He is the unity in all things,
so we must know him by all names and call everything 'Atum'.
He is the root and source of all. Everything has a source,
except this source itself,
which springs from nothing.
Atum is complete like the number one, which remains itself
whether multiplied or divided, and yet generates all numbers.
Atum is the Whole which contains everything. He is One, not two.
He is All, not many.
The All is not many separate things,
but the Oneness that subsumes the parts.
The All and the One are identical.
You think that things are many
when you view them as separate,
but when you see they all hang on the One,
/Page 47/ and flow from the One,
you will realise they are unitedlinked together,
and connected by a chain of Being from the highest to the lowest,
all subject to the will of Atum.
The Cosmos is one as the sun is one, the moon is one and the Earth is one.
Do you think there are many Gods? That's absurd - God is one.
Atum alone is the Creator
of all that is immortal,
and all that is mutable.
If that seems incredible, just consider yourself. You see, speak, hear, touch,
taste, walk, think and breathe.
It is not a different you
who does these various things, but one being who does them all.
To understand how Atum makes all things, consider a farmer sowing seeds;
here wheat - there barley,
now planting a vine - then an apple tree.
Just as the same man plants all these seeds, so Atum sows immortality in heaven
and change on Earth.
Throughout the Cosmos
he disseminates Life and movementthe two great elements
that comprise Atum and his creation, and so everything that is.
Page 48
Atum is called 'Father' because he begets all things, and, from his example,
the wise hold begetting children
the most sacred pursuit of human life. Atum works with Nature,
within the laws of Necessity,
causing extinction and renewal, constantly creating creation
to display his wisdom.
Yet, the things that the eye can see are mere phantoms and illusions.
Only those things invisible to the eye are real. Above all are the ideas of Beauty and Goodness.
Just as the eye cannot see the Being of Atum,
so it cannot see these great ideas.
They are attributes of Atum alone,
and are inseparable from him.
They are so perfectly without blemish that Atum himself is in love with them.
There is nothing which Atum lacks, so nothing that he desires.
There is nothing that Atum can lose, so nothing can cause him grief. Atum is everything.
Atum makes everything,
and everything is a part of Atum.
Atum, therefore, makes himself.
This is Atum's glory - he is all-creative, and this creating is his very Being.
It is impossible for him ever to stop creatingfor Atum can never cease to be.
Page 49
Atum is everywhere.
Mind cannot be enclosed,
because everything exists within Mind.
Nothing is so quick and powerful.
Just look at your own experience. Imagine yourself in any foreign land, and quick as your intention
you will be there!
Think of the ocean - and there you are.
You have not moved as things move, but you have travelled, nevertheless.
Fly up into the heavens -
you won't need wings!
Nothing can obstruct you -
not the burning heat of the sun, or the swirling planets.
Pass on to the limits of creation. Do you want to break out
beyond the boundaries of the Cosmos?
For your mind, even that is possible.
Can you sense what power you possess? If you can do all this,
then what about your Creator?
Try and understand that Atum is Mind.
This is how he contains the Cosmos. All things are thoughts
which the Creator thinks."
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6 |
ATUM |
- |
- |
- |
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A |
1 |
1 |
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T |
20 |
2 |
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U |
21 |
3 |
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M |
13 |
4 |
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6 |
ATUM |
55 |
10 |
10 |
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- |
- |
5+5 |
1+0 |
1+0 |
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6 |
ATUM |
10 |
1 |
1 |
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- |
- |
1+0 |
- |
- |
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6 |
ATUM |
5 |
5 |
5 |
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6 |
ATUM |
- |
- |
- |
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A |
1 |
1 |
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T |
20 |
2 |
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U |
21 |
3 |
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M |
13 |
4 |
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6 |
ATUM |
55 |
10 |
10 |
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- |
- |
5+5 |
1+0 |
1+0 |
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6 |
ATUM |
10 |
1 |
1 |
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- |
- |
1+0 |
- |
- |
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6 |
ATUM |
5 |
5 |
5 |
- |
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- |
- |
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1 |
20 |
21 |
13 |
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5+5 |
= |
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1+0 |
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1 |
2 |
3 |
4 |
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1+0 |
= |
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5+5 |
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1+0 |
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1 |
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1+0 |
= |
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1 |
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13 |
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5+5 |
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1+0 |
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1 |
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1+0 |
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- |
- |
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occurs |
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= |
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- |
- |
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occurs |
x |
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= |
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occurs |
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occurs |
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5 |
- |
- |
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- |
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FIVE |
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- |
- |
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6 |
- |
- |
- |
- |
- |
- |
- |
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SIX |
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- |
- |
- |
7 |
- |
- |
- |
- |
- |
- |
- |
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SEVEN |
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- |
- |
- |
8 |
- |
- |
- |
- |
- |
- |
- |
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EIGHT |
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- |
- |
- |
9 |
- |
- |
- |
- |
- |
- |
- |
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NINE |
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- |
- |
- |
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3+5 |
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1 |
2 |
3 |
4 |
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1+0 |
- |
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Q |
1+0 |
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- |
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1 |
20 |
21 |
13 |
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5+5 |
= |
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1+0 |
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1 |
2 |
3 |
4 |
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1+0 |
= |
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1 |
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13 |
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5+5 |
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1+0 |
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4 |
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1+0 |
= |
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- |
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1 |
20 |
21 |
13 |
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5+5 |
= |
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1+0 |
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1 |
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4 |
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1+0 |
= |
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- |
- |
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- |
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occurs |
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= |
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- |
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occurs |
x |
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= |
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- |
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occurs |
x |
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= |
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- |
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occurs |
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1 |
2 |
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1+0 |
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Q |
1+0 |
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ATUM QUANTUM ATOM
QUANTUM
QUNATUM
ATUM
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1 |
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1+0 |
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1+0 |
= |
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1 |
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1+0 |
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1+0 |
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1 |
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13 |
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1+0 |
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1 |
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1+0 |
= |
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- |
- |
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occurs |
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occurs |
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- |
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occurs |
x |
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occurs |
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1 |
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1+0 |
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Q |
1+0 |
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6 |
ATUM RA |
- |
- |
- |
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ATUM |
- |
- |
- |
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A |
1 |
1 |
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T |
20 |
2 |
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U |
21 |
3 |
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M |
13 |
4 |
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2 |
RA |
- |
- |
- |
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R |
18 |
9 |
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1+0 |
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A |
1 |
1 |
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6 |
ATUM RA |
74 |
20 |
20 |
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- |
- |
7+4 |
2+0 |
2+0 |
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6 |
ATUM RA |
11 |
2 |
2 |
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- |
- |
1+1 |
- |
- |
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6 |
ATUM RA |
2 |
2 |
2 |
- |
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- |
- |
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1 |
20 |
21 |
13 |
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18 |
1 |
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7+4 |
= |
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1+1 |
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- |
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1 |
2 |
3 |
4 |
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9 |
1 |
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2+0 |
= |
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- |
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- |
- |
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1 |
20 |
21 |
13 |
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18 |
1 |
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7+4 |
= |
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1+1 |
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- |
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1 |
2 |
3 |
4 |
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9 |
1 |
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2+0 |
= |
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- |
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- |
- |
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1 |
20 |
21 |
13 |
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18 |
1 |
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7+4 |
= |
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1+1 |
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- |
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1 |
2 |
3 |
4 |
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9 |
1 |
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2+0 |
= |
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- |
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occurs |
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= |
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occurs |
x |
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= |
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- |
- |
- |
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occurs |
x |
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= |
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- |
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occurs |
x |
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= |
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5 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
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FIVE |
|
- |
- |
- |
6 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
SIX |
|
- |
- |
- |
7 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
|
SEVEN |
|
- |
- |
- |
8 |
- |
- |
- |
- |
- |
- |
- |
- |
- |
- |
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EIGHT |
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- |
- |
- |
- |
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occurs |
x |
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= |
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26 |
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2+6 |
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9 |
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1+9 |
- |
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- |
2+0 |
8 |
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- |
- |
1 |
2 |
3 |
4 |
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9 |
1 |
- |
- |
1+0 |
- |
- |
- |
- |
- |
8 |
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- |
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1 |
20 |
21 |
13 |
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18 |
1 |
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7+4 |
= |
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1+1 |
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1 |
2 |
3 |
4 |
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9 |
1 |
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2+0 |
= |
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1 |
20 |
21 |
13 |
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18 |
1 |
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7+4 |
= |
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1+1 |
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1 |
2 |
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4 |
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9 |
1 |
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2+0 |
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1 |
20 |
21 |
13 |
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18 |
1 |
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7+4 |
= |
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1+1 |
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1 |
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9 |
1 |
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2+0 |
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occurs |
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occurs |
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occurs |
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occurs |
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occurs |
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9 |
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1+9 |
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2+0 |
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- |
1 |
2 |
3 |
4 |
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9 |
1 |
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1+0 |
- |
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- |
- |
- |
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- |
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1 |
20 |
21 |
13 |
18 |
1 |
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7+4 |
= |
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1+1 |
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1 |
2 |
3 |
4 |
9 |
1 |
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2+0 |
= |
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- |
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1 |
20 |
21 |
13 |
18 |
1 |
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7+4 |
= |
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1+1 |
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1 |
2 |
3 |
4 |
9 |
1 |
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2+0 |
= |
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1 |
20 |
21 |
13 |
18 |
1 |
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7+4 |
= |
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1+1 |
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1 |
2 |
3 |
4 |
9 |
1 |
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2+0 |
= |
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occurs |
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= |
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occurs |
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= |
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occurs |
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= |
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- |
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occurs |
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= |
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occurs |
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9 |
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1+9 |
- |
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Q |
2+0 |
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1 |
2 |
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4 |
9 |
1 |
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1+0 |
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- |
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6 |
RE ATUM |
- |
- |
- |
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2 |
RE |
- |
- |
- |
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|
R |
18 |
9 |
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E |
5 |
5 |
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ATUM |
- |
- |
- |
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A |
1 |
1 |
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T |
20 |
2 |
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U |
21 |
3 |
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1+0 |
|
|
M |
13 |
4 |
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|
6 |
RE ATUM |
60 |
24 |
24 |
|
|
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|
- |
- |
6+0 |
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CREATUM |
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myEtymology.com: Latin etymology of creatum www.myetymology.com/latin/creatum.htm
Etymology of the Latin word creatum
the Latin word creatum (things made)
derived from the Latin word creare (create, bring into being, make; institute; conjure up; be born; produce, bear fruit; bring about)
derived from the Proto-Indo-European root *ker-
Derivations in Latin
creatura derived from the Latin word creare (create, bring into being, make; institute; conjure up; be born; produce, bear fruit; bring about) ...
Creatum - Medieval Latin 105 https://coursewikis.fas.harvard.edu/ml105/Creatum
Creatum
From Medieval Latin 105
Jump to: navigation, search
creatum
Root: creo
Dictionary form: creo (adjective, positive)
participle, perfect, passive
accusative, masculine, singular
26 Aug 2009 – From Medieval Latin 105. ... Retrieved from "https:/ /coursewikis.fas.harvard.edu/ml105/Creatum" ...
Latin Word Study Tool www.perseus.tufts.edu/hopper/morph?l=creatum&la=la&prior...
Latin Word Study Tool. ("Agamemnon", "Hom. ... creatum, noun sg supine neut nom. creatum, part pl perf pass masc gen poetic. creatum, part pl perf pass neut ...
EUdict | creatum esse | Latin-Croatian dictionary www.eudict.com/index.php?lang=latcro&word=creatum%20esse
Latin-Croatian translation for creatum esse - online dictionary EUdict.com.
Needlebase - 1000 Common Latin Words - creo, creare, creavi, creatum https://pub.needlebase.com/actions/.../V2Visualizer.do?...latin...
