THE LIGHT IS RISING NOW RISING IS THE LIGHT
....
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LIGHT AND LIFE
Lars Olof Bjorn 1976
Page 197
"By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."
"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"
DNA AND DNA DNA AND DNA DNA AND DNA
DNA AND DNA DNA AND DNA DNA AND DNA
"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER
ONE MAY PUT DOWN ALMOST ANY MESSAGE"
FINGERPRINTS OF THE GODS
A QUEST FOR THE BEGINNING AND THE END
Graham Hancock 1995
Chapter 32
Speaking to the Unborn
Page 285
"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?
A message in the bottle of time
'Of all the other stupendous inventions,' Galileo once remarked,
what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3
If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
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.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as
we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."
"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"
"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"
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THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY
THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE
AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED
THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF
THE
ALPHABET
IS
GIVEN
A
NUMERICAL
VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS
REARRANGING THEM IN ENDLESS CONFIGURATIONS
THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
....
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"
DAILY MAIL
Thursday, December 1, 2005
James Mills
HAS THIS MAN SOLVED THE GREAT TENSQUARE TEASER?
Ted Clarke within a whisker of Immortality
The ultimate in word weaving . . . but 'nonsevent' could make it a non event
" IT is, more fiendish than any
Countdown conundrum, more
mind-bogglingly frustrating than
the most cryptic of crosswords.
The idea is to fill a grid with ten
words, each containing ten letters,
which read the same across as down.
Known as a tensquare, the puzzle has been around for centuries and has stumped anyone who has ever tried to solve it - even those armed with a computer program.
But now a retired aircraft design engineer from Cornwall claims to have cracked it well, almost.
Ted Clarke, 79, has come up with a solution which - by his own admission - is not
perfect,.but comes closer than. any other that has so far been found.
He has achieved it by including one word - nonesevent- which is now the subject, of a heated-debate among word puzzle experts around the world.
Mr Clarke, says nonesevent means an event occurring on. the nones - the ninth day before the Ides of March in the ancient Roman calendar.
Unfortunately, it does.not;appear in any
dictionary. 'Finding the perfect tensquare is so extraordinarily difficult that it is widely accepted that the boundaries of. language liave to be stretched a little,' Mr Clarke said yesterday.
'They. say that anyone who comes with the perfect solution will be immortalised.
'Well I don't. claim to have made nyself immortal, but I think I have come withiin a whisker of it - and certainly closer than
anyone else',
'Others have done it by pushing
together names such. as Kevin Brown, or
repeating .the same words twice.. But no one has ever created a tensquare using ten different recognisable words, and possibly they never will.
'Not perfect, but it's the best yet'
Ross Eckler, editor of Word Ways magazine,in the United States, and New Zealander Jeff Grant, a Scrabble fanatic who has spent the past 30 years trying to crack the problem, have accepted all Mr Clarke's words besides nonesevent.
Six of the words can be found in various dictionaries. These are discussing; incantator, scarlatina, carnitines, unlikeness and itinerates.
Two others - satinweave and grassnest - are technically two words, but are often
used as one these days. Satinweave is a type of fabric and grassnest is a bird's
nest made of grass.
The remaining word, statewren, is also a little dubious. According'to Mr Clarke, it refers to a number of wrens which are
the symbols of American states, such as South Carolina.
Puzzleexpert Tony Augarde, who compiled the Oxford Guide to Word Games, said Mr Clarke's is the best tensquare he has ever seen. 'It's not perfect, but it's the best yet,' he added.
'Some of the words in Mr Clarke's square are not well known -put it. depend,s on your definition of what language is.'Mr Clarke has pushed the boundaries
of language, but who is to say what is a word and what isn't?'
The first word squares were constructed in ancient Greece as far back as 600BC and are the forerunners of the modern crossword.
A five-word square was found carved, on stone in the ruins of Pompeii, dating from tlie first century AD.
The game was developed in England in the19th Century to include 'across' clues an in 1913 the first crossword was published in the New York World newspaper, Word squares using more than six letter words are extremely difficult to construct. . . . . . . . . . . . . . . A number of seven-word squares using recognisable 'Words have been created, but squares using eight or nine-letter words. require the use of obscure or
archaic words and a computer program.
Other tensquares have been created in the past, but have fallen short of the ideal that foreign words should not be used in an English-language puzzle.
Thus, one tensquare that used the French phrase ses tunnels - with the words run together - and the German verb amputieren, was frowned upon.
Another possible disqualification in the eyes of purists is that words must not be
too tortuously contrived.
Mr Clarke, who has four grandchildren and two great grandchildren, lives with his 74-year-old wife Margaret in the village of Mawgan Porth, near Newquay.
He has been a fan of word puzzles since he was a boy and over the past decade has built up a computer database of more than 70,000 words.
He uses a spiecal program to search the millions of combinations for possible solutions.
Once he finds one that comes close, he tries to find obscure words that might fill in the gaps.
John Simpson, chief editor of the Oxford English Dictionary, said: 'As far as
I can see, all potential tensquares have a few wobbly words in them. This seems to
be no exception, but I'm not a word square expert.
Many of the words in the
puzzle above, such as 'discussing' and
'unlikeliness' need no
explanation. But some of the others may be a little
less familiar...
INCANTATOR: Person who ritually recites magic words or sounds
SCARLATINA: Technical name for scarlet fever
CARNITINES: A nutrient found in the liver and muscle
STATESWREN: According to Mr Clarke, it refers to a number of wrens which are sy mbols of American states
SATINWEAVE: Type of fabric
ITINERATES: Verb meaning to move from place to place
GRASSNESTS: Birds nests
made,of grass
D |
I |
S |
C |
U |
S |
S |
I |
N |
G |
I |
|
|
|
|
|
|
|
|
R |
|
C |
A |
R |
L |
A |
T |
I |
N |
A |
|
A |
R |
N |
I |
T |
I |
N |
E |
S |
|
N |
L |
I |
K |
E |
N |
E |
S |
S |
|
T |
A |
T |
E |
S |
W |
R |
E |
N |
|
A |
T |
I |
N |
W |
E |
A |
V |
E |
|
T |
I |
N |
E |
R |
A |
T |
E |
S |
|
O |
N |
E |
S |
E |
V |
A |
N |
T |
|
R |
A |
S |
S |
N |
E |
S |
T |
S |
"Can you come up with the perfect tensquare"
?
1 |
D |
= |
4 |
10 |
DISCUSSING |
124 |
43 |
7 |
2 |
I |
= |
9 |
10 |
INCANTATOR |
115 |
43 |
7 |
3 |
S |
= |
1 |
10 |
SCARLATINA |
98 |
35 |
8 |
4 |
C |
= |
3 |
10 |
CARNITINES |
|
|
|
5 |
U |
= |
3 |
10 |
UNLIKENESS |
129 |
39 |
7 |
6 |
S |
= |
1 |
10 |
STATESWREN |
144 |
36 |
7 |
7 |
S |
= |
1 |
10 |
SATINWEAVE |
119 |
38 |
3 |
8 |
I |
= |
9 |
10 |
ITINERATES |
|
|
|
9 |
N |
= |
5 |
10 |
NONSEVENT |
|
|
|
10 |
G |
= |
7 |
10 |
GRASSNESTS |
|
|
|
55 |
- |
- |
43 |
100 |
First Total |
1235 |
407 |
56 |
5+5 |
- |
- |
4+3 |
1+0+0 |
Add to Reduce |
1+2+3+5 |
4+0+7 |
5+6 |
10 |
- |
- |
7 |
1 |
Second Total |
11 |
11 |
11 |
1+0 |
- |
- |
- |
- |
Reduce to Deduce |
1+1 |
1+1 |
1+1 |
1 |
- |
- |
7 |
1 |
Essence of Number |
|
|
|
THE TIMES
Saturday December 3 2005
It's still beating the best brains, but can you crack world's most difficult puzzle?
By Simon de Bruxelles
"COMPUTERS and the internet have transformed the world of word puzzles, turning a previously solitary pastime into a communal brainstorming activity.
But computers were no use to Ted Clarke, a retired engineer from Cornwall, whose ten-square acrostic word puzzle, published in The Times on Thursday, took seven years to compile using pencil and paper. Described as the world's most fiendish puzzle, as addictive as the most cryptic crossword, it is the ideal companion for the numerical Su Doku.
Since Mr Clarke's word square, the largest in any language, was published he has been inundated with e-mails of congratulations from around the world. Although some experts dispute at least one of the words, most agree that it is the "best attempt" yet at a tenletter word square.
One expert in word' games has estimated that 900 nine-letter word squares have been compiled, but Mr Clarke's is the first with ten that does not include proper names or foreign words. Mr Clarke, 79, said: "For me getting it published in the The Times was better than winning the lottery."
Readers who enjoyed the challenge of trying to fill in the blanks now have the chance to have another go. We have gathered a selection of word squares ranging in size from three by three to eight by eight against which to test your wits.
To give you a helping hand we have left some of the letters in situ. On Monday we will be publishing a nine-letter square. For the largest square we have also provided some crossword clues."
