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.

FINGERPRINTS OF THE GODS

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

A message in the bottle of time"

'Of all the other stupendous inventions,' Galileo once remarked,

what sublimity of mind must have been his who conceived how to communicate his most secret thoughts to any other person, though very distant either in time or place, speaking with those who are in the Indies, speaking to those who are not yet born, nor shall be this thousand or ten thousand years? And with no greater difficulty than the various arrangements of two dozen little signs on paper? Let this be the seal of all the admirable inventions of men.3

If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them - and the city of Teotihuacan may be the calling-card of a lost civilization written in the eternal language of mathematics.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320 or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"What one would look for, therefore, would be a universal language, the kind of language that would be comprehensible to any technologically advanced society in any epoch, even a thousand or ten thousand years into the future. Such languages are few and far between, but mathematics is one of them"

 

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

 

 

-
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
1
-
+
=
10
1+0
=
1
=
1
=
1
-
-
-
9
-
19
-
+
=
28
2+8
=
10
1+0
1
=
1
-
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
-
6
-
9
-
2
+
=
17
1+7
=
8
=
8
=
8
-
-
6
-
18
-
20
+
=
44
4+4
=
8
=
8
=
8
-
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
-
6
9
18
19
20
+
=
72
7+2
=
9
=
9
=
9
-
-
6
9
9
1
2
+
=
27
2+7
=
9
=
9
=
9
-
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
27
5
F
I
R
S
T
-
-
18
-
-
5
-
27
-
18
2+7
-
-
9
9
-
-
-
-
1+8
-
-
-
-
2+7
-
1+8
9
5
F
I
R
S
T
-
-
9
-
-
5
-
9
-
9
-
-
6
9
9
1
2
-
-
-
-
-
-
-
-
-
-
9
5
F
I
R
S
T
-
-
9
-
-
5
-
9
-
9

 

 

5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
-
9
-
1
-
+
=
10
1+0
=
1
=
1
=
1
-
-
9
-
19
-
+
=
28
2+8
=
10
1+0
1
=
1
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
6
-
9
-
2
+
=
17
1+7
=
8
=
8
=
8
-
6
-
18
-
20
+
=
44
4+4
=
8
=
8
=
8
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
6
9
18
19
20
+
=
72
7+2
=
9
=
9
=
9
-
6
9
9
1
2
+
=
27
2+7
=
9
=
9
=
9
5
F
I
R
S
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
=
2
-
6
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
9
9
-
-
-
-
9
occurs
x
2
=
18
1+8
9
5
F
I
R
S
T
-
-
18
-
-
5
-
27
-
18
-
-
9
9
-
-
-
-
1+8
-
-
-
-
2+7
-
1+8
5
F
I
R
S
T
-
-
9
-
-
5
-
9
-
9
-
6
9
9
1
2
-
-
-
-
-
-
-
-
-
-
5
F
I
R
S
T
-
-
9
-
-
5
-
9
-
9

 

 

F
=
6
-
5
FIRST
72
27
9
S
=
1
-
6
SECOND
60
24
6
T
=
2
-
5
THIRD
59
32
5
F
=
6
-
6
FOURTH
88
25
7
F
=
6
-
5
FIFTH
49
31
4
S
=
1
-
5
SIXTH
80
26
8
S
=
1
-
7
SEVENTH
93
30
3
E
=
5
-
6
EIGHTH
57
39
3
N
=
5
-
5
NINTH
65
29
2
-
-
33
-
50
First Total
623
263
47
-
-
3+3
-
5+0
Add to Reduce
6+2+3
2+6+3
4+7
-
-
6
-
5
Second Total
11
11
11
-
-
-
-
-
Reduce to Deduce
1+1
1+1
1+1
-
-
6
-
5
Essence of Number
2
2
2

 

 

5
FIRST
72
36
9
7
CONTACT
76
22
4
12
-
148
58
13
1+2
-
1+4+8
5+8
1+3
3
TO
13
13
4
-
-
-
-
-
8
THIRTEEN
99
45
9

 

 

 

FIRST CONTACT 1980

 

18
-
8
EIGHTEEN
73
46
1
36
-
9
THIRTY SIX
152
62
8
54
-
17
Add to Reduce
225
108
9
5+4
1+7
Reduce to Deduce
2+2+5
1+0+8
-
9
-
8
Essence of Number
9
9
9

 

PEACE AND LOVE UNTO ALL SENTIENT BEINGS

 

 

-
ALL IS NUMBER
-
-
-
3
ALL
25
7
7
2
IS
28
10
1
6
NUMBER
73
28
1
11
ALL IS NUMBER
126
45
9
1+1
-
1+2+6
4+5
-
2
ALL IS NUMBER
9
9
9

 

 

1
I
9
9
9
3
SAY
45
9
9
7
DECODER
54
36
9
6
DECODE
36
27
9
4
CODE
27
18
9
-
-
-
-
-
-
-
-
-
-
5
CODED
31
22
4
5
CODES
46
19
1

 

 

-
CODE
--
-
-
2
C+O
18
9
9
2
D+E
9
9
9
-
DECODE
--
-
-
2
D+E
9
9
9
2
C+O
18
9
9
2
D+E
9
9
9
-
DECODER
--
-
-
2
D+E
9
9
9
2
C+O
18
9
9
2
D+E
9
9
9
1
R
18
9
9

