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Evokation
  
 
Index
  

 

 

LIFE IS GOD IS LIFE

LIFE IS QUALITIVELY THE SAME CREATIVE INTELLIGENCE IN EACH EVOCATION REGARDLESS OF FORM

ALL IS ONE UNIVERSAL CREATOR MIND ALL AND EVERYTHING

ONE UNIVERSAL PATTERN OF LIFE

 

 

PLATO - NUMBERS ARE THE HIGHEST DEGREE OF KNOWLEDGE

IT IS KNOWLEDGE ITSELF

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
1
7
PLATO
64
19
1
-
1
-
-
-
5
-
7
-
9
-
-
7
-
-
64
19
1
1
-
-
-
-
-
-
-
-
-
N
=
5
2
7
NUMBERS
92
29
2
-
-
2
-
-
5
-
7
-
9
A
=
1
3
3
ARE
24
15
6
-
-
-
-
-
5
6
7
-
9
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
5
6
7
-
9
H
=
8
5
7
HIGHEST
76
40
4
-
-
-
-
4
5
-
7
-
9
D
=
4
6
6
DEGREE
44
35
8
-
-
-
-
-
5
-
7
8
9
O
=
6
7
2
OF
21
12
3
-
-
-
3
-
5
-
7
-
9
K
=
2
8
9
KNOWLEDGE
96
42
6
-
-
-
-
-
5
6
7
-
9
-
-
28
-
-
386
188
35
8
-
-
-
-
-
-
-
-
-
-
-
35
-
42
Add to Reduce
450
207
36
-
1
2
3
8
5
18
7
8
9
-
-
3+5
-
4+2
Reduce to Deduce
4+5+0
2+0+7
3+6
-
-
-
-
-
-
1+8
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
1
2
3
8
5
9
7
8
9

 

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
1
7
PLATO
64
19
1
-
1
-
-
-
5
-
7
-
9
N
=
5
2
7
NUMBERS
92
29
2
-
-
2
-
-
5
-
7
-
9
A
=
1
3
3
ARE
24
15
6
-
-
-
-
-
5
6
7
-
9
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
5
6
7
-
9
H
=
8
5
7
HIGHEST
76
40
4
-
-
-
-
4
5
-
7
-
9
D
=
4
6
6
DEGREE
44
35
8
-
-
-
-
-
5
-
7
8
9
O
=
6
7
2
OF
21
12
3
-
-
-
3
-
5
-
7
-
9
K
=
2
8
9
KNOWLEDGE
96
42
6
-
-
-
-
-
5
6
7
-
9
-
-
35
-
42
Add to Reduce
450
207
36
-
1
2
3
8
5
18
7
8
9
-
-
3+5
-
4+2
Reduce to Deduce
4+5+0
2+0+7
3+6
-
-
-
-
-
-
1+8
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
1
2
3
8
5
9
7
8
9

 

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
1
7
PLATO
64
19
1
-
1
-
-
-
5
-
7
-
9
N
=
5
2
7
NUMBERS
92
29
2
-
-
2
-
-
5
-
7
-
9
O
=
6
7
2
OF
21
12
3
-
-
-
3
-
5
-
7
-
9
H
=
8
5
7
HIGHEST
76
40
4
-
-
-
-
4
5
-
7
-
9
A
=
1
3
3
ARE
24
15
6
-
-
-
-
-
5
6
7
-
9
T
=
2
4
3
THE
33
15
6
-
-
-
-
-
5
6
7
-
9
K
=
2
8
9
KNOWLEDGE
96
42
6
-
-
-
-
-
5
6
7
-
9
D
=
4
6
6
DEGREE
44
35
8
-
-
-
-
-
5
-
7
8
9
-
-
35
-
42
Add to Reduce
450
207
36
-
1
2
3
8
5
18
7
8
9
-
-
3+5
-
4+2
Reduce to Deduce
4+5+0
2+0+7
3+6
-
-
-
-
-
-
1+8
-
-
-
-
-
8
-
6
Essence of Number
9
9
9
-
1
2
3
8
5
9
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IT
29
11
2
-
-
2
3
4
5
-
7
-
9
I
=
9
-
2
IS
28
10
1
-
1
-
3
4
5
-
7
-
9
K
=
2
-
9
KNOWLEDGE
96
42
6
-
-
-
3
4
5
6
7
-
9
I
=
9
-
6
ITSELF
71
26
8
-
-
-
3
4
5
-
7
8
9
-
-
29
-
19
Add to Reduce
224
98
17
-
1
2
3
4
5
6
7
8
9
-
-
2+9
-
1+9
Reduce to Deduce
2+2+4
9+8
1+7
-
-
-
-
-
-
-
-
-
-
-
-
11
-
10
Essence of Number
8
17
8
-
1
2
3
4
5
6
7
8
9
-
-
1+1
-
1+0
Reduce to Deduce
-
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
1
Essence of Number
8
8
8
-
1
2
3
4
5
6
7
8
9

 

IT IS KNOWLEDGE ITSELF

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IT
29
11
2
-
-
-
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
19
1
-
-
-
-
-
-
-
-
-
-
K
=
2
-
9
KNOWLEDGE
96
42
6
-
-
-
-
-
-
-
-
-
-
I
=
9
-
6
ITSELF
71
26
8
-
-
-
-
-
-
-
-
-
-
-
-
29
-
19
Add to Reduce
224
98
17
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
1
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
11
-
-
29
11
11
2
-
-
-
-
-
-
-
-
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
S
=
1
4
1
S
19
10
1
-
1
-
-
-
-
-
-
8
-
10
-
-
28
19
10
1
-
-
-
-
-
-
-
-
-
K
=
2
5
1
K
11
2
2
-
-
2
-
-
-
-
-
8
-
N
=
5
6
1
N
14
5
5
-
-
-
-
-
5
-
-
8
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
-
8
-
W
=
5
8
1
W
23
5
5
-
-
-
-
-
5
-
-
8
-
L
=
3
9
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
D
=
4
11
1
D
4
4
4
-
-
-
-
4
-
-
-
8
-
G
=
7
12
1
G
7
7
7
-
-
-
-
-
-
-
7
8
-
E
=
5
13
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
42
-
-
96
42
42
6
-
-
-
-
-
-
-
-
-
I
=
9
14
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
T
=
2
15
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
S
=
1
16
1
S
19
10
1
-
1
-
-
-
-
-
-
8
-
E
=
5
17
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
L
=
3
18
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
F
=
6
19
1
F
6
6
6
-
-
-
-
-
-
6
-
8
-
27
-
-
71
35
26
8
-
-
-
-
-
-
-
-
-
I
=
9
-
2
IT
29
11
2
-
2
6
6
4
25
12
7
8
27
I
=
9
-
2
IS
28
10
1
-
-
-
-
-
2+5
1+2
-
-
2+7
K
=
2
-
9
KNOWLEDGE
96
42
6
-
2
6
6
4
7
3
7
8
9
I
=
9
-
6
ITSELF
71
26
8
-
-
-
-
-
-
-
-
-
-
-
-
29
-
19
First Total
224
98
17
-
2
6
6
4
7
3
7
8
9
-
-
2+9
-
1+9
Add to Reduce
2+2+4
9+8
1+7
-
-
-
-
-
-
-
-
-
-
-
-
11
-
10
Second Total
8
17
8
-
2
6
6
4
7
3
7
8
9
-
-
1+1
-
1+0
Reduce to Deduce
-
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
1
Essence of Number
8
8
8
-
2
6
6
4
7
3
7
8
9

 

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IT
29
11
2
-
-
-
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
19
1
-
-
-
-
-
-
-
-
-
-
K
=
2
-
9
KNOWLEDGE
96
42
6
-
-
-
-
-
-
-
-
-
-
I
=
9
-
6
ITSELF
71
26
8
-
-
-
-
-
-
-
-
-
-
-
-
29
-
19
Add to Reduce
224
98
17
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
1
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
S
=
1
4
1
S
19
10
1
-
1
-
-
-
-
-
-
8
-
K
=
2
5
1
K
11
2
2
-
-
2
-
-
-
-
-
8
-
N
=
5
6
1
N
14
5
5
-
-
-
-
-
5
-
-
8
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
-
8
-
W
=
5
8
1
W
23
5
5
-
-
-
-
-
5
-
-
8
-
L
=
3
9
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
D
=
4
11
1
D
4
4
4
-
-
-
-
4
-
-
-
8
-
G
=
7
12
1
G
7
7
7
-
-
-
-
-
-
-
7
8
-
E
=
5
13
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
I
=
9
14
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
T
=
2
15
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
S
=
1
16
1
S
19
10
1
-
1
-
-
-
-
-
-
8
-
E
=
5
17
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
L
=
3
18
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
F
=
6
19
1
F
6
6
6
-
-
-
-
-
-
6
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
2
IT
29
11
2
-
2
6
6
4
25
12
7
8
27
I
=
9
-
2
IS
28
10
1
-
-
-
-
-
2+5
1+2
-
-
2+7
K
=
2
-
9
KNOWLEDGE
96
42
6
-
2
6
6
4
7
3
7
8
9
I
=
9
-
6
ITSELF
71
26
8
-
-
-
-
-
-
-
-
-
-
-
-
29
-
19
First Total
224
98
17
-
2
6
6
4
7
3
7
8
9
-
-
2+9
-
1+9
Add to Reduce
2+2+4
9+8
1+7
-
-
-
-
-
-
-
-
-
-
-
-
11
-
10
Second Total
8
17
8
-
2
6
6
4
7
3
7
8
9
-
-
1+1
-
1+0
Reduce to Deduce
-
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
1
Essence of Number
8
8
8
-
2
6
6
4
7
3
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IT
29
11
2
-
-
-
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
19
1
-
-
-
-
-
-
-
-
-
-
K
=
2
-
9
KNOWLEDGE
96
42
6
-
-
-
-
-
-
-
-
-
-
I
=
9
-
6
ITSELF
71
26
8
-
-
-
-
-
-
-
-
-
-
-
-
29
-
19
Add to Reduce
224
98
17
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
4
1
S
19
10
1
-
1
-
-
-
-
-
-
8
-
S
=
1
16
1
S
19
10
1
-
1
-
-
-
-
-
-
8
-
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
K
=
2
5
1
K
11
2
2
-
-
2
-
-
-
-
-
8
-
T
=
2
15
1
T
20
2
2
-
-
2
-
-
-
-
-
8
-
L
=
3
9
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
L
=
3
18
1
L
12
3
3
-
-
-
3
-
-
-
-
8
-
D
=
4
11
1
D
4
4
4
-
-
-
-
4
-
-
-
8
-
N
=
5
6
1
N
14
5
5
-
-
-
-
-
5
-
-
8
-
W
=
5
8
1
W
23
5
5
-
-
-
-
-
5
-
-
8
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
E
=
5
13
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
E
=
5
17
1
E
5
5
5
-
-
-
-
-
5
-
-
8
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
-
8
-
F
=
6
19
1
F
6
6
6
-
-
-
-
-
-
6
-
8
-
G
=
7
12
1
G
7
7
7
-
-
-
-
-
-
-
7
8
-
I
=
9
1
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
I
=
9
14
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
I
=
9
-
2
IT
29
11
2
-
2
6
6
4
25
12
7
8
27
I
=
9
-
2
IS
28
10
1
-
-
-
-
-
2+5
1+2
-
-
2+7
K
=
2
-
9
KNOWLEDGE
96
42
6
-
2
6
6
4
7
3
7
8
9
I
=
9
-
6
ITSELF
71
26
8
-
-
-
-
-
-
-
-
-
-
-
-
29
-
19
First Total
224
98
17
-
2
6
6
4
7
3
7
8
9
-
-
2+9
-
1+9
Add to Reduce
2+2+4
9+8
1+7
-
-
-
-
-
-
-
-
-
-
-
-
11
-
10
Second Total
8
17
8
-
2
6
6
4
7
3
7
8
9
-
-
1+1
-
1+0
Reduce to Deduce
-
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
1
Essence of Number
8
8
8
-
2
6
6
4
7
3
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

 

KNOWLEDGE 96 KNOWLEDGE

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
IT
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
IS
-
-
-
-
-
-
-
-
-
-
-
-
-
K
=
2
-
9
KNOWLEDGE
96
42
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ITSELF
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
K
=
2
1
1
K
11
2
2
-
-
2
-
-
-
-
-
8
9
L
=
3
5
1
L
12
3
3
-
-
-
3
-
-
-
-
8
9
D
=
4
7
1
D
4
4
4
-
-
-
-
4
-
-
-
8
9
N
=
5
2
1
N
14
5
5
-
-
-
-
-
5
-
-
8
9
W
=
5
4
1
W
23
5
5
-
-
-
-
-
5
-
-
8
9
E
=
5
6
1
E
5
5
5
-
-
-
-
-
5
-
-
8
9
E
=
5
9
1
E
5
5
5
-
-
-
-
-
5
-
-
8
9
O
=
6
3
1
O
15
6
6
-
-
-
-
-
-
6
-
8
9
G
=
7
8
1
G
7
7
7
-
-
-
-
-
-
-
7
8
9
-
-
42
-
9
KNOWLEDGE
96
42
42
-
1
2
3
4
20
6
7
8
9
-
-
4+2
-
-
-
9+6
4+2
4+2
-
-
-
-
-
2+0
-
-
-
-
-
-
6
-
9
KNOWLEDGE
15
6
6
-
1
2
3
4
2
6
7
8
9
-
-
-
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
9
KNOWLEDGE
5
6
8
-
1
2
3
4
2
6
7
8
9

 

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

 

COVENANT

 

-
-
-
-
Q
COVENANT
Q
Q
Q
-
1
2
3
4
5
6
7
8
9
-
-
-
-
Q
-
Q
Q
Q
-
-
-
-
-
-
-
-
-
-
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
V
=
4
-
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
Q
-
Q
Q
Q
-
-
-
-
-
-
-
-
-
-
-
-
31
4
8
COVENANT
94
31
31
-
1
2
3
4
15
6
7
8
9
-
-
3+1
Q
-
Q
9+4
3+1
3+1
-
-
-
-
-
1+5
-
-
-
-
Q
-
4
-
8
COVENANT
13
4
4
-
2
2
3
4
6
6
7
8
9
-
-
-
-
-
Q
1+3
-
-
-
-
-
-
-
-
-
-
-
-
Q
-
4
-
8
COVENANT
5
4
4
-
2
2
3
4
6
6
7
8
9

 

 