Samurai Su Doku, Books, page 28
6 |
|
91 |
19 |
|
9 |
|
134 |
44 |
|
10 |
|
153 |
45 |
|
THE TIMES
Thursday December 1 2005
NEWS
Page 3
'Su Doku' word game that baffled Ancient Greeks took an expert 7 years to crack - you've got 10 minutes (and a little help}
A Cornish engineer claims to have completed the 10-letter acrostic that foxed a computer
A BRITISH engineer claims to have solved a puzzle that has counfounded some of the world's best brains since the time of the Ancient. Greeks.
Ted Clarke, 79, believes that he has devised the largest acrostic square - ten letters by ten, spelling out the same words
horizontally and vertically in the English language.
However, his claim to have come up with the "best yet" solution to the conundrum of the ten-square puzzle does not satisfy some experts. They say that because one of his words does not appear in any dictionary it should be disallowed.
Like the immensely popular numbers puzzle, Su Doku, which The Times introduced to Britain, the. acrostic word square is based on a grid. The words must read the same horizontally and vertically and there must be no misspellings or leftover letters.
One of the most famous acrostics was found scratched on a wall in the ruins of Pompeii: It reads:
ROTAS
OPERA
TENET
AREPO
SATOR
" It is unique in that it not only reads the same up .and down and left to right, it also spells out a passable Latin sentence translated as "the sower Arepo holds the wheels at work".
Mr Clarke, a retired aircraft engineer from Mawgan Porth, Cornwall, has been fascinated by word puzzles since he was a boy. He made.thec::laim to have completed the ten-word acrostic in Word'sWorth, the puzzle magazine that he publishes.
He said: "Over the years people have been trying to construct bigger and bigger squares. People have made them from fantastic words that no one could find. Some have done it using names of cities and people names. These have been eschewed."
Mr Clarke is still seeking the "perfect" solution using noncompound words, but says that may be impossible. "Most experts agree that it can't be done, but this is the closest we' ve got to it so far."
The challenge proved too much for a crossword-solving computer program, so he completed his square "by hand". He said: "1' d leave it running all night looking for ten-letter words that would fit, but 1'd come down in the morning and it wouldn't have one."
His claim to have constructed the world's first ten-letter square is supported by Tony Augarde, author of the Oxford Guide to Word Games. Mr Augarde said; "It's not perfect but it's the best I've seen. Previous attempts used words that no one one had heard of or tautonyms, words that repeat the same sound like orang-utan, which made it easier.
"Some of the words in Ted Clarke's square are not well known and he has pushed the boundaries of language, but who is to say what is a word and what isn't?"
Other experts believe that Mr Clarke has "pushed the boundaries" too far with the word nonesevent. According to Mr Clarke the word, perhaps more correctly nones-event, is an event that takes place during a period of the month known as the nones by the Ancient Romans, rather like the Ides of March.
Ross Eckler, an expert from New Jersey, and Jeff Grant, an Australian who has spent the past 30 years trying to crack the problem, say that the puzzle is still waiting to be solved.
Roger Millington, author of The Strange World of Crosswords, who has traced the origins of the acrostic to Ancient Greece, wrote that the creator of the first accepted ten-letter square would achieve "a lifetime of immortality". Mr Clarke said: "I am not claiming immortality yet, but this is the closest we've got to solving this puzzle."
3 |
THE |
33 |
15 |
6 |
7 |
PERFECT |
73 |
37 |
1 |
6 |
NUMBER |
73 |
28 |
1 |
2 |
OF |
21 |
12 |
3 |
4 |
GODS |
45 |
27 |
9 |
7 |
LETTERS |
99 |
36 |
9 |
|
|
|
|
|
|
|
|
|
|
5 |
TEN |
39 |
12 |
3 |
2 |
SQUARE |
81 |
36 |
9 |
|
|
|
|
|
|
|
|
|
|
6 |
ELEVEN |
63 |
27 |
9 |
5 |
SEVEN |
65 |
29 |
2 |
3 |
ONE |
34 |
16 |
7 |
3 |
TWO |
58 |
13 |
4 |
|
|
|
|
|
|
|
|
|
|
4 |
WORD |
60 |
24 |
6 |
5 |
WORDS |
79 |
34 |
7 |
8 |
LANGUAGE |
68 |
32 |
5 |
9 |
LANGUAGES |
87 |
42 |
6 |
|
|
|
|
|
|
|
|
|
|
7 |
ENGLISH |
74 |
38 |
2 |
8 |
LANGUAGE |
68 |
32 |
5 |
15 |
- |
142 |
70 |
7 |
NUMBERS OF LETTERS LETTERS OF NUMBERS
THE LIGHT IS RISING RISING IS THE LIGHT
2 |
IS |
28 |
10 |
1 |
9 |
UNIVERSAL |
121 |
40 |
4 |
4 |
MIND |
40 |
22 |
4 |
3 |
THE |
33 |
15 |
6 |
4 |
MIND |
40 |
22 |
4 |
2 |
OF |
21 |
12 |
3 |
9 |
HUMANKIND |
95 |
41 |
5 |
33 |
First Total |
|
|
|
3+3 |
Add to Reduce |
3+7+8 |
1+6+2 |
2+7 |
6 |
Second Total |
|
|
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
|
|
9 |
UNIVERSAL |
121 |
40 |
4 |
4 |
MIND |
40 |
22 |
4 |
2 |
IS |
28 |
10 |
1 |
3 |
THE |
33 |
15 |
6 |
4 |
MIND |
40 |
22 |
4 |
2 |
OF |
21 |
12 |
3 |
9 |
HUMANKIND |
95 |
41 |
5 |
33 |
First Total |
|
|
|
3+3 |
Add to Reduce |
3+7+8 |
1+6+2 |
2+7 |
6 |
Second Total |
|
|
|
|
Reduce to Deduce |
1+8 |
- |
- |
|
Essence of Number |
|
|
|
O |
= |
6 |
- |
3 |
OUT |
56 |
11 |
2 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
Z |
= |
8 |
- |
4 |
ZERO |
64 |
28 |
1 |
C |
= |
3 |
- |
6 |
COMETH |
64 |
28 |
1 |
O |
= |
6 |
- |
3 |
ONE |
34 |
16 |
7 |
- |
- |
29 |
- |
18 |
|
|
|
14 |
- |
- |
2+9 |
- |
1+8 |
- |
2+3+9 |
9+5 |
1+4 |
- |
- |
|
- |
|
- |
|
|
|
- |
- |
1+1 |
- |
- |
- |
1+4 |
1+4 |
- |
- |
- |
|
- |
|
- |
|
|
|
E |
= |
5 |
- |
2 |
EX |
11 |
2 |
2 |
U |
= |
3 |
- |
6 |
UMBRIS |
82 |
28 |
1 |
E |
= |
5 |
- |
2 |
ET |
25 |
7 |
7 |
I |
= |
9 |
|
10 |
IMAGINIBUS |
104 |
50 |
5 |
I |
= |
9 |
- |
2 |
IN |
23 |
14 |
5 |
V |
= |
4 |
- |
9 |
VERITATEM |
113 |
41 |
5 |
- |
- |
|
- |
31 |
First Total |
|
|
|
- |
- |
3+5 |
- |
3+1 |
Add to Reduce |
3+5+8 |
1+4+2 |
2+5 |
- |
- |
|
- |
4 |
Second Total |
|
|
|
- |
- |
- |
- |
|
Reduce to Deduce |
1+6 |
- |
- |
- |
- |
|
- |
4 |
Essence of Number |
|
|
|
O |
= |
6 |
- |
3 |
OUT |
56 |
11 |
2 |
O |
= |
6 |
- |
2 |
OF |
21 |
12 |
3 |
S |
= |
1 |
- |
7 |
SHADOWS |
89 |
26 |
8 |
A |
= |
1 |
- |
3 |
AND |
82 |
28 |
1 |
P |
= |
7 |
|
9 |
PHANTASMS |
111 |
30 |
3 |
I |
= |
9 |
- |
4 |
INTO |
58 |
22 |
4 |
T |
= |
2 |
- |
5 |
TRUTH |
87 |
24 |
6 |
- |
- |
|
- |
33 |
Add to Reduce |
|
|
|
- |
- |
3+2 |
- |
3+3 |
Reduce to Deduce |
4+4+1 |
1+3+5 |
2+7 |
- |
- |
|
- |
6 |
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
|
|
|
|
|
|
6 |
|
|
|
H |
= |
8 |
- |
4 |
HOLY |
60 |
24 |
6 |
|
|
|
|
|
|
6 |
|
|
|
T |
= |
2 |
- |
7 |
TRINITY |
115 |
43 |
7 |
|
|
|
|
|
|
|
7 |
|
|
- |
- |
|
|
14 |
First Total |
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
- |
- |
1+2 |
Q |
1+4 |
Add to Reduce |
2+0+8 |
8+2 |
1+9 |
|
|
|
|
|
|
1+2 |
|
|
|
Q |
- |
|
- |
|
Second Total |
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
Q |
- |
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
|
|
|
|
11 |
THE HOLY TRINITY |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
THE |
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
HOLY |
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
TRINITY |
115 |
43 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
|
3 |
|
33 |
15 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
|
4 |
|
60 |
24 |
24 |
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
33 |
|
7 |
|
115 |
43 |
43 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
THE HOLY TRINITY |
|
- |
- |
|
|
|
|
|
1+0 |
|
1+4 |
1+6 |
2+7 |
|
|
|
|
3 |
THE |
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
HOLY |
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
TRINITY |
115 |
43 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+2 |
|
1+4 |
|
2+0+8 |
8+2 |
1+9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
THE HOLY TRINITY |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
THE |
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
HOLY |
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
TRINITY |
115 |
43 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
12 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
1 |
|
25 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
THE HOLY TRINITY |
|
- |
- |
|
|
|
|
|
1+0 |
|
1+4 |
1+6 |
2+7 |
|
|
|
|
3 |
THE |
33 |
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
HOLY |
60 |
24 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
TRINITY |
115 |
43 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+2 |
|
1+4 |
|
2+0+8 |
8+2 |
1+9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+0 |
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
THE HOLY TRINITY |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
T |
= |
2 |
- |
3 |
THE |
33 |
15 |
6 |
|
|
|
|
|
|
6 |
|
|
|
H |
= |
8 |
- |
4 |
HOLY |
60 |
24 |
6 |
|
|
|
|
|
|
6 |
|
|
|
G |
= |
7 |
- |
5 |
GHOST |
69 |
33 |
6 |
|
|
|
|
|
|
6 |
|
|
|
- |
- |
|
|
12 |
Add to Reduce |
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
- |
- |
1+7 |
Q |
1+2 |
Reduce to Deduce |
1+6+2 |
8+2 |
1+8 |
|
|
|
|
|
|
1+8 |
|
|
|
Q |
- |
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
"The Gate of the Year" is the popular name given to a poem by Minnie Louise Haskins (1875-1957)".