 

CODE DE CODE

C+O D+E D+E C+O D+E

9+9+9+9+9

C+O D+E D+E C+O D+E

CODE DE CODE

 

10
CODE DE CODE
67
13
4
6
C+O
18
9
9
4
D+E
9
9
9
4
D+E
9
9
9
6
C+O
18
9
9
4
D+E
9
9
9
10
CODE DE CODE
63
36
36
1+0
-
6+3
3+6
3+6
1
CODE DE CODE
9
9
9

 

 

8
QUO VADIS
108
36
9
6
VOX POP
108
36
9
11
SORROW
108
36
9
8
INSTINCT
108
36
9
11
DESCENDANTS
108
36
9
8
STARTING
108
36
9
9
NARRATIVE
108
36
9
9
SEQUENCES
108
36
9
9
TANTALIZE
108
36
9
9
COMPLETES
108
36
9
9
AMBIGUOUS
108
36
9
7
JOURNEY
108
36
9

 

 

4
GODS
45
18
9
6
SPIRIT
91
37
1
4
ISIS
56
20
2
6
OSIRIS
89
35
8
6
VISHNU
93
30
3
5
SHIVA
59
59
5
7
KRISHNA
80
35
8
7
SHRISTI
102
39
3
5
RISHI
63
36
9
4
ISHI
45
27
9
6
CHRIST
77
32
5

 

 

4
GODS
=
9
45
18
9
6
SPIRIT
=
S9999
91
37
1
4
ISIS
=
9S9S
56
20
2
6
OSIRIS
=
OS999S
89
35
8
6
VISHNU
=
999U
93
30
3
5
SHIVA
=
99VA
59
59
5
7
KRISHNA
=
K999NA
80
35
8
7
SHRISTI
=
999ST9
102
39
3
5
RISHI
=
9999
63
36
9
4
ISHI
=
999
45
27
9
6
CHRIST
=
C999T
77
32
5

 

 

GNOSIS GODS SON IS

 

LETTERS AND NUMBERS AND NUMBERS AND LETTERS

 

ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
-
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
O
=
6
-
3
ONE
34
16
7
-
-
-
-
-
-
-
7
-
-
2
-
T
=
2
-
3
TWO
58
13
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
-
5
THREE
56
29
2
-
-
2
-
-
-
-
-
-
-
4
-
F
=
6
-
4
FOUR
60
24
6
-
-
-
-
-
-
6
-
-
-
5
-
F
=
6
-
4
FIVE
42
24
6
-
-
-
-
-
-
6
-
-
-
6
-
S
=
1
-
3
SIX
52
16
7
-
-
-
-
-
-
-
7
-
-
7
-
S
=
1
-
5
SEVEN
65
20
2
-
-
2
-
-
-
-
-
-
-
8
-
E
=
5
-
5
EIGHT
49
31
4
-
-
-
-
4
-
-
-
-
-
9
-
N
=
5
-
4
NINE
42
24
6
-
-
-
-
-
-
6
-
-
-
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
3
-
5
-
-
8
9
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
3
-
5
-
7
8
9
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
3
4
5
-
-
8
9
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
3
-
5
-
-
8
9
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
3
-
5
6
-
8
9
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
3
-
5
6
-
8
9
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
3
-
5
-
7
8
9
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
3
-
5
-
-
8
9
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
3
4
5
-
-
8
9
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
3
-
5
6
-
8
9
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
3
8
5
18
14
8
9
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
-
-
1+8
1+4
-
-
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
3
8
5
9
5
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
4
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
3
-
T
=
2
4
5
THREE
56
29
2
-
-
2
-
-
-
7
-
S
=
1
8
5
SEVEN
65
20
2
-
-
2
-
-
-
2
-
T
=
2
3
3
TWO
58
13
4
-
-
-
4
-
-
8
-
E
=
5
9
5
EIGHT
49
31
4
-
-
-
4
-
-
4
-
F
=
6
5
4
FOUR
60
24
6
-
-
-
-
6
-
5
-
F
=
6
6
4
FIVE
42
24
6
-
-
-
-
6
-
9
-
N
=
5
10
4
NINE
42
24
6
-
-
-
-
6
-
1
-
O
=
6
2
3
ONE
34
16
7
-
-
-
-
-
7
6
-
S
=
1
7
3
SIX
52
16
7
-
-
-
-
-
7
45
-
-
-
42
-
40
Add
522
225
45
-
1
4
8
18
14
4+5
-
-
-
4+2
-
4+0
Reduce
5+2+2
2+2+5
4+5
-
-
-
-
1+8
1+4
9
-
-
-
6
-
4
Deduce
9
9
9
-
1
4
8
9
5

 

 