-
-
-
-
Q
COVENANT
Q
Q
Q
-
1
2
3
4
5
6
7
8
9
-
-
-
-
Q
-
Q
Q
Q
-
-
-
-
-
-
-
7
8
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
7
8
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
7
8
9
V
=
4
-
1
V
22
4
4
-
-
-
-
4
-
-
7
8
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
7
8
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
7
8
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
7
8
9
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
7
8
9
-
-
-
-
Q
-
Q
Q
Q
-
-
-
-
-
-
-
7
8
9
-
-
31
4
8
COVENANT
94
31
31
-
1
2
3
4
15
6
7
8
9
-
-
3+1
Q
-
Q
9+4
3+1
3+1
-
-
-
-
-
1+5
-
-
-
-
Q
-
4
-
8
COVENANT
13
4
4
-
2
2
3
4
6
6
7
8
9
-
-
-
-
-
Q
1+3
-
-
-
-
-
-
-
-
-
-
-
-
Q
-
4
-
8
COVENANT
5
4
4
-
2
2
3
4
6
6
7
8
9

 

 

-
-
-
-
Q
COVENANT
Q
Q
Q
-
1
2
3
4
5
6
7
8
9
-
-
-
-
Q
-
Q
Q
Q
-
-
-
-
-
-
-
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
7
8
9
T
=
2
-
1
T
20
2
2
-
-
2
-
-
-
-
7
8
9
C
=
3
-
1
C
3
3
3
-
-
-
3
-
-
-
7
8
9
V
=
4
-
1
V
22
4
4
-
-
-
-
4
-
-
7
8
9
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
7
8
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
7
8
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
7
8
9
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
7
8
9
-
-
-
-
Q
-
Q
Q
Q
-
-
-
-
-
-
-
7
8
9
-
-
31
4
8
COVENANT
94
31
31
-
1
2
3
4
15
6
7
8
9
-
-
3+1
Q
-
Q
9+4
3+1
3+1
-
-
-
-
-
1+5
-
-
-
-
Q
-
4
-
8
COVENANT
13
4
4
-
2
2
3
4
6
6
7
8
9
-
-
-
-
-
Q
1+3
-
-
-
-
-
-
-
-
-
-
-
-
Q
-
4
-
8
COVENANT
5
4
4
-
2
2
3
4
6
6
7
8
9

 

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE 95

 

 

Daily Mail, Thursday, October 18, 2018

Page 60

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

A PYRAMID FOR LONDON

City of the dead London's planned Metropolitan Sepulchre pyramid.

QUESTION iN THE 19Eth century, was a giant pyramid proposed to hold five million dead Londoners?

FROM 1801 to 1851, the population of London grew from less than one million to 2.25 million. A key issue was the disposal of the dead at a time of high mortality and when cremation was regarded as a peculiar foreign custom.

Coffins were stacked in 20ft shafts. Bones were sometimes visible between
tombstones and smashed coffins were
sold to`the poor for firewood.

Parliament looked for innovative solutions to this problem. In 1829, architect Thomas Willson prepared a blueprint of what would come to be called the Metropolitan Sepulchre.

He proposed a giant pyramid to be built on Primrose Hill, North London. Its base, of 18 acres would be bigger than the Great Pyramid at Giza, which is 13 acres.

At 94 storeys high, it would tower nearly four times higher than St Paul's Cathedral. The vast pyramid was to be constructed of brick with granite facing and would have a capacity for five million bodies.

The project was fully costed out. The Pyramid General Cemetery Company would sell shares to investors, realising a profit in the order of £11 million based on
40,000 bodies annually. It was never built. Lawyer George Frederick Carden had a better idea. He proposed cemeteries modelled on the garden graveyards being created in France.

In 1832, Parliament passed a bill encouraging the establishment of private cemeteries outside London.

Over the next decade, seven were established: Kensal Green in 1832; West Norwood in 1836; Highgate in 1839; Abney Park, Nunhead and Brompton all in 1840; and Tower Hamlets in 1841.

While the pyramid scheme may seem fanciful, other countries faced with similar population and land constraints have constructed edifices to the dead.

Iseael has started construction of 30 large burial buildings. Oslow is considering skyscraper sepulcheres and, Santos, Brazil, has been burying its citizens in a 32 - story cemetery for decades.

Norman Walker, Gravesend, Kent

 

 

HISTORY OF GOD

Karen Armstrong

The God of the Mystics

THE

BOOK OF CREATION

"THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS"

 

 

N
=
5
-
7
NUMBERS
92
29
2
A
=
1
-
3
AND
19
10
1
L
=
3
-
9
LANGUAGES
87
33
6
S
-
9
4
19
Add to Reduce
198
72
9
-
-
-
-
1+9
Reduce to Deduce
1+9+8
7+2
-
S
-
9
4
10
Add to Reduce
18
9
9
-
-
-
-
1+0
Reduce to Deduce
1+8
-
-
-
-
9
-
1
Essence of Number
9
9
9

 

 

-
-
-
-
A
-
-
-
-
-
-
-
-
T
-
-
-
-
-
-
-
-
O
-
-
-
-
-
-
-
-
N
-
-
-
-
A
T
O
N
E
M
E
N
T
-
-
-
-
M
-
-
-
-
-
-
-
-
E
-
-
-
-
-
-
-
-
N
-
-
-
-
-
-
-
-
T
-
-
-
-

 

 

-
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

 

 

TO WHOM IT MAY CONCERN

THOU ART BEING WEIGHED IN THE BALANCES WILT THOU BE FOUND WANTING

?

S
=
1
-
4
SOUL
67
13
4
S
=
1
-
7
SO-U-LIVE
103
31
4
S
=
1
-
8
SO-U-LEARN
105
33
6
S
=
1
-
7
SO -U-LOVE
109
28
1
S
=
1
-
8
SO -U-LIGHT
111
39
3
S
-
5
4
34
First Total
495
144
18
-
-
-
-
3+4
Add to Reduce
4+9+5
1+4+4
1+8
-
-
5
-
7
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
5
-
7
Essence of Number
9
9
9

 

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

3
THE
33
15
6
3
SON
48
12
3
2
OF
21
12
3
3
THE
33
15
6
3
SUN
54
9
9
14
First Total
189
63
27
1+4
Add to Reduce
1+8+9
6+3
2+7
5
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
5
Essence of Number
9
9
9

 

 

3
THE
33
15
6
3
SUN
54
18
9
3
GOD
26
17
8
9
Add to Reduce
113
50
23
-
Reduce to Deduce
1+1+3
5+0
2+3
9
Essence of Number
5
5
5

 

 
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
9
-
-
-
-
54
18
9
9
-
-
-
-
-
-
-
-
-
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
17
-
-
-
-
26
17
17
8
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
9
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
9
U
=
3
-
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
9
D
=
4
-
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
9
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
9
N
=
5
-
6
1
N
14
5
5
-
-
-
-
-
5
-
-
-
9
O
=
6
-
8
1
O
15
6
6
-
-
-
-
-
-
6
-
-
9
G
=
7
-
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
9
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
41
-
4
9
THE SUN GOD
113
50
41
-
1
2
3
4
10
6
7
8
9
-
-
4+1
-
-
-
-
1+1+3
5+0
4+1
-
-
-
-
-
1+0
-
-
-
-
Q
-
5
-
-
9
THE SUN GOD
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

 

 

2
RE
23
14
5
3
THE
33
15
6
3
SUN
54
18
9
3
GOD
26
17
8
11
First Total
136
64
28
1+1
Add to Reduce
1+3+6
6+4
2+8
2
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
2
Essence of Number
1
1
1

 

 
-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
14
-
-
-
-
23
14
14
6
-
-
-
-
-
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
9
-
-
-
-
54
18
9
9
-
-
-
-
-
-
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
17
-
-
-
-
26
17
17
8
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

 
-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
6
7
8
9

 

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE 95

 
-
-
-
-
2
RE
23
14
5
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
9
THE SUN GOD
113
50
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
-
3
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
2
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
-
9
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
-
1
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
55
-
4
9
RE THE SUN GOD
136
64
55
-
1
2
3
4
15
6
7
8
9
-
-
5+5
-
-
-
-
1+3+6
6+4
5+5
-
-
-
-
-
1+5
-
-
-
-
Q
-
10
-
-
9
RE THE SUN GOD
10
10
10
-
1
2
3
4
6
6
7
8
9
-
-
1+0
-
-
-
-
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
Q
-
1
-
-
9
RE THE SUN GOD
1
1
1
-
1
2
3
4
6
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
-
-
-
-
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
-
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Prometheus - Wikipedia, the free encyclopedia
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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 (disambiguation) - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation).

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).

Contents [hide]
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

6 Notes
7 References
8 Further reading
9 External links

Myths and legends[edit]

Greek deities
series

Titans
Olympians
Aquatic deities
Chthonic deities
Personified concepts
Other deities

Titans

The Twelve Titans:
Oceanus and Tethys,
Hyperion and Theia,
Coeus and Phoebe,
Cronus and Rhea,
Mnemosyne, Themis,
Crius, Iapetus
Children of Oceanus:
Oceanids, Potamoi, Calypso
Children of Hyperion:
Helios, Selene, Eos
Daughters of Coeus:
Leto and Asteria
Sons of Iapetus:
Atlas, Prometheus,
Epimetheus, Menoetius
Sons of Crius:
Astraeus, Pallas, Perses

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[edit]

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]

Notes[edit]