1000 Common Latin Words ... current path creo, creare, creavi, creatum >>.
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3 |
9 |
5 |
1 |
2 |
3 |
4 |
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2+7 |
= |
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R |
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- |
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- |
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occurs |
x |
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= |
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occurs |
x |
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= |
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- |
3 |
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- |
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occurs |
x |
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= |
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occurs |
x |
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= |
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5 |
- |
- |
- |
- |
- |
- |
|
occurs |
x |
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= |
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9 |
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occurs |
x |
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= |
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R |
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2+4 |
- |
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- |
2+7 |
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R |
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- |
3 |
9 |
5 |
1 |
2 |
3 |
4 |
- |
- |
- |
- |
- |
- |
- |
- |
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R |
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UNIVERSAL LIFE
U |
= |
3 |
= |
9 |
UNIVERSAL |
121 |
49 |
4 |
L |
= |
3 |
= |
4 |
LIFE |
32 |
23 |
5 |
- |
- |
6 |
- |
13 |
Add to Reduce |
|
|
|
- |
- |
- |
- |
1+3 |
Reduce to Deduce |
1+5+3 |
7+2 |
- |
- |
- |
6 |
- |
|
Essence of Number |
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|
LOOK AT THE 5FIVES LOOK AT THE 5FIVES LOOK AT THE THE 5FIVES THE 5FIVES THE 5FIVES
- |
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- |
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- |
1 |
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9 |
9 |
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1 |
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14 |
5 |
|
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1 |
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20 |
2 |
|
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1 |
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5 |
5 |
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1 |
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18 |
9 |
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2 |
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18 |
9 |
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1 |
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14 |
5 |
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1 |
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14 |
5 |
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1 |
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5 |
5 |
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2 |
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23 |
5 |
|
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1 |
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5 |
5 |
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1 |
|
4 |
4 |
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1 |
|
14 |
5 |
|
|
|
1 |
|
5 |
5 |
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2 |
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38 |
20 |
|
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INTERCONNECTEDNESS |
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1+8 |
|
2+0+6 |
9+8 |
8+0 |
|
4+5 |
|
INTERCONNECTEDNESS |
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1+7 |
3+5 |
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INTERCONNECTEDNESS |
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- |
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- |
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- |
1 |
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18 |
9 |
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1 |
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5 |
5 |
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1 |
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14 |
5 |
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1 |
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5 |
5 |
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1 |
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23 |
5 |
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8 |
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81 |
45 |
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- |
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- |
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- |
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1 |
|
9 |
9 |
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1 |
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14 |
5 |
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1 |
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20 |
2 |
|
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1 |
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5 |
5 |
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1 |
|
18 |
9 |
|
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2 |
|
18 |
9 |
|
|
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1 |
|
14 |
5 |
|
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1 |
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14 |
5 |
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1 |
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5 |
5 |
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2 |
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23 |
5 |
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1 |
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5 |
5 |
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1 |
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4 |
4 |
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1 |
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14 |
5 |
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1 |
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5 |
5 |
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2 |
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38 |
20 |
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FIRST TOTAL |
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3+1 |
ADD TO REDUCE |
3+5+2 |
1+7+2 |
1+1+8 |
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6+5 |
4+5 |
|
SECOND TOTAL |
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REDUCE TO DEDUCE |
1+0 |
1+0 |
1+0 |
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1+1 |
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ESSENCE OF NUMBER |
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R |
= |
9 |
- |
5 |
RENEW |
65 |
29 |
2 |
I |
= |
9 |
- |
5 |
INTER |
66 |
30 |
3 |
C |
= |
3 |
- |
13 |
CONNECTEDNESS |
140 |
50 |
5 |
- |
- |
21 |
- |
23 |
First Total |
|
|
|
- |
- |
2+1 |
- |
2+3 |
Add to Reduce |
2+7+1 |
1+0+9 |
1+0 |
- |
- |
3 |
- |
5 |
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
- |
- |
- |
3 |
- |
|
Essence of Number |
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|
|
SECRET CHAMBERS
Robert Bauval
1
999
MAGICAL RELIGION
Page 120
"A century or so after the rediscovery of the Corpus Hermeticum, a strange regeneration of , Egyptian' mysticism was taking place in Western culture. The Hermetica was being circulated among scholars, the educated classes and even royalty.19 A new breed of 'Hermetic' philo- sophers, cabalists, alchemists, magicians, seers and wizards of all sorts began to emerge.20 In Chapter 2 we saw the bizarre involvement of the Papacy with Hermeticism and how some misguided scholars attempted to convince the Church not only that Hermes- Thoth was a prophet of Christianity, but also that his 'books' should be canonised and embraced as 'gospels' of the Roman Catholic Church. Others, more radical in their demands, went as far as to preach the return of the 'Egyptian' religion as the true religion of the world. Among the most forceful and influential of these new Hermetic activists was a mysterious Italian scholar from the Nolan region called Giordano Bruno.
Before the late 1960s very few people indeed, except within a tight academic circle, had even heard of Giordano Bruno.21 It was not until the British scholar Frances A. Yates took up the task of understanding Bruno's role and motives in the Italian Renaissance and, more impor- tantly, his strange contacts in the French and English courts, that the true picture of Bruno's bizarre mission began to emerge. In her turning- point work, Giordano Bruno and the Hermetic Tradition(first published in 1962 in London), Yates performed a sort of intellectual archaeological feat by discovering the rudiments of a powerful esoteric tradition which had hitherto gone undetected. This tradition, as we shall see, almost certainly caused the formation of speculative Freemasonic and Rosi- crucIan movements and ultimately, as I shall also show, set up the conditions that were to lead seekers to look for the fabled 'Hall of Records' at Giza. To give a name to this mysterious 'tradition' Yates was to coin the phrase 'the Hermetic Tradition'.22
Giordano Bruno's mission began in 1581, when he set himself the task of persuading the monarchs of Europe to install, no less, the 'magical religion of the Egyptians' as the new religion of the world. That year, Bruno had arrived in the city of Paris after wandering out of Italy and through Europe for several months. In Paris he gave public lectures which eventually got him noticed by the French king, Henri III. Bruno, / Page 121 / by then, had developed an extremely high level of proficiency in the classical art of memory called mnemonics and had already published two books on the subject. Yates writes:
This classical art, usually regarded as purely mnemotechnical, had a long history in the Middle Ages. .. In the Renaissance it became fashionable among Neoplatonists and Hermetists. It was now understood as a method of printing basic archetypal images on the memory. . . a kind of inner way of knowing the universe. . . The Hermetic experience of reflecting the universe in the mind is, I believe, at the root of Renaissance magic memory, in which the classic mnemonic with places and images is now understood, or applied, as a method of achieving this experience by imprinting archetypal, or magically activated, images on the memory. By using magical or talismanic images as memory- images, the Magus (magician) hoped to acquire universal knowledge, and also powers, obtained through the magical organisation of the imagination.- a magical powerful personality, tuned in, as it were, to the power of the cosmos. This amazing transformation, or adaptation, of the classical art of memory in the Renaissance has a history before Bruno, but in Bruno it reaches culmination. The De umbris idearum and the Cantus Circaeus . . . are his two first works on magic memory. This reveals him as a magician. . .23
The human memory has a natural system of selecting images, colours, scents or sounds in order to store vast amounts of information, moods, ideas, feelings and sensations. Imagine a day at the beach with friends and family, full of activities, full of fun and full of wonderful sensations. That day, however, something unusual happens. You are stung by a blue- bottle jellyfish. Years later you are visiting an aquarium somewhere else in the world, and in one of the displays floats a little blue-bottle jellyfish. Suddenly that 'image' unleashes the memories of that day on the beach. The blue-bottle is the 'icon' or 'archetypal image' in which was stored all the memories of that special day. Your mind will most certainly work out why the memory came to the surface by relating the jellyfish to the events remembered. It could have happened in a far more subtle way. You cou.Id have seen something totally unrelated, say, a postage stamp, whose colour very closely resembled that of the blue-bottle jellyfish. The unconscious mind makes the association, and the memories of that day will again flash in your mind. Except this time you may not be able to work out why this has happened, i.e. your conscious mind may not have registered what exactly it was that triggered the memory. This phenome- non is what the Hermetic scholars would have called the 'silent language' and what the ancient Egyptians would have called the 'language of the gods'.
Page122 The classical art of mnemonics is to learn how to create such an icon yourself and store it in the mind; then, at a later date, unleash it at will to bring back the desired memory stored in it. A very simple example of this is when you tie a string on your finger in order to remind you of something later. on. This works so long as the item you wish to remember is simple and straightforward. What if the subject matter involved remembering a complex chain of events such as a Shakespeare play or a lecture on atomic physics? A far more sophisticated method would be needed, and that is where the art of mnemonics can be applied. One of the techniques is to imagine a house that you are familiar with, and allocate in chronological order the memory of each event to a room or item in this house. Later you can visualise yourself walking around the house along a predetermined route, entering the rooms and, as you encounter each item or 'icon', the memory that it 'stores' begins to unfold. It takes many years of practice to become a master of the art of memory, and those few who have the ability and intellect to become adepts will develop tremendous insight, which in turn can be converted into enormous power of influence and manipulation. Vast memory that can be controlled, like that of a powerful computer, translates into vast reservoirs of knowledge. Knowledge, as we all know, is power. The greater the memory and the more refined the means to store and control it, the greater the power of the magician.
Recognising such immense abilities in Giordano Bruno, Henri III appointed him as a spy to the French court, a sort of Renaissance version of James Bond, and dispatched him to the English court of Elizabeth I. The year was 1583. Commenting on this mission, Frances Yates writes that
. . . Henri III, who, by sending Bruno into England on some mission. . . changed the course of his life from a wandering magician into that of a very strange kind of missionary indeed. . .24
The 'strange kind' of mission that Bruno set out for himself was the extraordinary task of persuading the Elizabethan court, and through it eventually the whole of Europe, to adopt the 'true religion of the world'. That Bruno's intention was to attempt this is confirmed by a letter written by the English ambassador in Paris, Sir Henry Cobham, to Francis Walsingham in England to warn him of Bruno's hidden motives: 'Doctor Giordano Bruno Nolano, a professor in philosophy, intends to pass into England, whose religion I cannot commend. '25 This is a wonderful English understatement. For the religion that Cobham / Page123 / 'cannot commend' and which Bruno is bringing to England, as we shall see, is none other than the ancient Egyptian religion or, more precisely, that magical religion that he, Bruno, has discovered in the Hermetic texts.26 Bruno, in this ambitious and daring mission, is trying single- handed to seed the idea of a total general reformation of the world, a sort of intellectual and spiritual 'Second Coming' which he believes can be brought about by the revival of ancient Egypt's magical religion. To do this, Bruno is applying his own magical powers, that is the 'words of power' which are made the more devastating by linking them to talismans and archetypal images.27 Making use of a mixture of alchemical a1}d cabalistic techniques, Bruno's brand of magic using words and images is clearly 'Egyptian' in style. This is made evident when he wrote:
. . . the sacred letters used among the Egyptians were called hieroglyphs. . .
which were images. . . taken from things of nature, or their parts. By using such writings and voices, the Egyptians used to capture with marvellous skills the language of the gods (my italics). Afterwards when letters of the kind which we use now were invented. . . they brought about a great rift both in memory and in the divine and magical sciences.28
This statement alone demonstrates the amazing perceptive ability this sixteenth-century magician had. For we must remember that Bruno was writing these words more than three centuries before the Frenchman
Champollion deciphered hieroglyphics.29 From the time he began his visit to England in 1583, Giordano Bruno went about proclaiming the imminent return of the magical religion of Egypt. As Frances Yates pointed out:
The works in the form of dialogues written in Italian which Bruno published in England are usually classified as moral and philosophical. . . both Bruno's proposed reform and his philosophy are related to his Hermetic religious mission . . . a mission [which] . . . becomes expanded into a projected full restoration of the magical religion of the pseudo-Egyptians of the Asclepius (a major tract on the Hermetica) . . .30 .
Yet Bruno was no New Age ranter. In Bruno we have the perfect example of how a powerful intuition can know what scientific minds have trouble perceiving. It was Bruno, for example, who introduced Copernicus's ideas of heliocentricity to the Oxford scholars by using his own intuitive vision of the planets and the sun.31 It was also Bruno who was among the very first to imagine a cosmos populated by innumerable / Page 124 / other worlds.32 We may thus wonder if his unusual intuition will not one day prove correct when he spoke of a revival of the 'magical Egyptian religion' in the Western world. In his major work Spaccio della Bestia Trionfante, which was written in England in 1584, Bruno's central theme is 'the glorification of the magical religion of the Egyptians,.33 In this work Bruno correctly detected in this ancient religious system that the worship of the Egyptians was the worship of 'God in things' and that communication with the divine could thus be achieved through all things in nature, by the application of a special magic which the Egyptian priests were the masters of:
. . for as the divinity descends in a certain manner inasmuch as it communicates itself to nature, so there is an ascent made to the divinity through nature. Thus through the light which shines in natural things one mounts up to the life which presides over them. . . And in truth I see how the wise men (of Egypt) by these means had power to make familiar, affable and domestic gods, which, through the voices which came out of the statues, gave counsels, doctrines, divinations and superhuman teachings. Whence with magical and divine rights they ascended to the height of the divinity by the same scale of nature by which the divinity descends to the smallest things by the communication of itself. . . Those wise men, then, in order to obtain certain benefits and gifts from gods, by means of profound magic, made use of certain natural things in which the divinity was latent, and through which the divinity was able and willing to communicate itself for certain effects. Whence those ceremonies were not vain fancies, but living voices which reached to the very ears of the gods. . .34
Bruno was living in a time of great expectation for some major religious reformation. A sort of 'Second Coming' frenzy was about to take hold of the European masses. Signs in the heavens were eagerly awaited. Rumours ran wild that soon a messianic-like child would be born and would unite Europe and the world under a fully reformed Christianity. Hermeticism, according to many, was the ideal tool in an attempt to activate this religious reform.35 As the Parisian scholar J. Dagens noted, 'the end of the sixteenth century and the start of the seventeenth century have been the golden age of the Religious Hermetism'.36 Using complex mathematical calculations, some astrono- mers and religious reformers worked out that the coming of such a messianic 'child' would take place at the end of the sixteenth century,37 and this would be made manifest with signs in the heavens. Amazingly, the heavens were to oblige with the sudden appearance of a supernova star in 1604.38
This spectacular phenomenon took place in the constellation of / Page 125 / Cygnus."
THE COSMIC MIND BOGGLING BOOK
Neil McAleer 1982
"The crater Giordano Bruno is believed to be one of the youngest craters on the moon..."
SECRET CHAMBER
THE QUEST FOR THE HALL OF RECORDS
Robert Bauval
1999
"Now it is unquestioned that the only physical objects that could literally be said to have 'ascended' to the summit of monumental pyramids were, of course, the Benben pyramidions, the symbols of the astral 'soul' of the transfigured Osiris-king. Thus in Fig. 13 we have the symbols of Osiris (or his 'soul'), the 'eye' and the 'throne', all meeting together at the summit of the Primeval Mound or pyramid - which should now make it clear to us that, on the one hand, the symbol of a Benben Stone with the Eye, especially when placed on the top of the 'Primeval Mound' or Pyramid, is fully interchangeable with, on the other hand, the symbol of 'the throne with the eye' - the latter forming the name of Osiris. Algebraically then, Benben with Eye = Throne with Eye = Osiris.
The reader is now asked to recall how, in the Pyramid Texts, the original Benben Stone was said to be made of iron ('star' matter, i.e. meteoritic iron). It is, therefore, very significant to note that in the Pyramid Texts the 'throne' of Osiris is frequently said to be made of 'iron', the same cosmic stuff from which the 'bones' of the astral souls were also made:
I [the Osiris-king] ascend to the sky. . . I sit on this iron throne of mine. . .126
May you [the Osiris-king] remove yourself to the sky upon your iron throne. . .127
You will ascend to the sky. . . you being seated upon your iron throne. . . you have traversed the Winding Waterway in the north of the sky as a star. . . the
Duat has grasped your hand at the place where Orion is . . . (the celestial 'Giza '?)128
Now here is the consequence of all this: the idea of the returning phoenix coming to 'the place where Orion is' (i.e. the celestial Gizal29) in order to announce a new messianic age is symbolised by the act of placing a capstone on top of a monumental pyramid. An idea, of course, that is also applicable to the return of a messianic figure at the opening of a new age which, in Christian lore, suggests similarities with the 'Second Coming' of Christ. Page 87 / Fig. J S. Pyramid texts. Note 'throne and eye' name of Osiris compounded
with the name of the pharaoh Unas (in the cartouche).