. The title given to it by the author was "God Knows".
THE GATE OF THE YEAR. 'God Knows'.
And I said to the man who stood at the gate of the year: “Give me a light that I may tread safely into the unknown.
”And he replied: “Go out into the darkness and put your hand into the Hand of God. That shall be to you better than light and safer than a known way.”
THE GATE OF THE YEAR
‘God Knows'
And I said to the man who stood at the gate of the year:
“Give me a light that I may tread safely into the unknown.”
And he replied:
“Go out into the darkness and put your hand into the Hand of God.
That shall be to you better than light and safer than a known way.”
So I went forth, and finding the Hand of God, trod gladly into the night.
And He led me towards the hills and the breaking of day in the lone East.
So heart be still:
What need our little life
Our human life to know,
If God hath comprehension?
In all the dizzy strife
Of things both high and low,
God hideth His intention.
God knows. His will
Is best. The stretch of years
Which wind ahead, so dim
To our imperfect vision,
Are clear to God. Our fears
Are premature; In Him,
All time hath full provision.
Then rest: until
God moves to lift the veil
From our impatient eyes,
When, as the sweeter features
Of Life’s stern face we hail,
Fair beyond all surmise
God’s thought around His creatures
Our mind shall fill.[3]
And I said to the man who stood at the gate of the year:
“Give me a light that I may tread safely into the unknown.”
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
4 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
2 |
|
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
3 |
|
28 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
3 |
|
46 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
5 |
|
73 |
19 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
2 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
4 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
2 |
|
21 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
4 |
|
49 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
50 |
|
39 |
|
466 |
187 |
61 |
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
4 |
|
43 |
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
2 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
5 |
|
56 |
29 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
19 |
4 |
|
49 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
20 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
21 |
3 |
|
39 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
22 |
5 |
|
48 |
21 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
6 |
|
68 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
4 |
|
58 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
26 |
7 |
|
112 |
31 |
|
|
|
|
|
|
|
|
|
|
|
|
|
47 |
|
45 |
|
534 |
210 |
57 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
1+2 |
1+6 |
|
3+6 |
|
|
2+7 |
|
|
|
|
84 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9+7 |
|
8+4 |
Add to Reduce |
1+0+0+0 |
3+9+7 |
1+1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+6 |
|
1+2 |
Reduce to Deduce |
|
1+0 |
1+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
And he replied:
“Go out into the darkness and put your hand into the Hand of God.
That shall be to you better than light and safer than a known way.”
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
2 |
|
13 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
7 |
|
69 |
42 |
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
|
12 |
|
101 |
65 |
11 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
2 |
|
22 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
3 |
|
56 |
11 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
4 |
|
58 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
8 |
|
91 |
28 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
3 |
|
57 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
4 |
|
79 |
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
4 |
|
27 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
4 |
|
58 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
14 |
3 |
|
33 |
15 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
15 |
4 |
|
27 |
18 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
16 |
2 |
|
21 |
12 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
17 |
3 |
|
26 |
17 |
|
|
|
|
|
|
|
|
|
|
|
|
|
83 |
|
50 |
|
607 |
238 |
67 |
|
|
|
|
|
|
|
|
|
|
|
|
|
18 |
4 |
|
49 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
19 |
5 |
|
52 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
20 |
2 |
|
7 |
7 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
21 |
2 |
|
35 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
22 |
3 |
|
61 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
23 |
6 |
|
70 |
25 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
24 |
4 |
|
43 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
25 |
5 |
|
56 |
29 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
26 |
3 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
27 |
5 |
|
49 |
22 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
28 |
4 |
|
43 |
16 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
29 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
30 |
5 |
|
77 |
23 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
31 |
3 |
|
49 |
13 |
|
|
|
|
|
|
|
|
|
|
|
|
|
33 |
|
52 |
|
611 |
215 |
71 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
- |
|
|
|
|
2+8 |
|
1+8 |
4+9 |
1+6 |
1+8 |
|
|
134 |
|
114 |
First Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3+4 |
|
1+1+4 |
Add to Reduce |
1+3+1+9 |
5+1+8 |
1+4+9 |
|
|
|
|
1+0 |
|
|
1+3 |
|
|
|
|
8 |
|
6 |
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Reduce to Deduce |
1+4 |
1+4 |
1+4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
SO U LIVE
SO U LEARN
SO U LOVE
SOUL
CREATION REACTION CREATION
REACTION CREATION REACTION
CREATORS REACTORS CREATORS
REACTORS CREATORS REACTORS
SOUL
SO U LIVE
SO U LEARN
SO U LOVE
|
|
|
|
11 |
JESUS CHRIST |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
|
5 |
|
74 |
29 |
11 |
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
32 |
|
6 |
|
77 |
41 |
32 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+5+1 |
7+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
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|
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|
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|
|
|
|
|
|
|
|
|
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|
|
|
|
|
|
|
1 |
1 |
|
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
19 |
10 |
|
|
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|
|
|
11 |
1 |
|
20 |
2 |
|
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|
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|
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|
|
|
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|
|
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|
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|
|
|
|
|
|
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+5+1 |
7+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
TRANSPOSED LETTERS REARRANGED IN NUMERICAL ORDER
|
|
|
|
11 |
JESUS CHRIST |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
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|
|
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|
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|
|
|
1 |
1 |
|
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
|
|
|
|
|
|
|
|
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|
|
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|
|
|
|
|
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+5+1 |
7+0 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
10 |
1 |
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
5 |
5 |
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
8 |
8 |
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
18 |
9 |
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
5 |
JESUS |
74 |
29 |
2 |
|
|
|
|
|
|
|
|
|
|
|
6 |
CHRIST |
77 |
41 |
5 |
|
|
|
|
|
|
|
|
|
|
|
11 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+5+1 |
7+0 |
|
|
|
|
|
|
|
|
|
|
|
|
2 |
JESUS CHRIST |
|
|
|
|
|
|
|
|
|
|
JESUS CHRIST
C-HR-IS-T
C HERE IS THE RISH
SEE HERE IS THE RISH
THE
SAPTARSHI
A STARSHIP SAPTARSHI A PAST RISH
SAPTARSHI
JESUS AND THE GODDESS
THE SECRET TEACHINGS OF THE ORIGINAL CHRISTIANS
Page 203
The one moving surface of /page 204/ the water represents universal psyche. Individual psyches are the individual waves. We are unique movements on the shared still depths of Consciousness.
THE EVOLVING COSMOS
To know itself the Mystery arises as the primal syzygy subject and object - which results in partial Gnosis and partial ignorance. As subjective Consciousness it knows its Self, but as psyche it mistakes its self for its many objective self-images.47 As a continuation of the initial impulse towards self-knowledge, that part of Consciousness which has become identified with each psyche-body is in the process of completing the journey of Gnosis by progressively awakening to its true nature.
We can understand this fundamental duality by seeing how it manifests in each of us. We appear to be an evolving psyche-body on a journey of awakening, but our essential nature is ineffable Consciousness. Knowing our essential nature is the realization of Gnosis, because as Consciousness we already exist permanently in the state of Gnosis. Whilst we identify with the psyche-body, however, we experience only relative states of ignorance.