0
-
4
ZERO
8
5
9
6
-
=
28
2+8
=
10
1+0
1
1
-
3
ONE
6
5
5
-
-
=
16
1+6
=
7
-
7
2
-
3
TWO
2
5
6
-
-
=
13
1+3
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
29
2+9
=
11
1+1
2
4
-
4
FOUR
6
6
3
9
-
=
24
2+4
=
6
-
6
5
-
4
FIVE
6
9
4
5
-
=
24
2+4
=
6
-
6
6
-
3
SIX
1
9
6
-
-
=
16
1+6
=
7
-
7
7
-
5
SEVEN
1
5
4
5
5
=
20
2+0
=
2
-
2
8
-
5
EIGHT
5
9
7
8
2
=
31
3+1
=
4
-
4
9
-
4
NINE
5
9
5
5
-
=
24
2+4
=
6
-
6
45
-
40
Add
42
70
58
43
12
-
225
-
-
63
-
45
4+5
-
4+0
-
4+2
7+0
5+8
4+3
1+2
-
2+2+5
-
-
6+3
-
4+5
9
-
4
Reduce
6
7
13
7
3
-
9
-
-
9
-
-
-
-
-
-
-
-
1+3
-
-
-
-
-
-
-
-
-
9
-
4
Deduce
6
7
4
7
3
-
9
-
-
9
-
9

 

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

O
=
6
-
3
ONE
34
16
7
T
=
2
-
3
TWO
56
29
2
T
=
2
-
5
THREE
52
16
7
F
=
6
-
4
FOUR
60
24
6
F
=
6
-
4
FIVE
65
20
2
S
=
1
-
3
SIX
42
24
6
S
=
1
-
5
SEVEN
58
13
4
E
=
5
-
5
EIGHT
49
31
4
N
=
5
-
4
NINE
42
24
6
-
-
34
-
36
-
458
197
44
-
-
3+4
-
3+6
-
4+5+8
1+9+7
4+4
-
-
7
4
9
-
17
17
8
-
-
-
-
-
-
1+7
1+7
-
-
-
7
-
9
-
8
8
8

 

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 


One, Two, Buckle My Shoe - Wikipedia
en.wikipedia.org › wiki › One,_Two,_Buckle_My_Shoe

"One, Two, Buckle My Shoe" is a popular English language nursery rhyme and counting-out rhyme. It has a Roud Folk Song Index number of 11284.

A common version is given in The Oxford Dictionary of Nursery Rhymes:

One, two, Buckle my shoe;

Three, four, Knock at the door;

Five, six, Pick up sticks;

Seven, eight, Lay them straight:

Nine, ten, A big fat hen;

Eleven, twelve, Dig and delve;

Thirteen, fourteen, Maids a-courting;

Fifteen, sixteen, Maids in the kitchen;

Seventeen, eighteen, Maids in waiting

Nineteen, twenty, My plate's empty.

Other sources give differing lyrics

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
0
-
Z
=
8
1
4
ZERO
64
28
1
-
1
-
-
-
-
-
-
-
-
9
-
N
=
5
10
5
NINTH
65
29
2
-
-
2
-
-
-
-
-
-
-
7
-
S
=
1
8
7
SEVENTH
93
30
3
-
-
-
3
-
-
-
-
-
-
8
-
E
=
5
9
6
EIGHTH
57
39
3
-
-
-
3
-
-
-
-
-
-
5
-
F
=
6
6
5
FIFTH
49
31
4
-
-
-
-
4
-
-
-
-
-
3
-
T
=
2
4
5
THIRD
59
32
5
-
-
-
-
-
5
-
-
-
-
2
-
S
=
1
3
6
SECOND
60
24
6
-
-
-
-
-
-
6
-
-
-
4
-
F
=
6
5
6
FOURTH
88
34
7
-
-
-
-
-
-
-
7
-
-
6
-
S
=
1
7
5
SIXTH
80
26
8
-
-
-
-
-
-
-
-
8
-
1
-
F
=
6
2
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
45
-
-
-
41
-
54
Add
687
300
48
-
1
2
6
4
5
6
7
8
9
4+5
-
-
-
4+1
-
5+4
Reduce
6+8+7
3+0+0
4+8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Deduce
21
3
12
-
1
2
6
4
5
6
7
8
9
-
-
-
-
-
-
-
Reduce
2+1
-
1+2
-
-
-
-
-
-
-
-
-
-
9
-
-
-
5
-
9
Essence
3
3
3
-
1
2
6
4
5
6
7
8
9

 

NUMBERS RE-ARRANGED IN NUMERICAL ORDER

 

O
=
6
-
7
ORDINAL
73
37
1
N
=
5
-
7
NUMBERS
92
38
2
-
-
11
-
14
First Total
165
75
3
-
-
1+1
-
1+4
Add to Reduce
1+6+5
7+5
-
-
-
2
-
5
Second Total
12
12
3
-
-
-
-
-
Reduce to Deduce
1+2
1+2
-
-
-
2
-
5
Essence of Number
3
3
3

 

THE FEAR OF NUMBERS

 

T
=
2
-
3
THE
33
15
6
F
=
6
-
4
FEAR
30
21
3
O
=
6
-
2
OF
21
12
3
N
=
5
-
7
NUMBERS
92
38
2
-
-
19
-
16
First Total
176
86
14
-
-
1+9
-
1+6
Add to Reduce
1+7+6
8+6
1+4
-
-
10
-
7
Second Total
14
14
5
-
-
1+0
-
-
Reduce to Deduce
1+4
1+4
-
-
-
1
-
7
Essence of Number
5
5
5

 

 

THE CITY OF REVELATION

John Michell 1972

Gnostic Numbers 

Page 118

"Exactly how they came by their science of numbers is not certain, but they appear to have made the discovery that the numerical code of the Hebrew cabala and those of other mystical systems throughout the world were all degenerate versions of the same once universal system of knowledge that returns within the reach of human perception at certain intervals in time. As the revealed books of the Old Testament were written in a code to be interpreted by reference to number, so were the revelations of the gnostic prophets expressed in words and phrases formed on a system of proportion, which gave life and power to the Christian myth, while allowing initiates to gain a further understanding of the balance of forces that produce the world of phenomena."  

