Previous Page
  Next Page
 
Evokation
 
 
Index
 

 

 

.

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
10
MULTIPLIED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
58
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
6
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
6
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
6
-
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
6
-
-
-
M
=
4
-
10
MULTIPLED
121
49
4
-
-
-
-
4
-
6
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
6
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
6
7
-
-
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
6
7
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
6
-
8
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
6
-
-
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
6
-
-
9
-
-
35
-
58
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

 

 

 

 

THE DIVINE COMEDY

OF

DANTE ALIGHIERI (1265-1321)

THE FLORENTINE

CANTICA I

HELL

(L'INFERNO)

INTRODUCTION

Page 9

"Midway this way of life we're bound upon

I woke to find myself in a dark wood,

Where the right road was wholly lost and gone."

 

M
=
4
-
6
MIDWAY
75
30
3
T
=
2
-
4
THIS
56
20
2
W
=
5
-
3
WAY
49
13
4
O
=
6
-
2
OF
21
12
3
L
=
3
-
4
LIFE
32
23
5
W
=
5
-
4
WE'RE
51
24
6
B
=
2
-
5
BOUND
56
20
2
U
=
3
-
4
UPON
66
21
3
-
-
30
-
32
-
406
163
28
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
W
=
5
-
4
WOKE
54
18
9
T
=
2
-
2
TO
35
8
8
F
=
6
-
4
FIND
33
24
6
M
=
4
-
6
MYSELF
80
26
8
I
=
9
-
2
IN
23
14
5
A
=
1
-
1
A
1
1
1
D
=
4
-
4
DARK
34
16
7
W
=
5
-
4
WOOD
57
21
3
-
-
45
-
28
-
326
137
56
-
-
-
-
-
-
-
-
-
W
=
5
-
5
WHERE
59
32
5
T
=
2
-
3
THE
33
15
6
R
=
9
-
5
RIGHT
62
35
8
R
=
9
-
4
ROAD
38
20
2
W
=
5
-
3
WAS
43
7
7
W
=
5
-
6
WHOLLY
95
32
5
L
=
3
-
4
LOST
66
12
3
A
=
1
-
3
AND
19
10
1
G
=
7
-
4
GONE
41
23
5
-
-
46
-
37
-
456
186
42
-
-
-
-
-
-
-
-
-
-
-
121
-
97
First Total
1188
486
126
-
-
1+2+1
-
9+7
Add to Reduce
1+1+8+8
4+8+6
1+2+6
Q
-
4
-
16
Second Total
18
18
9
-
-
-
-
1+6
Reduce to Deduce
1+8
1+8
-
-
-
4
-
7
Essence of Number
9
9
9

 

 

THE DIVINE COMEDY

OF

DANTE ALIGHIERI (1265-1321)

THE FLORENTINE

CANTICA I

HELL

(L'INFERNO)

INTRODUCTION

Page 9

"Power failed high fantasy here; yet, swift to move

Even as a wheel moves equal, free from jars,

Already my heart and will were wheeled by love,

The Love that moves the sun and other stars."

 

 

P
=
7
-
5
POWER
77
32
5
F
=
6
-
6
FAILED
37
28
1
H
=
8
-
4
HIGH
32
32
5
F
=
6
-
7
FANTASY
86
23
5
H
=
8
-
4
HERE
36
27
9
Y
=
7
-
3
YET
50
14
5
S
=
1
-
5
SWIFT
77
23
5
T
=
2
-
2
TO
35
8
8
M
=
4
-
4
MOVE
55
19
1
-
-
49
-
40
First Total
485
206
44
-
-
4+9
-
4+0
Add to Reduce
4+8+5
2+0+6
4+4
Q
-
13
-
4
Second Total
17
8
8
-
-
1+3
-
-
Reduce to Deduce
1+7
-
-
-
-
4
-
4
Essence of Number
8
8
8

 

 

E
=
5
-
4
EVEN
46
19
1
A
=
1
-
2
AS
20
2
2
A
=
1
-
1
A
1
1
1
W
=
5
-
5
WHEEL
53
26
8
M
=
4
-
5
MOVES
74
20
2
E
=
5
-
5
EQUAL
56
20
2
F
=
6
-
4
FREE
34
25
7
F
=
6
-
4
FROM
52
25
7
J
=
1
-
4
JARS
48
12
3
-
-
34
-
34
First Total
384
150
33
-
-
3+4
-
3+4
Add to Reduce
3+8+4
1+5+0
3+3
Q
-
7
-
7
Second Total
15
6
6
-
-
-
-
-
Reduce to Deduce
1+5
-
-
-
-
7
-
7
Essence of Number
6
6
6

 

 

A
=
1
-
7
ALREADY
66
30
3
M
=
4
-
2
MY
38
11
2
H
=
8
-
5
HEART
52
25
7
A
=
1
-
3
AND
19
10
1
W
=
5
-
4
WILL
56
20
2
W
=
5
-
4
WERE
51
24
7
W
=
5
-
7
WHEELED
62
35
8
B
=
2
-
2
BY
27
9
9
L
=
3
-
4
LOVE
54
18
9
-
-
34
-
38
First Total
425
182
47
-
-
3+4
-
3+8
Add to Reduce
4+2+5
1+8+2
4+7
Q
-
7
-
11
Second Total
11
11
11
-
-
-
-
1+1
Reduce to Deduce
1+1
1+1
1+1
-
-
7
-
2
Essence of Number
2
2
2

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LOVE
54
18
9
T
=
2
-
4
THAT
49
13
4
M
=
4
-
5
MOVES
74
20
2
T
=
2
-
3
THE
33
15
6
S
=
1
-
3
SUN
54
9
9
A
=
1
-
3
AND
19
10
1
O
=
6
-
5
OTHER
66
30
3
S
=
1
-
5
STARS
77
14
5
-
-
22
-
35
First Total
459
144
45
-
-
2+2
-
3+5
Add to Reduce
4+5+9
1+4+4
4+5
Q
-
4
-
8
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
4
-
8
Essence of Number
9
9
9

 

 

C
=
3
-
11
CATERPILLAR
115
52
7
B
=
2
-
9
BUTTERFLY
129
39
3
T
=
2
-
10
TRANSITION
139
49
4
-
-
7
-
30
-
383
140
14
-
-
-
-
3+0
-
3+8+3
1+4+0
1+4
-
-
7
-
3
-
14
5
5
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
5
5
5
-
-
-
-
-
-
-
-
-
F
=
6
-
8
FOURTEEN
104
41
5

 

 

1234556789 PROMETHEUS 1234556789

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2]

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules).

In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4]

In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).

1 Myths and legends 1.1 The oldest legends of Prometheus among the Ancients
1.1.1 Hesiod and the Theogony
1.1.2 Homer, the Iliad, and the Homeric Hymns
1.1.3 Pindar and the Nemean Odes
1.1.4 Pythagoras and the Pythagorean Doctrine

1.2 The Athenian Tradition of Prometheus: Aeschylus and Plato 1.2.1 Aeschylus and the Ancient Literary Aesthetics of Prometheus
1.2.2 Plato and the Philosophical Interpretation of Prometheus
1.2.3 The Athenian tradition of religious dedication and observance
1.2.4 The Aesthetic tradition of Prometheus in Athenian art

1.3 Other authors

2 Religious symbolism in late Roman antiquity
3 The allegorical tradition of the Middle Ages
4 Prometheus in the Renaissance
5 The Post-Renaissance tradition 5.1 The literary Post-Renaissance tradition 5.1.1 Goethe and the Prometheus-Ganymede poems
5.1.2 Percy Bysshe Shelley and Prometheus Unbound
5.1.3 Mary Shelley and Frankenstein: The Modern Prometheus
5.1.4 Prometheus in the Twentieth Century

5.2 The aesthetic Post-Renaissance tradition 5.2.1 Classical music, opera, and ballet
5.2.2 In film

The oldest legends of Prometheus among the Ancients[edit]

The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.

Hesiod and the Theogony[edit]

The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7]

Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7]

Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone.
Prometheus, in eternal punishment, is chained to a rock in the Caucasus, Kazbek Mountain, where his liver is eaten daily by an eagle,[9] only to be regenerated by night, due to his immortality. The eagle is a symbol of Zeus Himself. Years later, the Greek hero Heracles (Hercules) slays the eagle and frees Prometheus from his chains.[10]

Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope.

Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14]

Homer, the Iliad, and the Homeric Hymns[edit]

The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods.

Pindar and the Nemean Odes[edit]

The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans.

Pythagoras and the Pythagorean Doctrine[edit]

In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22]

The Athenian Tradition of Prometheus: Aeschylus and Plato[edit]

The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime.

Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]

Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24]

Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him.

Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC)
Moreover, Aeschylus anachronistically and artificially injects Io, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story. Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother Gaia of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphoros, a lost tragedy by Aeschylus.

Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus).

The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26]

Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29]

According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30]

In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31]

Plato and the Philosophical Interpretation of Prometheus[edit]

Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36]

The Athenian tradition of religious dedication and observance[edit]

It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38]

Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias
Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar. For the Panathenaic festival, arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos, the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.[39] The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the Acropolis to conclude the festival.[40] These footraces took the form of relays in which teams of runners passed off a flaming torch. According to Pausanias (2nd century AD), the torch relay, called lampadedromia or lampadephoria, was first instituted at Athens in honor of Prometheus.[41] By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena.[42] Prometheus' association with fire is the key to his religious significance[37] and to the alignment with Athena and Hephaestus that was specific to Athens and its "unique degree of cultic emphasis" on honoring technology.[43] The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.[44]

Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36]

The Aesthetic tradition of Prometheus in Athenian art[edit]

Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC.

The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46]

Other authors

Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD)

Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877)

Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.

Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36]

Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36]

Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50]

Religious symbolism in late Roman antiquity[edit]

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.

As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus.

The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55]

In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57]

In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58]

Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58]

It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58]

Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62]

The allegorical tradition of the Middle Ages[edit]

Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists.

Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas.

Prometheus in the Renaissance[edit]

After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae.

The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.

Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.

The Post-Renaissance tradition[edit]

Mythological narrative of Prometheus by Piero di Cosimo (1515)
See also: Prometheus in popular culture

The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West.

The literary Post-Renaissance tradition[edit]

For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.

Goethe and the Prometheus-Ganymede poems[edit]

"Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.

The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition.

"Prometheus"

The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.

In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.

Percy Bysshe Shelley and Prometheus Unbound[edit]

Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available.

The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71]

Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73]

To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75]

Mary Shelley and Frankenstein: The Modern Prometheus[edit]

The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others.

Prometheus in the Twentieth Century[edit]

Prometheus (1909) by Otto Greiner
Franz Kafka (d. 1924) wrote a short piece on Prometheus, outlining what he saw as his perspective on four aspects of his myth:

According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed.
According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.
According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself.
According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.
There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.[76]

This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस).

In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78]

The artificial element Promethium was named with the myth in mind.

The aesthetic Post-Renaissance tradition[edit]

Classical music, opera, and ballet[edit]

Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84]

An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89]

In film[edit]

The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed.

Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]

 


The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616).
He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus.

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
8
-
-
1
+
=
15
1+5
=
6
=
6
=
6
-
-
-
-
15
-
-
-
8
-
-
19
+
=
42
4+2
=
6
=
6
=
6
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
7
9
-
4
5
2
-
5
3
-
+
=
35
3+5
=
8
=
8
=
8
-
-
16
18
-
13
5
20
-
5
21
-
+
=
98
9+8
=
17
1+7
8
=
8
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
-
-
16
18
15
13
5
20
8
5
21
19
+
=
140
1+4+0
=
5
=
5
=
5
-
-
7
9
6
4
5
2
8
5
3
1
+
=
50
5+0
=
5
=
5
=
5
-
10
P
R
O
M
E
T
H
E
U
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
2
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
4
-
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
5
-
-
-
-
-
5
-
-
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
7
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
45
10
P
R
O
M
E
T
H
E
U
S
-
-
45
-
-
10
-
50
-
41
4+5
1+0
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
1+0
-
5+0
-
4+1
9
1
P
R
O
M
E
T
H
E
U
S
-
-
9
-
-
1
-
5
-
5
-
-
7
9
6
4
5
2
8
5
3
1
-
-
-
-
-
-
-
-
-
-
9
1
P
R
O
M
E
T
H
E
U
S
-
-
9
-
-
1
-
5
-
5

 

 

3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
15
Add to Reduce
162
90
9
1+5
Reduce to Deduce
1+6+2
9+0
-
6
Essence of Number
9
9
9

 

 

-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
5
-
-
-
+
=
39
3+9
=
12
1+2
3
=
3
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
14
-
-
-
+
=
48
4+8
=
12
1+2
3
=
3
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
7
-
2
-
2
9
-
-
7
5
9
+
=
51
5+1
=
6
=
6
=
6
-
-
20
-
5
-
12
-
7
-
20
-
2
18
-
-
7
5
18
+
=
114
1+1+4
=
6
=
6
=
6
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
12
9
7
8
20
-
2
18
9
14
7
5
18
+
+
162
1+6+2
=
9
=
9
=
9
-
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
+
+
90
9+0
=
9
=
9
=
9
-
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
8
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
9
occurs
x
4
=
36
-
9
11
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
34
-
-
15
-
90
-
36
1+1
1+5
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
3+4
-
-
1+5
-
5+4
-
3+6
2
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9
-
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
-
-
-
-
-
-
-
-
-
-
2
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9

 

 

15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
8
-
-
-
-
9
5
-
-
-
+
=
39
3+9
=
12
1+2
3
=
3
-
-
8
-
-
-
9
-
8
-
-
-
-
9
14
-
-
-
+
=
48
4+8
=
12
1+2
3
=
3
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
7
-
2
-
2
9
-
-
7
5
9
+
=
51
5+1
=
6
=
6
=
6
-
20
-
5
-
12
-
7
-
20
-
2
18
-
-
7
5
18
+
=
114
1+1+4
=
6
=
6
=
6
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
12
9
7
8
20
-
2
18
9
14
7
5
18
+
+
162
1+6+2
=
9
=
9
=
9
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
+
+
90
9+0
=
9
=
9
=
9
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
2
-
2
-
-
-
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
5
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
8
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
9
occurs
x
4
=
36
-
9
15
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
34
-
-
15
-
90
-
36
1+5
-
-
-
-
-
9
-
-
-
-
-
9
9
-
-
-
9
-
-
3+4
-
-
1+5
-
5+4
-
3+6
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9
-
2
8
5
-
3
9
7
8
2
-
2
9
9
5
7
5
9
-
-
-
-
-
-
-
-
-
-
6
T
H
E
-
L
I
G
H
T
-
B
R
I
N
G
E
R
-
-
7
-
-
6
-
9
-
9

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
50

-

10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
-
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
50

-

10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

 

ADVENT 2076 ADVENT

 

 

EGYPT PYTHIA EGYPT

THE E AT DELPHI

 

 

THE WHITE GODDESS

A

historical grammar of poetic myth by

Robert Graves 1948

Chapter 15

Page 121

THE SEVEN PILLARS

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

 

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

 

 

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

 

 

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

 

 

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

 

 

I

SAY I SAY

LOOK AT THE 7SEVENS LOOK AT THE 7SEVENS LOOK AT THE 7SEVENS THE 7SEVENS THE 7SEVENS

 

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

 

 

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
6
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

 

 

LOOK AT THE 7SEVENS LOOK AT THE 7SEVENS LOOK AT THE 7SEVENS THE 7SEVENS THE 7SEVENS

SAY I SAY

 

 

6
JOSEPH
73
28
1
5
JESUS
74
11
2
4
MARY
57
21
3

 

 

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
6
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

 

 

2
IS
28
10
1
3
GOD
26
17
8

 

 

2
RA
19
10
1
3
GOD
26
17
8

 

 

2
EL
17
8
8
3
GOD
26
17
8

 

THE

PATH OF PTAH

 

 

EGYPTIAN CHRONOLOGY

THE MYTHIC DYNASTIES

F. G. Fleay

1899

Page 97

"It is noticeable that the great gods (including HAR) are all of lower Egypt: PTAH of Memphis, RA of Heliopolis, ASAR, of many places but especially of Busiris; HAR his son, of Tanis and other towns;"

 

-
HAR
-
-
-
2
H+A
9
9
9
1
R
18
9
9
3
HAR
27
18
9
-
-
2+7
1+8
-
3
HAR
9
9
9

 

 

http://encyclopedia.thefreedictionary.com/Ha+(god)

HA (MYTHOLOGY)

"In Egyptian mythology, Ha was a god of the deserts to the west of Egypt. He was associated with theunderworld, Duat. As Lord of the Desert Ha fought off enemies from the west, probably referring to invading tribes from Libya. He was also thought be responsible for the creation of oases. Ha was pictured as a man, wearing the symbol for desert hills on his head. “Ha” found that since he was seen as a man who fought many enemies; he also realized that his faithful followers saw that he was full of saracasm . His ability to outcast the enemy with his fury, made his faithful feel secure in their survival."