1.Smith, "Prometheus".
2. William Hansen, Classical Mythology: A Guide to the Mythical World of the Greeks and Romans (Oxford University Press, 2005), pp. 32, 48–50, 69–73, 93, 96, 102–104, 140; as trickster figure, p. 310.
3.Krishna, Gopi; Hillman, James (commentary) (1970). Kundalini – the evolutionary energy in man. London: Stuart & Watkins. p. 77. SBN 7224 0115 9.
4.Lewis Richard Farnell, The Cults of the Greek States (Oxford: Clarendon Press, 1896), vol. 1, pp. 36, 49, 75, 277, 285, 314, 346; Carol Dougherty, Prometheus (Routledge, 2006), p. 42ff..
5 Reinhardt, Karl. Aischylos als Regisseur und Theologe, p. 30.
6.Philippson, Pauls. Untersuchungen uber griechischen Mythos: Genealogie als mythische Form.
7.: a b c d Hesiod, Theogony 590-93.
8.M.L. West commentaries on Hesiod, W.J. Verdenius commentaries on Hesiod, and R. Lamberton's Hesiod, pp.95–100.
9."The Aetos Kaukasios (or Caucasian Eagle) in the Prometheus Myth". Theoi.com. Retrieved 2012-05-18.
10."Hesiod, ''Theogony''". Theoi.com. Retrieved 2012-05-18.
11.Hesiod, WORKS AND DAYS Translation By H. G. Evelyn-White
12.Casanova, La famiglia di Pandora: analisi filologica dei miti di Pandora e Prometeo nella tradizione esiodea (Florence) 1979.
13.Hesiod, Theogony, 526-33.
14.In this Casanova is joined by some editors of Theogony.
15.Homer. The Iliad. Trans. E.V. Rieu. Penguin Classics. Harmondsworth and Baltimore, 1960.
16.Homeri opera. Edited by Thomas W. Allen. 2nd edn., Oxford, 1908-12, 5 vols. (V.)
17.Kerenyi, C. Prometheus: Archetypal image of Human Existence, p. 27.
18 Kerenyi, p.28.
19.Pindar, Nemean Ode VI (cf. tr. Lattimore, p. 111.)
20.Hesiod. The Evelyn-White translation, pp. 10-11.
21.De die natali IV 3. Eng. trans. "On Birthdays."
22.Kernyi, C. (1963). Prometheus: Archetypal Image of Human Existence. Pantheon Books for Random House, Inc.
23.: a b "Aeschylus, ''Prometheus Bound''". Theoi.com. Retrieved 2012-05-18.
24.Jump up ^ Some of these changes are rather minor. For instance, rather than being the son of Iapetus and Clymene Prometheus becomes the son of Themis. In addition, the chorus makes a passing reference (561) to Prometheus' wife Hesione, whereas a fragment from Hesiod's Catalogue of Women fr. 4 calls her by the name of Pryneie, a possible corruption for Pronoia.
25. William Lynch, S.J. Christ and Prometheus. University of Notre Dame Press.
26.Lynch, p. 4-5.
27.Bloom, Harold (2202). Bloom's Major Dramatists: Aeschylus. Chelsea House Publishers, 2002.
28.de Romilly, Jacqueline (1968). Time in Greek Tragedy. (Ithaca: Cornell University Press, 1968), pp. 72-73, 77-81.
29."Bloom's Major Dramatists," p.14-15.
30.Rosenmeyer, Thomas (1982). The Art of Aeschylus. Berkekley: University of California Press, 1982, pp. 270-71, 281-83.
31.Harold Bloom. Bloom's Guides: Oedipus Rex, Chelsea Press, New York, 2007, p. 8.
32.Raggio, Olga (1958). London: Warburg and Courtauld Institutes.
33.Plato (1958). Protagoras, p. 320ff.
34. Raggio, p. 45.
35. Plato, Protagoras; Hansen, Classical Mythology, p. 159.
36.: a b c d e "Theoi Project: "Prometheus:". Theoi.com. Retrieved 2012-05-18.
37.: a b Dougherty, Prometheus, p. 46.
38.Lucian, Prometheus 14.
39.On the association of the cults of Prometheus and Hephaestus, see also Scholiast to Sophocles, Oedipus at Colonus 56, as cited by Robert Parker, Polytheism and Society at Athens (Oxford University Press, 2007), p. 472.
40.Pausanias 1.30.2; Scholiast to Plato, Phaedrus 231e; Dougherty, Prometheus, p. 46; Peter Wilson, The Athenian Institution of the Khoregia: The Chorus, the City and the Stage (Cambridge University Press, 2000), p. 35.
41.Pausanias 1.30.2.
42.Possibly also Pan; Wilson, The Athenian Institution of the Khoregia, p. 35.
43.Farnell, The Cults of the Greek States, vol. 1, p. 277; Parker, Polytheism and Society at Athens, p. 409.
44.Aeschylus, Suppliants frg. 202, as cited by Parker, Polytheism and Society at Athens, p. 142.
45.O. Jahn, Archeologische Beitrage, Berlin, 1847, pl. VIII (Amphora from Chiusi).
46.Milchhofer, Die Befreiung des Prometheus in Berliner Winckelmanns-Programme, 1882, p. 1ff.
47.Cf. Ovid, Metamorphoses, I, 78ff.
48."30 Years". Mlahanas.de. 1997-11-10. Retrieved 2012-05-18.
49."30,000 Years". Theoi.com. Retrieved 2012-05-18.
50.Fortson, Benjamin W. (2004). Indo-European Language and Culture: An Introduction. Blackwell Publishing, p. 27.; Williamson 2004, 214–15; Dougherty, Carol (2006). Prometheus. p. 4.
51.Raggio, p48.
52.Tertullian. Apologeticum XVIII,3.
53.Wilpert, J. (1932), I Sarcofagi Christiani, II, p. 226.
54.Wilpert, I, pl CVI, 2.
55.Raggio, p. 48.
56.Furtwangler, Die Antiken Gemmen, 1910, I, pl. V, no. 37.
57.Furtwangler, op. cit., pl. XXXVII, nos. 40, 41, 45, 46.
58.to: a b c d Campbell, Joseph. The Hero with a Thousand Faces.
59.Lynch, William. Christ and Prometheus.
60.Dostoevski, Fyodor. The Brothers Karamazov, chapter on "The Grand Inquisitor."
61.Servius, note to Vergil's Eclogue 6.42: Prometheus vir prudentissimus fuit, unde etiam Prometheus dictus est ἀπὸ τής πρόμηθείας, id est a providentia.
62."Dionysos". Theoi.com. Retrieved 2012-05-18.
63.to: a b Raggio, p.53.
64.to: a b Raggio, p.54.
65.Munich, Alte Pinakothek, Katalog, 1930, no. 8973. Strasburg, Musee des Beaux Arts, Catalog, 1932, no. 225.
66.Parmigianino: The Drawings, Sylvie Beguin et al. ISBN 88-422-1020-X.
67.Raggio, Olga (1958). The Myth of Prometheus, London: Warburg Institute.
68.Kerenyi, C. (1963).Prometheus: Archetypal Image of Human Existence, Bollingen Foundation, Random House, Inc., p. 11.
69.Bloom, Harold (1959). Shelley's Mythmaking, Yale University Press, New Haven, Connecticut, p. 9.
70.Bloom (1959), Chapter 3.
71.Bloom, Harold (1985). Percy Bysshe Shelley. Modern Critical Editions, p.8. Chelsea House Publishers, New York.
72.Bloom, Harold (1985). Percy Bysshe Shelley. Modern Critical Editions, p. 27. Chelsea House Publishers, New York.
73.Bloom, Harold (1959). Shelley's Mythmaking, Yale University Press, New Haven, Connecticut, p. 29.
74.Heidegger, Martin. Being and Time.
75.Bloom, Harold (1985). Percy Bysshe Shelley. Modern Critical Editions, p. 28. Chelsea House Publishers, New York.
76.Translated by Willa and Edwin Muir. See Glatzer, Nahum N., ed. "Franz Kafka: The Complete Stories" Schocken Book, Inc.: New York, 1971.
77.Stach, Reiner (3013). Kafka: The years of Insight, Princeton University Press, English translation.
78.R.J. Zwi Werblowsky, Lucifer and Prometheus, as summarized by Gedaliahu G. Stroumsa, "Myth into Metaphor: The Case of Prometheus," in Gilgul: Essays on Transformation, Revolution and Permanence in the History of Religions, Dedicated to R.J. Zwi Werblowsky (Brill, 1987), p. 311; Steven M. Wasserstrom, Religion after Religion: Gershom Scholem, Mircea Eliade, and Henry Corbin at Eranos (Princeton University Press, 1999), p. 210; James Randall Noblitt and Pamela Sue Perskin, Cult and Ritual Abuse: Its History, Anthropology, and Recent Discovery in Contemporary America (Greenwood Praeger, 2000, rev. ed.), p. 133.
79. Liszt: Les Preludes / Tasso / Prometheus / Mephisto Waltz No. 1 by Franz Liszt, Georg Solti, London Philharmonic Orchestra and Orchestre de Paris (1990).
80.Scriabin: Symphony No. 3 The Divine Poem, Prometheus Op. 60 The Poem of Fire by Scriabin, Richter and Svetlanov (1995).
81.Scriabin: Complete Symphonies/Piano Concerto/Prometheus/Le Poeme de l'extase by A. Scriabin (2003), Box Set.
82.Prométhée; Tragédie Lyrique En 3 Actes De Jean Lorrain & F.a. Hérold (French Edition) by Fauré, Gabriel, 1845-1924, Paul Alexandre Martin, 1856-1906. Prométhée, . Duval and A.-Ferdinand (André-Ferdinand), b. 1865. Prométhée, Herold (Sep 24, 2012).
83. Grand Sonata, Op. 33, "Les quatre ages" (The four ages): IV. 50 ans Promethee enchaine (Prometheus enchained): Extrement lent, Stefan Lindgren.
84.Beethoven: Creatures of Prometheus by L. von Beethoven, Sir Charles Mackerras and Scottish Chamber Orchestra (2005).
85.Goethe lieder. Stanislaw Richter. Audio CD (July 25, 2000), Orfeo, ASIN: B00004W1H1.
86.Orff, Carl. Prometheus. Voice and Orchestra. Audio CD (February 14, 2006), Harmonia Mundi Fr., ASIN: B000BTE4LQ.
87.Orff, Carl (2005). Prometheus, Audio CD (May 31, 2005), Arts Music, ASIN: B0007WQB6I.
88.Orff, Carl (1999). Prometheus, Audio CD (November 29, 1999), Orfeo, ASIN: B00003CX0N.
89.Prometheus libretto in modern Greek and German translation, 172 pages, Schott; Bilingual edition (June 1, 1976), ISBN 3795736412.
90.Prometheus (4 Disc 3D/Blu-ray/DVD/Ultraviolet Collector's Limited Edition) (2012).
91.Taylor, Benji (2012). WC magazine, 17 July 2012.
92.Taylor, Benji (2012). WC magazine, 22 June 2012.
93.Taylor, Benji (2012). WC magazine, 5 July 2012.
94.Taylor, 17 July 2012, p. 4.

References[edit]
Alexander, Hartley Burr. The Mythology of All Races. Vol 10: North American. Boston, 1916.
Beall, E.F., Hesiod's Prometheus and Development in Myth, Journal of the History of Ideas, Vol. 52, No. 3 (Jul. – Sep., 1991), pp. 355–371
Dougherty, Carol. Prometheus. Taylor & Francis, 2006. ISBN 0-415-32406-8, ISBN 978-0-415-32406-9
Erdoes, Richard and Alfonso Ortiz, edds. American Indian Myths and Legends. New York, 1984.
Fortson, Benjamin. Indo-European Language and Culture: An Introduction. Blackwell Publishing, 2004.
Judson, Katharine B. Myths and Legends of the Pacific Northwest. Chicago, 1912.
Lamberton, Robert. Hesiod, Yale University Press, 1988. ISBN 0-300-04068-7
Smith, William; Dictionary of Greek and Roman Biography and Mythology, London (1873).
Swanton, John. "Myths and Tales of the Southeastern Indians." Bureau of American Ethnology Bulletin 88: 1929.
Verdenius, Willem Jacob, "A Commentary on Hesiod: Works and Days, Vv. 1–382", Brill, 1985, ISBN 90-04-07465-1
West, M.L., "Hesiod, Theogony, ed. with prolegomena and commentary", Oxford: Clarendon Press 1966
West, M.L., "Hesiod, Works and Days, ed. with prolegomena and commentary", Oxford: Clarendon Press 1978
Westervelt, W.D. Legends of Maui – a Demigod of Polynesia, and of His Mother Hina. Honolulu, 1910.
Williamson, George S. The Longing for Myth in Germany: Religion and Aesthetic Culture from Romanticism to Nietzsche (Chicago, 2004)....

Further reading[edit]
Alcman. Fragments. In: Lyra graeca. Edited and translated the J.M.Edmonds. (LCL.) 1922-27. 3 Vols. (I.)
Appolodorus. The Library. With an English translation by James Frazer. (LCL.) 1912-21. 2 vols. (I.)
Appolonius Rhodius. Argonautica. With an English translation by R.C. Seaton, (LCL.) 1912.
--. Scholia in Apollonius Rhodium vetera. Edited by Karl Wendel. (Bibliotechecae graecae et latinae auctarium Weidmannianum, IV.) Berlin, 1935.
Athenaeus. The Deipnosophists. With an English translation by Charles Burton Gulick. (LCL.) 1927-41. 7 Vol. (IV, VII).
Beazley, J.D. "Prometheus Fire-Lighter," AJA, XLIII (1939).
Boll, Franz. "Kronos-Helios." Arch RW, XIX (1916–19).
Catullus, Gaius Valerius. Poems. Translated by Francis Warre Cornish. In: "Catullus, Tibullus, and Pervigilium Veneris". (LCL.) 1913.
Censorinus. De die natali liber. Edited by Friedrich Hultsch. (Bibliotheca Teubneriana.) Leipzig. 1867.
Cicero, Marcus Tullius. Tuscalan Disputations. With an English translation by J.E. King. (LCL.) 1927.
Diels, Hermann (ed.) Die Fragmente der Vorsakratiker. 6th edn., Berlin, 1951-52. 3 vols.
Doerig, J., and Olof Gigon. Der Kampf der Gotter und Titanene. Olten and Lausanne. 1961.
Eckhart, Lothar. "Prometheus in der bildenden Kunst." In: RE, ser. 2, XLV, s.v. "Prometheus," cols. 702-30.
Eitrem, Samson. "De Prometheo." Eranos (Goetegorg), XLIV (1946).
Euphorion. Scholia. In: John Undershell Powell (ed.). Collectanea Alexandria: reliquiae minotes poetarum graecorum aetatis Ptolemaicae 323-146 A.C., epicorum, elegiacorum, lyricorum, ethicorum. Oxford, 1925.
Fernandes, Ângela, "Human values and spiritual values: Traces of Prometheus in Portuguese literature and criticism", in journal Neohelicon, Akadémiai Kiadó, co-published with Springer Science+Business Media B.V., Volume 34, Number 1 / June, 2007, pp. 41–49. doi:10.1007/s11059-007-1004-z
Freeman, Kathleen (tr.). Ancilla ato the Pre-Socratic Philosophers. Cambridge, Mass, 1948.
Gardi, Rene. Der schwarze Hephaestus, Bern, 1954.
Gerhard, Eduard. Etruskische Spiegel (Miroirs etrusques). Berlin. 1841-97, 5 vols. (II, nos 138, 139).
Hederich, Benjamin. Reales Schullexicon. Leipzig. 1731.
Hesiod, the Homeric Hymns, and Homerics. With an English translation by Hugh G. Evelyn-White. (LCL.) 1920.
Hesychios of Alexandria. Hesychii Alexandrini lexicon post Ioannem Albertum. Jena, 1858-62. 4 vols. (II).
Hippolytus. Refutatio omnium haeresium [Philosophymena, or Elenchos]. In: Philoosophymena; or, The Refutation of All Heresies. London, 1921, 2 vols. (I.)
Hyginus. Astronomica. Leipzig, 1875.
--. Fabulae. Jena, 1872.
Inscriptiones graeca. Consilio et autoritate Academiae Litterarum Regiae Borussicae editum. 2nd edn., Berlin, 1873 ff. 14 vols. (XII).
Jacoby, Felix. FGrHist. (Duris of Samos in II; Hekataios in I.)
Kerényi, Carl, (Translated by Ralph Manheim) "Prometheus: Archetypal Image of Human Existence", Princeton University Press, 1997. ISBN 0-691-01907-X.
Kraus, Walther. "Prometheus," IN: RE, ser. 2, XLV.
Kretschmer, Paul. "Die protindogermanische Schicht." Glotta (Gottingen), XIV (1925).
Lobel, Edgar; E.P. Wegener; and C.H. Roberts. The Oxyrhynchus Papyri. (Egypt Exploratin Society.) London, 1952. (XX.)
Lykophron. Scolia. In: Isaac and John Tzetzes. Likophonos Alexandra to skoteinon poinma. Edited by; M.C. Gottfried Muller. Leipzig. 1811. 3 vols. (I.)
Malinowski, Bronislaw. Myth in Primitive Psychology. (The New Science Series, I.) New York, 1926. (Psyche Miniatures, General Series, 6; London, 1926.)
Menodotos. Cited by Athenaeus (q.v.).
Montfaucon, Bernard de. L'Antique expliquee et represent en figures. Paris, 1719. 5 vols. in 10. (I.)
Mysteries, The. (Papers from he Eranos Yearbooks, 2; ed. Joseph Campbell.) New York (Bolligen Series XXX) and London, 1955.
Nauck, August. See Aeschylus, Fragments.
Ocellus [Okellos]. Okellos o Lenkanos peri tou pantos, oder des Ocellus von Lukanien Betrachtungen uber die Welt. Leipzig, 1795.
Onomakritos. Fragments. In: Otto Kern (ed.). Orphicorum fragmenta. Berlin, 1922.
Otto, Walter F. The Homeric Gods: The Spiritual Significance of Greek Religion. : London, 1955.
Tischbein, William (ed.). Collection of Engravings from Ancient Vases of Greek Workmanship ... in the Possession of Sir Wm. Hamilton. Naples, 1791-95. 3 vols. (III, Pl. 19.)
Titanomachia ("The War of the Titans"). Fragment 6. In: Epicorum graecorum fragment. Edited by Gottfried Kinkel. Leipzig, 1877.
Xenophanes. Fragments. In: Diels (q.v.).

External links[edit]

Look up prometheus in Wiktionary, the free dictionary.