The reader will notice, however, that in Fig. 13 there is within the Pyramid/Mound itself another figure, that of a hawk-headed mummified man lying on its back. Rundle Clark described this mysterious entity as the 'recumbent figure of Osiris or a symbol which represents him'. But what symbol could that be? A clue is given by Wallis Budge in his description of the combined god Osiris-Sokar 'in which he appears as a hawk-headed mummy'.130 There is, too, an almost identical recumbent hawk-headed figure depicted on the wall of the temple of Denderah in Upper Egypt which is also referred to as Sokar-Osiris of Busiris131 (see Fig. 8) . Here we see Sokar-Osiris lying on a catafalque or bed the base of which is shaped like the Aker lion; on one side of the bed stands the goddess Isis, and on the other side Nephtys.132 It is clear that by equating this imagery to the statement made in the Shabaka Stone quoted on page 66 we get, in fact, the very same imagery in words.
Bearing all this in mind, let us now compare Fig. 1 showing the Fifth Division and the House of Sokar with Fig. 10 showing the stepped pyramid/Mound and Osiris on his throne. In Fig. 13 we see the god Sokar holding the plumes of the giant serpent in the House of Sokar surmounted by a Pyramid/Mound, and in Fig. 13 we see the same entity lying within or under a stepped-pyramid/Mound. The 'Mound' in Fig. 13 is, as Rundle Clark pointed out, a representation of the 'Creation Mound'. But what of the 'Mound' in Fig. 10? Let us examine this / Page 87/ 88 / 'Mound' more closely. At the top of the Mound in Fig. 10 are two symbols, one a human head and the other a bell-shaped object (identified, as we have seen earlier, as an omphalos or sacred") which is flanked by two kites.133 The two kites, according to Egyptologist George Hart, symbolise the goddesses Isis and Nephtys134 - again a pictorial depiction of what is in the Shabaka text. Rundle Clark explains further by saying that the omphalos-shaped object is yet another hieroglyphic sign to denote the Primeval Mound.I35 As for the human head that crowns the Pyramid/Mound, the hieroglyphic texts that accompany it state that this is 'the flesh of Isis who is above the sand of the land of Sokar,.I36 Now the name of Isis, like that of Osiris, is a Grecian derivative. The true name of the goddess in the ancient Egyptian language is Ast, which in its oldest form was written with two signs, one of which was a 'throne'. We can now see that the 'throne' of Isis, the omphalos-shaped object and the 'throne' and 'eye' of Osiris all merge in the complex symbolism of the Primeval Mound and, by extension, also of the original Benben/Pyramidion capstone. The star sirius, as we shall see later, is also representative of Isis, and could also be interchanged with these symbols at the top of the 'Mound'. But there is more. according to George Hart again, the Pyramid/Mound is representative of the desert 'tomb of Osiris', i.e. the 'burial place of Osiris' in the 'House of Sokar' in Rostau (i.e. Giza).137 it thus follows that the stepped- pyramid/Mound in which lies the recumbent hawk-headed figure is representative of the 'tomb of Osiris-Sokar' at giza. As for the huge recumbent sphinx called Aker which protects this 'tomb', we have already seen how many agree that it represents the Great Sphinx of Giza (i.e. Rostau). The overall conclusion is thus inevitable: the Egyptians, from the earliest of times, believed that somewhere underneath the bed- rock of Giza, and more specifically somewhere underneath the area where the Great Sphinx stands, was to be found the 'tomb of Osiris'.
Intriguingly, however, all these depictions and interchanging symbols are also extremely suggestive that this tomb is in the form of a pyramidal structure or 'Mound'. Could it not be that the various connections between the 'throne of Isis', the idea of a 'star' and the symbol of the Benben may, in themselves, also point to another secret chamber concealed within the core of the Great Pyramid or Simon Cox's 'Mound'? We shall review the evidence which leads to such an exciting conclusion for the Great Pyramid later on. Meanwhile the reader should also bear in mind that we shall also later see how [1] the goddess Isis was herself identified with the star Sirius whose hieroglyphic name, 'Sept', is composed of the signs denoting a Benben and a 'five-pointed star'; [2] / Page 89 / how the Benben and the five-pointed star meet up in the 'missing' capstone of the Great Pyramid of Giza; and [3] how the southern shaft of the Queen's Chamber in the Pyramid was not only directed to Sirius but that at its end, two hundred feet deep into the heart of the Pyramid, lies a small 'door' which many believe could lead to a secret chamber.
In the meantime I was faced with a web of tantalising and complex ideas which although they were floating next to each other in my mind, nonetheless lacked that catalyst I needed to bring them together. Yet at the same time I could not shake off the strong feeling that here, in this strong brew of symbols, was the rudiments of an arcane 'message' which, like the proverbial X on a treasure map, seemed to mark the location of the Fifth Division of the 'Duat', i.e. the House ofSokar, somewhere. in the Giza necropolis. As strange as it seemed, it was as if I was being 'guided' by the star Sirius whose rays, as it were, illuminated the deep and dormant recesses of my memory. But how could this be? Why did such strange and 'far out' ideas trouble my mind? And why, too, was I making an almost unconscious association of that star with the 'missing' capstone of the Great Pyramid? It did not make any sense. Yet to another side of my mind, a side that responded not with the limitation of the rational process but rather with the intuitive and creative faculties, it did seem to make 'sense'. Was I perhaps being made receptive, in some strange and inexplicable way, to some powerful subliminal message that was locked in the symbolic stellar lore of the ancient Pyramid builders and their cuI tic images? A 'message' which was not primarily intended for me or indeed for anyone else today, but had been long ago aimed at primed initiates of the Heliopolitan cult? Was I the unsuspecting victim - or beneficiary - of a devastatingly powerful Hermetic device?
It was at that point of impasse in my investigation that I suddenly remembered the so-called 'wider plan' of the star correlation theory presented in my first book, The Orion Mystery. In a section of that book termed 'Signpost to the Benben Stone', I had shown how the vast region which encompassed the Giza necropolis, the temple of Heliopolis and a third site known as the Khem (the Letopolis of the Greeks)138 together defined over the landscape a huge 'Pythagorian' right-angled triangle (see Figs 16 and 19).139 Let us note in passing that the name Khem Is extremely reminiscent of the name 'Khemmis', the latter being the place on the west bank of the Nile in the Delta region where, according to Egyptian mythology, Isis gave birth to Horus. 140 I had also suggested that the three corners of this 'Pythagorian' triangle were probably specifically and deliberately marked by [1] the apex of the Great Pyramid; [2] the apex of the Heliopolitan 'Mound' (the Benben); and [3] the apex of a / (page 90 Figure16 0mitted) / Page 91/ tower that had apparently once stood at Khem-Letopolis.141 Much in this curious geometrical arrangement was suggestive that the link between these three sites provided a sort of giant 'signpost' that led to the entrance of the Great Pyramid and, ultimately, through the narrow shafts shooting skywards toward 'the place where Orion is' which the Pyramid Texts tell us is where the 'gates of the Duat', i.e. Rostau, could to be found142:
I shall not be turned back at the gates of the Duat. I ascend to the sky with Orion
. . . I am one who collects for himself his efflux in front of Rostau . . .143
You will ascend to the sky. . . you being seated upon your iron throne. . . you have traversed the Winding Waterway in the north of the sky as a star. . . the Duat has grasped your hand at the place where Orion is. . .144
In this ground plan, furthermore, I had shown how the Great Pyramid itself represented a star in Orion's belt, Zeta Orionis, and how Khem- Letopolis probably represented the corresponding position of the star Sirius near the west banks of the Milky Way.145 With these thoughts in mind, I also recalled a statement made by the French Egyptologist George Goyon in connection with the Great Pyramid which now, in the light of what has just been said, took on a new and eerie significance. 'The monument,' Goyon had written, 'was placed under the stellar protection of the god Horus. . .,146We shall see later how the 'star' of Horus was, in actual fact, also the star Sirius. Suffice at this stage to mention that in the ancient Pyramid Texts, as well as in all other religious literature of ancient Egypt, the stellar Horus was said to have been born from the 'womb of Sot his', the name given by the Greeks of Egypt to Isis-Sirius. 147 In The Orion Mystery there is an appendix entitled 'The Survival of the Star Religion' where I presented a detailed analysis on how in ancient Egyptian texts - such as the Carsberg I Papyrus, for example - the apparent nine-months (273 days) cycle of the star Sirius measured from its meridian passage was likened to the gestation cycle of the human foetus - which led me to conclude that the 'seeding of the womb of the goddess Sirius-Isis' mentioned in the Pyramid Texts was probably imagined to take place when Sirius was observed at the south meridian at dawn.148 During the Pyramid Age this important event occurred, incidentally, some twenty days before the autumn equinox when the sun was right on top of the 'scales' of the zodiacal constellation of Libra. 149 The zodiacal constellation of Libra was almost certainly associated with the cosmic 'scales' often seen in funerary vignettes depicting the so- called Judgement Scene of the 'weighing of the heart' and where Osiris is /
Page 92 / shown seated upon his throne flanked by Isis and Nephtys.150 The alignment of Sirius with the meridian axis of the Great Pyramid and also the southern shaft of the Queen's Chamber thus created a powerful sky- ground ritualistic setting for the 'seeding of the womb of Isis' with the embryo of the future Horus-king.151 I thus postulated that this was a powerful king-making ritual which during the Pyramid Age may well have been enacted inside the Queen's Chamber of the Great Pyramid with an ithyphallic statue of the king (or perhaps even his mummy) placed in front of the opening of the southern shaft.152 And it was this very shaft, as we have said, that led to a 'door' deep within the core of the Pyramid...
The probability for the existence of a secret chamber - or even a second one - at Giza, under the Sphinx or inside the Great Pyramid, is very high indeed. But assuming that secret chambers do exist at Giza, concealed there by the original builders of that site, then what would be their purpose? What cargo could be so precious, so obsessively important to preserve, which could induce a people to undertake such a vast and mind-boggling construction enterprise? What could possibly have been considered so valuable, so meaningful, so vitally necessary to posterity, to have it guarded by such a mighty memorial?
One word springs to mind: 'knowledge'. The knowledge of Thoth.
I According to the most conservative estimates, there are 4500 years that separate us from the supposed construction of the Giza necropolis. Could the system of knowledge of those ancients who planned Giza have somehow survived through this immense period of time? And was it inscribed, as all the ancient texts suggest, on tablets and slabs by the hand of the god Thoth himself? Are these safely preserved in hermetically sealed rooms? And, more importantly, is there tangible or scientific evidence to verify such a hypothesis? Has anyone tried? Who? And what have they found?
Yet before we tackle these provocative questions, we need to see how a substantial portion of this legendary 'knowledge' might have been transmitted across the ages through another route - one so well concealed that it has hitherto escaped the attention of the Egyptologists and historians altogether. Concealed, I will suggest, in a 'place' that no one can reach with spade, scalpel or radar, but only through an initiatory process that the 'knowledge' was designed for. Because not all knowledge, as the ancient master initiates knew so well, is something that one merely recorded in books and inscriptions; rather, true knowledge was better 'deposited' in a much vaster crucible and far more sophisti- cated device at their disposal: the memory of man. As we shall now see, / Page 93 /such powerful ideas may, indeed, have been preserved by inserting them, like some archaic intellectual microchip, deep into the body of new belief systems and promising religious and intellectual movements, in order for them to be carried forward through periods of danger and tribulations. And when the 'time was right and good', these ancient ideas could be reawakened from their millennial slumber."
SECRET CHAMBER
THE QUEST FOR THE HALL OF RECORDS
Robert Bauval
1999
Page341
"Orion (abbr. Ori, gen. Orionis) A magnificent constellation on the celestial equator, representing a great hunter of Greek mythology. Orion is outlined by the prominent stars *Betelgeuse (Alpha Orionis), *Rigel (Beta Orionis, the / Page 342 / Orion Arm 342
constellation's brightest star), *Bellatrix (GammaOrionis), and *Saiph (Kappa Orionis). A line of three stars, * Alnilam (Epsilon Orionis), * Alnitak (Zeta Orionis). and *Mintaka (Delta Orionis), make up the Belt of Orion. The famous *Orion Nebula, M42, contains the multiple star known as the *Trapezium. On the southern edge of the Orion Nebula is the double star Iota Orionis, magnitudes 2.8 and 6.9. North of the Orion Nebula is another bright nebula, NGC 1977, and
further north again is the 5th-magnitude open cluster NGC 1981. 'Phis complex of nebulosity and clusters forms the Sword of Orion, hanging from Orion's belt.
Sigma Orionis is an impressive multiple star of magnitudes 3.8, 6.6, 6.7, and 8.8. Eta Orionis is a close double, magnitudes 3.8 and 4.8. The dark *Horsehead Nebula intrudes into a faint strip of nebulosity, IC 434, which runs south of Alnitak. The *Orionid meteors radiate from the constellation every October.
Orion Arm The local spiral arm of our Galaxy. The Sun lies near its inner edge, that is, towards the galactic centre. All the main naked eye stars are part of the Orion arm, including those of Orion itself, The arm stretches towards Cygnus in one direction, and towards Puppis andVela in the opposite direction. Features in the Orion Arm include the *Gum Nebula, the *Orion Nebula, the *North America Nebula, the *Cygnus Loop, and the *Great Rift. The Orion arm was once thought
to be a connecting link between larger structures in our Galaxy; hence it is sometimes also known as the Orion Spur.
Orion Association A large association of very young stars of spectral types O
and B, centred on the *Orion Nebula, 1500 l.y. away. It is about 400 l.y. across and contains all the main stars of Orion, except Betelgeuse. The area is still partly shrouded in gas from which stars continue to fo1'In.