 

-
HA
-
-
-
2
H+A
9
9
9
3
HA
-
-
-

 

 

SHAMANIC WISDOM IN THE PYRAMID TEXTS

THE MYSTICAL TRADITION OF ANCIENT EGYPT

Jeremy Naydler 2005

The Sarcophagus Chamber Texts

Page 226

the reference to the god Ha as well as Osiris suggests that the source of the king's sustenance is in the spirit world. Ha is a god associated with the western necropolis, and like Osiris is a god of the dead.

Page 226

(1) UTTERANCE 204: THE NOURISHMENT PROVIDED BY OSIRIS

"The sequence of seven utterances begins at the south end of the sarcophagus chamber with two utterances unique to Unas's pyramid. These are utterances 204 and 205, which together assert that Unas is not hungry because his food is provided by Osiris (utt. 204) and by Ra (utt. 205). In utterance 204 the little finger of the king pulls out what is "in the navel of Osiris," a phrase that may refer to the function of Osiris as god of the fertile earth.103 Thus the hoers are said to rejoice, presumably because of the fruitfulness of the crop. But while this text may at first seem to be concerned with the provision of nourishment in this world, the reference to the god Ha as well as Osiris suggests that the source of the king's sustenance is in the spirit world. Ha is a god associated with the western necropolis, and like Osiris is a god of the dead.104 The text states that it is Ha who drives away Unas's hunger. The hunger and thirst of Unas should probably be understood as spiritual rather than physical hunger and thirst, for Unas is in the Otherworld.

 

-
HA
-
-
-
2
H+A
9
9
9
3
HA
-
-
-


-
HA
-
-
-
2
H+A
9
9
9
3
HA
-
-
-

 

HALLOWED BE THY NAME

 

-
THE HOLY NAME
-
-
-
3
THE
33
15
6
4
HOLY
60
24
6
4
NAME
33
15
6
11
THE HOLY NAME
126
54
18
1+1
-
1+2+6
5+4
1+8
2
THE HOLY NAME
9
9
9

 

 

ALL ABOUT GOD

BIBLE CONCORDANCE

http://www.allaboutgod.com/truth-topics/hadad.htm

  • Hadad, Tema, Jetur, Naphish, and Kedemah.- Genesis 25;15
  • When Husham died, Hadad, son of Bedad became king and ruled from the city of Avith. He was the one who destroyed the Midianite army in the land of Moab. - Genesis 36:35

  • When Hadad died, Samlah from the city of Masrekah became king. - Genesis 36:36

  • When Baal-hanan died, Hadad* became king and ruled from the city of Pau. Hadad's wife was Mehetabel, the daughter of Matred and granddaughter of Me-zahab.4 - Genesis 36:39

  • David also destroyed the forces of Hadadezer son of Rehob, king of Zobah, when Hadadezer marched out to strengthen his control along the Euphrates River. - 2 Samuel 8:3

  • they were joined by additional Aramean troops summoned by Hadadezer from the other side of the Euphrates River.* These troops arrived at Helam under the command of Shobach, the commander of all Hadadezer's forces.1 - 2 Samuel 10:16

  • Then the LORD raised up Hadad the Edomite, a member of Edom's royal family, to be an enemy against Solomon. - 1 Kings 11:14

  • But Hadad and a few of his father's royal officials had fled. (Hadad was a very small child at the time.) - 1 Kings 11:17

  • Pharaoh grew very fond of Hadad, and he gave him a wife-the sister of Queen Tahpenes. - 1 Kings 11:19

  • When the news reached Hadad in Egypt that David and his commander Joab were both dead, he said to Pharaoh, "Let me return to my own country." - 1 Kings 11:21

  • Rezon was Israel's bitter enemy for the rest of Solomon's reign, and he made trouble, just as Hadad did. Rezon hated Israel intensely and continued to reign in Aram. - 1 Kings 11:25

  • Mishma, Dumah, Massa, Hadad, Tema, - 1 Chronicles 1:30

  • When Husham died, Hadad son of Bedad became king and ruled from the city of Avith. He was the one who destroyed the Midianite army in the land of Moab. - 1 Chronicles 1:46

  • When Hadad died, Samlah from the city of Masrekah became king. - 1 Chronicles 1:47

  • When Baal-hanan died, Hadad became king and ruled from the city of Pau.* His wife was Mehetabel, the daughter of Matred and granddaughter of Me-zahab.16 - 1 Chronicles 1:50

 

-
HADAD
-
-
-
2
H+A
9
9
9
3
D+A+D
9
9
9
5
HADAD
18
18
9
-
-
1+8
1+8
-
5
HADAD
9
9
9

 

 

-
HADADEZER
-
-
-
2
H+A
9
9
9
3
D+A+D
9
9
9
3
E+Z+E
36
18
9
1
R
18
18
9
9
HADADEZER
72
54
36
-
-
7+2
5+4
3+6
5
HADADEZER
9
9
9

 

  • David also destroyed the forces of Hadadezer son of Rehob, king of Zobah, when Hadadezer marched out to strengthen his control along the Euphrates River. - 2 Samuel 8:3

  • they were joined by additional Aramean troops summoned by Hadadezer from the other side of the Euphrates River.* These troops arrived at Helam under the command of Shobach, the commander of all Hadadezer's forces.1 - 2 Samuel 10:16

 

 

 

SHAMANIC WISDOM IN THE PYRAMID TEXTS

THE MYSTICAL TRADITION OF ANCIENT EGYPT

Jeremy Naydler 2005

The Sarcophagus Chamber Texts

Page 271

Anubis, has been described as "the Egyptian shamanic deity par excellence," for it is he who not
only presides over the initiatory rituals of death, dismemberment, and renewal but also provides the "celestial sledge" (shed­shed) on which the king travels to the Sky.88

 

-
SHED-SHED
-
-
-
2
S+H
27
18
9
2
E+D
9
9
9
2
S+H
27
18
9
2
E+D
18
18
9
8
SHED-SHED
81
63
36
-
-
8+1
6+3
3+6
8
SHED-SHED
9
9
9

 

 

-
SO THIS ISIS
146
83
2
4
ISIS
56
38
2
6
SOTHIS
90
45
9
10
OSIRIS UNAS
144
45
9
1
A
1
1
1
3
SUN
54
18
9
5
HORUS
81
27
9

 

 

-
EDFU
-
-
-
2
E+D
9
9
9
2
F+U
27
9
9
8
EDFU
36
18
18
-
-
3+6
1+8
1+8
8
EDFU
9
9
9

 

 

8
DAD
9
9
9
8
ADD
9
9
9

 

 

HOLY BIBLE

Scfield Reference

HOSEA

Page 922

C2 V 16

AND IT SHALL BE AT THAT DAY SAITH THE LORD THAT THOU SHALL CALL

ME

ISHI

AND SHALT CALL ME NO MORE BAALI

 

-
ISHI
-
-
-
1
I
9
9
9
2
SH
27
9
9
1
I
9
9
9
4
ISHI
36
18
18
-
-
3+6
1+8
1+8
4
ISHI
9
9
9

 

RISHI 9 9 IHSIR

 

 

EGYPTIAN CHRONOLOGY

THE MYTHIC DYNASTIES

F. G. Fleay

1899

Page 93

GODS MEMPHITE SCHEME

"PTAH reigned for 9000 months"

 

-
PTAH
-
-
-
2
P+T
36
9
9
2
H+A
9
9
9
4
PTAH
45
18
18
-
-
2+7
1+8
1+8
4
PTAH
9
9
9

 

THE PATH OF PTAH

 

-
THE HOLY NAME
-
-
-
3
THE
33
15
6
4
HOLY
60
24
6
4
NAME
33
15
6
11
THE HOLY NAME
126
54
18
1+1
-
1+2+6
5+4
1+8
2
THE HOLY NAME
9
9
9

 

 

3
THE
33
15
6
4
NINE
39
12
3
6
SQUARE
81
36
9
13
-
153
63
18
1+3
-
1+5+3
6+3
1+8
4
-
9
9
9
-
-
-
-
-
-
-
-
-
-
3
THE
33
15
6
7
ENGLISH
74
38
2
8
LANGUAGE
68
32
5
18
-
175
85
13
1+8
-
1+7+5
8+5
1+3
9
-
13
13
4

 

 

 

 

.

 

I
=
9
-
2
IN
23
14
5
W
=
5
-
4
WHOM
59
23
5
W
=
5
-
2
WE
28
10
1
L
=
3
-
4
LIVE
48
21
3
A
=
1
-
3
AND
19
10
1
M
=
4
-
4
MOVE
55
19
1
A
=
1
-
3
AND
19
10
1
H
=
8
-
4
HAVE
36
18
9
O
=
6
-
3
OUR
54
18
9
B
=
2
-
5
BEING
37
28
1
-
-
44
-
34
First Total
378
171
36
-
-
4+4
-
3+4
Add to Reduce
3+7+8
1+5+3
3+6
-
-
8
-
7
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
8
-
7
Essence of Number
9
9
9

 

 

HOLY BIBLE

JEREMIAH

SCOFIELD REFERENCES

Page 809

Chapter 33 Verse 3

3 Call unto me, and I will answer thee, and shew thee great and mighty things, which thou knowest not.

 

-
-
-
-
-
-
-
HOLY BIBLE
-
-
-
-
1
2
3
4
5
6
7
8
9
C
33
V
3
-
-
-
JEREMIAH
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
-
4
CALL
28
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
2
-
4
UNTO
70
16
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
3
-
2
ME
18
9
9
-
-
-
-
-
-
-
-
-
9
A
=
1
-
4
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
5
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
W
=
5
-
6
-
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
7
-
6
ANSWER
80
26
8
-
-
-
-
-
-
-
-
8
-
T
=
2
-
8
-
4
THEE
38
20
2
-
-
2
-
-
-
-
-
-
-
-
-
28
4
-
4
28
First Total
318
120
39
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
9
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
10
-
4
SHEW
55
19
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
11
-
4
THEE
38
20
2
-
-
2
-
-
-
-
-
-
-
G
=
7
-
12
-
5
GREAT
51
24
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
13
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
14
-
6
MIGHTY
82
37
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
15
-
6
THINGS
77
32
5
-
-
-
-
-
5
-
-
-
-
-
-
18
4
4
4
31
First Total
341
152
17
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
W
=
5
-
16
-
5
WHICH
51
33
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
17
-
4
THOU
64
19
1
-
1
-
-
-
-
-
-
-
-
K
=
2
-
18
-
7
KNOWEST
107
26
8
-
-
-
-
-
-
-
-
8
-
N
=
5
-
19
-
3
NOT
49
13
4
-
-
-
-
4
-
-
-
-
-
-
-
14
4
-
4
19
First Total
271
91
19
4
7
6
3
4
5
12
7
16
18
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
1+2
-
1+6
1+8
-
-
60
4
4
4
78
First Total
930
363
75
4
7
6
3
4
5
3
7
7
9
-
-
6+0
-
-
-
7+8
Add to Reduce
9+3+0
3+6+3
7+5
-
-
-
-
-
-
-
-
-
-
Q
-
6
-
-
-
15
Second Total
12
12
12
-
7
6
3
4
5
3
7
7
9
-
-
-
-
-
-
1+5
Reduce to Deduce
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
6
Essence of Number
3
3
3
-
7
6
3
4
5
3
7
7
9

 

Chapter 33 Verse 3

3 Call unto me, and I will answer thee, and shew thee great and mighty things, which thou knowest not.

 

-
-
-
-
-
-
-
HOLY BIBLE
-
-
-
-
1
2
3
4
5
6
7
8
9
C
33
V
3
-
-
-
JEREMIAH
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
-
4
CALL
28
10
1
-
1
-
3
-
-
-
-
-
-
U
=
3
-
2
-
4
UNTO
70
16
7
-
-
-
3
-
-
-
7
-
-
M
=
4
-
3
-
2
ME
18
9
9
-
-
-
3
-
-
-
-
-
9
A
=
1
-
4
-
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
I
=
9
-
5
-
1
I
9
9
9
-
-
-
3
-
-
-
-
-
9
W
=
5
-
6
-
4
WILL
56
20
2
-
-
2
3
-
-
-
-
-
-
A
=
1
-
7
-
6
ANSWER
80
26
8
-
-
-
3
-
-
-
-
8
-
T
=
2
-
8
-
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
A
=
1
-
9
-
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
S
=
1
-
10
-
4
SHEW
55
19
1
-
1
-
3
-
-
-
-
-
-
T
=
2
-
11
-
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
G
=
7
-
12
-
5
GREAT
51
24
6
-
-
-
3
-
-
6
-
-
-
A
=
1
-
13
-
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
M
=
4
-
14
-
6
MIGHTY
82
37
1
-
1
-
3
-
-
-
-
-
-
T
=
2
-
15
-
6
THINGS
77
32
5
-
-
-
3
-
5
-
-
-
-
W
=
5
-
16
-
5
WHICH
51
33
6
-
-
-
3
-
-
6
-
-
-
T
=
2
-
17
-
4
THOU
64
19
1
-
1
-
3
-
-
-
-
-
-
K
=
2
-
18
-
7
KNOWEST
107
26
8
-
-
-
3
-
-
-
-
8
-
N
=
5
-
19
-
3
NOT
49
13
4
-
-
-
3
4
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
4
7
6
3
4
5
12
7
16
18
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
1+2
-
1+6
1+8
-
-
60
4
4
4
78
First Total
930
363
75
4
7
6
3
4
5
3
7
7
9
-
-
6+0
-
-
-
7+8
Add to Reduce
9+3+0
3+6+3
7+5
-
-
-
-
-
-
-
-
-
-
Q
-
6
-
-
-
15
Second Total
12
12
12
-
7
6
3
4
5
3
7
7
9
-
-
-
-
-
-
1+5
Reduce to Deduce
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
6
Essence of Number
3
3
3
-
7
6
3
4
5
3
7
7
9

 

Chapter 33 Verse 3

3 Call unto me, and I will answer thee, and shew thee great and mighty things, which thou knowest not.

 