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Theoi Text, Theogony
Theoi Text, Works and Days
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Prometheus, a poem by Byron
Book "Prometheus Bound" (free download – two volumes about 600 pages)

Greek mythology (deities)

Primordial
deities

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Chronos ·
Eros/Phanes ·
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Pontus/Thalassa ·
Tartarus ·
Aether ·
Hemera ·
Erebus ·
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Titan
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Titanides (female)

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Theia ·
Phoebe ·
Rhea ·
Mnemosyne ·
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Perses

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Atlas ·
Prometheus ·
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Menoetius

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Metis

Olympian
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Hera ·
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Hestia ·
Poseidon ·
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and Dionysus

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Mousai (Muses)

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Charites (Graces)

Aglaea ·
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Thalia

Horae (Hours)

Dike ·
Eunomia ·
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Styktides

Nike ·
Kratos ·
Bia ·
Zelos

Oceanic
deities

Theoi Halioi

Poseidon ·
Amphitrite ·
Triton ·
Oceanus ·
Tethys ·
Pontus/Thalassa ·
Nereus ·
Glaucus ·
Proteus ·
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Thetis

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Tyche

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Achelous ·
Asopus ·
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Scamander

Chthonic
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Hades ·
Persephone ·
Gaia ·
Demeter ·
Hecate

Erinyes (Furies)

Alecto ·
Tisiphone ·
Megaera

Earthborn

Hecatonchires ·
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Meliae ·
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Minos ·
Aeacus ·
Rhadamanthus

Categories: Creator gods
Greek culture heroes
Greek deities
Greek mythological hero cult
Greek mythology
Primordial teachers
Titans
Wisdom gods

 

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

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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

 

 

5
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

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

 

METAMORPHOSIS GODS METAMORPHOSIS

4+5+2+1+4+6+9+7+8+6+1+9+1= 4+5+2+1+4+6+9+7+8+6+1+9+1

METAMORPHOSIS GODS METAMORPHOSIS

 

 

-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
6
-
-
8
6
1
9
1
+
=
31
3+1
=
4
=
4
=
4
-
-
-
-
-
-
-
15
-
-
8
15
19
9
19
+
=
85
8+5
=
13
1+3
4
=
4
-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
4
5
2
1
4
-
9
7
-
-
-
-
-
+
=
32
3+2
=
5
=
5
=
5
-
-
13
5
20
1
13
-
18
16
-
-
-
-
-
+
=
86
8+6
=
14
1+4
5
=
5
-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
13
5
20
1
13
15
18
16
8
15
19
9
19
+
=
171
1+7+1
=
9
=
9
=
9
-
-
4
5
2
1
4
6
9
7
8
6
1
9
1
+
=
63
6+3
=
9
=
9
=
9
-
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
1
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
-
-
-
-
6
-
-
-
6
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
--
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
3
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
42
-
-
13
-
63
-
45
--
1+3
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
4+2
-
-
1+3
-
6+3
-
4+5
3
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9
--
--
4
5
2
1
4
6
9
7
8
6
1
9
1
-
-
--
-
-
--
-
-
-
-
3
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9

 

 

13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-`
6
-
-
8
6
1
9
1
+
=
31
3+1
=
4
=
4
=
4
-
-
-
-
-
-
15
-
-
8
15
19
9
19
+
=
85
8+5
=
13
1+3
4
=
4
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
4
5
2
1
4
-
9
7
-
-
-
-
-
+
=
32
3+2
=
5
=
5
=
5
-
13
5
20
1
13
-
18
16
-
-
-
-
-
+
=
86
8+6
=
14
1+4
5
=
5
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
13
5
20
1
13
15
18
16
8
15
19
9
19
+
=
171
1+7+1
=
9
=
9
=
9
-
4
5
2
1
4
6
9
7
8
6
1
9
1
+
=
63
6+3
=
9
=
9
=
9
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
1
-
-
1
occurs
x
3
=
3
=
3
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
-
-
-
6
-
-
-
6
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
--
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
13
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
42
-
-
13
-
63
-
45
1+3
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
4+2
-
-
1+3
-
6+3
-
4+5
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9
--
4
5
2
1
4
6
9
7
8
6
1
9
1
-
-
--
-
-
--
-
-
-
-
4
M
E
T
A
M
O
R
P
H
O
S
I
S
-
-
6
-
-
4
-
9
-
9

 

 

14
METEMPSYCHOSIS
-
-
-
-
M+E
18
9
9
-
T
20
2
2
-
E+M
18
9
9
-
P+S+Y+C
63
27
9
-
H+O+S
42
24
6
-
I
9
9
9
-
S
19
10
1
14
METEMPSYCHOSIS
189
90
45
1+4
-
1+8+9
9+0
4+5
-
-
18
9
9
-
-
1+8
-
-
5
METEMPSYCHOSIS
9
9
9

 

 

14
METEMPSYCHOSIS
-
-
-
-
M+E+T+E+M+P
72
27
9
-
S+Y+C+H+O+S
89
44
8
-
I
9
9
9
-
S
19
10
1
1+4
METEMPSYCHOSIS
189
90
27
-
-
1+8+9
9+0
2+7
-
-
18
9
9
-
-
1+8
-
-
5
METEMPSYCHOSIS
9
9
9

 

 

-
METEMPSYCHOSIS
-
-
-
-
-
-
-
-
-
I
9
9
9
-
M+E
18
9
9
-
-
-
-
-
-
-
-
METEMPSYCHOSIS
-
-
-
-
M+E
18
9
9
-
T+E+M
38
11
2
-
P+S+Y+C+H+O+S+I+S
133
70
7
14
METEMPSYCHOSIS
189
90
18
1+4
-
1+8+9
9+0
1+8
-
-
18
9
9
-
-
1+8
-
-
5
METEMPSYCHOSIS
9
9
9

 

 

-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
26
-
-
-
-
-
-
-
1
-
-
8
6
1
9
1
+
=
26
2+6
=
8
=
8
=
8
89
-
-
-
-
-
-
-
19
-
-
8
15
19
9
19
+
=
89
8+9
=
17
1+7
8
=
8
-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
37
-
4
5
2
5
4
7
-
7
3
-
-
-
-
-
+
=
37
3+7
=
10
1+0
1
=
1
100
-
13
5
20
5
13
16
-
25
3
-
-
-
-
-
+
=
100
1+0+0
=
1
-
1
=
1
-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
189
-
13
5
20
5
13
16
19
25
3
8
15
19
9
19
+
=
189
1+8+9
=
18
1+8
9
=
9
63
-
4
5
2
5
4
7
1
7
3
8
6
1
9
1
+
=
63
6+3
=
9
-
9
=
9
-
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
-
-
-
-
1
-
1
-
-
1
occurs
x
3
=
3
=
3
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
4
-
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
4
occurs
x
2
=
8
=
8
5
-
-
5
-
5
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
=
1
6
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
7
-
7
-
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
--
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
=
9
45
14
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
45
-
-
14
-
63
-
45
4+5
1+4
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
4+5
-
-
1+4
-
6+3
-
4+5
9
5
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
9
-
-
5
-
9
-
9
-
-
4
5
2
5
4
7
1
7
3
8
6
1
9
1
-
-
-
-
-
-
-
-
-
-
9
5
M
E
T
E
M
P
S
Y
C
H
O
S
I
S
-
-
9
-
-
5
-
9
-
9

 

 

-
-
-
-
-
THE LOVE OF LIFE
-
-
-
T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LOVE
54
18
9
O
=
6
-
2
OF
21
12
3
L
=
3
-
4
LIFE
32
23
5
-
-
14
-
13
THE LOVE OF LIFE
140
68
23
-
-
1+4
-
1+3
-
1+4+0
6+8
2+3
-
-
5
-
4
THE LOVE OF LIFE
5
14
5
-
-
-
-
-
-
-
1+4
-
-
-
5
-
4
THE LOVE OF LIFE
5
5
5

 

 

-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
A
=
1
-
6
ALWAYS
81
27
9
A
=
1
-
3
AND
19
10
1
F
=
6
-
7
FOREVER
89
44
8
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
-
-
-
1+6
-
1+8+9
8+1
1+8
-
-
8
-
7
ALWAYS AND FOREVER
18
9
9
-
-
-
-
-
-
1+8
-
-
-
-
8
-
7
ALWAYS AND FOREVER
9
9
9

 

 

-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
6
ALWAYS
81
27
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
-
-
-
-
-
-
-
-
-
F
=
6
-
7
FOREVER
89
44
8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
L
=
3
2
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
W
=
5
3
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
Y
=
7
5
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
S
=
1
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
18
-
-
81
27
18
-
-
-
-
-
-
-
-
-
-
A
=
1
7
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
N
=
5
8
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
D
=
4
9
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
10
-
-
19
10
10
-
-
-
-
-
-
-
-
-
-
F
=
6
10
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
11
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
12
1
R
9
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
13
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
V
=
4
14
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
16
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
44
-
-
89
44
44
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
-
4
2
3
8
20
12
7
8
18
A
=
1
-
6
ALWAYS
81
27
9
-
-
-
-
-
2+0
1+2
-
-
1+8
A
=
1
-
3
AND
19
10
1
-
4
2
3
8
2
3
7
8
9
F
=
6
-
7
FOREVER
89
44
8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
4
2
3
8
2
3
7
8
9
-
-
-
-
1+6
-
1+8+9
8+1
1+8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
ALWAYS AND FOREVER
18
9
9
-
4
2
3
8
2
3
7
8
9
-
-
-
-
-
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
ALWAYS AND FOREVER
9
9
9
-
4
2
3
8
2
3
7
8
9

 

 

-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
6
ALWAYS
81
27
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
-
-
-
-
-
-
-
-
-
F
=
6
-
7
FOREVER
89
44
8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
2
-
-
-
-
-
8
-
L
=
3
2
1
L
12
3
3
-
-
2
3
-
-
-
-
8
-
W
=
5
3
1
W
23
5
5
-
-
2
-
-
5
-
-
8
-
A
=
1
4
1
A
1
1
1
-
1
2
-
-
-
-
-
8
-
Y
=
7
5
1
Y
25
7
7
-
-
2
-
-
-
-
7
8
-
S
=
1
6
1
S
19
10
1
-
1
2
-
-
-
-
-
8
-
A
=
1
7
1
A
1
1
1
-
1
2
-
-
-
-
-
8
-
N
=
5
8
1
N
14
5
5
-
-
2
-
-
5
-
-
8
-
D
=
4
9
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
F
=
6
10
1
F
6
6
6
-
-
2
-
-
-
6
-
8
-
O
=
6
11
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
R
=
9
12
1
R
9
9
9
-
-
2
-
-
-
-
-
8
9
E
=
5
13
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
V
=
4
14
1
V
22
4
4
-
-
2
-
4
-
-
-
8
-
E
=
5
15
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
R
=
9
16
1
R
18
9
9
-
-
2
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
-
4
2
3
8
20
12
7
8
18
A
=
1
-
6
ALWAYS
81
27
9
-
-
-
-
-
2+0
1+2
-
-
1+8
A
=
1
-
3
AND
19
10
1
-
4
2
3
8
2
3
7
8
9
F
=
6
-
7
FOREVER
89
44
8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
4
2
3
8
2
3
7
8
9
-
-
-
-
1+6
-
1+8+9
8+1
1+8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
ALWAYS AND FOREVER
18
9
9
-
4
2
3
8
2
3
7
8
9
-
-
-
-
-
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
ALWAYS AND FOREVER
9
9
9
-
4
2
3
8
2
3
7
8
9

 

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
6
ALWAYS
81
27
9
-
-
-
-
-
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
-
-
-
-
-
-
-
-
-
F
=
6
-
7
FOREVER
89
44
8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
2
-
-
-
-
-
8
-
A
=
1
4
1
A
1
1
1
-
1
2
-
-
-
-
-
8
-
S
=
1
6
1
S
19
10
1
-
1
2
-
-
-
-
-
8
-
A
=
1
7
1
A
1
1
1
-
1
2
-
-
-
-
-
8
-
L
=
3
2
1
L
12
3
3
-
-
2
3
-
-
-
-
8
-
D
=
4
9
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
V
=
4
14
1
V
22
4
4
-
-
2
-
4
-
-
-
8
-
W
=
5
3
1
W
23
5
5
-
-
2
-
-
5
-
-
8
-
N
=
5
8
1
N
14
5
5
-
-
2
-
-
5
-
-
8
-
E
=
5
13
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
E
=
5
15
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
F
=
6
10
1
F
6
6
6
-
-
2
-
-
-
6
-
8
-
O
=
6
11
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
Y
=
7
5
1
Y
25
7
7
-
-
2
-
-
-
-
7
8
-
R
=
9
12
1
R
9
9
9
-
-
2
-
-
-
-
-
8
9
R
=
9
16
1
R
18
9
9
-
-
2
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
ALWAYS AND FOREVER
-
-
-
-
4
2
3
8
20
12
7
8
18
A
=
1
-
6
ALWAYS
81
27
9
-
-
-
-
-
2+0
1+2
-
-
1+8
A
=
1
-
3
AND
19
10
1
-
4
2
3
8
2
3
7
8
9
F
=
6
-
7
FOREVER
89
44
8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
ALWAYS AND FOREVER
189
81
18
-
4
2
3
8
2
3
7
8
9
-
-
-
-
1+6
-
1+8+9
8+1
1+8
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
ALWAYS AND FOREVER
18
9
9
-
4
2
3
8
2
3
7
8
9
-
-
-
-
-
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
ALWAYS AND FOREVER
9
9
9
-
4
2
3
8
2
3
7
8
9

 

 

3
THE
33
15
6
6
ORIGIN
72
45
9
2
OF
21
12
3
7
SPECIES
76
49
4
18
Add to Reduce
202
121
22
1+8
Reduce to Deduce
2+0+2
1+0+3
2+2
9
Essence of Number
4
4
4

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
O
=
6
-
6
ORIGIN
72
45
9
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
S
=
1
-
7
SPECIES
76
49
4
-
-
-
-
-
-
-
-
-
-
-
-
15
-
18
Add to Reduce
202
121
22
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
3
-
33
15
15
-
-
-
-
-
-
-
-
-
-
O
=
6
4
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
5
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
G
=
7
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
9
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
-
-
45
-
6
-
72
45
45
-
-
-
-
-
-
-
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
F
=
6
11
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
-
-
12
-
2
-
21
12
12
-
-
-
-
-
-
-
-
-
-
S
=
1
12
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
E
=
5
14
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
C
=
3
15
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
16
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
17
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
S
=
1
18
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
31
-
3
-
76
49
31
-
-
-
-
-
-
-
-
-
-
T
=
7
-
3
THE
33
15
6
-
2
2
3
4
20
18
14
8
36
O
=
5
-
6
ORIGIN
72
45
9
-
-
-
-
-
2+0
1+8
1+4
-
3+6
O
=
6
-
2
OF
21
12
3
-
2
2
3
4
2
9
5
8
9
S
=
7
-
7
SPECIES
76
49
4
-
-
-
-
-
-
-
-
-
-
-
-
23
-
18
Add to Reduce
202
121
22
-
2
2
3
4
2
9
5
8
9
-
-
2+3
-
1+8
Reduce to Deduce
2+0+2
1+0+3
2+2
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
4
4
4
-
2
2
3
4
2
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
O
=
6
-
6
ORIGIN
72
45
9
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
S
=
1
-
7
SPECIES
76
49
4
-
-
-
-
-
-
-
-
-
-
-
-
15
-
18
Add to Reduce
202
121
22
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
4
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
4
-
-
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
O
=
6
4
1
O
15
6
6
-
-
-
-
4
-
6
-
-
-
R
=
9
5
1
R
18
9
9
-
-
-
-
4
-
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
G
=
7
7
1
G
7
7
7
-
-
-
-
4
-
-
7
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
N
=
5
9
1
N
14
5
5
-
-
-
-
4
5
-
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
4
-
6
-
-
-
F
=
6
11
1
F
6
6
6
-
-
-
-
4
-
6
-
-
-
S
=
1
12
1
S
19
10
1
-
1
-
-
4
-
-
-
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
4
-
-
7
-
-
E
=
5
14
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
C
=
3
15
1
C
3
3
3
-
-
-
3
4
-
-
-
-
-
I
=
9
16
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
E
=
5
17
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
S
=
1
18
1
S
19
10
1
-
1
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
7
-
3
THE
33
15
6
-
2
2
3
4
20
18
14
8
36
O
=
5
-
6
ORIGIN
72
45
9
-
-
-
-
-
2+0
1+8
1+4
-
3+6
O
=
6
-
2
OF
21
12
3
-
2
2
3
4
2
9
5
8
9
S
=
7
-
7
SPECIES
76
49
4
-
-
-
-
-
-
-
-
-
-
-
-
23
-
18
Add to Reduce
202
121
22
-
2
2
3
4
2
9
5
8
9
-
-
2+3
-
1+8
Reduce to Deduce
2+0+2
1+0+3
2+2
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
4
4
4
-
2
2
3
4
2
9
5
8
9