Plato describes these two states as 'being' and 'becoming'.48 Consciousness is being. We experience this as the sense of I AM. It is unchanging, qualityless presence, It is what we area Psyche, on the other is- what we experience. It is an unfolding succession of changing appearances. It is impermanence. It is perpetually in the process of becoming something else. The Mystery as Consciousness is being what it is. Consciousness witnesses itself as a psyche-body in the process of becoming /page 204/ aware of what is. We are witnessing becoming.
- |
- |
- |
- |
- |
MEA CULPA |
- |
- |
- |
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
C |
= |
3 |
- |
5 |
CULPA |
53 |
26 |
8 |
- |
- |
7 |
- |
8 |
-MEA CULPA |
|
|
|
- |
- |
- |
- |
- |
- |
7+2 |
3+6 |
|
- |
- |
7 |
- |
8 |
MEA CULPA- |
|
|
|
Mea culpa - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Mea_culpa
Mea culpa is a Latin phrase that translates into English as "through my fault". It is repeated three times in the prayer of confession at the Catholic Mass:
Mea culpa
From Wikipedia, the free encyclopedia
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2014)
Mea culpa is a Latin phrase that translates into English as "through my fault". It is repeated three times in the prayer of confession at the Catholic Mass: mea culpa, mea culpa, mea maxima culpa — "through my fault, through my fault, through my most grievous fault". The three phrases are in the ablative case, which gives the instrumental meaning "through"
- |
- |
7 |
- |
8 |
-MEA CULPA |
|
|
|
- |
- |
7 |
- |
8 |
-MEA CULPA |
|
|
|
- |
- |
7 |
- |
8 |
-MEA CULPA |
|
|
|
- |
- |
7 |
- |
24 |
- |
|
|
|
- |
- |
- |
- |
2+4 |
- |
2+1+6 |
1+0+8 |
2+7 |
- |
- |
7 |
- |
|
- |
|
|
|
mea culpa, mea culpa, mea maxima culpa through my fault, through my fault, through my most grievous fault.
- |
- |
- |
- |
- |
MEA MAXIMA CULPA |
- |
- |
- |
M |
= |
4 |
- |
3 |
MEA |
19 |
10 |
1 |
M |
= |
4 |
- |
3 |
MAXIMA |
61 |
25 |
7 |
C |
= |
3 |
- |
5 |
CULPA |
53 |
26 |
8 |
- |
- |
7 |
- |
8 |
MEA MAXIMA CULPA |
|
|
|
- |
- |
- |
- |
- |
- |
1+3+3 |
6+1 |
1+6 |
- |
- |
7 |
- |
8 |
MEA MAXIMA CULPA |
|
|
|
en.wikipedia.org/wiki/Measure_for_Measure
Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. It was (and continues to be) classified as comedy, but its ...
Measure for Measure
From Wikipedia, the free encyclopedia
Facsimile of the title page of Measure for Measure from the First Folio, published in 1623
Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. It was (and continues to be) classified as comedy, but its mood defies those expectations. As a result and for a variety of reasons, some critics have labelled it as one of Shakespeare's problem plays. Originally published in the First Folio of 1623 (where it was first labelled as a comedy), the play's first recorded performance was in 1604. The play deals with the issues of mercy, justice, and truth and their relationship to pride and humility: "Some rise by sin, and some by virtue fall".
M |
= |
4 |
- |
7 |
MEASURE |
82 |
28 |
1 |
F |
= |
6 |
- |
3 |
FOR |
39 |
21 |
3 |
M |
= |
4 |
- |
7 |
MEASURE |
82 |
28 |
1 |
- |
- |
|
- |
|
First Total |
|
|
|
- |
- |
1+4 |
- |
1+7 |
Add to Reduce |
2+0+3 |
7+7 |
|
- |
- |
|
- |
|
Second Total |
|
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
|
1+4 |
|
- |
- |
|
- |
|
Essence of Number |
|
|
|
To Kill a Mockingbird - Wikipedia
https://en.wikipedia.org/wiki/To_Kill_a_Mockingbird
To Kill a Mockingbird is a novel by Harper Lee published in 1960. It was immediately successful, winning the Pulitzer Prize, and has become a classic of modern American literature. The plot and characters are loosely based on Lee's observations of her family, her neighbors and an event that occurred near her hometown ...
To Kill a Mockingbird by Harper Lee. The unforgettable novel of a childhood in a sleepy Southern town and the crisis of conscience that rocked it, To Kill A Mockingbird became both an instant bestseller and a critical success when it was first published in 1960
TO KILL A MOCKINGBIRD
|
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
|
7 |
8 |
|
T |
= |
2 |
- |
2 |
TO |
35 |
8 |
8 |
|
|
|
|
|
|
|
|
8 |
|
K |
= |
2 |
- |
4 |
KILL |
44 |
17 |
8 |
|
|
|
|
|
|
|
|
8 |
|
A |
= |
1 |
- |
1 |
A |
1 |
1 |
1 |
|
|
|
|
|
|
|
|
|
|
M |
= |
4 |
- |
7 |
MOCKING |
72 |
36 |
9 |
|
|
|
|
|
|
|
|
|
|
B |
= |
2 |
- |
4 |
BIRD |
33 |
24 |
6 |
|
|
|
|
|
|
6 |
|
|
|
- |
- |
|
|
18 |
First Total |
|
|
|
|
|
|
|
|
5 |
|
7 |
|
|
- |
- |
1+1 |
Q |
1+8 |
Add to Reduce |
1+8+5 |
8+6 |
3+2 |
|
|
|
|
|
|
|
|
1+6 |
|
Q |
- |
|
- |
|
Second Total |
|
|
|
|
|
|
|
|
5 |
|
7 |
|
|
- |
- |
- |
- |
- |
Reduce to Deduce |
1+4 |
1+4 |
|
|
|
|
|
|
|
|
|
|
|
Q |
- |
|
- |
|
Essence of Number |
|
|
|
|
|
|
|
|
5 |
|
7 |
7 |
|
|
|
|
|
7 |
MOCKING |
|
|
|
|
|
|
|
|
|
|
|
|
|
M |
|
|
1 |
1 |
M |
|
4 |
|
|
- |
|
|
|
|
|
|
|
|
O |
|
|
2 |
1 |
O |
15 |
6 |
|
|
|
|
- |
|
|
|
|
|
|
C |
|
|
3 |
1 |
C |
3 |
3 |
|
|
|
|
3 |
|
|
|
|
|
|
K |
|
|
4 |
1 |
K |
11 |
2 |
|
|
- |
|
|
|
|
|
|
|
|
I |
|
|
5 |
1 |
I |
|
|
|
|
|
- |
|
|
|
|
|
|
|
N |
|
|
6 |
1 |
N |
14 |
5 |
|
|
|
|
- |
|
|
|
|
|
|
G |
|
|
7 |
1 |
G |
7 |
7 |
|
|
|
|
|
- |
|
|
|
|
|
|
|
|
|
7 |
MOCKING |
72 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
3+6 |
|
- |
- |
7+2 |
3+6 |
3+6 |
- |
- |
|
- |
|
|
|
|
|
|
|
|
|
|
7 |
MOCKING |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
MOCKING |
|
|
|
|
|
|
|
|
|
|
|
|
|
M |
|
|
1 |
1 |
M |
|
4 |
|
|
|
|
|
|
|
|
|
|
|
O |
|
|
2 |
1 |
O |
15 |
6 |
|
|
|
|
- |
|
|
|
|
|
|
C |
|
|
3 |
1 |
C |
3 |
3 |
|
|
|
|
3 |
|
|
|
|
|
|
K |
|
|
4 |
1 |
K |
11 |
2 |
|
|
|
|
|
|
|
|
|
|
|
I |
|
|
5 |
1 |
I |
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- |
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N |
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6 |
1 |
N |
14 |
5 |
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- |
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G |
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7 |
1 |
G |
7 |
7 |
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- |
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7 |
MOCKING |
72 |
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- |
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3+6 |
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- |
- |
7+2 |
3+6 |
3+6 |
- |
- |
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- |
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7 |
MOCKING |
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- |
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7 |
MOCKING |
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K |
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4 |
1 |
K |
11 |
2 |
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C |
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3 |
1 |
C |
3 |
3 |
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M |
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1 |
M |
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4 |
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N |
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6 |
1 |
N |
14 |
5 |
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- |
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O |
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2 |
1 |
O |
15 |
6 |
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- |
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G |
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7 |
1 |
G |
7 |
7 |
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- |
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I |
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5 |
1 |
I |
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- |
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7 |
MOCKING |
72 |
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- |
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3+6 |
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- |
- |
7+2 |
3+6 |
3+6 |
- |
- |
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- |
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7 |
MOCKING |
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- |
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7 |
MOCKING |
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K |
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4 |
1 |
K |
11 |
2 |
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C |
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1 |
C |
3 |
3 |
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1 |
M |
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1 |
N |
14 |
5 |
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- |
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O |
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2 |
1 |
O |
15 |
6 |
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- |
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G |
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7 |
1 |
G |
7 |
7 |
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1 |
I |
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- |
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7 |
MOCKING |
72 |
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- |
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3+6 |
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- |
- |
7+2 |
3+6 |
3+6 |
- |
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- |
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7 |
MOCKING |
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- |
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Fingerprints Of The Gods
Graham Hancock 1998
Why a mathematical language?