-
-
-
-
-
-
-
HOLY BIBLE
-
-
-
-
1
2
3
4
5
6
7
8
9
C
33
V
3
-
-
-
JEREMIAH
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
1
-
4
CALL
28
10
1
-
1
-
3
-
-
-
-
-
-
A
=
1
-
4
-
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
A
=
1
-
9
-
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
S
=
1
-
10
-
4
SHEW
55
19
1
-
1
-
3
-
-
-
-
-
-
A
=
1
-
13
-
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
M
=
4
-
14
-
6
MIGHTY
82
37
1
-
1
-
3
-
-
-
-
-
-
T
=
2
-
17
-
4
THOU
64
19
1
-
1
-
3
-
-
-
-
-
-
W
=
5
-
6
-
4
WILL
56
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
-
8
-
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
-
11
-
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
N
=
5
-
19
-
3
NOT
49
13
4
-
-
-
3
4
-
-
-
-
-
T
=
2
-
15
-
6
THINGS
77
32
5
-
-
-
3
-
5
-
-
-
-
G
=
7
-
12
-
5
GREAT
51
24
6
-
-
-
3
-
-
6
-
-
-
W
=
5
-
16
-
5
WHICH
51
33
6
-
-
-
3
-
-
6
-
-
-
U
=
3
-
2
-
4
UNTO
70
16
7
-
-
-
3
-
-
-
7
-
-
A
=
1
-
7
-
6
ANSWER
80
26
8
-
-
-
3
-
-
-
-
8
-
K
=
2
-
18
-
7
KNOWEST
107
26
8
-
-
-
3
-
-
-
-
8
-
M
=
4
-
3
-
2
ME
18
9
9
-
-
-
3
-
-
-
-
-
9
I
=
9
-
5
-
1
I
9
9
9
-
-
-
3
-
-
-
-
-
9
-
-
-
-
4
-
-
-
-
-
-
4
7
6
3
4
5
12
7
16
18
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
1+2
-
1+6
1+8
-
-
60
4
4
4
78
First Total
930
363
75
4
7
6
3
4
5
3
7
7
9
-
-
6+0
-
-
-
7+8
Add to Reduce
9+3+0
3+6+3
7+5
-
-
-
-
-
-
-
-
-
-
Q
-
6
-
-
-
15
Second Total
12
12
12
-
7
6
3
4
5
3
7
7
9
-
-
-
-
-
-
1+5
Reduce to Deduce
1+2
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
6
Essence of Number
3
3
3
-
7
6
3
4
5
3
7
7
9

 

 

HOLY BIBLE

B.C. 590

Jeremiah 33:3 King James Version (KJV) -
https://www.biblegateway.com/

3 Call unto me, and I will answer thee and show thee great and mighty things, which thou knowest not.

 

 

CALL UNTO ME AND I WILL SHOW THEE GREAT AND MIGHTY THINGS THAT THOU KNOWEST NOT

 

C-
33
-
V-
3
JEREMIAH
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
C
=
3
1
4
CALL
28
10
1
-
1
-
3
-
-
-
-
-
-
U
=
3
2
4
UNTO
70
16
7
-
-
-
3
-
-
-
7
-
-
M
=
4
3
2
ME
18
9
9
-
-
-
3
-
-
-
-
-
9
A
=
1
4
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
I
=
9
5
1
I
9
9
9
-
-
-
3
-
-
-
-
-
9
W
=
5
6
4
WILL
56
20
2
-
-
2
3
-
-
-
-
-
-
S
=
1
7
4
SHOW
65
20
2
-
-
2
3
-
-
-
-
-
-
T
=
2
8
4
THEE
38
20
2
-
-
2
3
-
-
-
-
-
-
G
=
7
9
5
GREAT
51
24
6
-
-
-
3
-
-
6
-
-
-
A
=
1
10
3
AND
19
10
1
-
1
-
3
-
-
-
-
-
-
M
=
4
11
6
MIGHTY
82
37
1
-
1
-
3
-
-
-
-
-
-
T
=
2
12
6
THINGS
77
32
5
-
-
-
3
-
5
-
-
-
-
T
=
2
13
4
THAT
49
13
4
-
-
-
3
4
-
`--
-
-
-`
T
=
2
14
4
THOU
64
19
1
-
1
-
3
-
-
-
-
-
-``
K
=
2
15
7
KNOWEST
107
26
8
-
-
-
3
-
-
-
-
8
-
N
=
5
16
3
NOT
49
13
4
-
-
-
3
4
-
-
-
-
-
-
-
53
-
51
First Total
810
288
45
-
5
6
3
8
5
6
7
8
18
-
-
5+3
-
5+1
Add to Reduce
8+1+0
2+8+8
4+5
-
-
-
-
-
-
-
-
-
1+8
-
-
8
-
6
Second Total
9
18
9
-
5
6
3
8
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
5
6
3
8
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
W
=
5
-
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
S
=
1
-
4
SHOW
65
20
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
4
THEE
38
20
2
-
-
2
-
-
-
-
-
-
-
G
=
7
-
5
GREAT
51
24
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
6
MIGHTY
82
37
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
6
THINGS
77
32
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
`--
-
-
-`
T
=
2
-
4
THOU
64
19
1
-
1
-
-
-
-
-
-
-
-``
K
=
2
-
7
KNOWEST
107
26
8
-
-
-
-
-
-
-
-
8
-
N
=
5
-
3
NOT
49
13
4
-
-
-
-
4
-
-
-
-
-
-
-
53
-
42
First Total
666
243
45
-
3
6
3
8
5
6
7
8
9
-
-
5+3
-
4+2
Add to Reduce
6+6+6
2+4+3
4+5
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Second Total
18
9
9
-
3
6
3
8
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
3
6
3
8
5
6
7
8
9

 

 

HOLY BIBLE
Scofield References
Page 1117
A.D. 30.
Jesus answered and said unto him, Verily, verily,
I say unto thee, Except a man be born again,
He cannot see the kingdom of God.
St John Chapter 3 verse 3
3     +     3     3     x     3
6        x        9
54
5 + 4

9

 

 

JESUS ANSWERED AND SAID UNTO HIM VERILY VERILY I SAY UNTO THEE

EXCEPT A MAN BE BORN AGAIN

HE CANNOT ENTER THE KINGDOM OF GOD

 

 

HOLY BIBLE
Scofield References
Page 1117
A.D. 30.
Jesus answered and said unto him, Verily, verily,
I say unto thee, Except a man be born again,
He cannot see the kingdom of God.
St John Chapter 3 verse 3
3     +     3     3     x     3
6        x        9
54
5 + 4

9

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

'A man may be born, but in order to be born he must first die, and in order to die he must first awake.'
'When a man awakes he can die; when he dies he can be born'

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

A MAN MAY BE BORN BUT IN ORDER TO BE BORN HE MUST FIRST DIE AND IN ORDER TO DIE HE MUST FIRST AWAKE

WHEN A MAN AWAKES HE CAN DIE WHEN HE DIES HE CAN BE BORN

 

 

-
ASTRAL BODY
-
-
-
6
ASTRAL
71
71
8
4
BODY
46
19
1
10
ASTRAL BODY
117
36
9
1+0
-`
1+1+7
3+6
-
1
ASTRAL BODY
9
9
9

 

 

UNLESS A MAN OR WOMAN IS BORN AGAIN THEY CANNOT ENTER THE KINGDOM OF EVEN

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
8
STAIRWAY
116
35
8
-
-
-
-
-
-
-
-
8
-
T
=
2
-
2
TO
38
20
8
-
-
-
-
-
-
-
-
8
-
H
=
8
-
6
HEAVEN
55
28
1
-
1
-
-
-
-
-
-
-
-
-
-
13
-
19
First Total
239
86
23
-
1
2
3
4
5
6
7
16
9
-
-
1+3
-
1+9
Add to Reduce
2+3+9
8+6
2+3
-
-
-
-
-
-
-
-
1+6
-
-
-
4
-
10
Second Total
14
14
5
-
1
2
3
4
5
6
7
7
9
-
-
-
-
1+0
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
5
5
5
-
1
2
3
4
5
6
7
7
9

 

HEAVEN

HA EVEN 9 EVEN 9 HA EVEN

HEAVEN

 

 

SEVEN EVENS SEVEN

 

 

7
WILLIAM
79
34
7
11
SHAKESPEARE
-
-
-
-
S+H
27
18
9
-
A+K+E+S
36
18
9
-
P+E+A
22
13
4
-
R
18
9
9
-
E
5
5
5
11
SHAKESPEARE
108
63
36
1+1
-
1+0+8
6+3
3+6
2
SHAKESPEARE
9
9
9

 

 

METRO
Monday, October 6, 2014
Escape cover story Caroline Eden

SUCH STUFF AS DREAMS ARE MADE ON

“’painted hill of nine horses’

 

 

Shakespeare Quotes - Such Stuff as Dreams Are Made on.
www.enotes.com/shakespeare-quotes/we-such-stuff-dreams-made

The Tempest Act 4, scene 1, William Shakespeare

Prospero:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and
our little life
Is rounded with a sleep.

 

William Shakespeare ( 26 April 1564 (baptised) – 23 April 1616)
was an English poet and playwright, widely regarded as the greatest writer in the English ...

 

W
=
5
-
2
WE
28
10
1
A
=
1
-
3
ARE
24
15
6
S
=
1
-
4
SUCH
51
15
6
S
=
1
-
5
STUFF
72
18
9
A
=
1
-
2
AS
20
2
2
D
=
4
-
6
DREAMS
60
24
6
A
=
1
-
3
ARE
24
15
6
M
=
4
-
4
MADE
23
14
5
O
=
6
-
2
ON
15
6
6
A
=
1
-
3
AND
19
10
1
O
=
6
-
3
OUR
54
18
9
L
=
3
-
6
LITTLE
78
24
6
L
=
3
-
4
LIFE
32
23
5
I
=
9
-
2
IS
28
10
1
R
=
9
-
7
ROUNDED
81
36
9
W
=
5
-
4
WITH
60
24
6
A
=
1
-
1
A
1
1
1
S
=
1
-
5
SLEEP
57
21
3
-
-
62
Q
66
First Total
741
291
84
-
-
6+2
-
6+6
Add to Reduce
7+4+1
2+9+1
8+4
-
-
8
-
12
Second Total
12
12
12
-
-
-
-
1+2
Reduce to Deduce
1+2
1+2
1+2
-
-
8
-
3
Essence of Number
3
3
3

 

"Hamlet Act 3 Scene 1"

Enter HAMLET

HAMLET

To be, or not to be: that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to, 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil
Must give us pause: there's the respect
That makes calamity of so long life;
For who would bear the whips and scorns of time
The oppressor's wrong, the proud man's contumely
The pangs of despised love, the law's delay
The insolence of office and the spurns
That patient merit of the unworthy takes
When he himself might his quietus make
With a bare bodkin? Who would fardels bear
To grunt and sweat under a weary life
But that the dread of something after death
The undiscover'd country from whose bourn
No traveller returns, puzzles the will
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all;
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought
And enterprises of great pith and moment
With this regard their currents turn awry
And lose the name of action. - Soft you now!
The fair Ophelia! Nymph, in thy orisons
Be all my sins remember'd.

William Shakespeare (baptised 1564 — died 1616)

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
B
=
2
-
2
BE
7
7
7
-
7
-
-
-
-
-
7
-
-
O
=
6
-
2
OR
33
15
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
-
4
-
-
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
B
=
2
-
2
BE
7
7
7
-
7
-
-
-
-
-
7
-
-
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
I
=
I
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
Q
=
8
-
8
QUESTION
120
39
3
-
-
-
3
-
-
-
-
-
-
-
-
40
-
30
First Total
396
135
54
-
1
2
3
8
5
12
14
16
9
-
-
4+0
-
3+0
Add to Reduce
3+9+6
1+3+5
5+4
-
-
-
-
-
-
1+2
1+4
1+6
-
-
-
4
-
3
Second Total
18
9
9
-
1
2
3
8
5
3
5
7
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
3
Essence of Number
9
9
9
-
1
2
3
8
5
3
5
7
9

 

 

-
-
-
-
-
-
-
-
-
-
1
3
4
6
7
8
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
8
B
=
2
-
2
BE
7
7
7
-
7
-
-
-
7
-
O
=
6
-
2
OR
33
15
6
-
-
-
-
6
-
-
N
=
5
-
3
NOT
49
13
4
-
-
-
4
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
8
B
=
2
-
2
BE
7
7
7
-
7
-
-
-
7
-
T
=
2
-
4
THAT
49
13
4
-
-
-
4
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
6
-
-
Q
=
8
-
8
QUESTION
120
39
3
-
-
3
-
-
-
-
-
-
40
-
30
First Total
396
135
54
-
1
3
8
12
14
16
-
-
4+0
-
3+0
Add to Reduce
3+9+6
1+3+5
5+4
-
-
-
-
1+2
1+4
1+6
-
-
4
-
3
Second Total
18
9
9
-
1
3
8
3
5
7
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
-
-
4
-
3
Essence of Number
9
9
9
-
1
3
8
3
5
7

 

TO BE OR NOT TO BE

THAT IS THE QUESTION!

 

TO B E OR NOT TO B E

THAT IS THE QUESTION!

TO B 5 OR NOT TO B 5

 

 

A FOOL A FOOL I MET A FOOL

As You Like It, Act 2 scene 7 - Jaques' speech on the seven ages of man
www.shakespeare-online.com/plays/asu_2_7.html

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
F
=
6
-
4
FOOL
48
21
3
-
-
-
3
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
F
=
6
-
4
FOOL
48
21
3
-
-
-
3
-
-
-
-
-
-
I
=
I
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
M
=
4
-
3
MET
38
11
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
F
=
6
-
4
FOOL
48
21
3
-
-
-
3
-
-
-
-
-
-
-
-
26
-
19
First Total
194
86
23
-
3
2
9
4
5
6
7
8
9
-
-
2+6
-
1+9
Add to Reduce
1+9+4
8+6
2+2
-
-
-
-
-
-
-
-
-
-
-
-
8
-
10
Second Total
14
14
5
-
3
2
9
4
5
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
1
Essence of Number
5
5
5
-
3
2
9
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
4
5
6
7
8
-
F
=
6
-
4
FOOL
48
21
3
-
-
-
3
4
5
6
7
8
-
A
=
1
-
1
A
1
1
1
-
1
-
-
4
5
6
7
8
-
F
=
6
-
4
FOOL
48
21
3
-
-
-
3
4
5
6
7
8
-
I
=
I
-
1
I
9
9
9
-
-
-
-
4
5
6
7
8
9
M
=
4
-
3
MET
38
11
2
-
-
2
-
4
5
6
7
8
-
A
=
1
-
1
A
1
1
1
-
1
-
-
4
5
6
7
8
-
F
=
6
-
4
FOOL
48
21
3
-
-
-
3
4
5
6
7
8
-
-
-
26
-
19
First Total
194
86
23
-
3
2
9
4
5
6
7
8
9
-
-
2+6
-
1+9
Add to Reduce
1+9+4
8+6
2+2
-
-
-
-
-
-
-
-
-
-
-
-
8
-
10
Second Total
14
14
5
-
3
2
9
4
5
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
1
Essence of Number
5
5
5
-
3
2
9
4
5
6
7
8
9

 

 

A 666L A 666L I MET A 666L

 

A FOOL A FOOL I MET A FOOL

As You Like It, Act 2 scene 7 - Jaques' speech on the seven ages of man
www.shakespeare-online.com/plays/asu_2_7.html

JAQUES, A fool, a fool! I met a fool i' the forest,. A motley fool; a miserable world! As I do live by food, I met a fool. Who laid him down and bask'd him in the sun. And rail'd on Lady Fortune in good terms,. In good set terms and yet a motley fool. 'Good morrow, fool,' quoth I. 'No, sir,' quoth he,. 'Call me not fool till heaven hath ...