 

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
O
=
6
-
6
ORIGIN
72
45
9
-
-
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
-
-
-
-
-
-
-
S
=
1
-
7
SPECIES
76
49
4
-
-
-
-
-
-
-
-
-
-
-
-
15
-
18
Add to Reduce
202
121
22
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
12
1
S
19
10
1
-
1
-
-
4
-
-
-
-
-
S
=
1
18
1
S
19
10
1
-
1
-
-
4
-
-
-
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
4
-
-
-
-
-
C
=
3
15
1
C
3
3
3
-
-
-
3
4
-
-
-
-
-
E
=
5
3
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
N
=
5
9
1
N
14
5
5
-
-
-
-
4
5
-
-
-
-
E
=
5
14
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
E
=
5
17
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
O
=
6
4
1
O
15
6
6
-
-
-
-
4
-
6
-
-
-
O
=
6
10
1
O
15
6
6
-
-
-
-
4
-
6
-
-
-
F
=
6
11
1
F
6
6
6
-
-
-
-
4
-
6
-
-
-
G
=
7
7
1
G
7
7
7
-
-
-
-
4
-
-
7
-
-
P
=
7
13
1
P
16
7
7
-
-
-
-
4
-
-
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
4
-
-
-
8
-
R
=
9
5
1
R
18
9
9
-
-
-
-
4
-
-
-
-
9
I
=
9
6
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
I
=
9
8
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
I
=
9
16
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
7
-
3
THE
33
15
6
-
2
2
3
4
20
18
14
8
36
O
=
5
-
6
ORIGIN
72
45
9
-
-
-
-
-
2+0
1+8
1+4
-
3+6
O
=
6
-
2
OF
21
12
3
-
2
2
3
4
2
9
5
8
9
S
=
7
-
7
SPECIES
76
49
4
-
-
-
-
-
-
-
-
-
-
-
-
23
-
18
Add to Reduce
202
121
22
-
2
2
3
4
2
9
5
8
9
-
-
2+3
-
1+8
Reduce to Deduce
2+0+2
1+0+3
2+2
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
4
4
4
-
2
2
3
4
2
9
5
8
9

 

 

20
THE ORIGIN OF SPECIES
202
121
22

 

 

2
ON
29
11
2
3
THE
33
15
6
6
ORIGIN
72
45
9
2
OF
21
12
3
7
SPECIES
76
31
4
20
Add to Reduce
231
114
24
2+0
Reduce to Deduce
2+3+1
1+1+4
2+4
2
Essence of Number
6
6
6

 

 

 

15
WORLD GOVERNMENT
205
79
7

 

 

5
WORLD
72
27
9
10
GOVERNMENT
133
52
7
15
First Total
205
79
16
1+5
Add to Reduce
2+0+5
7+9
1+6
6
Second Total
7
16
7
-
Reduce to Deduce
-
1+6
-
7
Essence of Number
7
7
7

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
O
=
6
-
5
WORLD
72
27
9
-
-
-
-
-
-
-
-
-
-
G
=
7
-
10
GOVERNMENT
133
52
7
-
-
-
-
-
-
-
-
-
-
-
-
23
-
15
First Total
205
79
16
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
1
1
W
23
5
5
-
1
-
-
-
5
-
-
8
-
O
=
6
2
1
O
15
6
6
-
1
-
-
-
-
6
-
8
-
R
=
9
3
1
R
18
9
9
-
1
-
-
-
-
-
-
8
9
L
=
3
4
1
L
12
3
3
-
1
-
3
-
-
-
-
8
-
D
=
4
5
1
D
4
4
4
-
1
-
-
4
-
-
-
8
-
-
-
27
-
-
72
27
27
-
1
-
-
-
-
-
-
8
-
G
=
7
6
1
G
7
7
7
-
1
-
-
-
-
-
7
8
-
O
=
6
7
1
O
15
6
6
-
1
-
-
-
-
6
-
8
-
V
=
4
8
1
V
22
4
4
-
1
-
-
4
-
-
-
8
-
E
=
5
9
1
E
5
5
5
-
1
-
-
-
5
-
-
8
-
R
=
9
10
1
R
18
9
9
-
1
-
-
-
-
-
-
8
9
N
=
5
11
1
N
14
5
5
-
1
-
-
-
5
-
-
8
-
M
=
4
12
1
M
13
4
2
-
1
-
-
4
-
-
-
8
-
E
=
5
13
1
E
5
5
5
-
1
-
-
-
5
-
-
8
-
N
=
5
14
1
N
14
5
5
-
1
-
-
-
5
-
-
8
-
T
=
2
15
1
T
20
2
2
-
1
2
-
-
-
-
-
8
-
31
-
-
-
133
52
52
-
-
-
-
-
-
-
-
-
-
W
=
5
-
5
WORLD
72
27
9
-
1
2
3
12
25
12
7
8
18
G
=
7
-
10
GOVERNMENT
133
52
7
-
-
-
-
1+2
2+5
1+2
-
-
1+8
-
-
12
-
15
First Total
205
79
16
-
1
2
3
3
7
3
7
8
9
-
-
1+2
-
1+5
Add to Reduce
2+0+5
7+9
1+6
-
-
-
-
-
-
-
-
-
-
-
-
3
-
6
Second Total
7
16
7
-
1
2
3
3
7
3
7
8
9
-
-
-
-
-
Reduce to Deduce
-
1+6
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
Essence of Number
7
7
7
-
1
2
3
3
7
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
O
=
6
-
5
WORLD
72
27
9
-
-
-
-
-
-
-
-
-
-
G
=
7
-
10
GOVERNMENT
133
52
7
-
-
-
-
-
-
-
-
-
-
-
-
23
-
15
First Total
205
79
16
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
1
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
2
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
3
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
4
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
5
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
V
=
4
8
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
10
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
M
=
4
12
1
M
13
4
2
-
-
-
-
4
-
-
-
-
-
E
=
5
13
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
15
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
W
=
5
-
5
WORLD
72
27
9
-
1
2
3
12
25
12
7
8
18
G
=
7
-
10
GOVERNMENT
133
52
7
-
-
-
-
1+2
2+5
1+2
-
-
1+8
-
-
12
-
15
First Total
205
79
16
-
1
2
3
3
7
3
7
8
9
-
-
1+2
-
1+5
Add to Reduce
2+0+5
7+9
1+6
-
-
-
-
-
-
-
-
-
-
-
-
3
-
6
Second Total
7
16
7
-
1
2
3
3
7
3
7
8
9
-
-
-
-
-
Reduce to Deduce
-
1+6
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
Essence of Number
7
7
7
-
1
2
3
3
7
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
O
=
6
-
5
WORLD
72
27
9
-
-
-
-
-
-
-
-
-
-
G
=
7
-
10
GOVERNMENT
133
52
7
-
-
-
-
-
-
-
-
-
-
-
-
23
-
15
First Total
205
79
16
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
15
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
4
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
5
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
V
=
4
8
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
M
=
4
12
1
M
13
4
2
-
-
-
-
4
-
-
-
-
-
W
=
5
1
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
9
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
13
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
2
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
7
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
6
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
3
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
10
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
W
=
5
-
5
WORLD
72
27
9
-
1
2
3
12
25
12
7
8
18
G
=
7
-
10
GOVERNMENT
133
52
7
-
-
-
-
1+2
2+5
1+2
-
-
1+8
-
-
12
-
15
First Total
205
79
16
-
1
2
3
3
7
3
7
8
9
-
-
1+2
-
1+5
Add to Reduce
2+0+5
7+9
1+6
-
-
-
-
-
-
-
-
-
-
-
-
3
-
6
Second Total
7
16
7
-
1
2
3
3
7
3
7
8
9
-
-
-
-
-
Reduce to Deduce
-
1+6
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
7
Essence of Number
7
7
7
-
1
2
3
3
7
3
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

 

-
WORLD GOVERNMENT
-
-
-
5
WORLD
72
27
9
6
GOVERN
81
36
9
2
ME
18
9
9
2
NT
34
7
7
15
WORLD GOVERNMENT
205
79
34
1+5
  
2+0+5
7+9
3+4
6
WORLD GOVERNMENT
7
16
7
-
  
-
1+6
-
6
WORLD GOVERNMENT
7
7
7

 

 

KEEPER OF GENESIS  
Robert Bauval Graham Hancock 1996

Page 254

Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says:
we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood? Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as possible. But how could they? Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have. That common language is science and mathematics. The laws of Nature are the same everywhere.3

Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien.

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
1
16
EXTRATERRESTRIAL
213
78
6
-
-
-
-
-
-
6
-
-
-
I
=
9
2
12
INTELLIGENCE
115
61
7
-
-
-
-
-
-
-
7
-
-
W
=
5
3
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
B
=
2
4
2
BE
7
7
7
-
-
-
-
-
-
-
7
-
-
E
=
5
5
7
ELEGANT
64
28
1
-
1
-
-
-
-
-
-
-
-
C
=
3
6
7
COMPLEX
88
34
7
-
-
-
-
-
-
-
7
-
-
I
=
9
7
10
INTERNALLY
130
49
4
-
-
-
-
4
-
-
-
-
-
C
=
3
8
10
CONSISTENT
138
57
3
-
-
-
3
-
-
-
-
-
-
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
U
=
3
10
7
UTTERLY
121
31
4
-
-
-
-
4
-
-
-
-
-
O
=
6
11
5
ALIEN
41
23
5
-
-
-
-
-
5
-
-
-
-
-
-
51
-
83
First Total
992
398
47
-
2
2
3
8
5
6
21
8
9
-
-
5+1
-
8+3
Add to Reduce
9+9+2
3+9+8
4+7
-
-
-
-
-
-
-
2+1
-
-
-
-
6
-
11
Second Total
20
20
11
-
2
2
3
8
5
6
3
8
9
-
-
-
-
1+1
Reduce to Deduce
2+0
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
Essence of Number
2
2
2
-
2
2
3
8
5
6
3
8
9

 

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
1
16
EXTRATERRESTRIAL
213
78
6
-
-
-
-
-
-
6
-
8
9
I
=
9
2
12
INTELLIGENCE
115
61
7
-
-
-
-
-
-
-
7
8
9
W
=
5
3
4
WILL
56
20
2
-
-
2
-
-
-
-
-
8
9
B
=
2
4
2
BE
7
7
7
-
-
-
-
-
-
-
7
8
9
E
=
5
5
7
ELEGANT
64
28
1
-
1
-
-
-
-
-
-
8
9
C
=
3
6
7
COMPLEX
88
34
7
-
-
-
-
-
-
-
7
8
9
I
=
9
7
10
INTERNALLY
130
49
4
-
-
-
-
4
-
-
-
8
9
C
=
3
8
10
CONSISTENT
138
57
3
-
-
-
3
-
-
-
-
8
9
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
8
9
U
=
3
10
7
UTTERLY
121
31
4
-
-
-
-
4
-
-
-
8
9
O
=
6
11
5
ALIEN
41
23
5
-
-
-
-
-
5
-
-
8
9
-
-
51
-
83
First Total
992
398
47
-
2
2
3
8
5
6
21
8
9
-
-
5+1
-
8+3
Add to Reduce
9+9+2
3+9+8
4+7
-
-
-
-
-
-
-
2+1
-
-
-
-
6
-
11
Second Total
20
20
11
-
2
2
3
8
5
6
3
8
9
-
-
-
-
1+1
Reduce to Deduce
2+0
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
Essence of Number
2
2
2
-
2
2
3
8
5
6
3
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
E
=
5
5
7
ELEGANT
64
28
1
-
1
-
-
-
-
-
-
8
9
A
=
1
9
3
AND
19
10
1
-
1
-
-
-
-
-
-
8
9
W
=
5
3
4
WILL
56
20
2
-
-
2
-
-
-
-
-
8
9
C
=
3
8
10
CONSISTENT
138
57
3
-
-
-
3
-
-
-
-
8
9
I
=
9
7
10
INTERNALLY
130
49
4
-
-
-
-
4
-
-
-
8
9
U
=
3
10
7
UTTERLY
121
31
4
-
-
-
-
4
-
-
-
8
9
O
=
6
11
5
ALIEN
41
23
5
-
-
-
-
-
5
-
-
8
9
E
=
5
1
16
EXTRATERRESTRIAL
213
78
6
-
-
-
-
-
-
6
-
8
9
I
=
9
2
12
INTELLIGENCE
115
61
7
-
-
-
-
-
-
-
7
8
9
B
=
2
4
2
BE
7
7
7
-
-
-
-
-
-
-
7
8
9
C
=
3
6
7
COMPLEX
88
34
7
-
-
-
-
-
-
-
7
8
9
-
-
51
-
83
First Total
992
398
47
-
2
2
3
8
5
6
21
8
9
-
-
5+1
-
8+3
Add to Reduce
9+9+2
3+9+8
4+7
-
-
-
-
-
-
-
2+1
-
-
-
-
6
-
11
Second Total
20
20
11
-
2
2
3
8
5
6
3
8
9
-
-
-
-
1+1
Reduce to Deduce
2+0
2+0
1+1
-
-
-
-
-
-
-
-
-
-
-
-
6
-
2
Essence of Number
2
2
2
-
2
2
3
8
5
6
3
8
9

 

 

KEEPER OF GENESIS

A QUEST FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock 1996

Page 254

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

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

That common language is science and mathematics.