Page 197 "...Perhaps because, no matter what extreme changes and transformations human civilization might go through, the radius of a circle multiplied by 2pi(or half the radius multiplied by 4pi) would always give the correct figure for that circle's circumference. In other words, a mathematical language could have been chosen for practical reasons: unlike any verbal tongue, such a code could always be deciphered, even by people from unrelated cultures living thousands of years in the future."
A |
B |
C |
D |
E |
F |
G |
H |
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1+0 |
1+1 |
1+2 |
1+3 |
1+4 |
1+5 |
1+6 |
1+7 |
1+8 |
1+9 |
2+0 |
2+1 |
2+2 |
2+3 |
2+4 |
2+5 |
2+6 |
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IN SEARCH OF THE MIRACULOUS
Fragments of an Unknown Teaching
P.D.Oupensky 1947
Page 96 9 x 6 = 54
" There exist not one, but three universal languages. The first of them can be spoken and written while remaining within the limits of ones' own language. The only difference is that when people speak in their ordinary language they do not understand one another but in this other language they do understand. In the second language, written language is the same for all peoples, like say figures or mathematical formulae; but people still speak their own language yet each of them understands the other even though the other speaks in an unknown language. The third language is the same for all both the written and the spoken. The difference of language disappears altogether on this level."
Page 283
"In western systems of occultism there is a method known by the name of 'theosophical addition', that is, the definition of numbers consisting of two or more digits by the sum of those digits. To people who do not understand the symbolism of numbers this method of synthesizing numbers seems to be absolutely arbitrary and to lead nowhere. But for a man who understands the unity of everything existing and who has the key to this unity the method of theosophical addition has a profound meaning, for it resolves all diversity into the fundamental laws which govern it and which are expressed in the numbers 1 to 10. As was mentioned earlier in symbology, as represented , numbers are connected with definate geometrical figures and are mutually complimentary one to another. In the Cabala a symbology of letters is also used and in combination with the symbology of letters a symbology of words.A combination of the four methods of symbolism by numbers, geometrical figures, letters and words, give a complicated but more perfect method."
NUMEROLOGY
Geddes and Grosset 1999.
Introduction.
Page 5 "Nunerology is the name given to an ancient method of studying numbers that has been in use for thousands of years."
"…The most popular form of numerology in use today is based on the work of Pythagoras, the famous Greek mathematician and philosopher who lived during the sixth century bc."
"…It was Pythagoras belief that numbers were the first of all things in nature. It was his belief that numbers were the basis of everything, in the natural, spiritual and scientific world. He believed that everything could be reduced to mathematical terms and that everything had a numerical value. Through studying the world in numerical form, he sought to achieve greater understanding of the world he lived in. Pythagoras, who believed that numbers created order and beauty, founded a school for students to follow his philosophy, and this was known as the Italic or Pythagorean School."
Page 6 "…Pythagoras formulated the concept called the Music of the Spheres', based on the idea that all the planets in the universe formed a harmonious whole consisting of a mu-sical chorus. He discovered that there was a relationship between sound and numbers, and developed this discov-ery to form his metaphysical concept. He suggested that every planet was a certain distance from a central point in the universe and that if an invisible string connected each planet to the central point, when plucked the string would emit a certain tone or vibration. Each sound or vibration could be associated with a particular number. He also be-lieved that the sound or vibration of the universe dictated by the planets would have a strong influ-ence on the character of an individual born at that particu-lar time.
Numerologists believe that the numbers one to nine have specific characteristics , and these characteristics are the basis for the methods of analysis described in this book. The numbers one to nine are the only numbers that are / Page 7 / believed to be significant to numerology. 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."
M |
= |
4 |
- |
5 |
FADIC |
23 |
23 |
5 |
F |
= |
6 |
- |
8 |
ADDITION |
76 |
40 |
4 |
- |
- |
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- |
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First Total |
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- |
- |
1+0 |
- |
1+3 |
Add to Reduce |
9+9 |
6+3 |
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- |
- |
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- |
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Second Total |
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- |
- |
- |
- |
- |
Reduce to Deduce |
1+8 |
- |
- |
- |
- |
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- |
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Essence of Number |
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rev 9 three - 973 Eht Namuh 973
www.973-eht-namuh-973.com/coloured%20site/seventh%20button/54rev_9_three.htm
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." CITY OF REVELATION. John Michell. 1972.
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."
|
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13 |
FADIC ADDITION |
|
- |
- |
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5 |
FADIC |
23 |
23 |
5 |
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8 |
ADDITION |
76 |
40 |
4 |
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13 |
FADIC ADDITION |
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1 |
1 |
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6 |
6 |
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2 |
1 |
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1 |
1 |
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3 |
1 |
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4 |
4 |
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4 |
1 |
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9 |
9 |
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5 |
1 |
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3 |
3 |
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23 |
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5 |
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23 |
23 |
23 |
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6 |
1 |
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1 |
1 |
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7 |
1 |
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4 |
4 |
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8 |
1 |
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4 |
4 |
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9 |
1 |
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9 |
9 |
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10 |
1 |
|
20 |
2 |
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11 |
1 |
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9 |
9 |
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12 |
1 |
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15 |
6 |
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13 |
1 |
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14 |
5 |
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40 |
|
8 |
|
76 |
40 |
40 |
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|
FADIC ADDITION |
|
- |
- |
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|
1+2 |
|
1+2 |
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2+7 |
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FADIC |
23 |
23 |
5 |
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ADDITION |
76 |
40 |
4 |
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|
FADIC ADDITION |
|
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|
1+3 |
|
9+9 |
6+3 |
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4 |
FADIC ADDITION |
|
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1+8 |
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4 |
FADIC ADDITION |
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13 |
FADIC ADDITION |
|
- |
- |
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5 |
FADIC |
23 |
23 |
5 |
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8 |
ADDITION |
76 |
40 |
4 |
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13 |
FADIC ADDITION |
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1 |
1 |
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6 |
6 |
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2 |
1 |
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1 |
1 |
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3 |
1 |
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4 |
4 |
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4 |
1 |
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9 |
9 |
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5 |
1 |
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3 |
3 |
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6 |
1 |
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1 |
1 |
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7 |
1 |
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4 |
4 |
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8 |
1 |
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4 |
4 |
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9 |
1 |
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9 |
9 |
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10 |
1 |
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20 |
2 |
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11 |
1 |
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9 |
9 |
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12 |
1 |
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15 |
6 |
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13 |
1 |
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14 |
5 |
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40 |
|
8 |
|
76 |
40 |
40 |
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FADIC ADDITION |
|
- |
- |
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|
1+2 |
|
1+2 |
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|
2+7 |
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FADIC |
23 |
23 |
5 |
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ADDITION |
76 |
40 |
4 |
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FADIC ADDITION |
|
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|
1+3 |
|
9+9 |
6+3 |
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4 |
FADIC ADDITION |
|
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|
1+8 |
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4 |
FADIC ADDITION |
|
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13 |
FADIC ADDITION |
|
- |
- |
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5 |
FADIC |
23 |
23 |
5 |
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|
8 |
ADDITION |
76 |
40 |
4 |
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13 |
FADIC ADDITION |
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2 |
1 |
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1 |
1 |
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6 |
1 |
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1 |
1 |
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10 |
1 |
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20 |
2 |
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5 |
1 |
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3 |
3 |
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3 |
1 |
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4 |
4 |
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7 |
1 |
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4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
40 |
|
8 |
|
76 |
40 |
40 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
FADIC ADDITION |
|
- |
- |
|
|
|
|
1+2 |
|
1+2 |
|
|
2+7 |
|
|
|
|
|
FADIC |
23 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
ADDITION |
76 |
40 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
|
9+9 |
6+3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
13 |
FADIC ADDITION |
|
- |
- |
|
|
|
|
|
|
|
|
|
|
|
|
5 |
FADIC |
23 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
8 |
ADDITION |
76 |
40 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
13 |
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
6 |
1 |
|
1 |
1 |
|
|
|
|
|
|
|
|
|
|
|
|
10 |
1 |
|
20 |
2 |
|
|
|
|
|
|
|
|
|
|
|
|
5 |
1 |
|
3 |
3 |
|
|
|
|
|
|
|
|
|
|
|
|
3 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
7 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
8 |
1 |
|
4 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
13 |
1 |
|
14 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
1 |
1 |
|
6 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
12 |
1 |
|
15 |
6 |
|
|
|
|
|
|
|
|
|
|
|
|
4 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
9 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
|
11 |
1 |
|
9 |
9 |
|
|
|
|
|
|
|
|
|
|
|
40 |
|
8 |
|
76 |
40 |
40 |
|
|
|
|
|
|
|
|
|
|
|
|
|
FADIC ADDITION |
|
- |
- |
|
|
|
|
1+2 |
|
1+2 |
2+7 |
|
|
|
|
|
FADIC |
23 |
23 |
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
ADDITION |
76 |
40 |
4 |
|
|
|
|
|
|
|
|
|
|
|
|
|
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+3 |
|
9+9 |
6+3 |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
FADIC ADDITION |
|
|
|
|
|
|
|
|
|
|
|
Daily Mail, Friday, December 29, 2017
ANSWERS TO CORRESPONDENTS
Compiled by Charles Legge
Page 72
QUESTION Who proposed - the idea of Intelligent design?