As You Like It

ACT II SCENE VII

The Forest.
[ A table set out. Enter

DUKE SENIOR, AMIENS,
and Lords like outlaws ]
DUKE SENIOR
I think he be transform'd into a beast;
For I can no where find him like a man.
First Lord My lord, he is but even now gone hence:
Here was he merry, hearing of a song.
DUKE SENIOR
If he, compact of jars, grow musical,
We shall have shortly discord in the spheres.
Go, seek him: tell him I would speak with him.
[Enter JAQUES]
First Lord He saves my labour by his own approach.
DUKE SENIOR
Why, how now, monsieur! what a life is this,
That your poor friends must woo your company? 10
What, you look merrily!
JAQUES
A fool, a fool! I met a fool i' the forest,
A motley fool; a miserable world!
As I do live by food, I met a fool
Who laid him down and bask'd him in the sun,
And rail'd on Lady Fortune in good terms,
In good set terms and yet a motley fool.
'Good morrow, fool,' quoth I. 'No, sir,' quoth he,
'Call me not fool till heaven hath sent me fortune:'
And then he drew a dial from his poke, 20
And, looking on it with lack-lustre eye,
Says very wisely, 'It is ten o'clock:
Thus we may see,' quoth he, 'how the world wags:
'Tis but an hour ago since it was nine,
And after one hour more 'twill be eleven;
And so, from hour to hour, we ripe and ripe,
And then, from hour to hour, we rot and rot;
And thereby hangs a tale.' When I did hear
The motley fool thus moral on the time,
My lungs began to crow like chanticleer, 30
That fools should be so deep-contemplative,
And I did laugh sans intermission
An hour by his dial. O noble fool!
A worthy fool! Motley's the only wear.
DUKE SENIOR What fool is this?
JAQUES O worthy fool! One that hath been a courtier,
And says, if ladies be but young and fair,
They have the gift to know it: and in his brain,
Which is as dry as the remainder biscuit
After a voyage, he hath strange places cramm'd 40
With observation, the which he vents
In mangled forms. O that I were a fool!
I am ambitious for a motley coat.
DUKE SENIOR Thou shalt have one.
JAQUES It is my only suit;
Provided that you weed your better judgments
Of all opinion that grows rank in them
That I am wise. I must have liberty
Withal, as large a charter as the wind,
To blow on whom I please; for so fools have;
And they that are most galled with my folly, 50
They most must laugh. And why, sir, must they so?
The 'why' is plain as way to parish church:
He that a fool doth very wisely hit
Doth very foolishly, although he smart,
Not to seem senseless of the bob: if not,
The wise man's folly is anatomized
Even by the squandering glances of the fool.
Invest me in my motley; give me leave
To speak my mind, and I will through and through
Cleanse the foul body of the infected world, 60
If they will patiently receive my medicine.

 

9
5 + 4
5 4
6         x        9
3    +    3       3    x     3
St John Chapter 3 verse 3
He cannot see the kingdom of God."
I say unto thee, Except a man be born again
"Jesus answered and  said unto him, Verily, verily,

Holy Bible
Scofield Reference

 

 

973-eht-namuh-973.com Forum Index
The Oracle

SHAKESPEARE

by hope » 23 Mar 2018 15:32
WHO wrote Shakespeare?

 

Re: SHAKESPEARE

Post
by Koguntetsu » 23 Mar 2018 18:17
I am a bit confused about your question, Hope. When you ask "WHO wrote Shakespeare?" The first answer to come across my mind would be William Shakespeare. However something tells me it's more complex than that. For example if asked "how do you spell his name", various answers would emerge, just ask the man himself. So by asking "WHO wrote Shakespeare?" any one of these answers could be correct as Shakespeare did not always write his name the same way. The 6 surviving signatures are as follows

•Willm Shakp
•William Shaksper
•Wm Shakspe
•William Shakspere
•Willm Shakspere
By me William Shakespeare

Most of these are written using breviographic conventions of the time and was common to see abbreviated names used as signatures.

Going on the same topic of spelling, in non-literary references in his lifetime, the spelling Shakespeare appears first at 71. The next most common spelling is Shakespere at 21 occurrences. The following frequencies of usage is as follows with Shakespear at 16, Shakspeare at 13, Shackspeare at 12, and Shakspere with 8 occurrences. There are also various other spellings used one time, so any of these answers could be correct...

However I yet still feel that this question goes deeper, and yet I'm sure you aren't talking about that episode of Dr. WHO where they met Sir Shakespeare.

 

Koguntetsu KOGUNTETSU Koguntetsu

 

 

K
=
2
-
-
KOGUNTETSU
-
-
-
-
-
-
-
4
KOGU
54
18
9
-
-
-
-
1
N
14
5
5
-
-
-
-
3
TET
45
9
9
-
-
-
-
2
SU
40
4
4
K
=
2
-
10
KOGUNTETSU
153
36
36
-
-
-
-
1+0
-
1+5+3
3+6
3+6
K
=
2
-
1
KOGUNTETSU
9
9
9

 

 

-
-
-
-
-
KOGUNTETSU
-
-
-
-
1
2
3
4
5
6
7
8
9
K
=
2
-
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
-
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
S
=
1
-
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
-
-
36
-
10
KOGUNTETSU
153
36
36
-
1
6
6
4
10
6
7
8
9
-
-
3+6
-
1+0
-
1+5+3
3+6
3+6
-
-
-
-
-
1+0
-
-
-
-
-
-
9
-
1
KOGUNTETSU
9
9
9
-
1
6
6
4
1
6
7
8
9

 

THE LENGTH OF THE GRAND GALLERY IN THE GREAT PYRAMID OF GIZA IS 153 FEET.

I53 x 12 INCHES = 1836

 

 

OF TIME AND STARS

Arthur C. Clarke 1972

FOREWORD

"'Into the Comet' and 'The Nine Billion Names of God' both involve computers and the troubles they may cause us. While writing this preface, I had occasion to call upon my own HP 9100A computer, Hal Junior, to answer an interesting question. Looking at my records, I find that I have now written just about one hundred short stories. This volume contains eighteen of them: therefore, how many possible 18-story collections will I be able to put together? The answer ­as I am sure will be instantly obvious to you - is 100 x 99. . . x 84 x 83 divided by 18 x 17 x 16 ... x .2 x 1. This is an impressive number - Hal Junior tells me that it is approximately 20,772,733,124,605,000,000.

Page 15

The Nine Billion Names of God

 

3
THE
33
15
6
4
NINE
42
24
6
7
BILLION
73
37
1
5
NAMES
52
16
7
2
OF
21
12
3
3
GOD
26
17
8
24
-
247
121
31
2+4
-
2+4+7
1+2+1
3+1
6
-
13
4
4
-
-
1+3
-
-
6
-
4
4
4

 

 

OF TIME AND STARS

Arthur C. Clarke 1972

The Nine Billion Names of God

Page 15 (number missing)
'This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a machine. Could you explain just what you intend to do with it?'
'Gladly,' replied the lama, readjusting his silk robes and carefully putting away the slide rule he had been using far currency conversions. 'Your Mark V Computer can carry out any routine mathematical operation involving up to ten digits. However, for our work we are interested in letters, not numbers. As we wish you to modify the output circuits, the machine will be printing words, not columns of figures.'
'I don't quite understand. . .'
'This is a project on which we have been working for the last three centuries - since the lamasery was founded, in fact. It is somewhat alien to your way of thought, so I hope you will listen with an open mind while I explain it.'
'Naturally.'
'It is really quite simple. We have been compiling a list which shall contain all the possible names of God.'
'I beg your pardon?'

Page16

'We have reason to believe,' continued the lama imperturbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.'
'And you have been doing this for three centuries?'
'Yes: we expected it would take us about fifteen thousand years to complete the task.'
'Oh,' Dr Wagner looked a little dazed. 'Now I see why you wanted to hire one of our machines. But what exactly is the purpose of this project?'
The lama hesitated for a fraction of a second, and Wagner wondered if he had offended him. If so, there was no trace of annoyance in the reply.
'Call it ritual, if you like, but it's a fundamental part of our belief. All the many names of the Supreme Being - God Jehova, Allah, and so on - they are only man-made labels. There is a philosophical problem of some difficulty here, which I do not propose to discuss, but somewhere among all the possible combinations of letters that can occur are what one may call the real names of God. By systematic permutation of letters, we have been trying to list them all.'
'I see. You've been starting at AAAAAAA . . . and working up to ZZZZZZZZ . . .'
'Exactly - though we use a special alphabet of our own. Modifying the electromatic typew
riters to deal with this is, of course, trivial. A rather more interesting problem is that of devising suitable circuits to eliminate ridiculous combinations. For example, no letter must occur more than three times in succession.'
,'Three? Surely you mean two.'
'Three is correct: I am afraid it would take too long to explain why, even if you understood our language.' "

 

I = 9 9 = I

R = 9 9 = R

 

OF

T9ME AND STA9S

A9thu9 C. Cla9ke,1972

Page 15

THE N9NE B9LL9ON NAMES OF GOD

'Th9s 9s a sl9ghtly unusual 9equest,'sa9d D9 Wagne9, w9th what he hoped was commendable 9est9a9nt.' As fa9 as 9 know, 9t's the f99st t9me anyone's been asked to supply a T9betan monaste9y with an Automat9c Sequence Compute9. 9 don't w9sh to be 9nqu9s9t9ve, but 9 should ha9dly have thought that you9- ah - establ9shment had much use for such a mach9ne.Could you expla9n just what you 9ntend to do w9th 9t?'

'Gladly,' 9epl9ed the lama, 9eadjust9ng h9s s9lk 9obes and ca9efully putting away the sl9de 9ule he had been us9ng fo9 cu99ency conve9s9ons. 'You9 Ma9k V Compute9 can ca99y out any 9out9ne mathemat9cal ope9at9on 9nvolv9ng up to ten d9g9ts. Howeve9, for ou9 work we are 9nte9ested 9n lette9s, not numbe9s. As we w9sh you to mod9fy the output c9rcu9ts,the mach9ne w9ll be p99nt9ng wo9ds not columns of f9gu9es.'

'9 dont qu9te unde9stand…'

'Th9s 9s a p9oject on wh9ch we have been work9ng fo9 the last th9ee centu99es - s9nce the lamase9y was founded, 9n fact.9t 9s somewhat al9en to you9 way of thought, so9 hope you w9ll l9sten with an open m9nd wh9le 9 expla9n 9t

'Natu9ally.'

'9t 9s 9eally qu9te s9mple.We have been comp9l9ng a l9st wh9ch shall conta9n all the poss9ble names of God'

'9 beg you9 pa9don?' / Page16 / 'We have 9eason to bel9eve' cont9nued the lama 9mpe9tu9bably, ' that all such names can be w99tten with not mo9e than n9ne lette9s 9n an alphabet we have dev9sed,'

'And you have been do9ng th9s for three centu99es?

'Yes: we expected9t would take us about f9fteen thousand years to complete the task.'

'Oh, Dr Wagne9 looked a l9ttle dazed. 'Now9 see why you wanted to h99e one of ou9 mach9nes. But what exactly9s the pu9pose of th9s p9oject ?

'The lama hes9tated fo9 a f9act9on of a second, and Wagne9 wonde9ed9f he had offended h9m.9f so the9e was no t9ace of annoyance9n the 9eply.

'Call9t 99tual, 9f you l9ke, but 9t's a fundamental pa9t of ou9 bel9ef. All the many names of the Sup9eme Be9ng - God , Jehova , Allah , and so on - they a9e only man made labels. The9e 9s a ph9losoph9cal p9oblem of some d9ff9culty he9e, wh9ch9 do not p9opose to d9scuss, but somewhe9e among all the poss9ble comb9nat9ons of lette9s that can occu9 a9e what one may call the 9eal names of God. By systemat9c pe9mutat9on of lette9s, we have been t9y9ng to l9st them all'

9 see. You've been sta9t9ng at AAAAAAA… and wo9k-9ng up to ZZZZZZZZ …'

'Exactly - though we use a spec9al alphabet of ou9 own. Mod9fy9ng the elect9omat9c typew99te9s to deal w9th th9s 9s of cou9se t99v9al. A 9athe9 mo9e 9nte9est9ng p9oblem 9s that of dev9s9ng su9table c99cu9ts to el9m9nate 9 9d9culous comb9nat9ons. Fo9 example, no lette9 must occu9 mo9e than th9ee t9mes 9n sucess9on.'

'Th9ee? Su9ely you mean two.'

'Th9ee 9s co99ect; 9 am af9a9d 9t would take too long to expla9n why , even 9f you unde9stood ou9 language.'/ Page 17 / '9'm su9e 9t would,' sa9d Wagne9 hast9ly. 'Go on.'

'Luck9ly, 9t w9ll be a s9mple matte9 to adapt you9 Automat9c Sequence Compute9 fo9 th9s wo9k, s9nce once 9t has been p9og9ammed p9ope9ly 9t w9ll pe9mute each lette9 9n tu9n and p99nt the 9esult. What would have taken us f9fteen thousand years 9t w9ll be able to do 9n a hund9ed days.'

'Dr Wagne9 was sca9cely consc9ous of the fa9nt sounds f9om the Manhatten st9eets fa9 below. He was 9n a d9ffe9ent wo9ld, a wo9ld of natu9al, not man-made mounta9ns. H9gh up 9n the99 9emote ae99es these monks had been pat9ently at wo9k gene9at9on afte9 gene9at9on, comp9l9ng the99 l9sts of mean9ngless wo9ds. Was the9e any l9m9ts to the foll9es of mank9nd ? St9ll, he must g9ve no h9nt of h9s 9nne9 thoughts. The custome9 was always 99ght…"

Page 68

Into the Comet


"Pickett's fingers danced over the beads, sliding them up and down the wires with lightning speed. There were twelve wires in all, so that the abacus could handle numbers up to 999,999,999,999 - or could be divided into separate sections where several independent calculations could be carried out simultaneously.
'374072,' said Pickett, after an incredibly brief interval of time. 'Now see how long you take to do it, with pencil and paper.'
There was a much longer delay before Martens, who like most mathematicians was poor at arithmetic, called out '375072'. A hasty check soon confirmed that Martens had taken at least three times as long as Pickett to arrive at the wrong answer.
The atronomer's face was a study in mingled chagrin, astonishment, and curiosity.
'Where did you learn that trick?' he asked. 'I thought those things could only add and subtract.'
'Well - multiplication's only repeated addition, isn't it? All I did was to add 856 seven times in the unit column, three times in the tens column, and four times in the hundreds column. You do the same thing when you use pencil and paper. Of course, there are some short cuts, but if you think I'm fast, you should have seen my granduncle. He used to work in a Yokohama bank, and you couldn't see his fingers / Page 69 / when he was going at speed"

 

 

-
-
-
-
-
ABACUS
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
-
-
4
5
6
7
8
9
B
=
2
2
1
B
2
2
2
-
-
2
-
4
5
6
7
8
9
A
=
1
3
1
A
1
1
1
-
1
-
-
4
5
6
7
8
9
C
=
3
4
1
C
3
3
3
-
-
-
3
4
5
6
7
8
9
U
=
3
5
1
U
21
3
3
-
-
-
3
4
5
6
7
8
8
S
=
1
6
1
S
19
10
1
-
1
-
-
4
5
6
7
8
9
-
-
11
-
6
ABACUS
47
20
11
-
3
2
6
4
5
6
7
8
9
-
-
1+1
-
-
-
4+7
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
2
-
6
ABACUS
11
2
2
-
3
2
6
4
5
6
7
8
9
-
-
1+1
-
-
-
1+1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
6
ABACUS
2
2
2
-
3
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
ABACUS
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
-
-
4
5
6
7
8
9
A
=
1
3
1
A
1
1
1
-
1
-
-
4
5
6
7
8
9
S
=
1
6
1
S
19
10
1
-
1
-
-
4
5
6
7
8
9
B
=
2
2
1
B
2
2
2
-
-
2
-
4
5
6
7
8
9
C
=
3
4
1
C
3
3
3
-
-
-
3
4
5
6
7
8
9
U
=
3
5
1
U
21
3
3
-
-
-
3
4
5
6
7
8
8
-
-
11
-
6
ABACUS
47
20
11
-
3
2
6
4
5
6
7
8
9
-
-
1+1
-
-
-
4+7
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
2
-
6
ABACUS
11
2
2
-
3
2
6
4
5
6
7
8
9
-
-
1+1
-
-
-
1+1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
6
ABACUS
2
2
2
-
3
2
6
4
5
6
7
8
9

 

 

Abacus - Wikipedia
https://en.wikipedia.org/wiki/Abacus

The abacus (plural abaci or abacuses), also called a counting frame, is a calculating tool that was in use in Europe, China and Russia, centuries before the adoption of the written Hindu–Arabic numeral system. The exact origin of the abacus is still unknown.