Page 121 / How it was ever supposed that the Hebrew alphabet of twenty- two letters, together with various geometrical symbols might serve to represent the entire moving pattern of the universe is not now easy to understand; but, since all ancient philosophy, religion, magic, the arts and sciences were based on the concept of a correspondence between numbers and cosmic law, it is impossible to appreciate the history of the past without some actual experience of the fundamental truth behind this approach to cosmology. Plato gives a remarkable account in Cratylos of the origin of language and letters. The philosopher is asked whether there is any particular significance in names, for surely they are simply a matter of convention and one is more or less as good as another. After all, foreigners call things by different names and appear to manage just as well as the Greeks in this respect. The answer given is that despite appearances the matter is by no means so simple. Words are the tools of expression, and the making of these, as of any other tools, is the task of a skilled craftsman, in this case the lawgiver. Language has grown corrupt over the ages, and names have deviated from their original perfect forms, which are those used by the gods. But all names were originally formed on certain principles, through knowledge of which it is possible to discover the archetypal meaning of words in current use. 'So perhaps the man who knows about names considers their value and is not confused if some letter is added, transposed or subtracted, or even if the force of the name is expressed in quite different letters.' This is Plato's clearest reference to the mystical science of the cabala, in which letters, words and whole phrases may be substituted for others of the same numerical value. The force of a name is to be found in its number, and can be expressed through any combination of letters, provided the sum of the letters amounts to the appropriate number by gematria.

 

THE MAGIC ALPHABET

 

A
=
1
-
9
ABCDEFGHI
45
45
45
-
-
-
-
-
-
-
-
-
-
J
=
1
-
9
JKLMNOPQR
126
45
45
-
-
-
-
-
-
-
-
-
-
S
=
1
-
8
STUVWXYZ
180
45
36
-
-
-
-
-
-
-
-
-
-
-
-
-
-
351
135
126
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
B
=
2
2
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
C
=
3
3
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
4
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
6
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
9
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
45
-
-
-
45
45
45
-
-
-
-
-
-
-
-
-
-
J
=
1
10
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
K
=
2
11
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
N
=
5
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
15
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
16
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
Q
=
8
17
1
Q
17
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
18
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
45
-
-
-
126
45
45
-
-
-
-
-
-
-
-
-
-
S
=
1
19
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
20
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
21
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
V
=
4
22
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
W
=
5
23
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
X
=
6
24
1
X
24
6
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
25
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
Z
=
8
26
1
Z
26
8
8
-
-
-
-
-
-
-
-
8
-
36
-
-
-
180
45
36
-
-
-
-
-
-
-
-
-
-
126
-
-
-
-
-
-
-
3
6
9
12
15
18
21
24
18
-
-
1+2+6
-
9
ABCDEFGHI
45
45
45
-
-
-
-
1+2
1+5
1+8
2+1
2+4
1+8
-
-
9
-
9
JKLMNOPQR
126
45
45
-
3
6
9
3
6
9
3
6
9
-
-
-
-
8
STUVWXYZ
180
45
36
-
-
-
-
-
-
-
-
-
-
-
-
9
-
26
ADD TO REDUCE
351
135
126
-
3
6
9
3
6
9
3
6
9
-
-
-
-
2+6
REDUCE TO DEDUCE
3+5+1
1+3+5
1+2+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
8
ESSENCE OF NUMBER
9
9
9
-
3
6
9
3
6
9
3
6
9

 

 

A
=
1
-
9
ABCDEFGHI
45
45
45
-
-
-
-
-
-
-
-
-
-
J
=
1
-
9
JKLMNOPQR
126
45
45
-
-
-
-
-
-
-
-
-
-
S
=
1
-
8
STUVWXYZ
180
45
36
-
-
-
-
-
-
-
-
-
-
-
-
-
-
351
135
126
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
B
=
2
2
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
C
=
3
3
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
4
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
6
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
9
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
J
=
1
10
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
K
=
2
11
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
N
=
5
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
15
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
16
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
Q
=
8
17
1
Q
17
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
18
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
19
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
20
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
21
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
V
=
4
22
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
W
=
5
23
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
X
=
6
24
1
X
24
6
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
25
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
Z
=
8
26
1
Z
26
8
8
-
-
-
-
-
-
-
-
8
-
126
-
-
-
-
-
-
-
3
6
9
12
15
18
21
24
18
-
-
1+2+6
-
9
ABCDEFGHI
45
45
45
-
-
-
-
1+2
1+5
1+8
2+1
2+4
1+8
-
-
9
-
9
JKLMNOPQR
126
45
45
-
3
6
9
3
6
9
3
6
9
-
-
-
-
8
STUVWXYZ
180
45
36
-
-
-
-
-
-
-
-
-
-
-
-
9
-
26
ADD TO REDUCE
351
135
126
-
3
6
9
3
6
9
3
6
9
-
-
-
-
2+6
REDUCE TO DEDUCE
3+5+1
1+3+5
1+2+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
8
ESSENCE OF NUMBER
9
9
9
-
3
6
9
3
6
9
3
6
9