INTELLIGENT design is the theory that life and the universe cannot have arisen by chance and, therefore, was designed \and created by an intelligent god.
It is regarded as a pseudoscience - a
way to promote creationist beliefs (a literal belief in the Bible) under the cover of science.
The term intelligent design dates from the 19th century. Charles Darwin used it in an 1861 letter: 'One cannot look at this universe with all living productions and man without believing that all has been intelligently designed; yet when I look to each individual organism, I can see no evidence of this.'
Oxford scholar F. C. S. Schiller prefigured the current meaning in 1903 in his book Humanism: Philosophical Essays, writing: 'It will not be possible to rule out the supposition that the process of Evolution may be guided by an intelligent design.'
The modern use of intelligent design began after the U.S. Supreme Court ruled that the forced teaching of creationism is unconstitutional in the public school science curriculum, in the case of Edward v Aguillard (1987).
Creationists circumvented this problem by replacing the word 'creationist' with the phrase 'intelligent design'.
In 1988, the scientist and historian Charles Thaxton proposed the use of the term while delivering a lecture on Sources of Information Content in DNA in Tacoma, Washington.
At the time, he was editing Of Pandas And People: The Central Question Of Biological Origins, a controversial 1989 school textbook written by Percival Davis and Dean H. Kenyon, which was published by the Texas-based Foundation For Thought And Ethics.
It endorsed the concept of intelligent design and presented polemical arguments against the scientific theory of evolution.
Steven Jones, St Ives, Cornwall
THE
WORLD GODS WORLD
THE
LOVE WORD LOVE
|
|
|
|
7 |
WORLD |
|
|
|
|
|
|
|
|
|
|
|
|
|
W |
|
|
1 |
1 |
W |
|
5 |
|
|
- |
|
|
|
|
|
|
|
|
O |
|
|
2 |
1 |
O |
15 |
6 |
|
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|
- |
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R |
|
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3 |
1 |
R |
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- |
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L |
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4 |
1 |
L |
12 |
3 |
|
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3 |
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D |
|
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5 |
1 |
D |
4 |
4 |
|
|
- |
|
|
|
|
|
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|
|
|
|
|
|
5 |
WORLD |
72 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
2+7 |
1+5 |
- |
- |
7+2 |
2+7 |
2+7 |
- |
- |
|
- |
|
|
|
|
|
|
|
|
|
|
5 |
WORLD |
|
|
|
- |
|
|
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|
7 |
WORLD |
|
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W |
|
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1 |
1 |
W |
|
5 |
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O |
|
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2 |
1 |
O |
15 |
6 |
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- |
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R |
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3 |
1 |
R |
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L |
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4 |
1 |
L |
12 |
3 |
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3 |
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D |
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5 |
1 |
D |
4 |
4 |
|
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5 |
WORLD |
72 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
2+7 |
1+5 |
- |
- |
7+2 |
2+7 |
2+7 |
- |
- |
|
- |
|
|
|
|
|
|
|
|
|
|
5 |
WORLD |
|
|
|
- |
|
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|
7 |
WORLD |
|
|
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|
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|
L |
|
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4 |
1 |
L |
12 |
3 |
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3 |
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D |
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5 |
1 |
D |
4 |
4 |
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W |
|
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1 |
1 |
W |
|
5 |
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|
O |
|
|
2 |
1 |
O |
15 |
6 |
|
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- |
|
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R |
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3 |
1 |
R |
|
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|
5 |
WORLD |
72 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
2+7 |
1+5 |
- |
- |
7+2 |
2+7 |
2+7 |
- |
- |
|
- |
|
|
|
|
|
|
|
|
|
|
5 |
WORLD |
|
|
|
- |
|
|
|
|
|
|
|
|
|
THE
LOVE WORD LOVE
|
|
|
|
7 |
WORLD |
|
|
|
|
|
|
|
|
|
L |
|
|
4 |
1 |
L |
12 |
3 |
|
|
3 |
|
|
|
|
D |
|
|
5 |
1 |
D |
4 |
4 |
|
|
|
|
|
|
|
W |
|
|
1 |
1 |
W |
|
5 |
|
|
|
|
|
|
|
O |
|
|
2 |
1 |
O |
15 |
6 |
|
|
- |
|
|
|
|
R |
|
|
3 |
1 |
R |
|
|
|
|
|
|
|
|
|
|
|
|
|
5 |
WORLD |
72 |
|
|
- |
|
|
|
|
|
|
|
2+7 |
1+5 |
- |
- |
7+2 |
2+7 |
2+7 |
- |
- |
|
|
|
|
|
|
|
|
5 |
WORLD |
|
|
|
- |
|
|
|
|
|
THE
SUN GODS SUN
|
|
|
|
3 |
SUN |
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
|
|
1 |
1 |
S |
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
U |
|
|
2 |
1 |
U |
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
N |
|
|
3 |
1 |
N |
|
5 |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
3 |
SUN |
54 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
5+4 |
1+8 |
- |
|
- |
|
- |
|
|
|
|
|
|
|
|
|
|
3 |
SUN |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
SUN |
|
|
|
|
|
|
|
|
|
|
|
|
|
S |
|
|
1 |
1 |
S |
19 |
10 |
|
|
|
|
|
|
|
|
|
|
|
U |
|
|
2 |
1 |
U |
21 |
3 |
|
|
|
|
|
|
|
|
|
|
|
N |
|
|
3 |
1 |
N |
|
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
3 |
SUN |
54 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
- |
- |
- |
- |
5+4 |
1+8 |
- |
|
- |
|
- |
|
|
|
|
|
|
|
|
|
|
3 |
SUN |
|
|
|
- |
|
|
|
|
|
|
|
|
|
I Dreamed a Dream Lyrics by Les Miserables Cast - Les Miserables ...
https://www.lyricsondemand.com/.../l/lesmiserableslyrics/idreamedadreamlyrics.html
[Fantine is left alone, unemployed and destitute] [FANTINE] There was a time when men were kind. When their voices were soft. And their words inviting. There was a time when love was blind. And the world was a song. And the song was exciting. There was a time. Then it all went wrong. I dreamed a dream in time gone by
There was a time when men were kind
When their voices were soft
And their words inviting
There was a time when love was blind
And the world was a song
And the song was exciting
There was a time
Then it all went wrong
I dreamed a dream in time gone by
When hope was high
And life worth living
I dreamed that love would never die
I dreamed that God would be forgiving
Then I was young and unafraid
And dreams were made and used and wasted
There was no ransom to be paid
No song unsung, no wine untasted
But the tigers come at night
With their voices soft as thunder
As they tear your hope apart
As they turn your dream to shame
He slept a summer by my side
He filled my days with endless wonder
He took my childhood in his stride
But he was gone when autumn came
And still I dream he'll come to me
That we will live the years together
But there are dreams that cannot be
And there are storms we cannot weather
I had a dream my life would be
So different from this hell I'm living
So different now from what it seemed
Now life has killed the dream I dreamed.
IN
MEMORIAM
TIM BURTON
(wblakr9)
WAKEFIELD PAINTERMAN
AND
CREATOR EXTRAORDINAIRE
BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND
GOODNIGHT AND GODBLESS
W |
|
|
- |
3 |
TIM |
|
15 |
|
|
|
|
|
|
|
|
|
|
B |
|
|
1 |
1 |
B |
2 |
2 |
|
U |
|
|
2 |
1 |
U |
21 |
3 |
|
R |
|
|
3 |
1 |
R |
18 |
9 |
|
T |
|
|
4 |
1 |
T |
|
2 |
|
O |
|
|
5 |
1 |
O |
15 |
6 |
|
N |
|
|
6 |
1 |
N |
|
5 |
|
|
|
|
|
6 |
BURTON |
90 |
|
|
|
|
2+7 |
|
- |
- |
9+0 |
2+7 |
2+7 |
|
|
|
|
6 |
BURTON |
|
|
|
|
|
|
|
7 |
WBLAKE9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
W |
|
|
1 |
1 |
W |
|
5 |
|
|
|
|
|
|
|
|
|
|
|
B |
|
|
2 |
1 |
B |
2 |
2 |
|
|
|
2 |
|
|
|
|
|
|
|
L |
|
|
3 |
1 |
L |
12 |
3 |
|
|
|
|
3 |
|
|
|
|
|
|
A |
|
|
4 |
1 |
A |
1 |
1 |
|
- |
|
|
|
|
|
|
|
|
|
K |
|
|
5 |
1 |
K |
11 |
2 |
|
|
|
2 |
|
|
|
|
|
|
|
E |
|
|
6 |
1 |
E |
|
5 |
|
|
|
|
|
|
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|
9 |
|
|
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|
|
|
|
|
|
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|
|
|
|
7 |
WBLAKE9 |
54 |
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
1+8 |
|
- |
- |
5+4 |
1+8 |
1+8 |
- |
- |
|
- |
|
1+0 |
|
|
|
|
|
|
|
|
7 |
WBLAKE9 |
|
|
|
- |
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
WBLAKE9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
A |
|
|
4 |
1 |
A |
1 |
1 |
|
- |
|
|
|
|
|
|
|
|
|
B |
|
|
2 |
1 |
B |
2 |
2 |
|
|
|
2 |
|
|
|
|
|
|
|
K |
|
|
5 |
1 |
K |
11 |
2 |
|
|
|
2 |
|
|
|
|
|
|
|
L |
|
|
3 |
1 |
L |
12 |
3 |
|
|
|
|
3 |
|
|
|
|
|
|
W |
|
|
1 |
1 |
W |
|
5 |
|
|
|
|
|
|
|
|
|
|
|
E |
|
|
6 |
1 |
E |
|
5 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
9 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
7 |
WBLAKE9 |
54 |
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Birthdays
Congratulations to: wblake9 (66)
Viewing profile - wblake9
Username:
wblake9
Age:
66
Groups:
Interests:
Art, Books, Painting
Occupation:
ARTIST
Location:
Wakefield.