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

 

 

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

 

 

-
MATHEMATICS
-
-
-
4
MATH
42
15
6
2
ME
18
9
9
2
AT
21
3
3
1
I
9
9
9
2
CS
22
4
4
11
MATHEMATICS
112
40
31
1+1
-
1+1+2
4+0
3+1
2
MATHEMATICS
4
4
4

 

 

THE MAGIC MOUNTAIN


Thomas Mann 1875-1955

Page 417

"I preach mathematics."

 

I
=
9
-
1
I
9
9
9
S
=
1
-
6
PREACH
51
33
6
R
=
9
-
11
MATHEMATICS
112
40
4
-
-
19
-
18
First Total
172
91
19
-
-
1+9
-
1+8
Add to Reduce
1+7+2
9+1
1+9
Q
-
10
-
9
Second Total
10
10
10
-
-
1+0
-
-
Reduce to Deduce
1+0
1+0
1+0
Q
-
1
-
9
Essence of Number
1
1
1

 

 

G
=
7
-
3
GOD
26
17
8
I
=
9
-
2
IS
28
19
1
A
=
1
-
1
A
1
1
1
M
=
4
-
13
MATHEMATICIAN
117
54
9
-
-
21
-
19
First Total
172
91
19
-
-
2+1
-
1+9
Add to Reduce
1+7+2
9+1
1+9
Q
-
3
-
10
Second Total
10
10
10
-
-
-
-
1+0
Reduce to Deduce
1+0
1+0
1+0
Q
-
3
-
1
Essence of Number
1
1
1

 

 

N
=
5
-
5
NAMES
52
25
7
O
=
6
-
2
OF
21
12
3
G
=
7
-
3
GOD
26
17
8
-
-
18
-
10
First Total
99
54
18
-
-
1+8
-
 1+0
Add to Reduce
9+9
5+4
1+8
Q
-
9
-
1
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
Q
-
9
-
1
Essence of Number
9
9
9

 

 

THE BIBLE CODE
Michael Drosnin 1997
Chapter Four
THE SEALED BOOK

Page 70

"The astronomer Carl Sagan once noted that if there was other intelligent life in the universe some of it would have certainly evolved far earlier than we did, and had thousands, or hundreds of thousands, or millions, or hundreds of millions of years to develop the advanced technology that we are only now beginning to develop.
'After billions of years of biological evolution - on their planet and ours - an alien civilization cannot be in technological lockstep with us,' wrote Sagan.
'There 'have been humans for more than twenty thousand centuries, but we've had radio only for about one century,' wrote Sagan. 'If alien civilizations are behind us, they're likely to be too far behind us to have radio. And if they're ahead of us, they're likely to be far ahead of us. Think of the technical advances on our world over just the last few centuries. What is for us technologically difficult or impossible, what might seem to us like magic, might for them be trivially easy.'
The author of 2001, Arthur C. Clarke - who envisioned a mysterious black monolith that reappears at successive stages of human evolution, each time we are ready to be taken to a higher level - made a similar observation:

'Any sufficiently advanced technology is indistinguishable from magic.'

 

 

KEEPER OF GENESIS  
Robert Bauval Graham Hancock 1996

Page 252

Chapter 16
Message in a Bottle?
'We have reached this fascinating point in
our evolution. . . we have reached the time
when we know we can talk to each other
across the distances between the stars. . . '
Dr John Billingham, NASA Ames Research Center, 1995

"Together with the ancient texts and rituals that are linked to them, could the vast monuments of the Giza necropolis have been designed to transmit a message from one culture to another - a message not across space, but across time?
Egyptologists reply to such questions by rolling their eyes and hooting derisively, Indeed they would not be 'Egyptologists' (or at any rate they could not long remain within that profession) if they reacted with anything other than scorn and disbelief to suggestions that the necropolis might be more than a cemetery, that the Great Sphinx might significantly predate the epoch of 2500 BC, and that the Pyramids might not be just 'royal tombs'. By the same token, no self- respecting Egyptologist would be prepared to consider, even for a moment, the outlandish possibility that some sort of mysterious 'message' might have been encoded into the monuments.
So whom should we turn to for advice when confronted by what we suspect may be a message from a civilization so far distant from us in time as to be almost unknowable?
Anti-cipher
The only scientists actively working on such problems today are those involved in the Search for Extraterrestrial Intelligence - SETI for / Page 253 / short. They endlessly sweep the heavens for messages from distant civilizations and they have therefore naturally had to give some thought to what might happen if they ever did identify such a message. According to Dr Philip Morisson of the Massachusetts Institute of Technology:
To begin with we would know very little about it. If we received it we would not understand what we're getting. But we would have an unmistakable signal, full of structure, full of challenge. The best people would try to decode it, and it will be easy to do because those who have constructed it would have made it easy to decode, otherwise there's no point. This is anti-cryptography: 'I want to make a message for you, who never got in touch with any symbols of mine, no key no clue, nevertheless you'll be able to read it . . .' I would have to fill it full of clues and unmistakable clever devices. . .1
In his book, Cosmos, Professor Carl Sagan of Cornell University makes much the same point - and does so, curiously enough, with reference to the ancient Egyptian hieroglyphic system. He explains that the 'Egyptian hieroglyphics are, in significant part, a simple substitution cipher. But not every hieroglyph is a letter or syllable. Some are pictographs. . .' When it came to translation, this 'mix of letters and pictographs caused some grief for interpreters. . .' In the early nineteenth century, however, a breakthrough was made by the French scholar Champollion who deciphered the famous 'Rosetta Stone', a slab of black basalt bearing identical inscriptions in Egyptian hieroglyphics and in Greek. Since Champollion could read the Greek, all he needed was some kind of 'key' to relate specific hieroglyphs to specific Greek words or letters. This key was provided by the constant repetition in the Greek text of the name of Pharaoh Ptolemy V and an equal number of repetitions in the Egyptian text of a distinctive oblong enclosure - known as a cartouche - containing a repeated group of hieroglyphs. As Sagan comments:
The cartouches were the key. . . almost as though the Pharaohs of Egypt had circled their own names to make the going easier for Egyptologists two thousand years in the future. . . What a joy it must have been [for Champollion] to open this one-way communication channel with another civilization, to permit a culture that had been / Page 254 / mute for millennia to speak of its history, magic, medicine, religion, politics and philosophy.2
Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says:
we are again seeking messages from an ancient and exotic civilization, this time hidden from us not only in time, but in space. If we should receive a radio message from an extraterrestrial civilization, how could it possibly be understood? Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien. Extraterrestrials would, of course, wish to make a message sent to us as comprehensible as possible. But how could they? Is there in any sense an interstellar Rosetta Stone? We believe there is a common language that all technical civilizations, no matter how different, must have. That common language is science and mathematics. The laws of Nature are the same everywhere.3
It seems to us that if there is indeed a very ancient 'message' at Giza then it is likely to be expressed in the language of science and mathematics that Sagan identifies - and for the same reason. Moreover, given its need to continue 'transmitting' coherently across thousands of years (and chasms of cultural change), we think that the composer of such a message would be likely to make use of the Precession of the Equinoxes, the one particular 'law of Nature' that can be said to govern, and measure - and identify - long periods of terrestrial time.
Durable vehicles
The Pyramids and the Great Sphinx at Giza are, above all else, as elegant, as complex, as internally consistent and as utterly 'alien' as the extraterrestrial intelligence that Sagan envisages (alien in the sense of the tremendous, almost superhuman scale of these structures and of their uncanny - and in our terms apparently unnecessary - precision).
Moreover, returning briefly to Dr Philip Morisson's remarks quoted earlier, we think that the Giza necropolis also qualifies rather well for the description 'packed full of clues and unmistakable clever devices'.4 Indeed, it seems to us that a truly astonishing quantum of / Page 255 / ingenuity was invested by the Pyramid builders to ensure that the four fundamental aspects of an 'unmistakable' message were thoroughly elaborated here:
1 the creation of durable, unequivocal markers which could serve as beacons to inflame the curiosity and engage the intelligence of future generations of seekers;
2 the use of the 'common language' of precessional astronomy;
3 the use of precessional co-ordinates to signal specific time- referents linking past to present and present to future;
4 Cunningly concealed store-rooms, or 'Halls of Records' that could only be found and entered by those who were fully initiated in the 'silent language' and thus could read and follow its clues.
In addition, though the monuments are enabled to 'speak' from the moment that their astronomical context is understood, we have also to consider the amazing profusion of funerary texts that have come down to us from all periods of Egyptian history - all apparently emanating from the same very few common sources.5 As we have seen, these texts operate like 'software' to the monuments' 'hardware', charting the route that the Horus-King (and all other future seekers) must follow.
We recall a remark made by Giorgio de Santillana and Hertha von Dechend in Hamlet's Mill to the effect that the great strength of myths as vehicles for specific technical information is that they are capable of transmitting that information independently of the knowledge of individual story-tellers.6 In other words as long as a myth continues to be told true, it will also continue to transmit any higher message that may be concealed within its structure - even if neither the teller nor the hearer understands that message.
So, too, we suspect, with the ancient Egyptian funerary texts. We would be surprised if the owners of many of the coffins and tomb walls onto which they were copied had even the faintest inkling that specific astronomical observations and directions were being dupli- cated at their expense. What motivated them was precisely what the texts offered - the lure of immortal life. Yet by taking that lure did they not in fact guarantee a kind of immortality for the texts themselves? Did they not ensure that so many faithful copies would / Page 256 / be made that some at least would be bound to survive for many thousands of years?
We think that there were always people who understood the true 'science of immortality' connected to the texts, and who were able to read the astronomical allegories in which deeper secrets, not granted to the common herd, lay concealed. We presume that these people were once called the 'Followers of Horus', that they operated as an invisible college behind the scenes in Egyptian prehistory and history, that their primary cult centre was at Giza-Heliopolis, and that they were responsible for the initiation of kings and the realization of blueprints. We also think that the timetables they worked to - and almost everything of significance that they did - was in one way or another written in the stars.
Hints and memories
The powerfully astronomical character of the Giza necropolis, although ignored by Egyptologists, has been recognized by open- minded and intuitive researchers throughout history. The Hermetic Neoplatonists of Alexandria, for example, appear to have been acutely sensitive to the possibility of a 'message' and were quick to discern the strong astral qualities of the textual material and the monuments.' 7 The scholar Proclus (fifth century AD) also acknowledged that the Great Pyramid was astronomically designed - and with certain specific stars in mind. Indeed, in his commentary on Plato's Timaeus (which deals with the story of the lost civilization of 'Atlantis'), Proclus reported strangely that 'the Great Pyramid was used as an observation for Sirius'.8
Vague memories of an astronomically constructed 'message' at Giza appear to have filtered down to the Middle Ages. At any rate the Arab chroniclers in this period spoke of the Great Pyramid as 'a temple to the stars' and frequently connected it to the Biblical 'Flood' which they dated to circa 10,300 BC.9 Also of relevance is a report written by the Arab geographer Yakut al Hamawi (eleventh century AD) to the effect that the star-worshippers of Harran, the Sabians (whose 'holy books' were supposedly the writings ofThoth-Hermes) came at that time on special pilgrimages to the Pyramids at Giza.10 It / Page 257 / has also been pointed out that the very name of the Sabians - in Arabic Sa' Ba - almost certainly derived from the ancient Egyptian word for star, i.e. Sba..11 And the reader will recall from Part I that as far back as the early second millennium BC - i.e. almost three thousand years before Yakut al Hamawi left us his report connecting the Sabians to the Pyramids - pilgrims from Harran are known to have visited the Sphinx which they worshipped as a god under the name Hwl.12
In the seventeenth century, the British mathematician Sir Isaac Newton became deeply interested in the Great Pyramid and wrote a dissertation on its mathematical and geodetic qualities based on data that had been gathered at Giza by Dr John Greaves, the Savillian Professor of Astronomy at Oxford.13 Later, in 1865 the Astronomer Royal of Scotland, Charles Piazzi Smyth, launched an investigation into the Great Pyramid which he was convinced was an instrument of prophecy that incorporated a Messianic 'message'. It was Piazzi Smyth who first accurately measured and demonstrated the intense polar and meridional alignments of the monument, the precision of which he assigned to sightings of the ancient Pole star, Alpha Draconis.14
In the first half of the twentieth century, a succession of eminent astronomers - such as Richard Proctor, Eugene Antoniadi, Jean Baptiste Biot and Norman Lockyer - made persistent attempts to draw attention to the astronomical qualities of the Giza monuments. Their efforts, however, had little impact on professional Egyptolo-gists who by this time felt that they had got the whole intellectual business of the necropolis 'wrapped up' (it was a cemetery), did not understand astronomy at all (and claimed that the ancient Egyptians didn't either), and routinely ganged up to debunk, deride or simply ignore any astronomical 'theories' which diverged from their consensus.
Despite this hostile intellectual climate, we are of the opinion at the end of our own research that the big question is no longer whether the monuments of Giza were designed to express key astronomical and mathematical principles, but why.
Once again, the clue may lie in the narrow star-shafts of the Great Pyramid.