 

 

A
=
1
-
9
ABCDEFGHI
45
45
45
-
-
-
-
-
-
-
-
-
-
J
=
1
-
9
JKLMNOPQR
126
45
45
-
-
-
-
-
-
-
-
-
-
S
=
1
-
8
STUVWXYZ
180
45
36
-
-
-
-
-
-
-
-
-
-
-
-
-
-
351
135
126
-
1
2
3
4
5
6
7
8
9
A
=
1
1
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
J
=
1
10
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
19
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
B
=
2
2
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
K
=
2
11
1
K
11
2
2
-
-
2
-
-
-
-
-
-
-
T
=
2
20
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
C
=
3
3
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
21
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
D
=
4
4
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
V
=
4
22
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
5
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
14
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
W
=
5
23
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
F
=
6
6
1
F
6
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
15
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
X
=
6
24
1
X
24
6
6
-
-
-
-
-
-
6
-
-
-
G
=
7
7
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
P
=
7
16
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
Y
=
7
25
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
Q
=
8
17
1
Q
17
8
8
-
-
-
-
-
-
-
-
8
-
Z
=
8
26
1
Z
26
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
9
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
18
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
126
-
-
-
-
-
-
-
3
6
9
12
15
18
21
24
18
-
-
1+2+6
-
9
ABCDEFGHI
45
45
45
-
-
-
-
1+2
1+5
1+8
2+1
2+4
1+8
-
-
9
-
9
JKLMNOPQR
126
45
45
-
3
6
9
3
6
9
3
6
9
-
-
-
-
8
STUVWXYZ
180
45
36
-
-
-
-
-
-
-
-
-
-
-
-
9
-
26
ADD TO REDUCE
351
135
126
-
3
6
9
3
6
9
3
6
9
-
-
-
-
2+6
REDUCE TO DEDUCE
3+5+1
1+3+5
1+2+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
8
ESSENCE OF NUMBER
9
9
9
-
3
6
9
3
6
9
3
6
9

 

 

LETTERS TRANSPOSED INTO NUMBER

RE-ARRANGED IN NUMERICAL ORDER

 

S
=
1
-
8
STUVWXYZ
180
36
36
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
19
1
S
19
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
20
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
21
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
V
=
4
22
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
W
=
5
23
1
W
23
5
5
-
-
-
-
-
5
-
-
-
-
X
=
6
24
1
X
24
6
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
25
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
Z
=
8
26
1
Z
26
8
8
-
-
-
-
-
-
-
-
8
-
36
-
8
STUVWXYZ
180
36
36
-
1
2
3
4
5
6
7
8
9
-
-
3+6
-
-
-
1+8+0
3+6
3+6
-
-
-
-
-
-
-
-
-
-
-
-
9
-
8
STUVWXYZ
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
8
STUVWXYZ
9
9
9
-
1
2
3
4
5
6
7
8
9

 

STUVWXYZ 180 ZYXWVUTS

STUVWXYZ 36 ZYXWVUTS

STUVWXYZ 9 ZYXWVUTS

 

 

JUST SIX NUMBERS

Martin Rees

1
999

OUR COSMIC HABITAT

PLANETS STARS AND LIFE

Page 24

A

proton

is

1,836 times heavier than an electron, and the number 1,836

would have the same connotations to any 'intelligence'

Page 24 / 25
"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli- gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons.
A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units

 

A

proton

is

1,836 times heavier than an electron, and the number 1,836

would have the same connotations to any 'intelligence'

 

E
=
5
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
7
4
17
First Total
225
99
9
-
-
-
-
1+7
Add to Reduce
2+2+5
9+9
-
Q
-
7
-
8
Second Total
9
18
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
Q
-
7
-
8
Essence of Number
9
9
9

 

 

3
SUN
54
9
9
5
EARTH
52
25
7
4
MOON
57
21
3
12
First Total
163
55
19
1+2
Add to Reduce
1+6+3
5+5
6+2
3
Second Total
10
10
10
-
Reduce to Deduce
1+0
1+0
1+0
3
Essence of Number
1
1
1

 

What does the number 5 symbolize?
The number 5 is commonly referred to as the number of humanity. Human beings have five fingers, five toes, five appendages (if the head is included), five senses, and five major systems of the body. She is noted for independence, versatility, rebellion, and a daring nature.15 May 2018

https://en.wikipedia.org/en.wikipedia.org › wiki › 5
5 - Wikipedia
ht
5 (five) is a number, numeral, and glyph. It is the natural number following 4 and preceding 6, and is a prime number.

Greek numeral?: ??´
Numeral system?: ?quinary
Roman numeral (unicode)
Chinese numeral

•The pattern of five dots on a die is called a quincunx. ...
•There are five rings in the Olympic symbol (stay tuned for PyeongChang 2018).
•Five is a prime number.
•It's also a Fibonacci number.
•You have 5 senses (so do I).

 

5 is a primenumber.
1, 1, 2, 3, 5, 8, 13...
A Fibonacci number.
We have five digits on each hand and foot. V, the Roman symbol for five, may originate from the imageof a hand with the fingers spread.