Orionid meteors A meteor shower showing modefate activity between
October 15 and November 2. The activity pattern is complex, with sevefal peaks and troughs, presumably reflecting the filamentary nature of the meteor stream laid down over several perihelion returns by *Halley'sComet. A broad maximum, with ZHR reaching 30, is seen fora couple ot'days around October 21, from a radiant at RA 6h 24m, dec. +150 (between Betelgeuse and Gamma Geminorum). Orionid meteors are very swift (geocentric velocity 66 km/s), and a high proportion leave persistent trains, but most are faint.
Orion Molecular Clouds A group of large clouds of gas and dust 1500 l.y. away in the constellation Orion, the nearest examples of * giant molecular clouds. Each cloud is over 100 l.y. across and contains more than 100000 solar masses of gas, mostly in the form of hydrogen molecules. The young stars of Orion formed from these clouds within the last 10 million years. New stars aIle stin forming in dense molecular cores within the clouds, hidden from sight by the dust, but detectable as
sources of infrared and molecular radiation. The best-known molecular cores are designated OMC-l and OMC-2. \.
Orion Nebula A large and bright nebula, 1500l.y. away in the constellation Orion; also known as M42 or NGC 1976. The nebula covers more than 10 x 1. of
sky and is faintly visible to the naked eye as a fuzzy patch around the multiple star Theta 1 Orionis, also known as the *Trapezium, The ultraviolet light from the
Trapezium stars ionizes the nebula. The Orion Nebula is over 20 l.y. in diameter, and contains several hundred solar massesot' ionized gas. It forms al hot blister on the near side of one of the massive *Orion Molecular Clouds.
Orion Spur Alternative name for the *Orion Arm of our Galaxy, given when it was thought to be a branch of the *Perseus Arm.
SECRET CHAMBER
THE QUEST FOR THE HALL OF RECORDS
Robert Bauval
1999
Page 346
A MASTER-PLAN FOR THE THREE PYRAMIDS OF GIZA
BASED ON THE CONFIGURATION OF THE THREE STARS OF THE BELT OF ORION
"The Pyramid Texts embody the remnants of a well-structured star-cult, the main theme of which was the transfiguration of the dead pharaohs into stars <1>. Examination of the Pyramid Texts reveals that the dominant stars of this cult were those of the constellation of Orion. The special attention given to Orion can be understood in several ways: it is the most striking of the constellations, in the archaic Period, it happened to rise in midsummer at dawn (c.2600 BC), as though a celestial herald of the forthcoming yearly nilotic flood. Consequently, the appearance of Orion after a prolongued period of 'invisibility' was taken as the celestial event preluding a new season of rejuvenation and growth of nature as a whole. Mythologically, Orion was thus seen as the celestial representation of Osiris, the god of rebirth/resurrection, and with whom all the dead pharaohs, as star-gods, were identified <2>. Thus the Pyramid Texts proclaim: 'Behold, he has come as Orion, behold Osiris has come as Orion...O king, the sky conceives you with Orion, the dawn-light bears you with Orion, you will regularly ascend with Orion from the eastern region of the sky, you will regularly descend with Orion into the western region of the sky...' (pyr.820-822). 'O king, you are this great star, the companion of Orion, who traverses the sky with Orion, who navigates the Netherworld with Osiris, you ascend from the east of the sky, being renewed in your due season, and rejuvenated in your due time.' (pyr.882). 'Live, be alive! Be young beside your father, beside Orion in the sky...' (pyr. 2180).<3>.
The Egyptian knew Orion under the name of 'Sah'. They imagined 'Sah' as a male anthropomorphic figure undoubtedly representing Osiris. Several drawings of 'Sah' dating from the New Kingdom are known, notably from the tomb of Senmut (south hall ceiling), where 'Sah' is depicted as a man standing on a boat, holding the Ankh symbol in one hand and a staff in the other, above his head are three large stars in a row, the topmost star slightly deviated to the left (see plates)<4>. There can be little doubt that these three stars are Zeta, Epsilon and Delta Orionis -the Belt Of Orion- which form the same characteristic pattern at the centre of the constellation <5>. It is to be noted that this pattern has not perceptibly changed since the time of the Pyramid Age (c.2700 BC-2150 BC). This is because these three stars are well-over 1000 light-years away, and consequently no proper motion is normally registered for them. In any case, any undetected annual proper motion would probably be below the l/lOOOth of a second level, thus far too small for the span of time considered to cause any perceptible change in the pattern of the three stars <6>. In short, the characteristic pattern formed by the three stars of the belt of Orion appears the same to us as it did to the Egyptians who built the Great Pyramid (c.2600 BC).
OXFORD DICTIONARY OF ASTRONOMY
Ian Redpath
1997
Page 52
"Betelgeuse The star Alpha Orionis, the tenth-brightest star in the sky. It is an M2 supergiant and a semiregular variable, fluctuating between magnitudes 0.0 and 1.3 in a period of several years, with an average magnitude of 0.5. Its distance and luminosity are poorly determined. Some estimates place it around 400 l.y. away, much closer than the stars in the Orion Association, with a luminosity 5000 times the Sun's. But if it is at the same distance as the Orion Nebula, 1400 1.y., its true luminosity would be over 50000 times the Sun's. Betelgeuse is an extremely large star, hundreds of times the diameter of the Sun. Its variations in brightness occur as it swells and contracts in size.
SECRET CHAMBERS
Robert Bauval
1
999
Page82
THE EYE AND THE IRON THRONE OF OSIRIS
"There is a great deal of debate and confusion concerning the etymology of the name Osiris and the mysterious symbols attached to it. It may , surprise the reader to learn that the name is not Egyptian but Greek. The true and original name of the god in its most ancient form was As-Ar or Ausar, composed by two hieroglyphic signs of the 'throne' and the 'eye'.
Page 83
It is only much later, around 500 BC or so, that the Greeks gave it its classical pronounciation. The 'throne' almost certainly symbolises the 'throne of Osiris' or, more generally, the 'throne of divine kingship' -and in its other-worldly connotation, it may also stand for the 'throne of Osiris in the Duat'. Such a conclusion conforms with the role and function of Osiris as 'Lord of the Duat' and, at any rate, is confirmed by the many depictions in funerary art showing Osiris sitting on a throne in the so-called 'Judgement scene' where the god dispatches his verdict on the souls of the dead. There is an interesting variation of this depiction, however, in which Osiris is seen sitting on his throne placed on the summit of a pyramid or mound (see Fig. 13).107 Concerning this last, Rundle Clark had this to say:
In this version (depiction) the central object is a mound which is approached by steps. Inside is either the recumbent figure of Osiris or a figure which represents him illumined by the night sun during its underworld journey. The stepped hill is, of course, the Primeval Mound, but this time it is given directions. The goddesses of North and South, and sometimes signs for East and West, decorate the outside of the steps. . . .Above the mound Osiris sits enthroned, protected sometimes by a goddess, and approached by Horus and Thoth and a peculiar being carrying two stiff serpents arranged in an X. The first god (Horus) to approach Osiris presents him with the Horus Eye - the old motif of the recovery of Osiris which is as old as the Pyramid Texts. .. The figure with the crossed serpents is probably the Divine Word. . .108
One of the most potent symbols of ancient Egypt is the Udjet sign, which is depicted by an 'eye'. So ingrained was this symbol that it has survived to this day, generally used as a talisman to ward off evil and danger .109 Although the term Udjet is of the feminine gender, the 'eye' is that of a falcon and is clearly associated with primitive falcon gods such as Horus and Sokar110 In his detailed study of the Udjet symbol, R.T. Rundle Clark shows that the 'eye' was also associated with the sun and the moon that represented the two eyes of the cosmic falcon. 111 Since one of these 'eyes', the moon, wanes and waxes in a cycle of one month, the ancients used numerical fractions of the value one to design the Udjet symbol; the act of 'putting together' the Udjet-eye symbolised the return of the full moon which, according to Clark, signalled the idea 'that all is well' and that 'Maat', the cosmic order, is undisturbedl12:
I am seeking the Eye of Horus, that I might bring it back and count it. . . I am Thoth who brings back Maat . . . I am he who returns the Udjet Eye, I am he
who abolishes its dimness, when its brightness was damaged. . . in the House of the Moon. . . 113
"I am seeking the Eye of Horus, that I might bring it back and count it."
SECRET CHAMBERS
Robert Bauval
1
999
Page 84
"Egyptian literature is full of references to the 'bringing back of the Eye'. This strange motif, for example, is repeated no less than four hundred times in the spells and incantations of the Pyramid Texts and many scores more throughout the whole corpusof these ancient texts. The thematic myth associated with the 'eye of Horus' revolves around an epic battle that supposedly took place between Horus and his uncle Seth, with these two deities quarrelling over the throne of Osiris. After a raging fight that went on for several years, Horus lost his left eye and Seth lost his testicles.114 The battle finally ends when Thoth intervenes and persuades the contenders to put their case for arbitration before the council of the gods, known sometimes as The Great Ennead115 The outcome is in favour of Horus, who is crowned as the first legitimate divine king of the Osirian Kingdom. As soon as his coronation is over, Horus journeys into the realm of the Underworld-Duat in search of the 'body' of his father, Osiris. He then presents to the listless body of Osiris the 'Eye', whence Osiris is immediately revived:
O Osiris the king, I bring to you the Eye of Horus . . .O Osiris the king, Horus has put his Eye on your brow in its name of Great-of-Magic . . . Live, O my father Osiris the king, for I set for you the Eye of Horus on you116
O Horus who is (also) this Osiris the king, take the uninjured Eye of Horus. O Horus who is this Osiris the king, I paint it on your face for you, for Horus painted his uninjured Eye. O king, I attach your eyes to your face for you intact, so that you may see with them. . .117
O my father the king, the doors of the sky are opened for you. . . stand up and see this, stand up and hear this which your son Horus has done for you: he smites him (Seth) who smote you. . .118. . . may you remove yourself to the sky upon your iron throne... 119
Stand up for me, O my Father; stand up for me, O Osiris the king, for I am indeed your son, I am Horus. . . I have installed you, of my father Osiris the king, upon the throne, , .120"
THE
HOURS OF HORUS
SECRET CHAMBERS
Robert Bauval
1
999
Page 86
"This word is formed by three signs, an 'eye-shaped' symbol, an 'owl' and a 'standard or post', all forming the phonetic word 'M(e)r'. Edwards showed that the determinative for the word 'r', which means 'to ascend', is, in fact, the sign to denote a stepped pyramid or Primeval Mound.124 He then pointed out that the 'm' sign, which means 'place', has led him to conclude that the word 'Mer', therefore, could mean 'the place of Ascension'."
SECRET CHAMBERS
Robert Bauval
1
999
Page 98
"It is not the purpose or task of this book to go into the complex scholarship of Gnostic studies, but a brief overview is, at this stage, imperative to our investigation. However, let us begin by saying that the latest research shows that this early form of Christianity was rooted in the ancient mystery and initiatory religions of Egypt, Greece and the East, and that it was through Gnosticism that these ancient systems were carried across the ages to finally discharge themselves, albeit much mutated and distorted, in the modem mystery schools of Rosicrucianism and Freemasonry. In his comprehensive and rather daring study entitled The Gnosis or Ancient Wisdom in the Christian Scriptures, the scholar William Kingsland argues thai
. . . the (Christian) scriptures are not always to be taken literally as biographies of the life of Christ but that they also contain allegorical and symbolical levels of meaning as well. The figure of Christ that emerges is not much one of a suffering saviour, pouring out his life's blood for the redemption of the world, but rather of a guide to the essential 'gnosis' that the 'kingdom of heaven lies within' . . .11
The crux of Kingsland's thesis is that the teachings of Jesus have much in common with other mystery religions associated with teachers such as Hermes Trismegistus, Buddha and Zoroaster, and that they also form part of a system of enlightenment involving initiation into the so-called Mysteries, and that the rudimentary basis of these secret ceremonies have survived today in the rituals of modem initiation societies such as the Freemasons.12 In the author's own words:
The existence of the ancient Mysteries in Egypt, Greece, and elsewhere is of course well-known as a matter of history; and many of the more esoteric ceremonies in connection with these have survived to this day in the rituals of Freemasonry and the Church itself. . . In all ages of which we have any literary records we find the tradition of a recondite knowledge which could not be disclosed to any save to those who had undergone the severest tests as to their worthiness to receive it. This knowledge was generally known under the term of the Mysteries, and it was concerned with the deepest facts of Man's origin, nature, and connection with super-sensual worlds of beings, as well as with the 'natural' laws of the physical world. It was no mere speculation; it was real knowledge, Gnosis, knowledge of 'the things that are', knowledge of Reality; a knowledge that gave its possessor powers which at one time or other have been regarded as pertaining only to the gods. . . The basis of that knowledge, the fundamental principle on which all the teachings rested, was the essential divine nature of man, and the consequent possibility of becoming, by self-knowledge, a /Page 99 Figure 19 omitted / Page100 / god like being. The final goal, the final objective of all the Mysteries, was the full realisation by the initiate of his divine nature in its oneness with the Supreme Being . . . 13"
GNOSIS
GODS SON IS IS SON GODS
SECRET CHAMBERS
Robert Bauval
1
999
Page 46
"The point that is being made here is that there existed a sacred science in Egypt that could only be imparted to gifted individuals with a strong predisposition for intuitive learning - the type of learning that is done with the human apparatus of perception, with the fine tuning of the five senses such that they functioned jointly as super receivers and transmitters of messages. Thus the initiation or training of natural magicians was to fine-tune the sensory perception. Anyone can fine-tune his sense to 'read' the messages of nature. However, to be a magician is to be able to reverse the process, i.e. to transmit the messages to others by using the 'language of the gods'. This is the arcana arcanorum, the ultimate secret of the magician. Thoth, the inventor of this magic, was supreme in its application. Equipped with such a cognition of Thoth, we can now examine the purpose of his divine mission as 'messenger' of the gods."
KEEPER OF GENESIS
Robert Bauval Graham Hancock 1996
Page 254
Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says:
we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood? Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as possible. But how could they? 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.3
Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien.