Page 258

The language of the stars

The first major breakthrough in understanding the function of the Great Pyramid's shafts was made in. the summer of 1963 by the American astronomer Virginia Trimble and the Egyptologist-architect, Dr Alexander Badawy. It came about because they decided to follow up Badawy's 'hunch' that the shafts might not be 'ventilation channels' as Egyptologists supposed, 15 but might instead prove to have a symbolic function related to the astral rituals of the Pyramid builders. Virginia Trimble was able to buttress her colleague's intuition by showing that the shafts from the King's Chamber had pointed, in the epoch of 2500 BC, to major star systems that were of crucial importance to the Pyramid builders. As readers will recall from Part I, the northern shaft had been targeted on Alpha Draconis - the Pole Star in the Pyramid Age - and the southern shaft had been targeted on Orion's belt.16
Today Virginia Trimble is a senior professor of astronomy at UCLA and the University of Maryland and is also the Vice-President of the American Astronomical Society. Her views, as well as being enlightened by a comprehensive grasp of astronomy, accord fully with common sense:
Which constellations the Egyptians saw in the sky is still something of a mystery. . . but they had one constellation that was an erect standing man, Osiris, the god. And the one constellation that looks like a standing man to everyone is Orion, and the identification between a deceased Pharaoh and the god Osiris made Orion immediately a candidate for a shaft whose sole purpose was to enable the soul of the Pharaoh to communicate between earth and sky. . .17
When we met Virginia Trimble we immediately realized we were in the presence of an acute and formidable thinker. Alexander Badawy had passed away in the late 1980s yet she remained undaunted. She had concluded that the shafts were astronomically aligned, she said, and that they had an astronomical function, because logic and evidence dictated that this was the case.
Trimble's views have won general acceptance amongst senior astronomers. To give one recent example, Dr Mary Bruck of Edinburgh, writing in the Journal of the British Astronomical / Page 259 / Association in 1995, had this to say about the shafts: 'Their alignments are ... compatible with the hypothesis that they indicate the culmination of certain important stars around the 25th century BC . . . The addition of a Sirius shaft [southern shaft of the Queen's Chamber] to the Orion one strongly supports the claim that they have an astronomical significance.' 18

Thought-tools

We suggest that one of the major objectives of the unseen academy, whose members were known as the 'Followers of Horus', was to 'fix' the epoch of 2500 BC (i.e. 4500 years before the present) by using the Great Pyramid, its precisely angled shafts, and the stars of Orion's belt. We suggest that they envisaged those stars rather like the gauge of a gigantic sliding scale set across the south meridian. Once this 'thought-tool' was in place all they needed to do in order to determine a date either in the past or in the future was mentally to 'slide' the belt up or down the meridian from the 'zero point' targeted by the southern shaft of the King's Chamber.
We also suggest that a second and somewhat similar 'thought-tool' was attached to the ecliptic (the apparent annual path of the sun through the twelve constellations of the zodiac). Here the gauge was the vernal point. By mentally sliding it to the left (east) or to the right (west) of a 'fixed' marker on the ecliptic the 'Followers of Horus' would once again have been able to determine and denominate either a past date or a date in the future. . .
In our own epoch, circa AD 2000, the vernal point is poised to enter the sign or 'Age' of Aquarius. For a little over 2000 years it has been passing through Pisces (160 BC to AD 2000) and before that it was in Aries (2320 BC to 160 BC).ln the Pyramid Age the vernal point slowly swept through Taurus (4480 BC to 2320 BC). Going further back we reach the 'Ages' of Gemini (6640 BC to 4480 BC) and then Cancer (8800 BC to 6640 BC). After six 'Great Months' we reach the Age of Leo (10,960BC to 8800 BC).
Now imagine that we find an ancient document at Giza which states that it was composed when the vernal point was in the sign of the Ram - i.e. when the sun on the spring equinox rose against the / Page 260 / stellar background of the constellation of Aries. Armed with this information all that we can do is roughly bracket the document's date as being somewhere between 2320 BC and 160 BC. What we need in order to arrive at a more precise chronology is some means to 'fine-tune' the vernal point. It is here that the specific utility of the sliding scale at the meridian becomes apparent because if the ancient document not only stated which zodiacal sign housed the vernal point but also advised that the lowest star of Orion's belt crossed the meridian at an altitude of 50 degrees above the horizon then we would be able, using precession, to calculate with great accuracy that the date in question must be very near 1400 BC.19
The Pyramid Age occurred when the vernal point was in Taurus and, as we have seen, the fine-tuning permitted by the 45-degree angle of the Great Pyramid's 'Orion shaft' draws particular attention to the date of 2500 BC. With this date, 4500 years before the present, we can use precession to calculate the exact position of the vernal point - which, as the reader will recall, was near the head of the Hyades-Taurus at that time, close to the right (i.e. west) bank of the Milky Way.
The reader will also not have forgotten that this is the 'address' given in the Pyramid Texts as the starting point for the cosmic journey of the solar Horus-King. It is here that he receives his instructions to board the solar-bark and 'sail' across the Milky Way towards the 'horizon' to meet up with Horakhti. His direction of travel is, therefore, eastwards, i.e. to the left of the vernal point. In terms of the chronology of the 'Great Year' of precession (as distinct from the solar year), this means that the Horus-King is now poised to travel back in time towards the age of Leo-Horakhti and to a specific spot on the ecliptic path - 'The Splendid Place of the "First Time" ', . . . 'the place more noble than any place'.20
But where is that place? How is the Horus-King (initiate, seeker) to find it in the 2160-year, 30-degree swathe that the constellation of Leo occupies on the ecliptic?
The answer is that he would have to use the gauge of Orion's belt at the meridian to fine-tune the exact place of the vernal point and hence also to arrive at an exact date. In his mind's eye he would have to slide / Page 261 / the belt 'down' the meridian to its 'First Time' and then see how far to the east that operation had 'pushed' the vernal point along the ecliptic.
Wherever that place was would be the celestial destination that the 'Followers of Horus' were urging him to reach.
And it would, of course, have its counterpart on the ground at Giza, in the vicinity of the lion-bodied Sphinx. "

 

THE

LIONS IN HIS LOINS

THE

HOURS OF HORUS

 

R
=
9
2
RA
19
10
1
H
=
8
8
HORAKHTI
90
45
9
-
-
17
10
First Total
109
55
10
-
1
1+7
 1+0
Add to Reduce
1+0+9
5+5
1+0
Q
-
8
1
Second Total
10
10
1
-
-
-
-
Reduce to Deduce
1+0
1+0
-
-
-
8
1
Essence of Number
1
1
1

 

 

N
=
5
-
5
NORTH
75
30
3
S
=
1
-
5
SOUTH
83
20
2
E
=
5
-
4
EAST
45
9
9
W
=
5
-
4
WEST
67
13
4
-
-
16
-
18
Add
270
72
18
-
-
1+6
-
1+8
Reduce
2+7+0
7+2
1+8
-
-
7
-
9
Deduce
9
9
9

 

 

E
=
5
-
5
EARTH
52
25
7
F
=
6
-
4
FIRE
38
29
2
A
=
1
-
3
AIR
28
19
1
W
=
5
-
5
WATER
67
22
4
-
-
17
-
17
Add
185
95
14
-
-
1+7
-
1+7
Reduce
1+8+5
9+5
1+4
-
-
8
-
8
 Total
14
14
5
-
-
-
-
-
Deduce
1+4
1+4
-
-
-
8
-
8
Essence
5
5
5

 

 

G
=
7
-
4
GONE
41
23
5
W
=
5
-
4
WEST
67
13
4
S
-
9
4
8
Add to Reduce
108
36
9
-
-
-
-
-
Reduce to Deduce
1+0+8
7+2
-
S
-
9
4
8
Essence of Number
9
9
9

 

5
SENSE
62
17
8
6
SENSES
81
18
9

 

 

4
FIVE
42
24
6
6
SENSES
81
18
9
10
Add to Reduce
123
42
15
1+0
Reduce to Deduce
1+2+3
4+2
1+5
1
Essence of Number
6
6
6

 

 

T
=
2
-
3
THE
33
15
6
F
=
6
-
4
FIVE
42
24
6
S
=
1
-
6
SENSES
81
18
9
-
-
9
4
13
First
156
57
21
-
-
-
-
1+3
Add
1+5+6
5+7
2+1
-
-
9
-
4
Second
12
12
3
-
-
-
-
-
Reduce
1+2
1+2
-
-
-
9
-
4
Essence
3
3
3

 

 

S
=
1
-
5
SIGHT
63
27
9
S
=
1
-
5
SOUND
73
19
1
S
=
1
-
5
SMELL
61
16
7
T
=
2
-
5
TASTE
65
11
2
T
=
2
-
5
TOUCH
67
22
4
-
-
7
4
25
First
329
95
23
-
-
-
-
2+5
Add
3+2+9
9+5
2+3
-
-
7
-
7
Second
14
14
14
-
-
-
-
-
Reduce
1+4
1+4
-
-
-
7
-
7
Essence
5
5
5

 

5
SENSE
62
17
8
6
COMMON
73
28
1
6
COMMON
73
28
1
5
SENSE
62
17
8

 

 

6
COMMON
73
28
1
5
SENSE
62
17
8
11
Add to Reduce
135
45
9
1+1
Reduce to Deduce
1+1
1+1
-
2
Essence of Number
2
2
9

 

 

T
=
2
-
3
THE
33
15
6
F
=
6
-
4
FIVE
42
24
6
S
=
1
-
6
SENSES
81
18
9
-
-
9
4
13
First
156
57
21
-
-
-
-
1+3
Add
1+5+6
5+7
2+1
-
-
9
-
4
Second
12
12
3
-
-
-
-
-
Reduce
1+2
1+2
-
-
-
9
-
4
Essence
3
3
3

 

 

S
=
1
-
5
SIGHT
63
27
9
H
=
8
-
4
HEAR
32
23
5
S
=
1
-
5
SMELL
61
16
7
T
=
2
-
5
TASTE
65
11
2
T
=
2
-
5
TOUCH
67
22
4
-
-
7
4
24
First
288
99
23
-
-
-
-
2+4
Add
3+2+9
9+5
2+3
-
-
7
-
6
Second
14
14
14
-
-
-
-
-
Reduce
1+4
1+4
-
-
-
7
-
6
Essence
5
5
5

 

 

So basically, human beings have five sense organs i.e. eyes, ear, nose, tongue, and skin.

•Eyes (Sense of Sight) A good sense of sight is achieved by healthy eyes. ...
•Nose (Sense of Smell) The organ for the sense of smell is the nose. ...
•Ears (Sense of Hearing) ...
•Skin (Sense of Touch) ...
•Tongue (Sense of Tasting)

 

From Wikipedia, the free encyclopedia
Look up five senses in Wiktionary, the free dictionary.

Five senses refers to the five traditionally recognized methods of perception, or sense: taste, sight, touch, smell, and sound.

 

The Five Senses - Visible Body
https://www.visiblebody.com › learn › nervous › five-senses

Sight, Sound, Smell, Taste, and Touch: How the Human Body Receives Sensory Information. ... Much of this information comes through the sensory organs: the eyes, ears, nose, tongue, and skin. ... Nerves relay the signals to the brain, which interprets them as sight (vision), sound (hearing ...

 

The Five (and More) Senses | Live Science
https://www.livescience.com › 60752-human-senses

24 Oct 2017 - Humans have five basic senses: sight, hearing, smell, taste and touch. Humans have five basic senses: touch, sight, hearing, smell and taste. The sensing organs associated with each sense send information to the brain to help us understand and perceive the world around us.

 

Stative uses of feel, hear, see, smell, taste
When we use the verbs feel, hear, see, smell, or taste to talk about the impressions that we receive through our five senses (touch, hearing, sight, smell, taste), they are all non-action verbs and cannot be used in progressive forms.

 

S
=
1
-
5
SIGHT
63
27
9
H
=
8
-
7
HEARING
62
44
8
S
=
1
-
5
SMELL
61
16
7
T
=
2
-
5
TASTE
65
11
2
T
=
2
-
5
TOUCH
67
22
4
-
-
7
4
27
First
318
120
30
-
-
-
-
2+7
Add
3+1+8
1+2+0
3+0
-
-
7
-
9
Second
12
3
3
-
-
-
-
-
Reduce
1+2
-
-
-
-
7
-
9
Essence
3
3
3

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
5
SIGHT
63
27
9
-
-
-
-
-
-
-
-
-
-
H
=
8
-
7
HEARING
62
44
8
-
-
-
-
-
-
-
-
-
-
S
=
1
-
5
SMELL
61
16
7
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TASTE
65
11
2
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TOUCH
67
22
4
-
-
-
-
-
-
-
-
-
-
-
-
14
4
27
First
318
120
30
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
G
=
7
3
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
T
=
2
5
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
27
-
-
63
36
27
9
-
-
-
-
-
-
-
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
7
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
A
=
1
8
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
G
=
7
12
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
-
-
44
-
-
62
44
44
8
-
-
-
-
-
-
-
-
-
S
=
1
13
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
14
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
L
=
3
16
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
17
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
-
-
16
-
-
61
16
16
7
-
-
-
-
-
-
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
19
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
20
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
21
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
E
=
5
22
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
11
-
3
-
65
20
11
2
-
-
-
-
-
-
-
-
-
T
=
2
23
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
O
=
6
24
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
U
=
3
25
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
26
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
H
=
8
27
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
27
-
-
67
22
22
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
8
12
4
20
6
14
24
27
S
=
1
-
5
SIGHT
63
27
9
-
-
-
1+2
-
2+0
-
1+4
2+4
2+7
H
=
8
-
7
HEARING
62
44
8
-
5
8
3
4
2
6
5
6
9
S
=
1
-
5
SMELL
61
16
7
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TASTE
65
11
2
-
5
8
3
4
2
6
5
6
9
T
=
2
-
5
TOUCH
67
22
4
-
-
-
-
-
-
-
-
-
-
-
-
14
4
27
First Total
318
120
30
-
5
8
3
4
2
6
5
6
9
-
-
1+4
-
1+8
Add to Reduce
2+0+2
1+0+3
2+2
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Second Total
4
4
4
-
5
8
3
4
2
6
5
6
9
-
-
-
-
1+8
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
4
4
4
-
5
8
3
4
2
6
5
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
5
SIGHT
63
27
9
-
-
-
-
-
-
-
-
-
-
H
=
8
-
7
HEARING
62
44
8
-
-
-
-
-
-
-
-
-
-
S
=
1
-
5
SMELL
61
16
7
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TASTE
65
11
2
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TOUCH
67
22
4
-
-
-
-
-
-
-
-
-
-
-
-
14
4
27
First
318
120
30
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
G
=
7
3
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
T
=
2
5
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
7
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
A
=
1
8
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
G
=
7
12
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
S
=
1
13
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
14
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
L
=
3
16
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
17
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
A
=
1
19
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
20
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
21
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
E
=
5
22
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
23
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
O
=
6
24
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
U
=
3
25
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
26
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
H
=
8
27
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
5
8
12
4
20
6
14
24
27
S
=
1
-
5
SIGHT
63
27
9
-
-
-
1+2
-
2+0
-
1+4
2+4
2+7
H
=
8
-
7
HEARING
62
44
8
-
5
8
3
4
2
6
5
6
9
S
=
1
-
5
SMELL
61
16
7
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TASTE
65
11
2
-
5
8
3
4
2
6
5
6
9
T
=
2
-
5
TOUCH
67
22
4
-
-
-
-
-
-
-
-
-
-
-
-
14
4
27
First Total
318
120
30
-
5
8
3
4
2
6
5
6
9
-
-
1+4
-
1+8
Add to Reduce
2+0+2
1+0+3
2+2
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Second Total
4
4
4
-
5
8
3
4
2
6
5
6
9
-
-
-
-
1+8
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
4
4
4
-
5
8
3
4
2
6
5
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
5
SIGHT
63
27
9
-
-
-
-
-
-
-
-
-
-
H
=
8
-
7
HEARING
62
44
8
-
-
-
-
-
-
-
-
-
-
S
=
1
-
5
SMELL
61
16
7
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TASTE
65
11
2
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TOUCH
67
22
4
-
-
-
-
-
-
-
-
-
-
-
-
14
4
27
First
318
120
30
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
8
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
13
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
19
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
20
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
5
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
18
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
21
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
23
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
16
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
17
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
25
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
26
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
14
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
7
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
11
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
15
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
22
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
24
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
3
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
G
=
7
12
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
H
=
8
27
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
2
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
5
8
12
4
20
6
14
24
27
S
=
1
-
5
SIGHT
63
27
9
-
-
-
1+2
-
2+0
-
1+4
2+4
2+7
H
=
8
-
7
HEARING
62
44
8
-
5
8
3
4
2
6
5
6
9
S
=
1
-
5
SMELL
61
16
7
-
-
-
-
-
-
-
-
-
-
T
=
2
-
5
TASTE
65
11
2
-
5
8
3
4
2
6
5
6
9
T
=
2
-
5
TOUCH
67
22
4
-
-
-
-
-
-
-
-
-
-
-
-
14
4
27
First Total
318
120
30
-
5
8
3
4
2
6
5
6
9
-
-
1+4
-
1+8
Add to Reduce
2+0+2
1+0+3
2+2
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Second Total
4
4
4
-
5
8
3
4
2
6
5
6
9
-
-
-
-
1+8
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
9
Essence of Number
4
4
4
-
5
8
3
4
2
6
5
6
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

 

Stative uses of feel, hear, see, smell, taste
When we use the verbs feel, hear, see, smell, or taste to talk about the impressions that we receive through our five senses (touch, hearing, sight, smell, taste), they are all non-action verbs and cannot be used in progressive forms.