Penta- means five.A pentathlon is an athletics contest with five events and a pentagon isa figure with five sides and five angles. A pentasyllabic word has fivesyllables, like the word pentasyllabic itself.
Pentagram, pentangle and pentacle are all names for a five-pointed star. This mysticalsymbol was supposed to keep away devils and witches. A pentacle he
sfolded from fine linen was sometimes worn as a defence against demons.

A devout follower of Islam worships five times a day facing the holy city of Mecca. The Islamic creed is the 'Five Pillars of the Faith'.

The Five Ks are traditionallyworn by The Singhs, who are a brotherhood within the Sikh religion. Theseare kes, long hair; kangha, a comb; kirpan, a sword; kachh, short trousers; and kara, a steel bracelet.

Pentominoes areshapes made from five squares. How many of these are possible? Only countshapes which cannot be made from each other by flipping them over or rotatingthem.

Punch is a drink that traditionallyhas five ingredients - spirits, water, sugar, lemon juice and spice. Thename punch comes from the Hindi word for five.

The Five Platonic Solids are the only five convex regular solids it is possible to construct. Theyare the tetrahedron (four sides), the cube (six sides), the octahedron(eight sides), the dodecahedron (12 sides) and the icosahedron (20 sides).

www.astrovera.com/bible-religion/172-bible-number-5.html

The number 5 in the Bible is significant because his creation, the ‘man’ has five fingers, five senses and five toes. Thus it is the number of God’s grace. There are five great mysteries: Father, Son, Spirit, Creation and Redemption. After the fall of man creation was cursed and it became subject to vanity. So man and creation needed to be redeemed therefore number 5 is the number of God’s grace. The number five may also speak of the inability of man and his weakness as only when ‘man’ is weak does he needs God’s Grace. As only if a man is incapable, he would require God’s Grace.

Number 4 signifies man’s weakness and helplessness and number 5 i.e. 4+1 shows divine strength added to man’s weakness and vanity which of course, means God’s grace. Gematria is the name given to the process of assigning numbers to different words. The gematria of the word Earth would be 296 which, in fact, is a multiple of 4 and the gematria of the word Heaven is 395, which is a multiple of 5. Therefore, Earth, which is the land of the man, is synonymous to his weakness and vanity and Heaven is synonymous of God’s grace. But what do you mean by grace? Grace means favor, an act of kindness and support and favor can be of many types. Favor that is done for the unworthy, favor that is done for someone who doesn’t deserve it, that favor is called grace. God called upon Abram and promised to make his name great. Was there any reason behind it? Did God do that for any purpose? No. He did it without any cause, without any particular reason. This was an instance of God’s grace towards his creation.

God changed Abram’s name to Abraham. This is very significant. Not because God chose Abram or because God endowed upon him his grace, but, the change was made by inserting in between his name the fifth letter of the alphabet h (Hey). Another instance of God’s grace can be seen when David went to fight with the enemy of Israel who was a giant named Goliath. David chose five smooth stones. These five stones were significant of David’s weakness supplemented by a divine power (the number of stones being 4+1). David used only one stone (one with divine power) and not the other four stones to defeat and conquer the mighty enemy.

But God’s Grace should not be confused with merit or warrant. The scriptures tell us again and again through various examples that the grace and merit cannot exist together. However one can’t attain salvation from merit. This is because if the salvation could be achieved through merit then, the there would not be any requirement for God’s Grace. The fifth book of Psalms exemplifies the same great fact. The first Psalm (Psalm 107) magnifies this, and explains to us, how "He sent His word and healed them" (verse 20), and again and again delivered his men out of all their trouble. The importance of number 5 is further exemplified by the Fifth Psalm of the First Book. It has a special reference to the God’ Grace and tells us that God encompasses us all in his grace. The Fifth Book of the Bible (Deuteronomy) magnifies the grace of God, and in it special pains, so to speak, are taken to emphasis the great fact that not for the sake of the people, but for God's own Name's sake had He called, and chosen, and blessed them. In the Bible, there is also a reference to The Stone Kingdom. This kingdom would be the FIFTH kingdom after the world powers when all of the earth’s dominions would be combined to one single kingdom and then the almighty would take over them to rule over the along with his appointed one with glory and with grace. There are also certain phrases which repeat five times in the bible and they speak of God’s Grace "Bless the Lord, O my soul." - All in Psalms 103 and 104, viz., 103:1, 2, 23 and 104:1, 35. The Talmud calls attention to this and says, "As God fills the earth and nourishes it, so He nourishes and blesses the soul."

The various examples stated above tell us a great deal about the significance of the number five in the biblical literature. It tells us through the Gematria that the importance of this number is huge as it signifies the grace of God. Also through the various examples of David, The Fifth Book of Psalms, The fifth kingdom etc that how again and again God has showed Grace to his creation. The number five is the symbol of God’s grace. Grace should never be confused with merit, because merit is only for the worthy. But unlike merit, grace is for everyone without any prejudice and preconception.

Religion and culture · ?Art, entertainment, and ...

https://www.splashlearn.com/www.splashlearn.com › Math Vocabulary › Number Sense

What is Five? - Definition, Facts & Example - Splash Math

Fun Facts. 5 is a natural number. 5 is a odd number. 5 is the only prime number that is the sum of two consecutive prime numbers, namely 2 and 3. 5 is also the only prime number to end with 5 in ones place.