The abacus (plural abaci or abacuses), also called a counting frame, is a calculating tool that was in use in Europe, China and Russia, centuries before the adoption of the written Hindu–Arabic numeral system. The exact origin of the abacus is still unknown. Today, abaci are often constructed as a bamboo frame with beads sliding on wires, but originally they were beans or stones moved in grooves in sand or on tablets of wood, stone, or metal.
Abaci come in different designs. Some designs, like the bead frame consisting of beads divided into tens, are used mainly to teach arithmetic, although they remain popular in the post-Soviet states as a tool. Other designs, such as the Japanese soroban, have been used for practical calculations even involving several digits. For any particular abacus design, there usually are numerous different methods to perform a certain type of calculation, which may include basic operations like addition and multiplication, or even more complex ones, such as calculating square roots. Some of these methods may work with non-natural numbers (numbers such as 1.5 and ?3/4).
Although today many use calculators and computers instead of abaci to calculate, abaci still remain in common use in some countries. Merchants, traders and clerks in some parts of Eastern Europe, Russia, China and Africa use abaci, and they are still used to teach arithmetic to children.[1] Some people who are unable to use a calculator because of visual impairment may use an abacus.

 

A
=
1
-
1
A
1
1
1
C
=
3
-
8
COUNTING
103
40
4
T
=
2
-
5
TABLE
40
13
4
-
-
6
-
14
Add to Reduce
144
54
9
-
-
-
-
1+4
Reduce to Deduce
1+4+4
5+4
1+6
-
-
6
-
5
Essence of Number
9
9
9

 

 

LOOK AT THE THREES LOOK AT THE THREES LOOK AT THE THREES THE THREES THE THREES

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
THREES
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
3
1
R
9
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
S
=
1
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
30
-
6
THREES
75
39
30
-
1
2
3
4
10
6
7
8
9
-
-
3+0
-
-
-
7+5
3+9
3+0
-
-
-
-
-
1+0
-
-
-
-
-
-
3
-
6
THREES
12
12
3
-
1
2
3
4
1
6
7
8
9
-
-
3+0
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
6
THREES
3
3
3
-
1
2
3
4
1
6
7
8
9

 

3THREE TO THINE AND 3THREE TO MINE AND 3THREE TIMES 3THREE AS MAKE UP 9NINE

 

 

L
=
3
-
6
LILITH
70
34
7
L
=
3
-
7
LUCIFER
74
38
2
-
-
6
-
13
Add to Reduce
144
72
9
-
-
-
-
1+3
Reduce to Deduce
1+4+4
7+2
1+6
-
-
6
-
4
Essence of Number
9
9
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
-
6
LILITH
70
34
7
-
-
-
-
-
-
-
-
-
-
L
=
3
-
7
LUCIFER
74
38
2
-
-
-
-
-
-
-
-
-
-
-
-
6
-
13
Add to Reduce
144
72
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
1
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
3
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
T
=
2
5
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
-
-
34
-
6
-
70
34
34
-
-
-
-
-
-
-
-
-
-
L
=
3
7
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
8
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
9
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
F
=
6
10
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
E
=
5
12
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
13
1
R
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
38
-
7
-
74
38
38
-
1
2
15
4
5
6
7
8
36
-
-
-
-
-
-
-
-
-
-
-
-
1+5
-
-
-
-
-
3+6
-
-
-
-
6
LILITH
70
34
1
-
1
2
6
4
5
6
7
8
9
-
-
-
-
7
LUCIFER
74
38
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
13
Add to Reduce
144
72
1
-
1
2
6
4
5
6
7
8
9
-
-
-
-
1+3
Reduce to Deduce
1+4+4
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
Essence of Number
1
10
1
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
-
6
LILITH
70
34
7
-
-
-
-
-
-
-
-
-
-
L
=
3
-
7
LUCIFER
74
38
2
-
-
-
-
-
-
-
-
-
-
-
-
6
-
13
Add to Reduce
144
72
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
1
1
L
12
3
3
-
1
-
3
4
-
-
7
-
-
I
=
9
2
1
I
9
9
9
-
1
-
-
4
-
-
7
-
9
L
=
3
3
1
L
12
3
3
-
1
-
3
4
-
-
7
-
-
I
=
9
2
1
I
9
9
9
-
1
-
-
4
-
-
7
-
9
T
=
2
5
1
T
20
2
2
-
1
2
-
4
-
-
7
-
-
H
=
8
6
1
H
8
8
8
-
1
-
-
4
-
-
7
8
-
L
=
3
7
1
L
12
3
3
-
1
-
3
4
-
-
7
-
-
U
=
3
8
1
U
21
3
3
-
1
-
3
4
-
-
7
-
-
C
=
3
9
1
C
3
3
3
-
1
-
3
4
-
-
7
-
-
I
=
9
10
1
I
9
9
9
-
1
-
-
4
-
-
7
-
9
F
=
6
10
1
F
6
6
6
-
1
-
-
4
-
6
7
-
-
E
=
5
12
1
E
5
5
5
-
1
-
-
4
5
-
7
-
-
R
=
9
13
1
R
9
9
9
-
1
-
-
4
-
-
7
-
9
-
-
38
-
7
-
74
38
38
-
1
2
15
4
5
6
7
8
36
-
-
-
-
-
-
-
-
-
-
-
-
1+5
-
-
-
-
-
3+6
-
-
-
-
6
LILITH
70
34
1
-
1
2
6
4
5
6
7
8
9
-
-
-
-
7
LUCIFER
74
38
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
13
Add to Reduce
144
72
1
-
1
2
6
4
5
6
7
8
9
-
-
-
-
1+3
Reduce to Deduce
1+4+4
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
Essence of Number
1
10
1
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
-
6
LILITH
70
34
7
-
-
-
-
-
-
-
-
-
-
L
=
3
-
7
LUCIFER
74
38
2
-
-
-
-
-
-
-
-
-
-
-
-
6
-
13
Add to Reduce
144
72
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
5
1
T
20
2
2
-
1
2
-
4
-
-
7
-
-
L
=
3
1
1
L
12
3
3
-
1
-
3
4
-
-
7
-
-
L
=
3
3
1
L
12
3
3
-
1
-
3
4
-
-
7
-
-
L
=
3
7
1
L
12
3
3
-
1
-
3
4
-
-
7
-
-
U
=
3
8
1
U
21
3
3
-
1
-
3
4
-
-
7
-
-
C
=
3
9
1
C
3
3
3
-
1
-
3
4
-
-
7
-
-
E
=
5
12
1
E
5
5
5
-
1
-
-
4
5
-
7
-
-
F
=
6
10
1
F
6
6
6
-
1
-
-
4
-
6
7
-
-
H
=
8
6
1
H
8
8
8
-
1
-
-
4
-
-
7
8
-
I
=
9
2
1
I
9
9
9
-
1
-
-
4
-
-
7
-
9
I
=
9
2
1
I
9
9
9
-
1
-
-
4
-
-
7
-
9
I
=
9
10
1
I
9
9
9
-
1
-
-
4
-
-
7
-
9
R
=
9
13
1
R
9
9
9
-
1
-
-
4
-
-
7
-
9
-
-
38
-
7
-
74
38
38
-
1
2
15
4
5
6
7
8
36
-
-
-
-
-
-
-
-
-
-
-
-
1+5
-
-
-
-
-
3+6
-
-
-
-
6
LILITH
70
34
1
-
1
2
6
4
5
6
7
8
9
-
-
-
-
7
LUCIFER
74
38
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
13
Add to Reduce
144
72
1
-
1
2
6
4
5
6
7
8
9
-
-
-
-
1+3
Reduce to Deduce
1+4+4
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
Essence of Number
1
10
1
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
2
3
5
6
8
9
L
=
3
-
6
LILITH
70
34
7
-
-
-
-
-
-
-
L
=
3
-
7
LUCIFER
74
38
2
-
-
-
-
-
-
-
-
-
6
-
13
Add to Reduce
144
72
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
3
5
6
8
9
T
=
2
5
1
T
20
2
2
-
2
-
-
-
-
-
L
=
3
1
1
L
12
3
3
-
-
3
-
-
-
-
L
=
3
3
1
L
12
3
3
-
-
3
-
-
-
-
L
=
3
7
1
L
12
3
3
-
-
3
-
-
-
-
U
=
3
8
1
U
21
3
3
-
-
3
-
-
-
-
C
=
3
9
1
C
3
3
3
-
-
3
-
-
-
-
E
=
5
12
1
E
5
5
5
-
-
-
5
-
-
-
F
=
6
10
1
F
6
6
6
-
-
-
-
6
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
8
-
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
9
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
9
R
=
9
13
1
R
9
9
9
-
-
-
-
-
-
9
-
-
38
-
7
-
74
38
38
-
2
15
5
6
8
36
-
-
-
-
-
-
-
-
-
-
-
1+5
-
-
-
3+6
-
-
-
-
6
LILITH
70
34
1
-
2
6
5
6
8
9
-
-
-
-
7
LUCIFER
74
38
8
-
-
-
-
-
-
-
-
-
-
-
13
Add to Reduce
144
72
1
-
2
6
5
6
8
9
-
-
-
-
1+3
Reduce to Deduce
1+4+4
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
4
Essence of Number
1
10
1
-
2
6
5
6
8
9

 

 

 

 

THE VOYAGE OF THE DAWNTREADER

C. S. Lewis 1952

Page 155

CHAPTER FOURTEEN

THE BEGINNING OF THE END OF THE WORLD

SLOWLY the door opened again and out there came a figure as tall and straight as the girl's but not so slender. It carried no light but light seemed to come from it. As it came nearer, Lucy saw that it was like an old man. His silver beard came down to his bare feet in front and his silver hair hung down to his heels behind and his robe appeared to be made from the fleece of silver sheep. He looked so mild and grave that once more all the travellers rose to their feet and stood in silence.
But the old man came on without speaking to the travellers and stood on the other side of the table opposite to his daughter. Then both of them held up their arms before / Page 156 / them and turned to face the east. In that position they began to sing. I wish I could write down the song, but no one who was present could remember it. Lucy said after­wards that it was high, almost shrill, but very beautiful, "A cold kind of song, an early morning kind of song." And as they sang, the grey clouds lifted from the eastern sky and the white patches grew bigger and bigger till it was all white, and the sea began to shine like silver. And long afterwards (but those two sang all the time) the east began to turn red and at last, unclouded, the sun came up out of the sea and its long level ray shot down the length of the table on the gold and silver and on the Stone Knife.
Once or twice before, the Narnians had wondered whether the sun at its rising did not look bigger in these seas than it had looked at home. This time they were certain. There was no mistaking it. And the brightness of its ray on the dew and on the table was far beyond any morning brightness they had ever seen. And as Edmund said afterwards, "Though lots of things happened on that trip which sound more exciting, that moment was really the most exciting." For now they knew that they had truly come to the beginning of the End of the World.
Then something seemed to be flying at them out of the very centre of the rising sun: but of course one couldn't look steadily in that direction to make sure.But presently the air became full of voices - voices which took up the same song that the Lady and her Father were singing, but in far wilder tones and in a language which no one knew. And soon after that the owners of these voices could be seen. They were birds, large and white, and they came by hundreds and thousands and alighted on everything; on the grass, and the pavement, on the table, on your shoulders, your hands, and your head, till it looked as if heavy snow had fallen. For, like snow, they not only made / Page 157 / everything white but blurred and blunted all shapes. But Lucy, looking out from between the wings of the birds that covered her, saw one bird fly to the Old Man with something in its beak that looked like a little fruit, unless it was a little live coal, which it might have been, for it was too bright to look at. And the bird laid it in the Old Man's mouth.
Then the birds stopped their singing and appeared to be very busy about the table. When they rose from it again everything on the table that could be eaten or drunk had disappeared. These birds rose from their meal in their thousands and hundreds and carried away all the things that could not be eaten or drunk, such as bones, rinds, and shells, and took their flight back to the rising sun. But now, because they were not singing, the whir of their wings seemed to set the whole air a-tremble. And there was the table pecked clean and empty, and the three old Lords of Narnia still fast asleep.
Now at last the Old Man turned to the travellers and bade them welcome.
"Sir," said Caspian, "will you tell us how to undo the enchantment which holds these three Narnian Lords asleep. "
"I will gladly tell you that, my son," said the Old Man. "To break this enchantment you must sail to the World's End, or as near as you can come to it, and you must come back having left at least one of your company behind."
"And what must happen to that one?" asked Reepicheep. "He must go on into the utter east and never return into the world." "That is my heart's desire," said Reepicheep.
"And are we near the World's End now, Sir?" asked Caspian. "Have you any knowledge of the seas and lands further east than this?" / Page 158 / "I saw them long ago," said the Old Man, "but it was from a great height. I cannot tell you such things as sailors need to know. "
"Do you mean you were flying in the air?" Eustace blurted out.
"I was a long way above the air, my son," replied the Old Man. "I am Ramandu. But I see that you stare at one another and have not heard this name. And no wonder, for the days when I was a star had ceased long before any of you knew this world, and all the constellations have changed. "
"Golly," said Edmund under his breath. "He's a retired star. " .
"Aren't you a star any longer?" asked Lucy.
"I am a star at rest, my daughter," answered Ramandu.