Joined:
15 Jul 2007 22:50
Last active:
-
Total posts:
35 | Search user’s posts
(1.14% of all posts / 0.01 posts per day)
Most active forum:
The Oracle
(35 Posts / 100.00% of user’s posts)
Most active topic:
LETTING GO
(24 Posts / 68.57% of user’s posts)
Re: LETTING GO
When conscious life is characterised by one-sidednessand by false attitude,primordial healing images are activated-one might say instinctively- and come to light in the dreams of individuals and the visions of artists.
Carl Gustav Jung.
Jump to post
by wblake9
17 Feb 2012 20:00
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
In all chaos there is a cosmos, in all disorder a secret disorder.
Carl Gustav Jung. the RED BOOK jung http://www.youtube.com/watch?v=8w4iMtU6k5w
Jump to post
by wblake9
16 Nov 2011 11:00
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=dA_lmSTqet0
Jump to post
by wblake9
11 Nov 2011 07:02
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.flickr.com/photos/wblake9/355985023/
Jump to post
by wblake9
06 Nov 2011 18:24
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.flickr.com/photos/wblake9/6318802552/
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by wblake9
15 Oct 2011 19:24
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
PROTEST http://www.flickr.com/photos/wblake9/6246712896/
Jump to post
by wblake9
11 Oct 2011 14:36
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
https://www.facebook.com/media/set/?set ... =3&theater
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by wblake9
11 Oct 2011 14:19
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
This is from plot Quote: Demeter and Kore, mother and daughter, extend the feminine consciousness both upward and downward. They add an “older and younger,” “ stronger and weaker” dimension to it and widen out the narrowly limited conscious mind bound in space and time, giving it intimations of a gr...
Jump to post
by wblake9
12 Jul 2011 19:18
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.davidicke.com/headlines/5078 ... mpli-dance
Jump to post
by wblake9
12 Jul 2011 19:12
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=HvdfFW-yYGE
Jump to post
by wblake9
12 Jul 2011 19:08
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=GkJuYWRJM6U
Jump to post
by wblake9
27 Jun 2011 12:54
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
previous link is a talk by John Major Jenkins talking about the Maya Cosmogenisis.
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by wblake9
27 Jun 2011 12:49
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.spottedwolfwisdom.net/2011/0 ... l?spref=fb
Jump to post
by wblake9
14 Jun 2011 10:33
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.humanresonance.org/
Jump to post
by wblake9
21 May 2011 18:06
Forum: The Oracle
Topic: 72
Replies: 1
Views: 2569
Re: 72
http://www.disclose.tv/action/viewvideo ... ibrations/
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by wblake9
21 May 2011 18:02
Forum: The Oracle
Topic: 72
Replies: 1
Views: 2569
72
Happy Birthday DAVID, an important day, thinking of you.
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by wblake9
25 Apr 2011 10:06
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
The above link is from cosmic 432 seems very relevent to this site.
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by wblake9
25 Apr 2011 10:04
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=jVATlX4XKMk
Jump to post
by wblake9
20 Apr 2011 14:00
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=hLZ7GqWpEqM
Jump to post
by wblake9
16 Apr 2011 19:53
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=IhiPmVHAuTA
Jump to post
by wblake9
04 Apr 2011 18:53
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/user/PleiadianStarseeder
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by wblake9
04 Apr 2011 18:50
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=ItLq8RnQqW8
Jump to post
by wblake9
04 Apr 2011 18:45
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
http://www.youtube.com/watch?v=mjkuLiyP ... re=related
Jump to post
by wblake9
06 Mar 2011 18:11
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
India Rising Rama, the Lord of heavens Blessed is thy name Victory to you Ram The husband of Sita Oh so lovable, joyous It is to worship thee... Some of us call you as Shiva and some others as Allah but we beg you Lord that you bless us all....... Song of Rama was one of Gandhi's favourite poems and...
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by wblake9
10 Feb 2011 20:36
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
Re: LETTING GO
www.youtube.com/watch?v=RjKp1xR0gJA Devran Zikri In love, nothing exists between heart and heart. Speech is born out of longing, True description from the real taste. The one who tastes, knows; the one who explains, lies. How can you describe the true form of Something In whose presence you are blot...
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by wblake9
22 Jan 2011 13:39
Forum: The Oracle
Topic: LETTING GO
Replies: 51
Views: 35552
LETTING GO
From Ajahn Chah: " If you let go a little, you will have a little peace. If you let go a lot, you will have a lot of peace. If you let go completely, you will know complete peace and freedom. Your struggles with the world will have come to an end." And a story: "Munindra-ji had always wanted to see ...
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by wblake9
22 Dec 2010 17:43
Forum: The Oracle
Topic: Shadow
Replies: 4
Views: 3552
Re: Shadow
I rest not from my great task!
To open the eternal worlds, to open the immortal eyes
Of man inwards into the worlds of thought...
Words by William Blake,1804
Jump to post
by wblake9
21 Dec 2010 20:43
Forum: The Oracle
Topic: Shadow
Replies: 4
Views: 3552
Re: Shadow
A Golden Rule ....Everything we shut our eyes to, everything we run away from, everything we deny, denigrate or despise, serves to defeat us in the end. What seems nasty, painful, evil, can become a source of beauty, joy and strength, if faced with an open mind. Every moment is a golden one for him ...
Jump to post
by wblake9
19 Dec 2010 11:28
Forum: The Oracle
Topic: Shadow
Replies: 4
Views: 3552
Re: Shadow
Plot http://www.youtube.com/watch?v=cg0xMry2 ... E&index=42
Jump to post
by wblake9
19 Dec 2010 11:00
Forum: The Oracle
Topic: Shadow
Replies: 4
Views: 3552
Re: Shadow
http://www.youtube.com/watch?v=KwjsYWGvaJo
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by wblake9
18 Dec 2010 19:07
Forum: The Oracle
Topic: Shadow
Replies: 4
Views: 3552
Shadow
This place is called Beulah. It is a pleasant lovely Shadow Where no dispute can come. . . .
William Blake
http://www.facebook.com/?ref=home#!/pag ... 174?v=wall
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by wblake9
10 Oct 2010 10:10
Forum: The Oracle
Topic: Confine
Replies: 0
Views: 3817
Confine
I see the river of life & tree of life I see the new jerusalem decending out of heaven between thy wings of gold & silver featherd immortal, Clear as the rainbow, as the cloud of the suns tabernacle.
William Blake.
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by wblake9
09 Sep 2010 21:49
Forum: The Oracle
Topic: "The Winds of Enitharmon"
Replies: 0
Views: 2458
"The Winds of Enitharmon"
"Now comes the night of Enitharmon's joy! "Who shall I call? Who shall I send, "That Woman, lovely Woman, may have dominion?"
-William Blake.
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by wblake9
04 May 2009 11:41
Forum: The Oracle
Topic: "PURE"
Replies: 1
Views: 2559
"PURE"
"PURE" means without form and can be equated with the motionless silence being contacted in meditation. Existing without form in the FIELD, PURE AWARENESS starts to vibrate and in so doing turns itself into the visible universe. A thought can be seen as a vibration inside this mind-stuff, and so can...
Jump to post
by wblake9
15 Jul 2007 22:56
Forum: The Oracle
Topic: GREETINGS AND WELCOME CITIZENS OF PLANET EARTH
Replies: 81
Views: 50627
Re: GREETINGS AND WELCOME CITIZENS OF PLANET EARTH
plot wrote:
DaveD wrote:
UNIVERSAL MIND THE MIND OF HUMANKIND
rainbow light. the oracle.