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1 |
16 |
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213 |
78 |
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2 |
12 |
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115 |
61 |
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3 |
4 |
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56 |
20 |
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4 |
2 |
|
7 |
7 |
|
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5 |
7 |
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64 |
28 |
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6 |
7 |
|
88 |
34 |
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7 |
10 |
|
130 |
49 |
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8 |
10 |
|
138 |
57 |
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9 |
3 |
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19 |
10 |
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10 |
7 |
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121 |
31 |
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11 |
5 |
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41 |
23 |
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First Total |
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|
4+3 |
|
8+3 |
Add to Reduce |
9+9+2 |
3+9+8 |
4+7 |
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2+1 |
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7 |
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Second Total |
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|
1+1 |
Reduce to Deduce |
2+0 |
2+0 |
1+1 |
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Essence of Number |
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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 |
|
|
|
- |
- |
1+0 |
- |
1+2 |
Reduce to Deduce |
1+7+1 |
4+5 |
|
Q |
- |
1 |
- |
3 |
Essence of Number |
|
|
|
- |
MATHEMATICS |
- |
- |
- |
4 |
|
42 |
15 |
|
2 |
|
18 |
9 |
|
2 |
|
21 |
3 |
|
1 |
|
9 |
9 |
|
2 |
|
22 |
4 |
|
|
MATHEMATICS |
|
|
|
|
|
1+1+2 |
4+0 |
3+1 |
|
MATHEMATICS |
|
|
|
THE MAGIC MOUNTAIN
Thomas Mann
1875-1955
Page 417
"I preach mathematics."
I |
= |
9 |
- |
1 |
I |
9 |
9 |
9 |
S |
= |
1 |
- |
6 |
PREACH |
51 |
33 |
6 |
R |
= |
9 |
- |
11 |
MATHEMATICS |
112 |
40 |
4 |
- |
- |
19 |
- |
18 |
First Total |
|
|
|
- |
- |
1+9 |
- |
1+8 |
Add to Reduce |
1+7+2 |
9+1 |
1+9 |
Q |
- |
10 |
- |
9 |
Second Total |
10 |
10 |
10 |
- |
- |
1+0 |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
Q |
- |
1 |
- |
9 |
Essence of Number |
1 |
1 |
1 |
FINGERPRINTS OF THE GODS
G Hancock
1995
Page 287
"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics."
"Of all the other stupendous inventions,' Galileo once remarked,
what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3"
WHAT ONE WOULD LOOK FOR THEREFORE WOULD BE A UNIVERSAL LANGUAGE
THE KIND OF LANGUAGE COMPREHENSIBLE TO ANY TECHNOLOGICALLY ADVANCED SOCIETY IN ANY EPOCH
SUCH LANGUAGES ARE FEW AND FAR BETWEEN BUT MATHEMATICS IS ONE OF THEM
NUMEROLOGY
Gedes and Grossett 1999
Page 7
"All numbers greater than nine can be reduced to a single digit by the process of fadic addition, for example:
12 is reduced to 3 by adding 1 and 2;
49 is reduced to 4 by adding 4 and 9 which equals 13 and subsequently adding 1 and 3 to make 4."
1 |
I |
9 |
9 |
9 |
3 |
SAY |
45 |
9 |
9 |
7 |
DECODER |
54 |
36 |
9 |
6 |
DECODE |
36 |
27 |
9 |
4 |
CODE |
27 |
18 |
9 |
- |
- |
- |
- |
- |
S |
- |
S |
S |
- |
5 |
CODED |
31 |
22 |
4 |
5 |
CODES |
46 |
19 |
1 |
S |
CODE |
- |
- |
- |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
S |
DECODE |
- |
- |
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
S |
DECODER |
- |
- |
- |
2 |
D+E |
9 |
9 |
9 |
2 |
C+O |
18 |
9 |
9 |
2 |
D+E |
9 |
9 |
9 |
1 |
R |
18 |
9 |
9 |
S |
DECODER |
- |
- |
- |
CODE DE CODE
C+O D+E D+E C+O D+E
9+9+9+9+9
C+O D+E D+E C+O D+E
CODE DE CODE
- |
- |
- |
- |
- |
CODE |
- |
- |
- |
C |
= |
3 |
- |
1 |
C |
3 |
3 |
3 |
O |
= |
6 |
- |
1 |
O |
15 |
6 |
6 |
D |
= |
4 |
- |
1 |
D |
4 |
4 |
4 |
E |
= |
5 |
- |
1 |
E |
5 |
5 |
5 |
- |
- |
18 |
- |
4 |
CODE- |
|
|
|
- |
- |
1+8 |
- |
- |
- |
2+7 |
1+8 |
1+8 |
Q |
- |
9 |
- |
4 |
CODE |
9 |
9 |
9 |
- |
- |
- |
- |
- |
CODE |
- |
- |
- |
C |
= |
3 |
- |
1 |
C |
3 |
3 |
3 |
D |
= |
4 |
- |
1 |
D |
4 |
4 |
4 |
E |
= |
5 |
- |
1 |
E |
5 |
5 |
5 |
O |
= |
6 |
- |
1 |
O |
15 |
6 |
6 |
- |
- |
18 |
- |
4 |
CODE- |
|
|
|
- |
- |
1+8 |
- |
- |
- |
2+7 |
1+8 |
1+8 |
Q |
- |
9 |
- |
4 |
CODE |
9 |
9 |
9 |
RAMESSES
Egypt's Greatest Pharaoh
Joyce Tyldesley 2000
Page xxvi
"The Egyptians wrote their hieroglyphic texts without vowels, using consonants not found in our modem alphabet. In consequence, although we can read and understand the ancient writings we cannot be certain of the correct pronunciation of any word or name. This explains why different authors refer to the same individual by seemingly different names. Ramesses II, for example, variously appears in print as Ramesses, Ramses, Ramesse and Remeses while Queen Nefertari occasionally occurs as Nofretari. Throughout this book the most simple and widely accepted version of each proper name has been used with Ramesses preferred to the increasingly popular Ramses as the former most accurately represents the original Egyptian name. I follow current convention in using the words king and pharaoh interchangeably".
Page 1
1
Introducing Ramesses
"Some of Egypt's kings and queens have emerged from the obscurity of the tomb in sudden and spectacular fashion. The decoding of hieroglyphics, a tantalizing mystery until 1822, revealed the unexpected existence of the two aberrant New Kingdom pharaohs Hatchepsut and Akhenaten. The 1912 recovery of a magnificent portrait head from the ruined city of Amarna brought the beautiful Queen Nefertiti back to life, Above all, the unparalleled 1922 discovery of a virtually intact royal tomb in the Valley of the Kings allowed the hitherto insignificant boy-king Tutankha- men to triumph over death. Ramesses II, however, has never been in need of such a renaissance. Over the three millennia that have passed since his reign, his name - albeit in a distorted form - has never been forgotten.
Sixty-six relatively peaceful years on the throne had allowed Ramesses ample opportunity for self-promotion. By the time of his death in 1213 BC his monuments and image were to be found in every comer of his realm, The name of Ramesses was known and respected throughout the varied but inter-related kingdoms which made up what archaeologists now term the' Ancient World' - a wide circle of states encompassing Northern Turkey, Iran, Central Africa, Libya and the Balkans and extending as far west as Italy and even Spain. Within Egypt the highly efficient royal propaganda machine had elevated Ramesses to the status of living legend with divine attributes. In Nubia, Ramesses had already become a fully fledged god. A fortunate combination of circumstances - optimal Nile floods leading to good harvests, international stability and, of course, the extraordinary longevity which caused Ramesses to outlive not only his contemporaries but many of his children and grandchildren - had allowed Egypt to enjoy a continuity of government which was the envy of her neighbours. Whether by good luck or good management, Egypt flourished under Ramesses, and her people were grateful"
EGYPT = 5 777 2 and 5+2 =7
Read it again 7777
CHRONICLE OF THE PHARAOHS
Peter A.Clayton 1994
|
|
|
|
|
|
|
|
|
|
RAMESSES I |
|
1293-1291 |
|
99 |
|
27 |
|
9 |
|
RAMESSES II |
|
1279-1212 |
|
99 |
|
27 |
|
9 |
|
RAMESSES III |
|
1182-1151 |
|
99 |
|
27 |
|
9 |
|
RAMESSES IV |
|
1151-1145 |
|
99 |
|
27 |
|
9 |
|
RAMESSES V |
|
1145-1141 |
|
99 |
|
27 |
|
9 |
|
RAMESSES VI |
|
1141-1133 |
|
99 |
|
27 |
|
9 |
|
RAMESSES VII |
|
1133-1126 |
|
99 |
|
27 |
|
9 |
|
RAMESSES VIII |
|
1133-1126 |
|
99 |
|
27 |
|
9 |
|
RAMESSES IX |
|
1126-1108 |
|
99 |
|
27 |
|
9 |
|
RAMESSES X |
|
1108-1098 |
|
99 |
|
27 |
|
9 |
|
RAMESSES XI |
|
1098-1070 |
|
99 |
|
27 |
|
9 |
ORIENTAL MAGIC
Idries Shah 1956
Page 83
Dhikrs of the Sufis
AIl recitations are performed in a state of ritual purity. The face, arms, feet and mouth are washed. If the Seeker has slept since his last dhikr, he must have a bath. Any other pollution must also be removed by complete immersion.
Dhikrs are generally said during the hours of darkness. When a supernatural result is desired, the dhikr must dwell upon some facet of the Divine power allied to the effect to be accom- plished. Thus, when a Sufi wishes to cure illness, he prepares himself by repeating a dhikr consisting of the Name of God which denotes healing. By this means the Sufi intends to collect in his mind a tremendous potential of mental force associated with healing. This he projects towards the object of ltis atten- tions, at the same time concentrating upon the desired result.
When a Sufi's aid is invoked to ensure, for example, success in any venture, he will purify himself and spend three nights, culminating on a Thursday, reciting the simple formula Ya Fatih (' O Victor ') - one of the Attributes of the AIl-Powerful.
On Thursday (the 'powerful' night of the week) the full quota of power will have been built up in his mind: this, at any event, is the theory. He may also give the person a talisman or amulet with the dhikr written on it, to wear on his arm. Even today, these dhikr amulets are widely worn among all classes in the Moslem East. It is not uncommon for Sufis to receive a visitation from some important member of the Order - perhaps long dead - advising them as to the best course to take in any matter upon which they are uncertain.
At the outset of his training the more esoteric aspects of Sufism are of less concern to the Seeker than the attainment of progress through implicit obedience to the formulae of the cult. The root of all such progress is dhikr. Having either been given a set dhikr to repeat (if he is under the direct guidance of a Sheikh), or having selected one himself (if he is an Uwaysi working towards the goal alone), his task is to repeat it with meticulous regard for the times and frequency of its saying.
If the formula is said under the breath (dhikr khafi), a rosary with ninety-nine beads is used, one bead being told after each repetition. In the case of the dhikr jali (' loud repetition ') the / Page 84 / the rosary is often not used."
"If the formula is said under the breath (dhikr khafi), a rosary with ninety-nine beads is used, one bead being told after each repetition.
Page 97
"Moslem tradition tells a curious tale of the Prophet Mohammed being bewitched by a Jewish sorcerer using this method.Nine knots were tied in a string, each knot' binding' a curse, and the thread was then hidden in a well. Only the archangel Gabriel's timely warning, we are informed, disclosed the hiding- place of the Death Spell. Such spells are countered by untying the knots, one by one: but in this case the chroniclers affirm that they unravelled themselves at the Prophet's command."
Nine knots were tied in a string,
ORIENTAL MAGIC
Idries Shah 1956
Page 85 /6
I am
(Sufi poem of Mirza Khan, Ansari)
How shall I define what thing I am?
Wholly existent, and yet non-existent, through Him, I am.
Whatever becometh naught out of entity,
The signification of that nothingness am I.
Sometimes a mote on the disc of the sun;
At others, a ripple on the water's surface.
Now I fly about in the wind of association:
Now I am a bird of the incorporeal world.
By the name of ice I also style myself:
Congealed in the winter season am I.
I have enveloped myself in the four elements;
I am the cloud on the face of the sky.
From unity I have come into infinity:
Indeed, nothing existeth, that I am not.
My vitality is from life's source itself;
And I am the speech, every mouth within.
I am the hearing-sense with every ear;
And also the sight of every eye am I.
I am the potentiality of every thing:
I am the perception every one within.
My will and inclination are with all;
With mine own acts, also, satisfied am I.
Unto the sinful and vicious, I am evil;
But unto the good beneficent am I.
ORIENTAL MAGIC
Idries Shah 1956
Page 85 /6
9 am
(Sufi poem of Mirza Khan, Ansari)
How shall 9 define what thing 9 am?
Wholly existent, and yet non-existent, through Him, 9 am.
Whatever becometh naught out of entity,
The signification of that nothingness am 9.
Sometimes a mote on the disc of the sun;
At others, a ripple on the water's surface.
Now 9 fly about in the wind of association:
Now 9 am a bird of the incorporeal world.
By the name of ice 9 also style myself:
Congealed in the winter season am 9.
9 have enveloped myself in the four elements;
9 am the cloud on the face of the sky.
From unity 9 have come into infinity:
Indeed, nothing existeth, that 9 am not.
My vitality is from life's source itself;
And 9 am the speech, every mouth within.
9 am the hearing-sense with every ear;
And also the sight of every eye am 9.
9 am the potentiality of every thing:
9 am the perception every one within.
My will and inclination are with all;
With mine own acts, also, satisfied am 9.
Unto the sinful and vicious, 9 am evil;
But unto the good beneficent am 9.
9 x 20 = 180
THE BIBLE CODE
Michael Drosnin 1997
Chapter Four
THE SEALED BOOK
Page 70
"The astronomer Carl Sagan once noted that if there was other intelligent life in the universe some of it would have certainly evolved far earlier than we did, and had thousands, or hundreds of thousands, or millions, or hundreds of millions of years to develop the advanced technology that we are only now beginning to develop.
'After billions of years of biological evolution - on their planet and ours - an alien civilization cannot be in technological lockstep with us,' wrote Sagan.