1.There are 5 days in the week (not counting the weekend).
2.We need 5 fingers to play the piano and the Creator gave us just the right number and on both hands!
3.The creator gave us symmetry by giving 5 toes as well.
4.Jesus asked for 5 loaves to feed 5 (thousand) people
5.The Torah has 5 books
6.Christ had 5 wounds
7.Muslims pray 5 times a day
8.A starfish has 5 legs
9.A star has 5 points
10.The 5 Alive drink has 5 ingredients!

https://www.researchgate.net/www.researchgate.net › publication › 259604698_Five_petals_The_...

Five petals: The mysterious number "5" hidden in nature
https://www.researchgate.net/
9 Jan 2014 - The conclusions drawn are that flowers are most likely to be five-petaled, followed by six-petaled flowers, and that four petals are unstable and almost no flower can be seven-petaled. ... Echinodemata such as sea urchins, starfish, and sea cucumbers are five-actinomorphic with a bony ...

Five petals: The mysterious number "5" hidden in nature

Yutaka Nishiyama at Osaka University of Economics
Yutaka Nishiyama
8.58
· Osaka University of Economics

This article examines why many flowers are five-petaled through the use of a five-petal model that draws insight from the location of cell clusters at a shoot apex, rather than from concepts such as the Fibonacci sequence or the Golden ratio which have been referred to in the past. The conclusions drawn are that flowers are most likely to be five-petaled, followed by six-petaled flowers, and that four petals are unstable and almost no flower can be seven-petaled. I am deeply interested in pentagonal forms in the natural world. A hexagon, as seen in bee's nests or snow crystals, is mathematically explained, but no clear explanation is made about a pentagon. Echinodemata such as sea urchins, starfish, and sea cucumbers are five-actinomorphic with a bony plate on the skin and a unique water-vascular sys-tem. In other words, they are pentagonal and rotationally symmetrical. The arm of a starfish has strong regeneration power as indicated by the fact that one of its five arms can regenerate immediately. Even more surprising is the fact that one arm can regenerate the remaining four arms (Ichikawa, 1982, [4]).

International Journal of Pure and Applied Mathematics
Volume 78 No. 3 2012, 349-362
ISSN: 1311-8080 (printed version)
url: http://www.ijpam.eu

FIVE PETALS: THE MYSTERIOUS NUMBER
“5” HIDDEN IN NATURE
Yutaka Nishiyama
Department of Business Information
Faculty of Information Management
Osaka University of Economics
2, Osumi Higashiyodogawa Osaka, 533-8533, JAPAN
Abstract: This article examines why many flowers are five-petaled through
the use of a five-petal model that draws insight from the location of cell clusters
at a shoot apex, rather than from concepts such as the Fibonacci sequence or the
Golden ratio which have been referred to in the past. The conclusions drawn are
that ?owers are most likely to be fve-petaled, followed by six-petaled flowers,
and that four petals are unstable and almost no flower can be seven-petaled.
AMS Subject Classi?cation: 00A71, 46N60, 92B05
Key Words: flower, cell, petal, pentagon, fullerene
1. Many Five-Petaled Flowers
I am deeply interested in pentagonal forms in the natural world. A hexagon, as
seen in bee’s nests or snow crystals, is mathematically explained, but no clear
explanation is made about a pentagon.
Echinodemata such as sea urchins, starfsh, and sea cucumbers are five-
actinomorphic with a bony plate on the skin and a unique water-vascular sys-
tem. In other words, they are pentagonal and rotationally symmetrical. The
arm of a star?sh has strong regeneration power as indicated by the fact that
one of its ?ve arms can regenerate immediately. Even more surprising is the
fact that one arm can regenerate the remaining four arms (Ichikawa, 1982, [4]).
Received: December 14, 2011 c
?2012 Academic Publications, Ltd.
url: www.acadpubl.eu

350 Y. Nishiyama
Is something that determines five arms strongly coded for in DNA?
Using a compass or ruler, a regular pentagon can not be drawn as easily
as a regular triangle, tetragon or hexagon. Although we can draw a regular
pentagon with a protractor, by way of a 360?central angle which is divided into
?ve, star?sh do not use a compass or ruler, nor have mathematical knowledge.
How can such a primitive aquatic creature draw a regular pentagon so easily?
“Five,” as seen in sea urchins and star?sh is also observed in plants. Flicking
through the “Illustrated Guide to Plants (Shokubutu no Zukan)” (Shogakukan),
many ?ve-petaled flowers are found: spring ?owers such as cyclamen, pansy,
gypsophila, ume (Japanese apricot), cherry, azalea, and peach; summer flowers
such as morning glory, bell bind, and oleander; as well as autumn flowers such as
cotton rose, balloon flower, gilly?ower, and gentian produce five-petal ?owers.
Farm products such as watermelon, melon, pear, and apple also have five petals.
Having said that, there are also exceptions ? a calla with one petal; an iris
with three petals; daphne, dogwood, and fragrant olive with four petals; and
lily, narcissus, and orchid with six petals.
As for the one-petaled and four-petaled flowers among these exceptions,
some theories say that what looks like a petal is actually a sepal. Firstly, a
calla belongs to the arum family, and what appears to be a white petals is a
bract with small flowers on a thick axis inside. Calla’s bract is sometimes called
a spathe, as it looks like the halo or ?ames often seen in the Buddha statues.
Secondly, with respect to four-petaled ?owers, a daphne, spring flower, has four
sepals, not petals. The same thing applies to the autumn ?ower of fragrant
olive with yellow blossoms.
2. Trimerous, Tetramerous, and Pentamerous Flowers
Makino(1989, [6]) neatly classifies all plants according to kingdom, division,
class, order, family, genus, and species. The book specifes the number of sepals,
petals, stamens, and pistils of all the families. A flower diagram shows the
pattern of locations and distributions of these to aid people easily understand
the structure of a flower.
The classi?cation of trimerous, tetramerous, and pentamerous ?owers is
based on a ?ower’s components. If flowers have three ( or a multiple of that
number) sepals, petals, stamens, and pistils, they are called trimerous ?owers.
Many monocotyledons such as lily, iris, and spiderwort belong to this category.
Similarly, ?owers with four ( or a multiple of that number) components, such as
Japanese laurel and evening primrose, are tetramerous, and those with five ( or