A MAZE IN
JANUARY
1
2018
THE NEW YEAR ARRIVES = 216-90-18-9
AND A HAPPY NEW YEAR PLANET EARTH. = 297-126-9
4 |
REAL |
36 |
18 |
9 |
7 |
REALITY |
90 |
36 |
9 |
8 |
REVEALED |
72 |
36 |
9 |
19 |
First Total |
|
|
|
1+9 |
Add to Reduce |
1+9+8 |
9+0 |
2+7 |
10 |
Second Total |
|
|
|
1+0 |
Reduce to Deduce |
1+8 |
- |
- |
1 |
Essence of Number |
|
|
|
REAL REALITY REVEALED
I
SAY
HAVE I MENTIONED GODS DIVINE THOUGHT HAVE I MENTIONED
THAT
YET
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1 |
1 |
|
9 |
9 |
|
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2 |
3 |
|
45 |
18 |
|
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3 |
4 |
|
36 |
18 |
|
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|
4 |
1 |
|
9 |
9 |
|
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5 |
9 |
|
99 |
45 |
|
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|
|
|
6 |
4 |
|
45 |
18 |
|
|
|
|
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|
|
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|
|
|
|
7 |
6 |
|
63 |
36 |
|
|
|
|
|
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|
|
|
|
|
|
|
2 |
8 |
7 |
THOUGHT |
99 |
36 |
|
|
|
|
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|
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|
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|
|
|
9 |
4 |
HAVE |
36 |
18 |
|
|
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|
10 |
1 |
|
9 |
9 |
|
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11 |
9 |
|
99 |
45 |
|
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|
12 |
4 |
|
49 |
13 |
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13 |
3 |
|
50 |
14 |
|
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|
First Total |
|
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|
|
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|
|
|
|
|
|
|
7+4 |
|
5+6 |
Add to Reduce |
6+4+8 |
2+8+8 |
1+0+8 |
|
|
|
|
|
|
|
|
|
9+9 |
|
|
|
|
|
Second Total |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
1+1 |
|
1+1 |
Reduce to Deduce |
1+8 |
1+8 |
|
|
|
|
|
|
|
|
|
|
1+8 |
|
|
|
|
|
Essence of Number |
|
|
|
|
|
|
|
|
|
|
|
|
|
4 |
REAL |
36 |
18 |
9 |
7 |
REALITY |
90 |
36 |
9 |
8 |
REVEALED |
72 |
36 |
9 |
19 |
First Total |
|
|
|
1+9 |
Add to Reduce |
1+9+8 |
9+0 |
2+7 |
10 |
Second Total |
|
|
|
1+0 |
Reduce to Deduce |
1+8 |
- |
- |
1 |
Essence of Number |
|
|
|
- |
- |
- |
- |
- |
|
|
|
|
|
= |
18 |
= |
9 |
R |
18 |
9 |
|
-- |
- |
- |
- |
- |
E+A+L |
18 |
9 |
|
|
= |
18 |
= |
9 |
R |
18 |
9 |
|
-- |
- |
- |
- |
- |
E+A+L |
18 |
9 |
|
-- |
- |
- |
- |
- |
I |
9 |
9 |
|
-- |
- |
- |
- |
- |
T+Y |
45 |
9 |
|
|
= |
18 |
= |
9 |
R |
18 |
9 |
|
-- |
- |
- |
- |
- |
E+V |
27 |
9 |
|
- |
- |
- |
- |
- |
E+A+L |
18 |
9 |
|
- |
- |
- |
- |
- |
E+D |
9 |
9 |
|
- |
- |
|
- |
|
|
|
|
|
- |
- |
5+4 |
- |
2+7 |
- |
- |
- |
- |
- |
- |
|
- |
|
REAL REALITY REVEALED |
- |
- |
- |
HOLY BIBLE
REVELATION
Chapter 21 V 1-7
Page 1351
A New Heaven and a New Earth
1And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. 2And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. 3And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God. 4And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.
5And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful. 6And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely. 7He that overcometh shall inherit all things; and I will be his God, and he shall be my son.
FOR SON ALSO READ DAUGHTER FOR DAUGHTER ALSO READ SON
THE SCULPTURE OF VIBRATIONS 1971
THE
PROPHET
Kahil Gibran
Page 82/83/84/85/86
"If these be vague words, then seek not to clear them.
Vague and nebulous is the beginning of all things, but not their end,
And I would have you remember me as a beginning.
Life, and all that lives, is conceived in the mist and not in the crystal.
And who knows but a crystal is mist in decay
This would I have you remember in remembering me:
That which seems most feeble and bewildered in you is the strongest and most determined.
Is it not your breath that has erected and hardened the structure of your bones?
And is it not a dream which none of you remember having dreamt, that builded your city and fashioned all there is in it?
Could you but see the tides of that breath you would cease to see all else,
And if you could hear the whispering of the dream you would hear no other sound.
But you do not see, nor do you here, and it is well.
The veil that clouds your eyes shall be lifted by the hands that wove it,
And the clay that fills your ears shall be pierced by those fingers that kneaded it.
And you shall see
And you shall hear.
Yet you shall not deplore having known blindness, nor regret having been deaf
For in that day you shall know the hidden purposes in all things,
And you shall bless darkness as you would bless light.
After saying these things he looked about him,
and he saw the pilot of his ship standing by the helm
and gazing now at the full sails and now at the distance.
And he said:
Patient, over patient, is the captain of my ship.
The wind blows, and restless are the sails;
Even the rudder begs direction;
Yet quietly my captain awaits my silence.
And these my mariners, who have heard the
choir of the greater sea, they too have heard me
patiently.
Now they shall wait no longer.
I am ready
The stream has reached the sea, and once more
THE GREAT MOTHER
holds her son against her breast.
Fare you well, people of Orphalese.
This day has ended.
It is closing upon us even as the water-lily upon its own tomorrow.
What was given us here we shall keep,
And if it suffices not, then again must we come together and together
stretch our hands unto the giver.
Forget not that I shall come back to you.
A little while, and my longing shall gather dust and foam for another body.
A little while, a moment of rest upon the wind, and another woman shall bear me.
Farewell to you and the youth I have spent with you.
It was but yesterday we met in a dream.
You have sung to me in my aloneness, and I of your longings have built a tower in the sky.
But now our sleep has fled and our dream is over, and it is no longer dawn.
The noontide is upon us and our half waking has turned to fuller day, and we must part.
If in the twilight of memory we should meet once more,
we shall speak again together and you shall sing to me a deeper song.
and if our hands should meet in another dream we shall build another tower in the sky.
So saying he made a signal to the seamen,
and straightaway they weighed anchor and cast the ship loose from its moorings, and they moved eastward.
And a cry came from the people as from a single heart,
and it rose into the dusk and was carried out over the sea like a great trumpeting.
Only Almitra was silent, gazing after the ship until it had vanished into the mist.
And when all the people were dispersed she still stood alone upon the sea-wall,
remembering in her heart his saying:
A little while, a moment of rest upon the wind, and another woman shall bear me.'
THE LURE AND ROMANCE OF ALCHEMY.
A history of the secret link between magic and science
1990
C. J. S.Thompson
Page# 31 / 32
note 1 Julius Ruska ,Tabula Smaragdini 1926
"THE EMERALD TABLE OF HERMES: "
"True it is, without falsehood certain most true.That which is
above is like to that which is below, and that which is below is like
to that which is above, to accomplish the miracles of one thing.
And as in all things whereby contemplation of one, so in all things
arose from this one thing by a single act of adoption.
The father thereof is the Sun the mother the Moon.
The wind carried it in its womb,the earth is the source thereof.
It is the father of all works throughout the world.
The power thereof is perfect.
If it be cast on to earth, it will separate the element of earth
from that of fire, the subtle from the gross.
With great sagacity it doth ascend gently from earth to heaven.
Again it doth descend to earth and uniteth in itself from
things superior and things inferior.
Thus thou wilt possess the brightness of the world, and all
obscurity will fly far from thee.
This thing is the strong fortitude of all strength, for it over-
cometh every subtle thing and doth penetrate every solid substance.
Thus was this world created.
Hence will there be marvellous adaptations achieved of which
the manner is this.
For this reason I am called Hermes Trismegistus because I hold
three parts of the wisdom of the whole world.
That which I had to say about the operation of Sol is completed."
Freiheit - Keeping The Dream Alive lyrics. From the Original Motion Picture ... In my fantasy I remember their faces The hopes we had were much too high ... www.lyricsmode.com/lyrics/f/freiheit/keeping_the_dream_alive.html
Tonight the rain is falling
Full of memories of people and places
And while the past is calling
In my fantasy I remember their faces
The hopes we had were much too high
Way out of reach but we have to try
The game will never be over
Because we're keeping the dream alive
I hear myself recalling
Things you said to me
The night it all started
And still the rain is falling
Makes me feel the way
I felt when we parted
The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one
The game will never be over
Because we're keeping the dream alive
I need you
I love you
The game will never be over
Because we're keeping the dream alive
The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one
The hopes we had were much too high
Way out of reach but we have to try
No need to hide no need to run
'Cause all the answers come one by one
The game will never be over
Because we're keeping the dream alive
The game will never be over
Because we're keeping the dream alive
The game will never be over
Mmm mmm mmm mmm mmm mmm mmm mmm mmm
.Freiheit - Keeping The Dream Alive - YouTube