'There 'have been humans for more than twenty thousand centuries, but we've had radio only for about one century,' wrote Sagan. 'If alien civilizations are behind us, they're likely to be too far behind us to have radio. And if they're ahead of us, they're likely to be far ahead of us. Think of the technical advances on our world over just the last few centuries. What is for us technologically difficult or impossible, what might seem to us like magic, might for them be trivially easy.'
The author of 2001, Arthur C. Clarke - who envisioned a mysterious black monolith that reappears at successive stages of human evolution, each time we are ready to be taken to a higher level - made a similar observation:
'Any sufficiently advanced technology is indistinguishable from magic.'
JUPITER WHEN STOOD IN LINE WEIGHS IN AT NUMBER
99
O |
= |
6 |
- |
6 |
OSIRIS |
89 |
35 |
8 |
I |
= |
9 |
- |
4 |
ISIS |
56 |
20 |
2 |
S |
= |
1 |
- |
6 |
SIRIUS |
95 |
32 |
5 |
- |
- |
16 |
- |
16 |
First Total |
|
87 |
|
- |
- |
1+6 |
- |
1+6 |
Add to Reduce |
2+4+0 |
8+7 |
1+5 |
Q |
- |
7 |
- |
7 |
Second Total |
6 |
15 |
6 |
- |
- |
|
- |
|
Reduce to Deduce |
|
1+5 |
|
- |
- |
|
5 |
|
Essence of Number |
|
|
|
- |
16 |
|
S |
|
|
|
S |
- |
|
S |
|
S |
- |
S |
|
|
|
|
S |
|
|
|
|
|
|
|
- |
- |
|
- |
- |
6 |
1 |
9 |
|
9 |
1 |
- |
9 |
1 |
9 |
1 |
- |
1 |
9 |
|
9 |
|
1 |
|
|
|
6+6 |
|
|
1+2 |
|
|
|
- |
- |
15 |
19 |
9 |
|
9 |
19 |
- |
9 |
19 |
9 |
19 |
- |
19 |
9 |
|
9 |
|
19 |
|
|
|
1+8+3 |
|
|
1+2 |
|
|
|
- |
16 |
|
S |
|
|
|
S |
- |
|
S |
|
S |
- |
S |
|
|
|
|
S |
|
|
|
|
|
|
|
- |
- |
|
- |
- |
|
|
|
9 |
|
|
- |
|
|
|
|
- |
|
|
9 |
|
3 |
|
|
|
|
2+1 |
|
|
= |
|
|
|
- |
- |
|
|
|
18 |
|
|
- |
|
|
|
|
- |
|
|
18 |
|
21 |
|
|
|
|
5+7 |
|
|
1+2 |
|
|
|
- |
16 |
|
S |
|
|
|
S |
- |
|
S |
|
S |
- |
S |
|
|
|
|
S |
|
|
|
|
|
|
|
- |
- |
|
- |
- |
15 |
19 |
9 |
18 |
9 |
19 |
- |
9 |
19 |
9 |
19 |
- |
19 |
9 |
18 |
9 |
21 |
19 |
|
|
|
2+4+0 |
|
|
= |
|
|
|
- |
- |
6 |
1 |
9 |
9 |
9 |
1 |
- |
9 |
1 |
9 |
1 |
- |
1 |
9 |
9 |
9 |
3 |
1 |
|
|
|
8+7 |
|
|
1+5 |
|
|
|
- |
16 |
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
occurs |
x |
|
= |
6 |
= |
|
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
|
|
|
occurs |
x |
|
= |
3 |
= |
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|
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|
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- |
- |
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|
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|
|
|
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|
|
|
occurs |
x |
|
= |
6 |
= |
|
7 |
|
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- |
- |
|
8 |
|
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- |
- |
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- |
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- |
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|
|
occurs |
x |
|
= |
|
7+2 |
|
26 |
|
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
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|
|
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|
2+6 |
1+6 |
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
1+9 |
|
|
1+6 |
|
8+7 |
|
2+4 |
8 |
|
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
- |
6 |
1 |
|
|
|
1 |
- |
|
1 |
|
1 |
- |
1 |
|
|
|
3 |
1 |
|
|
1+0 |
|
|
|
|
1+5 |
- |
|
8 |
|
|
|
|
|
|
|
- |
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
16 |
|
S |
|
|
|
S |
- |
|
S |
|
S |
- |
S |
|
|
|
|
S |
|
|
|
|
|
|
|
- |
- |
|
- |
- |
6 |
1 |
9 |
|
9 |
1 |
- |
9 |
1 |
9 |
1 |
- |
1 |
9 |
|
9 |
|
1 |
|
|
|
6+6 |
|
|
1+2 |
|
|
|
- |
- |
15 |
19 |
9 |
|
9 |
19 |
- |
9 |
19 |
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9 |
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1+8+3 |
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1+2 |
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16 |
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18 |
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21 |
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3+9 |
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1+2 |
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1 |
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21 |
3 |
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1 |
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5 |
5 |
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1 |
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15 |
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3 |
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8 |
8 |
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1 |
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18 |
9 |
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3+9 |
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1+0+2 |
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3+9 |
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1+2 |
1+2 |
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21 |
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5 |
5 |
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1 |
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15 |
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3 |
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3+9 |
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1+2 |
1+2 |
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Orpheus - Wikipedia
https://en.wikipedia.org/wiki/Orpheus
Mythology - Orpheus is a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on ...
?Eurydice · Orphism (religion) ·Orpheus and Eurydice · Orpheus Monument
Orpheus
From Wikipedia, the free encyclopedia
Orpheus
DSC00355 - Orfeo (epoca romana) - Foto G. Dall'Orto.jpg
Roman mosaic depicting Orpheus, wearing a Phrygian cap and surrounded by the beasts charmed by the music of his lyre
Abode
Pimpleia, Pieria
Symbol
Lyre
Personal Information
Born
Pimpleia, Pieria
Died
Pangaion Hills, Macedonia, Greece
Spouse
Eurydice
Children
Musaeus
Parents
Oeagrus or Apollo and Calliope
Siblings
The Graces, Linus
Orpheus (/'??rfi?s, '??rfju?s/; Greek: ??fe??) is a legendary musician, poet, and prophet in ancient Greek religion and myth. The major stories about him are centered on his ability to charm all living things and even stones with his music, his attempt to retrieve his wife, Eurydice, from the underworld, and his death at the hands of those who could not hear his divine music. As an archetype of the inspired singer, Orpheus is one of the most significant figures in the reception of classical mythology in Western culture, portrayed or alluded to in countless forms of art and popular culture including poetry, film, opera, music, and painting.[1]
Orpheus was born as a son of the Muse Kalliope and the Thracian king Oeagrus in a cave between Pimpleia and Leivithra.[2]
For the Greeks, Orpheus was a founder and prophet of the so-called "Orphic" mysteries. He was credited with the composition of the Orphic Hymns, a collection of which only two have survived.[3] Shrines containing purported relics of Orpheus were regarded as oracles. Some ancient Greek sources note Orpheus' Thracian origins.[4]
Orpheus (left, with lyre) among the Thracians, from an Attic red-figure bell-krater (c. 440 BC)[5]
The earliest literary reference to Orpheus is a two-word fragment of the sixth-century BC lyric poet Ibycus: onomaklyton Orphen ("Orpheus famous-of-name"). He is not mentioned in Homer or Hesiod.[6] Most ancient sources accept his historical existence; Aristotle is an exception.[7][8]
Pindar calls Orpheus "the father of songs"[9] and identifies him as a son of the Thracian king Oeagrus[10] and the Muse Calliope.[11]
Greeks of the Classical age venerated Orpheus as the greatest of all poets and musicians; it was said that while Hermes had invented the lyre, Orpheus had perfected it. Poets such as Simonides of Ceos said that Orpheus' music and singing could charm the birds, fish and wild beasts, coax the trees and rocks into dance,[12] and divert the course of rivers. Orpheus was one of the handful of Greek heroes[13] to visit the Underworld and return; his music and song even had power over Hades.
Some sources credit Orpheus with further gifts to mankind: medicine, which is more usually under the aegis of Aesculapius or Apollo; writing,[14] which is usually credited to Cadmus; and agriculture, where Orpheus assumes the Eleusinian role of Triptolemus as giver of Demeter's knowledge to mankind. Orpheus was an augur and seer; he practiced magical arts and astrology, founded cults to Apollo and Dionysus[15] and prescribed the mystery rites preserved in Orphic texts. Pindar and Apollonius of Rhodes[16] place Orpheus as the harpist and companion of Jason and the Argonauts. Orpheus had a brother named Linus, who went to Thebes and became a Theban.[17] He is claimed by Aristophanes and Horace to have taught cannibals to subsist on fruit, and to have made lions and tigers obedient to him. Horace believed, however, that Orpheus had only introduced order and civilization to savages.[18]
Bertrand Russell noted:[19]
The Orphics were an ascetic sect; wine, to them, was only a symbol, as, later, in the Christian sacrament. The intoxication that they sought was that of "enthusiasm," of union with the god. They believed themselves, in this way, to acquire mystic knowledge not obtainable by ordinary means. This mystical element entered into Greek philosophy with Pythagoras, who was a reformer of Orphism as Orpheus was a reformer of the religion of Dionysus. From Pythagoras Orphic elements entered into the philosophy of Plato, and from Plato into most later philosophy that was in any degree religious.
Strabo[20] (64 BC – c. AD 24) presents Orpheus as a mortal, who lived and died in a village close to Olympus. "Some, of course, received him willingly, but others, since they suspected a plot and violence, combined against him and killed him." He made money as a musician and "wizard" – Strabo uses agurteúonta (a???te???ta),[21] also used by Sophocles in Oedipus Tyrannus to characterize Teiresias as a trickster with an excessive desire for possessions. Agúrtes (a???t??) most often meant charlatan[22] and always had a negative connotation. Pausanias writes of an unnamed Egyptian who considered Orpheus a mágeuse (µ??e?se), i.e., magician.[23][non-primary source needed]
Mythology[edit]
Important sites in the life and travels of Orpheus
Early life[edit]
According to Apollodorus[24] and a fragment of Pindar,[25] Orpheus' father was Oeagrus, a Thracian king; or, according to another version of the story, the god Apollo. His mother was the muse Calliope; or, a daughter of Pierus,[26] son of Makednos. His birthplace and place of residence was in Pimpleia,[27][28][29] Olympus. In Argonautica the location of Oeagrus and Calliope's wedding is close to Pimpleia,[30] near Olympus.[29][31] While living with his mother and her eight beautiful sisters in Parnassus,[32] he met Apollo, who was courting the laughing muse Thalia. Apollo, as the god of music, gave Orpheus a golden lyre and taught him to play it. Orpheus' mother taught him to make verses for singing. Strabo mentions that he lived in Pimpleia.[29] He is also said to have studied in Egypt.[33]
According to Diodorus Siculus, Musaeus of Athens was the son of Orpheus.[34]
Orpheus is said to have established the worship of Hecate in Aegina.[35] In Laconia Orpheus is said to have brought the worship of Demeter Chthonia[36] and that of the Kores Soteiras (Greek,???e? S?te??a?) savior maid.[clarification needed][37] Also in Taygetus a wooden image of Orpheus was said to have been kept by Pelasgians in the sanctuary of the Eleusinian Demeter.[38]
Travelling as an Argonaut[edit]
Main article: Argonautica
The Argonautica (Greek: ?????a?t???) is a Greek epic poem written by Apollonius Rhodius in the 3rd century BC. Orpheus took part in this adventure and used his skills to aid his companions. Chiron told Jason that without the aid of Orpheus, the Argonauts would never be able to pass the Sirens—the same Sirens encountered by Odysseus in Homer's epic poem the Odyssey. The Sirens lived on three small, rocky islands called Sirenum scopuli and sang beautiful songs that enticed sailors to come to them, which resulted in the crashing of their ships into the islands. When Orpheus heard their voices, he drew his lyre and played music that was louder and more beautiful, drowning out the Sirens' bewitching songs. According to 3rd century BC Hellenistic elegiac poet Phanocles, Orpheus loved the young Argonaut Calais, "the son of Boreas, with all his heart, and went often in shaded groves still singing of his desire, nor was his heart at rest. But always, sleepless cares wasted his spirits as he looked at fresh Calais."[39][40]
Death of Eurydice[edit]
Orpheus with the lyre and surrounded by beasts (Byzantine & Christian Museum, Athens)
See also: Descent to the underworld
The most famous story in which Orpheus figures is that of his wife Eurydice (sometimes referred to as Euridice and also known as Argiope). While walking among her people, the Cicones, in tall grass at her wedding, Eurydice was set upon by a satyr. In her efforts to escape the satyr, Eurydice fell into a nest of vipers and suffered a fatal bite on her heel. Her body was discovered by Orpheus who, overcome with grief, played such sad and mournful songs that all the nymphs and gods wept. On their advice, Orpheus travelled to the underworld. His music softened the hearts of Hades and Persephone, who agreed to allow Eurydice to return with him to earth on one condition: he should walk in front of her and not look back until they both had reached the upper world. He set off with Eurydice following, and, in his anxiety, as soon as he reached the upper world, he turned to look at her, forgetting that both needed to be in the upper world, and she vanished for the second time, but now forever.
The story in this form belongs to the time of Virgil, who first introduces the name of Aristaeus (by the time of Virgil's Georgics, the myth has Aristaeus chasing Eurydice when she was bitten by a serpent) and the tragic outcome.[41] Other ancient writers, however, speak of Orpheus' visit to the underworld in a more negative light; according to Phaedrus in Plato's Symposium,[42] the infernal gods only "presented an apparition" of Eurydice to him. In fact, Plato's representation of Orpheus is that of a coward, as instead of choosing to die in order to be with the one he loved, he instead mocked the gods by trying to go to Hades to bring her back alive. Since his love was not "true"—he did not want to die for love—he was actually punished by the gods, first by giving him only the apparition of his former wife in the underworld, and then by being killed by women. Ovid says that Eurydice's death was not caused by fleeing from Aristaeus but by dancing with naiads on her wedding day.