Page 159

"When I set for the last time, decrepit and old beyond all that you can reckon, I was carried to this island. I am not so old now as I was then. Every morning a bird brings me a fire-berry from the valleys in the Sun, and each fire-berry takes away a little of my age. And when 1 have become as young as the child that was born yesterday, then I shall take my rising again (for we are at earth's eastern rim) and once more tread the great dance."
"In our world," said Eustace, "a star is a huge ball of flaming gas. "
"Even in your world, my son, that is not what a star is but only what it is made of. And in this world you have already met a star: for I think you have been with Coriakin. "
"Is he a retired star, too?" said Lucy.
"Well, not quite the same," said Ramandu. "It was not quite as a rest that he was set to govern the Duffers. You might call it a punishment. He might have shone for thousands of years more in the southern winter sky if all had gone well. "
"What did he do, Sir?" asked Caspian.
"My son," said Ramandu, "it is not for you, a son of Adam, to know what faults a star can commit. But come, we waste time in such talk. Are you yet resolved? Will you sail further east and come again, leaving one to return no more, and so break the enchantment? Or will you sail westward?"
"Surely, Sire," said Reepicheep, "there is no question about that? It is very plainly part of our quest to rescue these three lords from enchantment"
"I think the same, Reepicheep," replied Caspian. "And even if it were not so, it would break my heart not to go as near the World's End as the Dawn Treader will take us. But I am thinking of the crew. They signed on to seek the / Page 160 / seven lords, not to reach the rim of the Earth. If we sail east from here we sail to find the edge, the utter east. And no one knows how far it is. They're brave fellows, but I see signs that some of them are weary of the voyage and long to have our prow pointing to Narnia again. I don't think I should take them further without their knowledge and consent. And then there's the poor Lord Rhoop. He's a broken man. "
"My son," said the star, "it would be no use, even though you wished it, to sail for the World's End with men unwilling or men deceived. That is not how great unenchantments are achieved. They must know where they go and why. But who is this broken man you speak of?"
Caspian told Ramandu the story of Rhoop.
"I can give him what he needs most," said Ramandu. "In this island there is sleep without stint or measure, and sleep in which no faintest footfall of a dream was ever heard. Let him sit beside these other three and drink oblivion till your return."
"Oh, do let's do that, Caspian," said Lucy. "I'm sure it's just what he would love."
At that moment they were interrupted by the sound of many feet and voices: Drinian and the rest of the ship's company were approaching. They halted in surprise when they saw Ramandu and his daughter; and then, because these were obviously great people, every man uncovered his head. Some sailors eyed the empty dishes and flagons on the table with regret.
"My lord," said the King to Drinian, "pray send two men back to the Dawn Treader with a message to the Lord Rhoop. Tell him that the last of his old shipmates are here asleep - a sleep without dreams - and that he can share it."

When this had been done, Caspian told the rest to sit down and laid the whole situation before them. When he / Page 161 / had finished there was a long silence and some whispering until presently the Master Bowman got to his feet, and said:
"What some of us have been wanting to ask for a long time, your Majesty, is how we're ever to get home when we do turn, whether we turn here or somewhere else. It's been west and north-west winds all the way, barring an occa­sional calm. And if that doesn't change, I'd like to know what hopes we have of seeing Narnia again. There's not much chance of supplies lasting while we row all that way."
"That's landsman's talk," said Drinian. "There's always a prevailing west wind in these seas all through the late summer, and it always changes after the New Year. We'll have plenty of wind for sailing westward; more than we shall like from all accounts."
"That's true, Master," said an old sailor who was a Galmian by birth. "You get some ugly weather rolling up from the east in January and February. And by your leave, Sire, if I was in command of this ship I'd say to winter here and begin the voyage home in March. "
"What'd you eat while you were wintering here?" asked Eustace.
"This table," said Ramandu, "will be filled with a king's feast every day at sunset."
"Now you're talking!" said several sailors.
"Your Majesties and gentlemen and ladies all," said Rynelf, "there's just one thing I want to say. There's not one of us chaps as was pressed on this journey. We're volunteers. And there's some here that are looking very hard at that table and thnking about king's feasts who were talking very loud about adventures on the day we sailed from Cair Paravel, and swearing they wouldn't come home till we'd found the end of the world."

 

 

THE VOYAGE OF THE DAWNTREADER

C. S. Lewis 1952

CHAPTER FOURTEEN

THE BEGINNING OF THE END OF THE WORLD

Page 160

"My lord," said the King to Drinian, "pray send two men back to the Dawn Treader with a message to the Lord Rhoop. Tell him that the last of his old shipmates are here asleep - a sleep without dreams - and that he can share it."

 

 

THE VOYAGE OF THE DAWNTREADER

C. S. Lewis 1952

Page 155

CHAPTER FOURTEEN

THE BEGINNING OF THE END OF THE WORLD

But Lucy, looking out from between the wings of the birds that covered her, saw one bird fly to the Old Man with something in its beak that looked like a little fruit, unless it was a little live coal, which it might have been, for it was too bright to look at. And the bird laid it in the Old Man's mouth.

 

Page 159

"When I set for the last time, decrepit and old beyond all that you can reckon, I was carried to this island. I am not so old now as I was then. Every morning a bird brings me a fire-berry from the valleys in the Sun, and each fire-berry takes away a little of my age. And when 1 have become as young as the child that was born yesterday, then I shall take my rising again (for we are at earth's eastern rim) and once more tread the great dance."

 

 

THE RIVER GOD 

Wilbur Smith 1993

Page 47

"If I had known then how close my words would turn out to being the truth, I think I should have placed a live coal on my tongue before I spoke them."

 

 

HOLY BIBLE

Scofield References

Page 922

ISAIAH

C 6 V 6

 

6

Then flew one of the seraphims unto me, having a live coal in his hand, which he had taken with the tongs from off the altar:

7

And he laid it upon my mouth, and said, Lo, this hath touched thy lips; and thine iniquity is taken away, and thy sin purged.

 

 

THE FOUNTAIN OF LIFE

Prose And Verse From The Bible

Robert Prys Jones 1949

Page 119

ISAIAH

6

HERE AM I; SEND ME

IN the year that king Uzziah died I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. Above it stood the seraphims:
each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly. And one cried unto another, and said, Holy, holy, holy, is the Lord of hosts: the whole earth is full of his glory. And the posts of the door moved at the voice of him that cried, and the house was filled with smoke.
Then said I, Woe is me! for I am undone; because I am a man of unclean lips, and I dwell in the midst of a people of unclean lips: for mine eyes have seen the. King, the Lord of hosts.
Then flew one of the seraphims unto / Page 120 / me, having a live coal in his hand, which he had taken with the tongs from off the altar: and he laid it upon my mouth, and said, Lo, this hath touched thy lips; and thine iniquity is taken away, and thy sin purged. Also I heard the voice of the Lord, saying, Whom shall I send, and who will go for us? Then said I, Here am I; send me.

 

 

GREAT PHILOSOPHIES OF THE EAST

E. W. F. Tomlin 1952

Page 159

"Like the conpilers of the Old Testament: the editors of the Rig-Veda anthology were,careful to preserve intact material belonging to different epochs, We are thus able to trace the development of the early Aryan, religious consciousness , just as a reading of early and later parts of the Bible affords us an enlarged conception of the nature of the Hebrew Yahve. There is wisdom in this refusal on the part of priestly guardians to suppress the primitive elements of their faith; for these are better kept well before the eye than allowed to fester, as the result of exision, in that uneasy corner to be found in the most devout conscience. Some of the vedic hymns are merely satirical, such as that addressed 'To Frogs', which is considered to be a satire on the priesthood; or straightforward vers de societe- such as that on the 'The Gambler', of whose ('dice dearer than soma') it is said:

Downward they roll, and then spring quickly upward, and handless, force

The man with hands to serve them.

Cast on the board, like lumps of magic charcoal, though cold themselves, they burn

The heart to ashes."

 

 

Daily Mail

Tuesday, April 14, 2009

Page 11

Hand of God

Eye in the sky: The Helix nebula

By Dan Newlin;

(Image omitted)

WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
The ghostly blue cloud seems to form an outstretched thumb and fingers grasping a burning lump of coal. This astonishing image was taken by Nasa's Chandra X-ray observatory, which is orbiting 360 miles above the Earth's surface.
It recalls those of the Helix planetary nebula, whose blue centre surrounded by white clouds earned it the nickname 'the eye of God'.
The hand was created when a star exploded in a supernova, creating a rapidly-spinning 12-mile-wide star called a pulsar, which is deep inside the white blob at the hand's wrist.
The pulsar is spewing out enormous amounts of electromagnetic energy, creating a dust and gas cloud so wide that it would take a light beam 150 years to cross from side to side.
The red disc is a separate cloud of gas. The fingers are thought to have been created as the energy passed from the pulsar to this gas cloud.
Nasa scientists estimate the moment depicted here actually happened 17,000 years ago. it has taken since then for the X-rays, travelling at 670million mph, to reach Earth.

 

 

S
=
1
-
7
STEPHEN
87
33
6
H
=
8
-
7
HAWKING
73
37
1
-
-
9
-
14
Add to Reduce
160
70
7
-
-
-
-
1+4
Reduce to Deduce
1+6+0
7+0
-
-
-
9
-
5
Essence of Number
7
7
7

 

ON THE DEATH THREAD PASSING OF A GOD BLESSED

STEPHEN HAWKING

 

 

HORUS

THE THIN KING'S THINKING KINGS KIN

A

HAWK KING

IS

 

S
=
1
-
7
A
1
1
1
H
=
8
-
7
BRIEF
40
31
4
S
=
1
-
7
HISTORY
114
42
6
H
=
8
-
7
OF
21
12
3
S
=
1
-
7
TIME
47
20
6
-
-
9
-
14
Add to Reduce
223
106
7
-
-
-
-
1+4
Reduce to Deduce
1+6+0
7+0
-
-
-
9
-
5
Essence of Number
7
7
7

 

Stephen Hawking born January 8, 1942,

the 300th anniversary of Galileo's death. died today, March 14th, the marking of Albert Einstein's birth.

THE CYCLE OF THE CIRCLE OF THE CIRCLE OF THE CYCLE

 

-
-
-
-
PHYSICS
-
-
-
P
=
7
1
P
16
7
7
H
=
8
1
H
8
8
8
Y
=
7
1
Y
25
7
7
S
=
1
1
S
19
10
1
I
=
9
1
I
9
9
9
C
=
3
1
C
3
3
3
S
=
1
1
S
19
10
1
-
-
-
-
PHYSICS
-
-
-
-
-
36
7
Add to Reduce
99
54
36
-
-
3+6
-
First Total
9+9
8+1
3+6
-
-
9
7
Reduce to Deduce
18
9
9
-
-
-
-
Second Total
1+8
-
-
-
-
9
7
Essence of Number
9
9
9

 

 

-
A
-
-
-
-
BLACK HOLE
-
-
-
1
A
1
1
1
5
BLACK
29
11
2
4
HOLE
40
22
4
10
Add to Reduce
70
34
6
1+0
Reduce to Deduce
7+0
3+4
-
1
Essence of Number
7
7
7

 

A

HOLE

A

HOLE

A

WHOLE BLACK HOLE

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
S
=
1
-
8
STAIRWAY
116
35
8
-
-
-
-
-
-
-
-
8
-
T
=
2
-
2
TO
38
20
8
-
-
-
-
-
-
-
-
8
-
H
=
8
-
6
HEAVEN
55
28
1
-
1
-
-
-
-
-
-
-
-
-
-
13
-
19
First Total
239
86
23
-
1
2
3
4
5
6
7
16
9
-
-
1+3
-
1+9
Add to Reduce
2+3+9
8+6
2+3
-
-
-
-
-
-
-
-
1+6
-
-
-
4
-
10
Second Total
14
14
5
-
1
2
3
4
5
6
7
7
9
-
-
-
-
1+0
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
1
Essence of Number
5
5
5
-
1
2
3
4
5
6
7
7
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
9
CONSCIOUS
118
55
1
-
-
-
-
-
-
-
-
-
-
U
=
3
-
2
UN
35
8
8
-
-
-
-
-
-
-
-
-
-
C
=
3
-
9
CONSCIOUS
118
55
1
-
-
-
-
-
-
-
-
-
-
-
-
9
-
20
-
271
118
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
1
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
O
=
6
2
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
N
=
5
3
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
S
=
1
4
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
C
=
3
5
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
I
=
9
6
1
I
9
9
9
-
-
2
-
4
-
-
7
8
9
O
=
6
7
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
U
=
3
8
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
S
=
1
9
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
-
-
37
-
9
-
118
55
37
-
-
-
-
-
-
-
-
-
-
U
=
3
10
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
N
=
5
11
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
8
-
2
-
35
8
8
-
-
-
-
-
-
-
-
-
-
C
=
3
12
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
O
=
6
13
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
N
=
5
14
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
S
=
1
15
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
C
=
3
16
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
I
=
9
17
1
I
9
9
9
-
-
2
-
4
-
-
7
8
9
O
=
6
18
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
U
=
3
19
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
S
=
1
20
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
-
-
37
-
9
-
118
55
37
-
4
2
21
4
15
24
7
8
18
-
-
-
-
-
-
-
-
-
-
-
-
2+1
-
1+5
2+4
-
-
1+8
-
-
-
-
9
CONSCIOUS
118
55
1
-
4
2
3
4
6
5
7
8
9
-
-
-
-
2
UN
35
8
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
CONSCIOUS
118
55
1
-
4
2
3
4
6
6
7
8
9
-
-
-
-
20
First Total
271
118
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+0
Add to Reduce
2+7+1
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
Second Total
10
10
1
-
4
2
3
4
6
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
Essence of Number
1
1
1
-
4
2
3
4
6
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
9
CONSCIOUS
118
55
1
-
-
-
-
-
-
-
-
-
-
U
=
3
-
2
UN
35
8
8
-
-
-
-
-
-
-
-
-
-
C
=
3
-
9
CONSCIOUS
118
55
1
-
-
-
-
-
-
-
-
-
-
-
-
9
-
20
-
271
118
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
1
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
O
=
6
2
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
N
=
5
3
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
S
=
1
4
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
C
=
3
5
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
I
=
9
6
1
I
9
9
9
-
-
2
-
4
-
-
7
8
9
O
=
6
7
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
U
=
3
8
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
S
=
1
9
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
U
=
3
10
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
N
=
5
11
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
C
=
3
12
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
O
=
6
13
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
N
=
5
14
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
S
=
1
15
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
C
=
3
16
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
I
=
9
17
1
I
9
9
9
-
-
2
-
4
-
-
7
8
9
O
=
6
18
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
U
=
3
19
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
S
=
1
20
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
-
-
-
-
-
-
-
-
-
-
4
2
21
4
15
24
7
8
18
-
-
-
-
-
-
-
-
-
-
-
-
2+1
-
1+5
2+4
-
-
1+8
-
-
-
-
9
CONSCIOUS
118
55
1
-
4
2
3
4
6
5
7
8
9
-
-
-
-
2
UN
35
8
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
CONSCIOUS
118
55
1
-
4
2
3
4
6
6
7
8
9
-
-
-
-
20
First Total
271
118
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+0
Add to Reduce
2+7+1
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
Second Total
10
10
1
-
4
2
3
4
6
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
Essence of Number
1
1
1
-
4
2
3
4
6
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
9
CONSCIOUS
118
55
1
-
-
-
-
-
-
-
-
-
-
U
=
3
-
2
UN
35
8
8
-
-
-
-
-
-
-
-
-
-
C
=
3
-
9
CONSCIOUS
118
55
1
-
-
-
-
-
-
-
-
-
-
-
-
9
-
20
-
271
118
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
4
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
S
=
1
9
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
S
=
1
15
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
S
=
1
20
1
S
19
10
1
-
1
2
-
4
-
-
7
8
-
C
=
3
1
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
C
=
3
5
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
U
=
3
8
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
U
=
3
10
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
C
=
3
12
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
C
=
3
16
1
C
3
3
3
-
-
2
3
4
-
-
7
8
-
U
=
3
19
1
U
21
3
3
-
-
2
3
4
-
-
7
8
-
N
=
5
3
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
N
=
5
11
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
N
=
5
14
1
N
14
5
5
-
-
2
-
4
5
-
7
8
-
O
=
6
2
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
O
=
6
7
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
O
=
6
13
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
O
=
6
18
1
O
15
6
6
-
-
2
-
4
-
6
7
8
-
I
=
9
6
1
I
9
9
9
-
-
2
-
4
-
-
7
8
9
I
=
9
17
1
I
9
9
9
-
-
2
-
4
-
-
7
8
9
-
-
-
-
-
-
-
-
-
-
4
2
21
4
15
24
7
8
18
-
-
-
-
-
-
-
-
-
-
-
-
2+1
-
1+5
2+4
-
-
1+8
-
-
-
-
9
CONSCIOUS
118
55
1
-
4
2
3
4
6
5
7
8
9
-
-
-
-
2
UN
35
8
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
CONSCIOUS
118
55
1
-
4
2
3
4
6
6
7
8
9
-
-
-
-
20
First Total
271
118
10
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+0
Add to Reduce
2+7+1
1+1+8
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
Second Total
10
10
1
-
4
2
3
4
6
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
Essence of Number
1
1
1
-
4
2
3
4
6
6
7
8
9

 

 

arc

noun: arc; plural noun: arcs

1. a part of a curve, especially a part of the circumference of a circle.
"the point where a tangential line touches the arc of a circle"

synonyms: curve, bend, bow, arch; More
crescent, semicircle, circular section/line, half-moon;
curvature, convexity, curling

"the arc of a circle"
•a shape or structure resembling an arc.
"the huge arc of the sky"
•a curving trajectory.
"he swung his torch in a wide arc"

•Mathematics
indicating the inverse of a trigonometrical function.
modifier noun: arc
2. a luminous electrical discharge between two electrodes or other points.
"modern welding generators are designed so that there is a high voltage for striking the arc"

3. (in a novel, play, or film) the development or resolution of the narrative or principal theme.
"his transformation provides the emotional arc of the story"

verb: arc; 3rd person present: arcs; past tense: arced; past participle: arced; gerund or present participle: arcing; noun: arcing

1. move with a curving trajectory.
"the ball arced across the room"

synonyms: curl, curve, swerve, spin, turn; More
soar, sail, fly, ascend, mount, climb
"I sent the ball arcing out over the river"

2. form an electric arc.
"check that switches operate properly with no sign of arcing"

 

 

.