 

S
=
1
-
5
SIGHT
63
27
9
H
=
8
-
4
HEAR
32
23
5
S
=
1
-
5
SMELL
61
16
7
T
=
2
-
5
TASTE
65
11
2
T
=
2
-
5
TOUCH
67
22
4
-
-
7
4
24
First
288
99
23
-
-
-
-
2+4
Add
3+2+9
9+5
2+3
-
-
7
-
6
Second
14
14
14
-
-
-
-
-
Reduce
1+4
1+4
-
-
-
7
-
6
Essence
5
5
5

 

 

Gift from Michaelmas Twist

"GOD IS NO WHERE"

"GOD IS NOW HERE"

 

 

G
=
7
-
4
GODS
45
18
9
D
=
4
-
6
DIVINE
63
36
9
L
=
3
-
4
LOVE
54
18
9
-
-
14
-
14
Add to Reduce
162
72
27
-
-
1+4
-
1+4
Reduce to Deduce
1+6+2
7+2
2+7
-
-
5
-
5
Essence of Number
9
9
9

 

 
-
-
-
-
GODS DIVINE LOVE
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
4
GODS
45
18
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
6
DIVINE
63
36
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
4
LOVE
54
18
9
-
-
-
-
-
-
-
-
-
9
-
-
-
14
GODS DIVINE LOVE
162
72
18
-
1
2
3
4
5
6
7
8
9
G
=
7
1
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
O
=
6
2
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
D
=
4
3
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
S
=
1
4
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
18
-
-
-
45
18
18
9
-
-
-
-
-
-
-
-
-
D
=
4
5
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
V
=
4
7
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
9
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
10
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
36
-
-
-
63
36
36
9
-
-
-
-
-
-
-
-
-
L
=
3
11
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
O
=
6
12
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
V
=
4
13
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
14
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
18
-
-
-
54
18
18
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
GODS DIVINE LOVE
-
-
-
-
1
2
3
16
15
12
7
8
18
G
=
7
-
4
GODS
45
18
9
-
-
-
-
1+6
1+5
1+2
-
-
1+8
D
=
4
-
6
DIVINE
63
36
9
-
1
2
3
7
6
3
7
8
9
L
-
3
-
4
LOVE
54
18
9
9
-
-
-
-
-
-
-
-
-
-
-
14
4
14
GODS DIVINE LOVE
162
72
27
-
1
2
3
7
6
3
7
8
9
-
-
1+4
-
1+4
-
1+6+2
7+2
2+7
-
-
-
-
-
-
-
-
-
-
Q
-
5
-
5
GODS DIVINE LOVE
9
9
9
-
1
2
3
7
6
3
7
8
9

 

 
-
-
-
-
GODS DIVINE LOVE
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
4
GODS
45
18
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
6
DIVINE
63
36
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
4
LOVE
54
18
9
-
-
-
-
-
-
-
-
-
9
-
-
-
14
GODS DIVINE LOVE
162
72
18
-
1
2
3
4
5
6
7
8
9
G
=
7
1
1
G
7
7
7
-
-
2
-
-
-
-
7
8
-
O
=
6
2
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
D
=
4
3
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
S
=
1
4
1
S
19
10
1
-
1
2
-
-
-
-
-
8
-
D
=
4
5
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
I
=
9
6
1
I
9
9
9
-
-
2
-
-
-
-
-
8
9
V
=
4
7
1
V
22
4
4
-
-
2
-
4
-
-
-
8
-
I
=
9
8
1
I
9
9
9
-
-
2
-
-
-
-
-
8
9
N
=
5
9
1
N
14
5
5
-
-
2
-
-
5
-
-
8
-
E
=
5
10
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
L
=
3
11
1
L
12
3
3
-
-
2
3
-
-
-
-
8
-
O
=
6
12
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
V
=
4
13
1
V
22
4
4
-
-
2
-
4
-
-
-
8
-
E
=
5
14
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
GODS DIVINE LOVE
-
-
-
-
1
2
3
16
15
12
7
8
18
G
=
7
-
4
GODS
45
18
9
-
-
-
-
1+6
1+5
1+2
-
-
1+8
D
=
4
-
6
DIVINE
63
36
9
-
1
2
3
7
6
3
7
8
9
L
-
3
-
4
LOVE
54
18
9
9
-
-
-
-
-
-
-
-
-
-
-
14
4
14
GODS DIVINE LOVE
162
72
27
-
1
2
3
7
6
3
7
8
9
-
-
1+4
-
1+4
-
1+6+2
7+2
2+7
-
-
-
-
-
-
-
-
-
-
Q
-
5
-
5
GODS DIVINE LOVE
9
9
9
-
1
2
3
7
6
3
7
8
9

 

 
-
-
-
-
GODS DIVINE LOVE
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
4
GODS
45
18
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
6
DIVINE
63
36
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
4
LOVE
54
18
9
-
-
-
-
-
-
-
-
-
9
-
-
-
14
GODS DIVINE LOVE
162
72
18
-
1
2
3
4
5
6
7
8
9
S
=
1
4
1
S
19
10
1
-
1
2
-
-
-
-
-
8
-
L
=
3
11
1
L
12
3
3
-
-
2
3
-
-
-
-
8
-
D
=
4
3
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
D
=
4
5
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
V
=
4
7
1
V
22
4
4
-
-
2
-
4
-
-
-
8
-
V
=
4
13
1
V
22
4
4
-
-
2
-
4
-
-
-
8
-
N
=
5
9
1
N
14
5
5
-
-
2
-
-
5
-
-
8
-
E
=
5
10
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
E
=
5
14
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
O
=
6
2
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
O
=
6
12
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
G
=
7
1
1
G
7
7
7
-
-
2
-
-
-
-
7
8
-
I
=
9
6
1
I
9
9
9
-
-
2
-
-
-
-
-
8
9
I
=
9
8
1
I
9
9
9
-
-
2
-
-
-
-
-
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
GODS DIVINE LOVE
-
-
-
-
1
2
3
16
15
12
7
8
18
G
=
7
-
4
GODS
45
18
9
-
-
-
-
1+6
1+5
1+2
-
-
1+8
D
=
4
-
6
DIVINE
63
36
9
-
1
2
3
7
6
3
7
8
9
L
-
3
-
4
LOVE
54
18
9
9
-
-
-
-
-
-
-
-
-
-
-
14
4
14
GODS DIVINE LOVE
162
72
27
-
1
2
3
7
6
3
7
8
9
-
-
1+4
-
1+4
-
1+6+2
7+2
2+7
-
-
-
-
-
-
-
-
-
-
Q
-
5
-
5
GODS DIVINE LOVE
9
9
9
-
1
2
3
7
6
3
7
8
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

-
-
-
-
-
THE HOLY WORD
-
-
-
T
=
2
-
3
THE
33
15
6
H
=
8
-
4
HOLY
60
24
6
W
=
5
-
4
WORD
60
24
6
-
-
15
-
11
THE HOLY WORD
153
63
18
4
-
1+5
-
1+1
-
1+5+3
6+3
1+8
-
4
6
4
2
THE HOLY WORD
9
9
9

 

 
-
-
-
-
-
THE HOLY WORD
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
-
4
HOLY
60
24
6
-
-
-
-
-
-
6
-
-
-
W
=
5
-
-
4
WORD
60
24
6
-
-
-
-
-
-
6
-
-
-
-
-
15
-
-
11
THE HOLY WORD
153
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
15
-
-
-
-
33
15
15
6
-
-
-
-
-
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
-
5
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
L
=
3
-
6
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
Y
=
7
-
7
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
-
-
24
-
-
-
-
60
24
24
6
-
-
-
-
-
-
-
-
-
W
=
5
-
8
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
9
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
-
10
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
D
=
4
-
11
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
-
-
24
-
-
-
-
60
24
24
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
THE HOLY WORD
-
-
-
-
1
2
3
4
10
12
7
16
9
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
-
1+0
1+2
-
1+6
-
H
=
8
-
-
4
HOLY
60
24
6
-
1
2
3
4
1
3
7
7
9
W
=
5
-
-
4
WORD
60
24
6
-
-
-
-
-
-
-
-
-
-
-
-
15
-
-
11
THE HOLY WORD
153
63
18
-
1
2
3
4
1
3
7
7
9
-
-
1+5
-
4
1+1
-
1+5+3
6+3
1+8
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
2
THE HOLY WORD
9
9
9
-
1
2
3
4
1
3
7
7
9

 

 
-
-
-
-
-
THE HOLY WORD
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
-
4
HOLY
60
24
6
-
-
-
-
-
-
6
-
-
-
W
=
5
-
-
4
WORD
60
24
6
-
-
-
-
-
-
6
-
-
-
-
-
15
-
-
11
THE HOLY WORD
153
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
1
2
-
-
-
-
-
-
-
H
=
8
-
2
1
H
8
8
8
-
1
-
-
-
-
-
-
8
-
E
=
5
-
3
1
E
5
5
5
-
1
-
-
-
5
-
-
-
-
H
=
8
-
4
1
H
8
8
8
-
1
-
-
-
-
-
-
8
-
O
=
6
-
5
1
O
15
6
6
-
1
-
-
-
-
6
-
-
-
L
=
3
-
6
1
L
12
3
3
-
1
-
3
-
-
-
-
-
-
Y
=
7
-
7
1
Y
25
7
7
-
1
-
-
-
-
-
7
-
-
W
=
5
-
8
1
W
23
5
5
-
1
-
-
-
5
-
-
-
-
O
=
6
-
9
1
O
15
6
6
-
1
-
-
-
-
6
-
-
-
R
=
9
-
10
1
R
18
9
9
-
1
-
-
-
-
-
-
-
9
D
=
4
-
11
1
D
4
4
4
-
1
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
THE HOLY WORD
-
-
-
-
1
2
3
4
10
12
7
16
9
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
-
1+0
1+2
-
1+6
-
H
=
8
-
-
4
HOLY
60
24
6
-
1
2
3
4
1
3
7
7
9
W
=
5
-
-
4
WORD
60
24
6
-
-
-
-
-
-
-
-
-
-
-
-
15
-
-
11
THE HOLY WORD
153
63
18
-
1
2
3
4
1
3
7
7
9
-
-
1+5
-
4
1+1
-
1+5+3
6+3
1+8
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
2
THE HOLY WORD
9
9
9
-
1
2
3
4
1
3
7
7
9

 

 
-
-
-
-
-
THE HOLY WORD
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
-
4
HOLY
60
24
6
-
-
-
-
-
-
6
-
-
-
W
=
5
-
-
4
WORD
60
24
6
-
-
-
-
-
-
6
-
-
-
-
-
15
-
-
11
THE HOLY WORD
153
63
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
1
1
T
20
2
2
-
1
2
-
-
-
-
-
-
-
L
=
3
-
6
1
L
12
3
3
-
1
-
3
-
-
-
-
-
-
D
=
4
-
11
1
D
4
4
4
-
1
-
-
4
-
-
-
-
-
E
=
5
-
3
1
E
5
5
5
-
1
-
-
-
5
-
-
-
-
W
=
5
-
8
1
W
23
5
5
-
1
-
-
-
5
-
-
-
-
O
=
6
-
5
1
O
15
6
6
-
1
-
-
-
-
6
-
-
-
O
=
6
-
9
1
O
15
6
6
-
1
-
-
-
-
6
-
-
-
Y
=
7
-
7
1
Y
25
7
7
-
1
-
-
-
-
-
7
-
-
H
=
8
-
2
1
H
8
8
8
-
1
-
-
-
-
-
-
8
-
H
=
8
-
4
1
H
8
8
8
-
1
-
-
-
-
-
-
8
-
R
=
9
-
10
1
R
18
9
9
-
1
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
THE HOLY WORD
-
-
-
-
1
2
3
4
10
12
7
16
9
T
=
2
-
-
3
THE
33
15
6
-
-
-
-
-
1+0
1+2
-
1+6
-
H
=
8
-
-
4
HOLY
60
24
6
-
1
2
3
4
1
3
7
7
9
W
=
5
-
-
4
WORD
60
24
6
-
-
-
-
-
-
-
-
-
-
-
-
15
-
-
11
THE HOLY WORD
153
63
18
-
1
2
3
4
1
3
7
7
9
-
-
1+5
-
4
1+1
-
1+5+3
6+3
1+8
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
2
THE HOLY WORD
9
9
9
-
1
2
3
4
1
3
7
7
9

 

RE 95 RE

REARRANGED NUMERICALLY REARRANGED

RE 95 RE

 

 
 
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