Virgil wrote in his poem that Dryads wept from Epirus and Hebrus up to the land of the Getae (north east Danube valley) and even describes him wandering into Hyperborea and Tanais (ancient Greek city in the Don river delta)[43] due to his grief.
The story of Eurydice may actually be a late addition to the Orpheus myths. In particular, the name Eurudike ("she whose justice extends widely") recalls cult-titles attached to Persephone. According to the theories of poet Robert Graves, the myth may have been derived from another Orpheus legend, in which he travels to Tartarus and charms the goddess Hecate.[44]
The myth theme of not looking back, an essential precaution in Jason's raising of chthonic Brimo Hekate under Medea's guidance,[45] is reflected in the Biblical story of Lot's wife when escaping from Sodom. More directly, the story of Orpheus is similar to the ancient Greek tales of Persephone captured by Hades and similar stories of Adonis captive in the underworld. However, the developed form of the Orpheus myth was entwined with the Orphic mystery cults and, later in Rome, with the development of Mithraism and the cult of Sol Invictus.
Thracian Girl Carrying the Head of Orpheus on His Lyre by Gustave Moreau (1865)
Death[edit]
According to a Late Antique summary of Aeschylus' lost play Bassarids, Orpheus, towards the end of his life, disdained the worship of all gods except the sun, whom he called Apollo. One early morning he went to the oracle of Dionysus at Mount Pangaion[46] to salute his god at dawn, but was ripped to shreds by Thracian Maenads for not honoring his previous patron (Dionysus) and buried in Pieria.[15][47] Here his death is analogous with that of Pentheus, who was also torn to pieces by Maenads; and it has been speculated that the Orphic mystery cult regarded Orpheus as a parallel figure to or even an incarnation of Dionysus.[48] Both made similar journeys into Hades, and Dionysus Zagreus suffered an identical death.[49] Pausanias writes that Orpheus was buried in Dion and that he met his death there.[50] He writes that the river Helicon sank underground when the women that killed Orpheus tried to wash off their blood-stained hands in its waters.[51]
Ovid recounts that Orpheus .. had abstained from the love of women, either because things ended badly for him, or because he had sworn to do so. Yet, many felt a desire to be joined with the poet, and many grieved at rejection. Indeed, he was the first of the Thracian people to transfer his affection to young boys and enjoy their brief springtime, and early flowering this side of manhood.
—?Ovid. trans. A. S. Kline, Ovid: The Metamorphoses, Book X
Feeling spurned by Orpheus for taking only male lovers, the Ciconian women, followers of Dionysus,[52] first threw sticks and stones at him as he played, but his music was so beautiful even the rocks and branches refused to hit him. Enraged, the women tore him to pieces during the frenzy of their Bacchic orgies.[53] In Albrecht Dürer's drawing of Orpheus' death, based on an original, now lost, by Andrea Mantegna, a ribbon high in the tree above him is lettered Orfeus der erst puseran ("Orpheus, the first pederast").[54]
Death of Orpheus, by Dürer (1494)
His head and lyre, still singing mournful songs, floated down the swift Hebrus to the Mediterranean shore. There, the winds and waves carried them on to the Lesbos shore,[55] where the inhabitants buried his head and a shrine was built in his honour near Antissa;[56] there his oracle prophesied, until it was silenced by Apollo.[57] In addition to the people of Lesbos, Greeks from Ionia and Aetolia consulted the oracle, and his reputation spread as far as Babylon.[58]
Cave of Orpheus' oracle in Antissa, Lesbos
The lyre was carried to heaven by the Muses, and was placed among the stars. The Muses also gathered up the fragments of his body and buried them at Leibethra[59] below Mount Olympus, where the nightingales sang over his grave. After the river Sys flooded[60] Leibethra, the Macedonians took his bones to Dion. Orpheus' soul returned to the underworld where he was reunited at last with his beloved Eurydice.
Another legend places his tomb at Dion,[46] near Pydna in Macedon. In another version of the myth, Orpheus travels to Aornum in Thesprotia, Epirus to an old oracle for the dead. In the end Orpheus commits suicide from his grief unable to find Eurydice.[61]
Another account relates that he was struck with lightning by Zeus for having lied about the stories and the mysteries of the gods.
Orphic poems and rites[edit]
Nymphs Finding the Head of Orpheus by John William Waterhouse
Main article: Orphism (religion)
A number of Greek religious poems in hexameters were attributed to Orpheus, as they were to similar miracle-working figures, like Bakis, Musaeus, Abaris, Aristeas, Epimenides, and the Sibyl. Of this vast literature, only two examples survived whole: a set of hymns composed at some point in the second or third century, and an Orphic Argonautica composed somewhere between the fourth and sixth centuries. Earlier Orphic literature, which may date back as far as the sixth century BC, survives only in papyrus fragments or in quotations. Some of the earliest fragments may have been composed by Onomacritus.[62]
Nymphs Listening to the Songs of Orpheus, 1853 by Charles Jalabert
In addition to serving as a storehouse of mythological data along the lines of Hesiod's Theogony, Orphic poetry was recited in mystery-rites and purification rituals. Plato in particular tells of a class of vagrant beggar-priests who would go about offering purifications to the rich, a clatter of books by Orpheus and Musaeus in tow.[63] Those who were especially devoted to these rituals and poems often practiced vegetarianism and abstention from sex, and refrained from eating eggs and beans — which came to be known as the Orphikos bios, or "Orphic way of life".[64]
The Derveni papyrus, found in Derveni, Macedonia (Greece) in 1962, contains a philosophical treatise that is an allegorical commentary on an Orphic poem in hexameters, a theogony concerning the birth of the gods, produced in the circle of the philosopher Anaxagoras, written in the second half of the fifth century BC. Fragments of the poem are quoted making it "the most important new piece of evidence about Greek philosophy and religion to come to light since the Renaissance".[65] The papyrus dates to around 340 BC, during the reign of Philip II of Macedon, making it Europe's oldest surviving manuscript.
The historian William Mitford wrote in 1784 that the very earliest form of a higher and cohesive ancient Greek religion was manifest in the Orphic poems.[66]
W. K. C. Guthrie wrote that Orpheus was the founder of mystery religions and the first to reveal to men the meanings of the initiation rites.[67
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MORPHEUS - Greek God or Spirit of the Dreams of Kings
www.theoi.com › Greek Gods
In Greek mythology Morpheus was the leader of the Oneiroi, the personified spirits (daimones) of dreams. He was a messenger of the gods who appeared in the ...
MORPHEUS was the leader of the Oneiroi, the personified spirits (daimones) of dreams. He was a messenger of the gods who appeared in the dreams of kings in human guise.
Morpheus was probably equated with the unnamed dream-spirit sent by Zeus to deliver a message to King Agamemnon in the Iliad (see the Oneiroi page)
FAMILY OF MORPHEUS
PARENTS
HYPNOS (Ovid Metamorphoses 11.592)
ENCYCLOPEDIA
MORPHEUS (Morpheus), the son of Sleep, and the god of dreams. The name signifies the fashioner or moulder, because he shaped or formed the dreams which appeared to the sleeper. (Ov. Met. xi. 635.)
Source: Dictionary of Greek and Roman Biography and Mythology.
CLASSICAL LITERATURE QUOTES
Ovid, Metamorphoses 11. 585 ff (trans. Melville) (Roman epic C1st B.C. to C1st A.D.) :
"[Hera commands the messenger Iris summon Dream :] ‘Iris (Rainbow), my voice's trustiest messenger, hie quickly to the drowsy hall of Somnus (Sleep) [Hypnos], and bid him send a Dream of Ceyx drowned to break the tidings to [his wife] Alcyone.'
Then Iris, in her thousand hues enrobed traced through the sky her arching bow and reached the cloud-hid palace of the drowsy king [the God of Sleep] . . . Around him everywhere in various guise lie empty Somnia (Dreams) [Oneiroi], countless as ears of corn at harvest time or sands cast on the shore or leaves that fall upon the forest floor.
There Iris entered, brushing the Somnia (Dreams) aside, and the bright sudden radiance of her robe lit up the hallowed place; slowly the god his heavy eyelids raised, and sinking back time after time, his languid drooping head nodding upon his chest, at last he shook himself out of himself, and leaning up he recognized her and asked why she came, and she replied : ‘Somnus (Sleep) [Hypnos], quietest of the gods, Somnus, peace of all the world, balm of the soul, who drives care away, who gives ease to weary limbs after the hard day's toil and strength renewed to meet the morrow's tasks, bid now thy Dreams, whose perfect mimicry matches the truth, in Ceyx's likeness formed appear in Trachis to Alcyone and feign the shipwreck and her dear love drowned. So Juno [Hera] orders.’
Then, her task performed, Iris departed, for she could no more endure the power of Somnus, as drowsiness stole seeping through her frame, and fled away back o'er the arching rainbow as she came. The father Somnus (Sleep) chose from among his sons, his thronging thousand sons, one who in skill excelled to imitate the human form; Morpheus his name, than whom none can present more cunningly the features, gait and speech of men, their wonted clothes and turn of phrase. He mirrors only men; another forms the beasts and birds and the long sliding snakes. The gods have named him Icelos; here below the tribe of mortals call him Phobetor. A third, excelling in an art diverse, is Phantasos; he wears the cheating shapes of earth, rocks, water, trees--inanimate things. To kings and chieftains these at night display their phantom features; other dreams will roam among the people, haunting common folk. All these dream-brothers the old god passed by and chose Morpheus alone to undertake Thaumantias' [Iris'] commands; then in sweet drowsiness on his high couch he sank his head to sleep.
Soon through the dewy dark on noiseless wings flew Morpheus and with brief delay arrived at Trachis town and, laying his wings aside, took Ceyx's [ghostly] form and face and, deathly pale and naked, stood beside the poor wife's bed. His beard was wet and from his sodden hair the sea-drips flowed; then leaning over her, weeping, he said : ‘Poor, poor Alcyone! Do you know me, your Ceyx? Am I changed in death? Look! Now you see, you recognize--ah! Not your husband but your husband's ghost. Your prayers availed me nothing. I am dead. Feed not your heart with hope, hope false and vain. A wild sou'wester in the Aegaeum sea, striking my ship, in its huge hurricane destroyed her. Over my lips, calling your name--calling in vain--the waters washed. These tidings no dubious courier brings, no vague report: myself, here, shipwrecked, my own fate reveal. Come, rise and weep! Put on your mourning! Weep! Nor unlamented suffer me to join the shadowy spirits of Tartara (the Underworld).’
So Morpheus spoke, spoke too in such a voice as she must think her husband's (and his tears she took for true), and used her Ceyx' gestures. Asleep, she moaned and wept and stretched her arms to hold him, but embraced the empty air. ‘Oh wait for me!’ she cried, ‘Why haste away? I will come too.’
Roused by her voice's sound and by her husband's ghost, now wide awake, she looked . . . but found him nowhere . . . She cried, ‘. . . He is dead, shipwrecked and drowned. I saw him, knew him, tried to hold him--as he vanished--in my arms. He was a ghost, but yet distinct and clear, truly my husband's ghost, though to be sure his face was changed, his shining grace was gone. Naked and deathly pale, with dripping hair, I saw him--woe is me!’"
[N.B. Ovid uses the original Greek names for the three gods of dreams.]
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21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
39 |
|
7 |
|
102 |
48 |
39 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
|
8 |
|
115 |
52 |
43 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8+2 |
|
1+5 |
Add to Reduce |
2+1+7 |
1+0+0 |
8+2 |
|
|
|
|
|
1+0 |
1+2 |
1+4 |
1+6 |
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
1+0 |
|
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
|
8 |
|
115 |
52 |
43 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8+2 |
|
1+5 |
Add to Reduce |
2+1+7 |
1+0+0 |
8+2 |
|
|
|
|
|
1+0 |
1+2 |
1+4 |
1+6 |
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
1+0 |
|
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
|
8 |
|
115 |
52 |
43 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8+2 |
|
1+5 |
Add to Reduce |
2+1+7 |
1+0+0 |
8+2 |
|
|
|
|
|
1+0 |
1+2 |
1+4 |
1+6 |
1+8 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
1+0 |
|
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
|
|
6 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
14 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
|
|
|
8 |
1 |
|
13 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
43 |
|
8 |
|
115 |
52 |
43 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8+2 |
|
1+5 |
Add to Reduce |
2+1+7 |
1+0+0 |
8+2 |
|
|
|
|
|
1+0 |
1+2 |
1+4 |
1+6 |
1+8 |
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
|
|
Reduce to Deduce |
1+0 |
|
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
KEEPER OF GENESIS
Robert Bauval Graham Hancock 1996
Page 252
Chapter 16
Message in a Bottle?
'We have reached this fascinating point in
our evolution. . . we have reached the time
when we know we can talk to each other
across the distances between the stars. . . '
Dr John Billingham, NASA Ames Research Center, 1995
"Together with the ancient texts and rituals that are linked to them, could the vast monuments of the Giza necropolis have been designed to transmit a message from one culture to another - a message not across space, but across time?
Egyptologists reply to such questions by rolling their eyes and hooting derisively, Indeed they would not be 'Egyptologists' (or at any rate they could not long remain within that profession) if they reacted with anything other than scorn and disbelief to suggestions that the necropolis might be more than a cemetery, that the Great Sphinx might significantly predate the epoch of 2500 BC, and that the Pyramids might not be just 'royal tombs'. By the same token, no self- respecting Egyptologist would be prepared to consider, even for a moment, the outlandish possibility that some sort of mysterious 'message' might have been encoded into the monuments.
So whom should we turn to for advice when confronted by what we suspect may be a message from a civilization so far distant from us in time as to be almost unknowable?