 

19
THE ARK OF THE COVENANT
211
85
4
-
-
-
-
-
-
-
-
-
-
-
THE ARC OF THE COVENANT
-
-
-
3
THE
33
15
6
3
ARC
22
13
4
2
OF
21
12
3
3
THE
33
15
6
8
COVENANT
94
31
4
19
THE ARC OF THE COVENANT
203
86
23
1+9
-
2+0+3
8+6
2+3
10
THE ARC OF THE COVENANT
5
14
5
1+0
-
-
1+4
-
1
THE ARC OF THE COVENANT
5
5
5

 

 

19
THE ARK OF THE COVENANT
211
85
4
19
THE ARC OF THE COVENANT
203
86
23
-
-
-
-
-
-
-
-
-
-
-
THE ARCH OF THE COVENANT
-
-
-
3
THE
33
15
6
3
ARCH
30
21
3
2
OF
21
12
3
3
THE
33
15
6
8
COVENANT
94
31
4
19
THE ARCH OF THE COVENANT
211
94
22
1+9
-
2+1+1
9+4
2+2
10
THE ARCH OF THE COVENANT
4
13
4
1+0
-
-
1+3
-
1
THE ARCH OF THE COVENANT
4
4
4

 

 

19
THE ARK OF THE COVENANT
211
85
4
19
THE ARC OF THE COVENANT
203
86
5
20
THE ARCH OF THE COVENANT
211
94
4

 

 

16
ARK OF THE COVENANT
178
70
7
16
ARC OF THE COVENANT
170
71
8
17
ARCH OF THE COVENANT
178
79
7

 

 

-
ARK OF THE COVENANT
-
-
-
3
ARK
30
12
3
2
OF
21
12
3
3
THE
33
15
6
8
COVENANT
94
31
4
16
ARK OF THE COVENANT
178
70
16
1+6
-
1+7+8
7+0
1+6
7
ARK OF THE COVENANT
16
7
7
-
-
1+6
-
-
7
ARK OF THE COVENANT
7
7
7

 

 


Ark of the Covenant - Wikipedia

https://en.wikipedia.org/wiki/Ark_of_the_Covenant

The Ark of the Covenant (Hebrew:, Modern Aron Ha'bret, Tiberian ?Arôn Habb?rî?), also known as the Ark of the Testimony, is a gold-covered wooden chest with lid cover described in the Book of Exodus as containing the two stone tablets of the Ten Commandments.

The Ark of the Covenant (Hebrew: Modern Aron Ha'bret, Tiberian ?Arôn Habb?rî?), also known as the Ark of the Testimony, is a gold-covered wooden chest with lid cover described in the Book of Exodus as containing the two stone tablets of the Ten Commandments. According to various texts within the Hebrew Bible, it also contained Aaron's rod and a pot of manna.[1] Hebrews 9:4 describes: "The ark of the covenant [was] covered on all sides with gold, in which was a golden jar holding the manna, and Aaron's rod which budded, and the tables of the covenant."

The biblical account relates that, approximately one year after the Israelites' exodus from Egypt, the Ark was created according to the pattern given to Moses by God when the Israelites were encamped at the foot of biblical Mount Sinai. Thereafter, the gold-plated acacia chest was carried by its staves while en route by the Levites approximately 2,000 cubits (approximately 800 meters or 2,600 feet) in advance of the people when on the march or before the Israelite army, the host of fighting men.[2] When carried, the Ark was always hidden under a large veil made of skins and blue cloth, always carefully concealed, even from the eyes of the priests and the Levites who carried it. God was said to have spoken with Moses "from between the two cherubim" on the Ark's cover.[3] When at rest the tabernacle was set up and the holy Ark was placed under the veil of the covering, the staves of it crossing the middle side bars to hold it up off the ground.

According to the Hebrew Bible, Babylonian King Nebuchadnezzar II plundered and burned the temple in the 6th century B.C. Among the many treasures lost to history was the Ark of the Covenant, an ornate, gold-plated chest that was originally built to hold the tablets containing the Ten Commandments.10 Jan 2014

 

Exodus 25:10-22 ESV - The Ark of the Covenant ... - Bible Gateway
https://www.biblegateway.com/passage/?search=Exodus+25%3A10-22&version...

“They shall make an ark of acacia wood. ... The poles shall remain in the rings of the ark; they shall not be taken from it. ...

Exodus 25:10 A cubit was about 18 inches or 45 centimeters.

 

Topical Bible: Ark of the Covenant - Bible Hub
biblehub.com/topical/a/ark_of_the_covenant.htm

I. The Statements of the Old Testament Concerning the Ark of the Covenant. 1. Pentateuch: In Exodus 25:10, Moses receives the command to build an ark

 

Bible Verses About The Ark Of Covenant - King James Bible
https://www.kingjamesbibleonline.org/Bible-Verses-About-The-Ark-Of-Covenant/

BIBLE VERSES ABOUT THE ARK OF COVENANT.

The Ark Of Covenant Bible verses in the King James Version (KJV) about The Ark Of Covenant.
Bible verses related to Ark Of The Covenant from the King James Version (KJV
1 Samuel 6:19 - And he smote the men of Bethshemesh, because they had looked into the ark of the LORD, even he smote of the people fifty thousand and threescore and ten men: and the people lamented, because the LORD had smitten [many] of the people with a great slaughter.

Hebrews 9:1-5 - Then verily the first [covenant] had also ordinances of divine service, and a worldly sanctuary. (Read More...)

2 Samuel 6:1-23 - Again, David gathered together all [the] chosen [men] of Israel, thirty thousand. (Read More...)

1 Kings 8:9 - [There was] nothing in the ark save the two tables of stone, which Moses put there at Horeb, when the LORD made [a covenant] with the children of Israel, when they came out of the land of Egypt.

Revelation 11:19 - And the temple of God was opened in heaven, and there was seen in his temple the ark of his testament: and there were lightnings, and voices, and thunderings, and an earthquake, and great hail.

Jeremiah 3:16 - And it shall come to pass, when ye be multiplied and increased in the land, in those days, saith the LORD, they shall say no more, The ark of the covenant of the LORD: neither shall it come to mind: neither shall they remember it; neither shall they visit [it]; neither shall [that] be done any more.

Exodus 25:22 - And there I will meet with thee, and I will commune with thee from above the mercy seat, from between the two cherubims which [are] upon the ark of the testimony, of all [things] which I will give thee in commandment unto the children of Israel.

2 Chronicles 35:3 - And said unto the Levites that taught all Israel, which were holy unto the LORD, Put the holy ark in the house which Solomon the son of David king of Israel did build; [it shall] not [be] a burden upon [your] shoulders: serve now the LORD your God, and his people Israel,

Exodus 37:1-9 - And Bezaleel made the ark [of] shittim wood: two cubits and a half [was] the length of it, and a cubit and a half the breadth of it, and a cubit and a half the height of it: (Read More...)

Numbers 10:33 - And they departed from the mount of the LORD three days' journey: and the ark of the covenant of the LORD went before them in the three days' journey, to search out a resting place for them.

Numbers 7:89 - And when Moses was gone into the tabernacle of the congregation to speak with him, then he heard the voice of one speaking unto him from off the mercy seat that [was] upon the ark of testimony, from between the two cherubims: and he spake unto him.

2 Samuel 6:12-16 - And it was told king David, saying, The LORD hath blessed the house of Obededom, and all that [pertaineth] unto him, because of the ark of God. So David went and brought up the ark of God from the house of Obededom into the city of David with gladness.

 

20 Bible verses about Ark Of The Covenant - Knowing Jesus – Bible
https://bible.knowing-jesus.com/topics/ark-of-the-covenant

1 Samuel 6:19 - He struck down some of the men of Beth-shemesh because they had looked into the ark of the LORD. He struck down of all the people, 50070 men, and the people mourned because the LORD had struck the people with a great slaughter.

 

 

.

19
THE ARK OF THE COVENANT
211
85
4
-
-
-
-
-
-
-
-
-
-
-
THE ARC OF THE COVENANT
-
-
-
3
THE
33
15
6
3
ARC
22
13
4
2
OF
21
12
3
3
THE
33
15
6
8
COVENANT
94
31
4
19
THE ARC OF THE COVENANT
203
86
23
1+9
-
2+0+3
8+6
2+3
10
THE ARC OF THE COVENANT
5
14
5
1+0
-
-
1+4
-
1
THE ARC OF THE COVENANT
5
5
5

 

 

THE ARC OF THE COVENANT

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
A
=
1
2
3
ARC
22
4
4
-
-
-
-
-
-
-
-
-
-
O
=
6
3
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
C
=
3
5
8
COVENANT
94
31
4
-
-
-
-
-
-
-
-
-
-
-
-
14
-
19
First Total
203
86
23
-
1
2
3
4
5
6
7
8
9
-
-
1+4
-
1+9
Add to Reduce
2+0+3
8+6
2+3
-
-
-
-
-
-
-
-
-
-
-
-
5
-
10
Second Total
5
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
5
5
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
-
-
15
-
3
-
33
15
15
-
-
-
-
-
-
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
-
-
7
-
9
C
=
3
6
1
C
3
3
3
-
-
-
3
-
-
-
7
-
-
-
-
13
-
3
-
22
13
13
-
-
-
-
-
-
-
-
-
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
F
=
6
8
1
F
6
6
6
-
-
-
-
-
-
6
7
-
-
-
-
12
-
2
-
21
12
12
-
-
-
-
-
-
-
-
-
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
H
=
8
10
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
E
=
5
11
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
-
-
15
-
3
-
33
15
15
-
-
-
-
-
-
-
-
-
-
C
=
3
12
1
C
3
3
3
-
-
-
3
-
-
-
7
-
-
O
=
6
13
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
V
=
4
14
1
V
22
4
4
-
-
-
-
4
-
-
7
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
N
=
5
16
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
N
=
5
18
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
T
=
2
19
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
-
-
31
-
8
-
94
31
31
-
2
6
6
4
25
18
7
16
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+5
1+8
-
1+6
-
-
-
-
-
-
-
-
-
-
-
2
6
6
4
7
9
7
7
9
T
=
2
1
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
A
=
1
2
3
ARC
22
4
4
-
-
-
-
-
-
-
-
-
-
O
=
6
3
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
C
=
3
5
8
COVENANT
94
31
4
-
-
-
-
-
-
-
-
-
-
-
-
14
-
19
First Total
203
86
23
-
2
6
6
4
7
9
7
7
9
-
-
1+4
-
1+9
Add to Reduce
2+0+3
8+6
2+3
-
-
-
-
-
-
-
-
-
-
-
-
5
-
10
Second Total
5
14
5
-
2
6
6
4
7
9
7
7
9
-
-
-
-
1+0
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
5
5
5
-
2
6
6
4
7
9
7
7
9

 

THE ARC OF THE COVENANT

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
A
=
1
2
3
ARC
22
4
4
-
-
-
-
-
-
-
-
-
-
O
=
6
3
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
C
=
3
5
8
COVENANT
94
31
4
-
-
-
-
-
-
-
-
-
-
-
-
14
-
19
First Total
203
86
23
-
1
2
3
4
5
6
7
8
9
-
-
1+4
-
1+9
Add to Reduce
2+0+3
8+6
2+3
-
-
-
-
-
-
-
-
-
-
-
-
5
-
10
Second Total
5
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
5
5
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
-
-
7
-
9
C
=
3
6
1
C
3
3
3
-
-
-
3
-
-
-
7
-
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
F
=
6
8
1
F
6
6
6
-
-
-
-
-
-
6
7
-
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
H
=
8
10
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
E
=
5
11
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
C
=
3
12
1
C
3
3
3
-
-
-
3
-
-
-
7
-
-
O
=
6
13
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
V
=
4
14
1
V
22
4
4
-
-
-
-
4
-
-
7
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
N
=
5
16
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
N
=
5
18
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
T
=
2
19
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
2
6
6
4
25
18
7
16
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+5
1+8
-
1+6
-
-
-
-
-
-
-
-
-
-
-
2
6
6
4
7
9
7
7
9
T
=
2
1
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
A
=
1
2
3
ARC
22
4
4
-
-
-
-
-
-
-
-
-
-
O
=
6
3
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
C
=
3
5
8
COVENANT
94
31
4
-
-
-
-
-
-
-
-
-
-
-
-
14
-
19
First Total
203
86
23
-
2
6
6
4
7
9
7
7
9
-
-
1+4
-
1+9
Add to Reduce
2+0+3
8+6
2+3
-
-
-
-
-
-
-
-
-
-
-
-
5
-
10
Second Total
5
14
5
-
2
6
6
4
7
9
7
7
9
-
-
-
-
1+0
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
5
5
5
-
2
6
6
4
7
9
7
7
9

 