Anti-cipher
The only scientists actively working on such problems today are those involved in the Search for Extraterrestrial Intelligence - SETI for
/ Page 253 /
short. They endlessly sweep the heavens for messages from distant civilizations and they have therefore naturally had to give some thought to what might happen if they ever did identify such a message. According to Dr Philip Morisson of the Massachusetts Institute of Technology:
To begin with we would know very little about it. If we received it we would not understand what we're getting. But we would have an unmistakable signal, full of structure, full of challenge. The best people would try to decode it, and it will be easy to do because those who have constructed it would have made it easy to decode, otherwise there's no point. This is anti-cryptography: 'I want to make a message for you, who never got in touch with any symbols of mine, no key no clue, nevertheless you'll be able to read it . . .' I would have to fill it full of clues and unmistakable clever devices. . .1
In his book, Cosmos, Professor Carl Sagan of Cornell University makes much the same point - and does so, curiously enough, with reference to the ancient Egyptian hieroglyphic system. He explains that the 'Egyptian hieroglyphics are, in significant part, a simple substitution cipher. But not every hieroglyph is a letter or syllable. Some are pictographs. . .' When it came to translation, this 'mix of letters and pictographs caused some grief for interpreters. . .' In the early nineteenth century, however, a breakthrough was made by the French scholar Champollion who deciphered the famous 'Rosetta Stone', a slab of black basalt bearing identical inscriptions in Egyptian hieroglyphics and in Greek. Since Champollion could read the Greek, all he needed was some kind of 'key' to relate specific hieroglyphs to specific Greek words or letters. This key was provided by the constant repetition in the Greek text of the name of Pharaoh Ptolemy V and an equal number of repetitions in the Egyptian text of a distinctive oblong enclosure - known as a cartouche - containing a repeated group of hieroglyphs. As Sagan comments:
The cartouches were the key. . . almost as though the Pharaohs of Egypt had circled their own names to make the going easier for Egyptologists two thousand years in the future. . . What a joy it must have been [for Champollion] to open this one-way communication channel with another civilization, to permit a culture that had been
/ Page 254 /
mute for millennia to speak of its history, magic, medicine, religion, politics and philosophy.2
Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says:
we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood? Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as possible. But how could they? 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.3
It seems to us that if there is indeed a very ancient 'message' at Giza then it is likely to be expressed in the language of science and mathematics that Sagan identifies - and for the same reason. Moreover, given its need to continue 'transmitting' coherently across thousands of years (and chasms of cultural change), we think that the composer of such a message would be likely to make use of the Precession of the Equinoxes, the one particular 'law of Nature' that can be said to govern, and measure - and identify - long periods of terrestrial time.
Durable vehicles
The Pyramids and the Great Sphinx at Giza are, above all else, as elegant, as complex, as internally consistent and as utterly 'alien' as the extraterrestrial intelligence that Sagan envisages (alien in the sense of the tremendous, almost superhuman scale of these structures and of their uncanny - and in our terms apparently unnecessary - precision).
Moreover, returning briefly to Dr Philip Morisson's remarks quoted earlier, we think that the Giza necropolis also qualifies rather well for the description 'packed full of clues and unmistakable clever devices'.4 Indeed, it seems to us that a truly astonishing quantum of
/ Page 255 /
ingenuity was invested by the Pyramid builders to ensure that the four fundamental aspects of an 'unmistakable' message were thoroughly elaborated here:
1 the creation of durable, unequivocal markers which could serve as beacons to inflame the curiosity and engage the intelligence of future generations of seekers;
2 the use of the 'common language' of precessional astronomy;
3 the use of precessional co-ordinates to signal specific time- referents linking past to present and present to future;
4 Cunningly concealed store-rooms, or 'Halls of Records' that could only be found and entered by those who were fully initiated in the 'silent language' and thus could read and follow its clues.
In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context is understood, we have also to consider the amazing profusion of funerary texts that have come down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources.5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must follow.
We recall a remark made by Giorgio de Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual story-tellers.6 In other words as long as a myth continues to be told true, it will also continue to transmit any higher message that may be concealed within its structure - even if neither the teller nor the hearer understands that message.
So, too, we suspect, with the ancient Egyptian funerary texts. We would be surprised if the owners of many of the coffins and tomb walls onto which they were copied had even the faintest inkling that specific astronomical observations and directions were being dupli- cated at their expense. What motivated them was precisely what the texts offered - the lure of immortal life. Yet by taking that lure did they not in fact guarantee a kind of immortality for the texts themselves? Did they not ensure that so many faithful copies would
/ Page 256 /
be made that some at least would be bound to survive for many thousands of years?
We think that there were always people who understood the true 'science of immortality' connected to the texts, and who were able to read the astronomical allegories in which deeper secrets, not granted to the common herd, lay concealed. We presume that these people were once called the 'Followers of Horus', that they operated as an invisible college behind the scenes in Egyptian prehistory and history, that their primary cult centre was at Giza-Heliopolis, and that they were responsible for the initiation of kings and the realization of blueprints. We also think that the timetables they worked to - and almost everything of significance that they did - was in one way or another written in the stars.
Hints and memories
The powerfully astronomical character of the Giza necropolis, although ignored by Egyptologists, has been recognized by open- minded and intuitive researchers throughout history. The Hermetic Neoplatonists of Alexandria, for example, appear to have been acutely sensitive to the possibility of a 'message' and were quick to discern the strong astral qualities of the textual material and the monuments.' 7 The scholar Proclus (fifth century AD) also acknowledged that the Great Pyramid was astronomically designed - and with certain specific stars in mind. Indeed, in his commentary on Plato's Timaeus (which deals with the story of the lost civilization of 'Atlantis'), Proclus reported strangely that 'the Great Pyramid was used as an observation for Sirius'.8
Vague memories of an astronomically constructed 'message' at Giza appear to have filtered down to the Middle Ages. At any rate the Arab chroniclers in this period spoke of the Great Pyramid as 'a temple to the stars' and frequently connected it to the Biblical 'Flood' which they dated to circa 10,300 BC.9 Also of relevance is a report written by the Arab geographer Yakut al Hamawi (eleventh century AD) to the effect that the star-worshippers of Harran, the Sabians (whose 'holy books' were supposedly the writings ofThoth-Hermes) came at that time on special pilgrimages to the Pyramids at Giza.10 It
/ Page 257 /
has also been pointed out that the very name of the Sabians - in Arabic Sa' Ba - almost certainly derived from the ancient Egyptian word for star, i.e. Sba..11 And the reader will recall from Part I that as far back as the early second millennium BC - i.e. almost three thousand years before Yakut al Hamawi left us his report connecting the Sabians to the Pyramids - pilgrims from Harran are known to have visited the Sphinx which they worshipped as a god under the name Hwl.12
In the seventeenth century, the British mathematician Sir Isaac Newton became deeply interested in the Great Pyramid and wrote a dissertation on its mathematical and geodetic qualities based on data that had been gathered at Giza by Dr John Greaves, the Savillian Professor of Astronomy at Oxford.13 Later, in 1865 the Astronomer Royal of Scotland, Charles Piazzi Smyth, launched an investigation into the Great Pyramid which he was convinced was an instrument of prophecy that incorporated a Messianic 'message'. It was Piazzi Smyth who first accurately measured and demonstrated the intense polar and meridional alignments of the monument, the precision of which he assigned to sightings of the ancient Pole star, Alpha Draconis.14
In the first half of the twentieth century, a succession of eminent astronomers - such as Richard Proctor, Eugene Antoniadi, Jean Baptiste Biot and Norman Lockyer - made persistent attempts to draw attention to the astronomical qualities of the Giza monuments. Their efforts, however, had little impact on professional Egyptolo-gists who by this time felt that they had got the whole intellectual business of the necropolis 'wrapped up' (it was a cemetery), did not understand astronomy at all (and claimed that the ancient Egyptians didn't either), and routinely ganged up to debunk, deride or simply ignore any astronomical 'theories' which diverged from their consensus.
Despite this hostile intellectual climate, we are of the opinion at the end of our own research that the big question is no longer whether the monuments of Giza were designed to express key astronomical and mathematical principles, but why.
Once again, the clue may lie in the narrow star-shafts of the Great Pyramid.
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The language of the stars
The first major breakthrough in understanding the function of the Great Pyramid's shafts was made in. the summer of 1963 by the American astronomer Virginia Trimble and the Egyptologist-architect, Dr Alexander Badawy. It came about because they decided to follow up Badawy's 'hunch' that the shafts might not be 'ventilation channels' as Egyptologists supposed, 15 but might instead prove to have a symbolic function related to the astral rituals of the Pyramid builders. Virginia Trimble was able to buttress her colleague's intuition by showing that the shafts from the King's Chamber had pointed, in the epoch of 2500 BC, to major star systems that were of crucial importance to the Pyramid builders. As readers will recall from Part I, the northern shaft had been targeted on Alpha Draconis - the Pole Star in the Pyramid Age - and the southern shaft had been targeted on Orion's belt.16
Today Virginia Trimble is a senior professor of astronomy at UCLA and the University of Maryland and is also the Vice-President of the American Astronomical Society. Her views, as well as being enlightened by a comprehensive grasp of astronomy, accord fully with common sense:
Which constellations the Egyptians saw in the sky is still something of a mystery. . . but they had one constellation that was an erect standing man, Osiris, the god. And the one constellation that looks like a standing man to everyone is Orion, and the identification between a deceased Pharaoh and the god Osiris made Orion immediately a candidate for a shaft whose sole purpose was to enable the soul of the Pharaoh to communicate between earth and sky. . .17
When we met Virginia Trimble we immediately realized we were in the presence of an acute and formidable thinker. Alexander Badawy had passed away in the late 1980s yet she remained undaunted. She had concluded that the shafts were astronomically aligned, she said, and that they had an astronomical function, because logic and evidence dictated that this was the case.
Trimble's views have won general acceptance amongst senior astronomers. To give one recent example, Dr Mary Bruck of Edinburgh, writing in the Journal of the British Astronomical
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Association in 1995, had this to say about the shafts: 'Their alignments are ... compatible with the hypothesis that they indicate the culmination of certain important stars around the 25th century BC . . . The addition of a Sirius shaft [southern shaft of the Queen's Chamber] to the Orion one strongly supports the claim that they have an astronomical significance.' 18
Thought-tools
We suggest that one of the major objectives of the unseen academy, whose members were known as the 'Followers of Horus', was to 'fix' the epoch of 2500 BC (i.e. 4500 years before the present) by using the Great Pyramid, its precisely angled shafts, and the stars of Orion's belt. We suggest that they envisaged those stars rather like the gauge of a gigantic sliding scale set across the south meridian. Once this 'thought-tool' was in place all they needed to do in order to determine a date either in the past or in the future was mentally to 'slide' the belt up or down the meridian from the 'zero point' targeted by the southern shaft of the King's Chamber.
We also suggest that a second and somewhat similar 'thought-tool' was attached to the ecliptic (the apparent annual path of the sun through the twelve constellations of the zodiac). Here the gauge was the vernal point. By mentally sliding it to the left (east) or to the right (west) of a 'fixed' marker on the ecliptic the 'Followers of Horus' would once again have been able to determine and denominate either a past date or a date in the future. . .
In our own epoch, circa AD 2000, the vernal point is poised to enter the sign or 'Age' of Aquarius. For a little over 2000 years it has been passing through Pisces (160 BC to AD 2000) and before that it was in Aries (2320 BC to 160 BC).ln the Pyramid Age the vernal point slowly swept through Taurus (4480 BC to 2320 BC). Going further back we reach the 'Ages' of Gemini (6640 BC to 4480 BC) and then Cancer (8800 BC to 6640 BC). After six 'Great Months' we reach the Age of Leo (10,960BC to 8800 BC).
Now imagine that we find an ancient document at Giza which states that it was composed when the vernal point was in the sign of the Ram - i.e. when the sun on the spring equinox rose against the
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stellar background of the constellation of Aries. Armed with this information all that we can do is roughly bracket the document's date as being somewhere between 2320 BC and 160 BC. What we need in order to arrive at a more precise chronology is some means to 'fine-tune' the vernal point. It is here that the specific utility of the sliding scale at the meridian becomes apparent because if the ancient document not only stated which zodiacal sign housed the vernal point but also advised that the lowest star of Orion's belt crossed the meridian at an altitude of 50 degrees above the horizon then we would be able, using precession, to calculate with great accuracy that the date in question must be very near 1400 BC.19
The Pyramid Age occurred when the vernal point was in Taurus and, as we have seen, the fine-tuning permitted by the 45-degree angle of the Great Pyramid's 'Orion shaft' draws particular attention to the date of 2500 BC. With this date, 4500 years before the present, we can use precession to calculate the exact position of the vernal point - which, as the reader will recall, was near the head of the Hyades-Taurus at that time, close to the right (i.e. west) bank of the Milky Way.
The reader will also not have forgotten that this is the 'address' given in the Pyramid Texts as the starting point for the cosmic journey of the solar Horus-King. It is here that he receives his instructions to board the solar-bark and 'sail' across the Milky Way towards the 'horizon' to meet up with Horakhti. His direction of travel is, therefore, eastwards, i.e. to the left of the vernal point. In terms of the chronology of the 'Great Year' of precession (as distinct from the solar year), this means that the Horus-King is now poised to travel back in time towards the age of Leo-Horakhti and to a specific spot on the ecliptic path - 'The Splendid Place of the "First Time" ', . . . 'the place more noble than any place'.20
But where is that place? How is the Horus-King (initiate, seeker) to find it in the 2160-year, 30-degree swathe that the constellation of Leo occupies on the ecliptic?
The answer is that he would have to use the gauge of Orion's belt at the meridian to fine-tune the exact place of the vernal point and hence also to arrive at an exact date. In his mind's eye he would have to slide
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the belt 'down' the meridian to its 'First Time' and then see how far to the east that operation had 'pushed' the vernal point along the ecliptic.
Wherever that place was would be the celestial destination that the 'Followers of Horus' were urging him to reach.
And it would, of course, have its counterpart on the ground at Giza, in the vicinity of the lion-bodied Sphinx. "
THE
LIONS IN HIS LOINS
THE
HOURS OF HORUS
MIN DOTH DREAM WHAT DOTH MIN MEAN
- |
MIND |
- |
- |
- |
3 |
|
36 |
18 |
|
1 |
|
4 |
4 |
|
|
MIND |
|
|
|
|
- |
4+0 |
2+2 |
1+3 |
|
MIND |
|
|
|