THE ARC OF THE COVENANT

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
A
=
1
2
3
ARC
22
4
4
-
-
-
-
-
-
-
-
-
-
O
=
6
3
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
C
=
3
5
8
COVENANT
94
31
4
-
-
-
-
-
-
-
-
-
-
-
-
14
-
19
First Total
203
86
23
-
1
2
3
4
5
6
7
8
9
-
-
1+4
-
1+9
Add to Reduce
2+0+3
8+6
2+3
-
-
-
-
-
-
-
-
-
-
-
-
5
-
10
Second Total
5
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
1+0
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
5
5
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
7
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
T
=
2
9
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
T
=
2
19
1
T
20
2
2
-
-
2
-
-
-
-
7
-
-
C
=
3
6
1
C
3
3
3
-
-
-
3
-
-
-
7
-
-
C
=
3
12
1
C
3
3
3
-
-
-
3
-
-
-
7
-
-
V
=
4
14
1
V
22
4
4
-
-
-
-
4
-
-
7
-
-
E
=
5
11
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
E
=
5
3
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
7
-
-
N
=
5
16
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
N
=
5
18
1
N
14
5
5
-
-
-
-
-
5
-
7
-
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
F
=
6
8
1
F
6
6
6
-
-
-
-
-
-
6
7
-
-
O
=
6
13
1
O
15
6
6
-
-
-
-
-
-
6
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
H
=
8
10
1
H
8
8
8
-
-
-
-
-
-
-
7
8
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
-
-
7
-
9
-
-
-
-
-
-
-
-
-
-
2
6
6
4
25
18
7
16
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+5
1+8
-
1+6
-
-
-
-
-
-
-
-
-
-
-
2
6
6
4
7
9
7
7
9
T
=
2
1
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
A
=
1
2
3
ARC
22
4
4
-
-
-
-
-
-
-
-
-
-
O
=
6
3
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
C
=
3
5
8
COVENANT
94
31
4
-
-
-
-
-
-
-
-
-
-
-
-
14
-
19
First Total
203
86
23
-
2
6
6
4
7
9
7
7
9
-
-
1+4
-
1+9
Add to Reduce
2+0+3
8+6
2+3
-
-
-
-
-
-
-
-
-
-
-
-
5
-
10
Second Total
5
14
5
-
2
6
6
4
7
9
7
7
9
-
-
-
-
1+0
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
Essence of Number
5
5
5
-
2
6
6
4
7
9
7
7
9

 

 

THE ARC OF THE COVENANT

 

-
19
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
6
-
-
-
8
-
-
-
6
-
-
5
-
5
-
+
=
38
3+8
=
11
1+1
2
=
2
-
-
-
8
-
-
-
-
-
-
15
-
-
-
8
-
-
-
15
-
-
14
-
14
-
+
=
74
7+4
=
11
1+1
2
=
2
-
19
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
1
9
3
-
-
6
-
2
-
5
-
3
-
4
5
-
1
-
2
+
=
48
4+8
=
12
1+2
3
=
3
-
-
20
-
5
-
1
18
3
-
-
6
-
20
-
5
-
3
-
22
5
-
1
-
20
+
=
129
1+2+9
=
12
1+2
3
=
3
-
19
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
1
18
3
-
15
6
-
20
8
5
-
3
15
22
5
14
1
14
20
+
=
203
2+0+3
=
5
=
5
=
5
-
-
2
8
5
-
1
9
3
-
6
6
-
2
8
5
-
3
6
4
5
5
1
5
2
+
=
86
8+6
=
14
1+4
5
=
5
-
19
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
2
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
3
occurs
x
2
=
6
=
6
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
5
-
5
-
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
-
-
-
-
-
-
-
6
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
3
=
18
1+8
9
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
7
19
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
38
-
-
19
-
86
-
50
-
1+9
-
-
5
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
5
-
5
-
-
-
3+8
-
-
1+9
-
8+6
-
5+0
7
10
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
11
-
-
10
-
14
-
5
-
1+0
2
8
5
-
1
9
3
-
6
6
-
2
8
5
-
3
6
4
5
5
1
5
2
-
-
1+1
-
-
1+0
-
1+4
-
-
7
1
T
H
E
-
A
R
C
-
O
F
-
T
H
E
-
C
O
V
E
N
A
N
T
-
-
1
-
-
1
-
5
-
5

 

 

 

I
=
9
-
1
I
9
9
9
A
=
1
-
2
AM
14
5
5
T
=
2
-
3
THE
33
15
6
R
=
9
-
4
ROOT
68
23
5
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
O
=
6
-
9
OFFSPRING
110
56
2
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DAVID
40
22
4
A
=
1
-
3
AND
19
10
1
T
=
2
-
3
THE
33
15
6
B
=
2
-
6
BRIGHT
64
37
1
A
=
1
-
3
AND
19
10
1
M
=
4
-
7
MORNING
90
45
9
S
=
1
-
4
STAR
58
13
4
-
-
51
-
58
First Total
630
297
63
-
-
5+1
-
5+8
Add to Reduce
6+3+0
2+9+7
6+3
Q
-
6
Q
13
Second Total
9
18
9
-
-
-
-
1+3
Reduce to Deduce
-
1+8
-
-
-
6
-
4
Essence of Number
9
9
9

 

 

The categorical imperative (German: kategorischer Imperativ) is the central philosophical concept in the deontological moral philosophy of Immanuel Kant. Introduced in Kant's 1785 Groundwork of the Metaphysics of Morals, it may be defined as a way of evaluating motivations for action

 

I
=
9
-
8
IMMANUEL
88
34
7
K
=
2
-
4
KANT
46
10
1
-
-
11
-
12
Add to Reduce
134
44
8
-
-
1+1
-
1+2
Reduce to Deduce
1+3+4
4+4
-
Q
-
2
Q
3
Essence of Number
8
8
8

 

 

categorical imperative (German: kategorischer Imperativ)

 

K
=
2
-
13
KATEGORISCHER
139
67
4
I
=
9
-
9
IMPERATIV
113
50
5
-
-
11
-
22
Add to Reduce
252
117
9
-
-
1+1
-
2+2
Reduce to Deduce
2+5+2
1+1+7
-
Q
-
2
Q
4
Essence of Number
9
9
9

 

 

https://en.wikipedia.org/wiki/Categorical_imperative

The categorical imperative (German: kategorischer Imperativ) is the central philosophical concept in the deontological moral philosophy of Immanuel Kant. Introduced in Kant's 1785 Groundwork of the Metaphysics of Morals, it may be defined as a way of evaluating motivations for action.

According to Kant, human beings occupy a special place in creation, and morality can be summed up in an imperative, or ultimate commandment of reason, from which all duties and obligations derive. He defined an imperative as any proposition declaring a certain action (or inaction) to be necessary.

Hypothetical imperatives apply to someone who wishes to attain certain ends. For example:
If I wish to quench my thirst, I must drink something.
If I wish to pass this exam, I must study.

A categorical imperative, on the other hand, denotes an absolute, unconditional requirement that must be obeyed in all circumstances and is justified as an end in itself. It is best known in its first formulation:
Act only according to that maxim whereby you can, at the same time, will that it should become a universal law.[1]
Kant expressed extreme dissatisfaction with the popular moral philosophy of his day, believing that it could never surpass the level of hypothetical imperatives: a utilitarian says that murder is wrong because it does not maximize good for those involved, but this is irrelevant to people who are concerned only with maximizing the positive outcome for themselves. Consequently, Kant argued, hypothetical moral systems cannot persuade moral action or be regarded as bases for moral judgments against others, because the imperatives on which they are based rely too heavily on subjective considerations. He presented a deontological moral system, based on the demands of the categorical imperative, as an alternative.

 

Categorical imperative. Categorical imperative, in the ethics of the 18th-century German philosopher Immanuel Kant, founder of critical philosophy, a moral law that is unconditional or absolute for all agents, the validity or claim of which does not depend on any ulterior motive or end.Categorical Imperative - Queensborough Community College

www.qcc.cuny.edu/SocialSciences/ppecorino/INTRO.../Categorical_Imperative.htm

Kant expressed this as the Categorical Imperative. Act according to the maxim that you would wish all other rational people to follow, as if it were a universal law. For Kant the GOOD involves the Principle of Universalizability! Kant argues that there can be four formulations of this principle: The Formula of the Law of Nature: ...
For Kant the basis for a Theory of the Good lies in the intention or the will. Those acts are morally praiseworthy that are done out of a sense of duty rather than for the consequences that are expected, particularly the consequences to self. The only thing GOOD about the act is the WILL, the GOOD WILL. That will is to do our DUTY. What is our duty? It is our duty to act in such a manner that we would want everyone else to act in a similar manner in similar circumstances towards all other people.

Kant expressed this as the Categorical Imperative.

Act according to the maxim that you would wish all other rational people to follow, as if it were a universal law.

For Kant the GOOD involves the Principle of Universalizability!

Kant argues that there can be four formulations of this principle:

The Formula of the Law of Nature: "Act as if the maxim of your action were to become through your will a universal law of nature."

The Formula of the End Itself: "Act in such a way that you always treat humanity, whether in your own person or in the person of any other, never simply as a means, but always at the same time as an end."

The Formula of Autonomy: "So act that your will can regard itself at the same time as making universal law through its maxims."

The Formula of the Kingdom of Ends: "So act as if you were through your maxims a law-making member of a kingdom of ends."

Never treat a person as a means to an end.

Persons are always ends in themselves. We must never use or exploit anyone for whatever purpose.

 

C
=
3
-
11
CATEGORICAL
94
49
4
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
12
-
21
Add to Reduce
212
104
5
-
-
1+2
-
2+1
Reduce to Deduce
2+1+2
1+4
-
Q
-
3
Q
3
Essence of Number
5
5
5

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
11
CATEGORICAL
94
49
4
-
-
-
-
-
-
-
-
-
-
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
-
-
-
-
-
-
-
-
-
-
12
-
21
Add to Reduce
212
104
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
1
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
A
=
1
2
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
E
=
5
4
1
E
5
5
5
-
-
5
-
-
-
G
=
7
5
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
6
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
7
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
C
=
3
9
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
A
=
1
10
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
11
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
-
-
49
-
11
-
94
49
49
-
-
-
-
-
-
-
I
=
9
12
1
I
9
9
9
-
-
-
-
-
-
9
M
=
4
13
1
M
13
4
4
-
-
-
4
-
-
-
-
P
=
7
14
1
P
16
7
7
-
-
-
-
-
7
-
-
E
=
5
15
1
E
5
5
5
-
-
5
-
-
-
R
=
9
16
1
R
18
9
9
-
-
-
-
-
9
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
-
-
I
=
9
19
1
I
9
9
9
-
-
-
-
-
-
-
9
V
=
4
20
1
V
22
4
4
-
-
-
4
-
-
-
E
=
5
21
1
E
5
5
5
-
-
-
5
-
-
55
-
10
-
112
55
55
-
3
4
9
8
15
6
14
8
45
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+5
-
1+4
-
4+5
C
=
3
-
11
CATEGORICAL
94
49
4
-
3
4
9
8
6
6
5
8
9
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
-
-
-
-
-
-
-
-
-
-
12
-
21
Add to Reduce
212
104
5
-
3
4
9
8
6
6
5
8
9
-
-
1+2
-
2+1
Reduce to Deduce
2+1+2
1+4
-
-
-
-
-
-
-
-
-
-
-
Q
-
3
Q
3
Essence of Number
5
5
5
-
2
4
9
8
6
6
5
8
9

 

 

C
=
3
-
11
CATEGORICAL
94
49
4
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
12
-
21
Add to Reduce
212
104
5
-
-
1+2
-
2+1
Reduce to Deduce
2+1+2
1+4
-
Q
-
3
Q
3
Essence of Number
5
5
5

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
11
CATEGORICAL
94
49
4
-
-
-
-
-
-
-
-
-
-
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
-
-
-
-
-
-
-
-
-
-
12
-
21
Add to Reduce
212
104
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
1
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
A
=
1
2
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
E
=
5
4
1
E
5
5
5
-
-
5
-
-
-
G
=
7
5
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
6
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
7
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
C
=
3
9
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
A
=
1
10
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
11
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
12
1
I
9
9
9
-
-
-
-
-
-
9
M
=
4
13
1
M
13
4
4
-
-
-
4
-
-
-
-
P
=
7
14
1
P
16
7
7
-
-
-
-
-
7
-
-
E
=
5
15
1
E
5
5
5
-
-
5
-
-
-
R
=
9
16
1
R
18
9
9
-
-
-
-
-
9
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
-
-
I
=
9
19
1
I
9
9
9
-
-
-
-
-
-
-
9
V
=
4
20
1
V
22
4
4
-
-
-
4
-
-
-
E
=
5
21
1
E
5
5
5
-
-
-
5
-
-
55
-
10
-
112
55
55
-
3
4
9
8
15
6
14
8
45
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+5
-
1+4
-
4+5
C
=
3
-
11
CATEGORICAL
94
49
4
-
3
4
9
8
6
6
5
8
9
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
-
-
-
-
-
-
-
-
-
-
12
-
21
Add to Reduce
212
104
5
-
3
4
9
8
6
6
5
8
9
-
-
1+2
-
2+1
Reduce to Deduce
2+1+2
1+4
-
-
-
-
-
-
-
-
-
-
-
Q
-
3
Q
3
Essence of Number
5
5
5
-
2
4
9
8
6
6
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
C
=
3
-
11
CATEGORICAL
94
49
4
-
-
-
-
-
-
-
-
-
-
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
-
-
-
-
-
-
-
-
-
-
12
-
21
Add to Reduce
212
104
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
2
1
A
1
1
1
-
1
-
-
-
-
-
-
8
-
A
=
1
10
1
A
1
1
1
-
1
-
-
-
-
-
-
8
-
A
=
1
17
1
A
1
1
1
-
1
-
-
-
-
8
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
8
-
T
=
2
3
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
C
=
3
1
1
C
3
3
3
-
-
-
3
-
-
-
-
8
-
C
=
3
9
1
C
3
3
3
-
-
-
3
-
-
-
-
8
-
L
=
3
11
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
M
=
4
13
1
M
13
4
4
-
-
-
4
-
-
8
-
V
=
4
20
1
V
22
4
4
-
-
-
4
-
8
-
E
=
5
4
1
E
5
5
5
-
-
5
-
8
-
E
=
5
15
1
E
5
5
5
-
-
5
-
8
-
E
=
5
21
1
E
5
5
5
-
-
-
5
8
-
O
=
6
6
1
O
15
6
6
-
-
-
-
-
-
6
-
8
-
G
=
7
5
1
G
7
7
7
-
-
-
-
-
-
-
7
8
-
P
=
7
14
1
P
16
7
7
-
-
-
-
-
7
8
-
R
=
9
7
1
R
18
9
9
-
-
-
-
-
-
-
-
8
9
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
I
=
9
12
1
I
9
9
9
-
-
-
-
-
8
9
R
=
9
16
1
R
18
9
9
-
-
-
-
8
9
I
=
9
19
1
I
9
9
9
-
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
3
4
9
8
15
6
14
8
45
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1+5
-
1+4
-
4+5
C
=
3
-
11
CATEGORICAL
94
49
4
-
3
4
9
8
6
6
5
8
9
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
-
-
-
-
-
-
-
-
-
-
12
-
21
Add to Reduce
212
104
5
-
3
4
9
8
6
6
5
8
9
-
-
1+2
-
2+1
Reduce to Deduce
2+1+2
1+4
-
-
-
-
-
-
-
-
-
-
-
Q
-
3
Q
3
Essence of Number
5
5
5
-
2
4
9
8
6
6
5
8
9

 

 

C
=
3
-
11
CATEGORICAL
94
49
4
I
=
9
-
10
IMPERATIVE
112
55
1
-
-
12
-
21
Add to Reduce
212
104
5
-
-
1+2
-
2+1
Reduce to Deduce
2+1+2
1+4
-
Q
-
3
Q
3
Essence of Number
5
5
5

 

 

THE R IN EVOLUTION REVOLUTION

LOVE EVOLVE LOVE

THE R IN ELEVATION REVELATION

 

 

 

 

 
Top
 
 
Evokation
 
Previous Page
Index
Next Page