FIVE PETALS: THE MYSTERIOUS NUMBER... 351
a multiple of that number), such as azalea and morning glory, are pentamerous.
Flowers that belong to the same family have the same number of petals. All
you have to do in order to know the number of petals of plants is research at a
family level. The result of such research is described below. The spermatophyte
division, subject of the research, has 219 families. The division is divided into
the gymnosperm subdivision (13 families) and the angiosperm subdivision (206
families). The gymnosperm subdivision has no sepal or petal, and is classi?ed
as zero-petaled. The angiosperm subdivision branches o? the monocotyledon
class (35 families) and the dicotyledon class (171 families). The monocotyle-
don class includes the iris family and the lily family, and many families in the
class are three-petaled and six-petaled (trimerous). They have no sepal, and
are counted by tepals. The dicotyledon class is split into the choripetalae sub-
class(125 families) and the gamopetalae subclass(46 families). Many families
in the choripetalae subclass are five-petaled (pentamerous) like the rose family,
mallow family, and violet family, or four-petaled (tetramerous) like the mustard
family and dogwood family. The gamopetalae subclass that includes the heath
family and morning-glory family has many five-petaled (pentamerous) families.
Table 1 categorized the 219 families in the spermatophyte division according
to the number of petals.

 

 

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

 

LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER

LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S

5 x 5 = 25

LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES

5 x 5 = 25

 

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

 

 

11
INCANDESCED
-
-
-
-
I
9
9
9
-
N+C+A
18
9
9
-
N+D
18
9
9
-
E+S+C
27
9
9
-
E+D
9
9
9
11
INCANDESCED
81
45
45
-
-
8+1
3+7
4+5
11
INCANDESCED
9
10
10
1+1
-
-
1+0
1+0
2
INCANDESCED
9
1
1

 

 

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

 

THE

EYWA AVATAR EYWA

I

SEE

I SEE YOU I YOU SEE I

THAT

AM

Y

I C U R ME O ME R U C I

I C THAT THAT THAT C I

I

 

Enkidu - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Enkidu‎
Jump to Enkidu later in the Epic of Gilgamesh - [edit]. Possible representation of Enkidu. Enkidu assists Gilgamesh in defeating and killing ...
Gilgamesh, Enkidu and the nether world: translation
etcsl.orinst.ox.ac.uk/section1/tr1814.htm‎
Gilgamec answered Enkidu: "If today (1 ms. has instead: If) you are going to go down to the nether world, let me advise you! My instructions should be followed.
Epic of Gilgamesh: Tablet VI - Academy for Ancient Texts
www.ancienttexts.org/library/mesopotamian/gilgamesh/tab6.htm‎
The Lullubu people' will bring you the produce of the mountains and countryside as tribute ... Enkidu addressed Gilgamesh, saying: "My friend, we can be bold(?) ...
gilgameshreadings - Civ/Hum 3
www.civ.strangegirl.com/gilgameshreadings.html‎
Gilgamesh and Enkidu, with help from Shamash, kill Humbaba, the demon guardian of ..... The Lullubu people' will bring you the produce of the mountains and ...
[PDF]
Gilgamesh Names
www.grossmont.edu/karl.sherlock/English219/.../Gilgamesh_Names.pdf‎
THE BABYLONIAN EPIC OF GILGAMESH c. ... Enkidu. Enlil, Father of the Gods, the Great Counselor, Preeminent God. Ennugi, Minister ... Lullubu people, The.
Buy book review papers: Man's Greatest Fear
buybookreviewpapers.blogspot.com/2013/12/mans-greatest-fear.html‎
13 Dec 2013 - In some roles, however, even the greatest of strengths is not enough to lull uncertainties regarding life. Gilgamesh and Enkidu find strengths in ...
Myth Summary
www.oup.com/us/companion.websites/9780195397703/.../summary/‎
Zeus rescued Io by sending Hermes to lull Argus to sleep and cut off his head. .... Gilgamesh and Enkidu slay the bull, but one of them must atone for this ...
[PDF]
Gilgamesh' - UAF eLearning & Distance Education
elearning.uaf.edu/cc/engl200x/sandars-gilgamesh-rawcopyscan.pdf‎
saying to Enkidu, “Gilgamesh has gone into the marriage-house and shut ..... luLl, the north wind, the whirlwind, the storm and the icy wind, the tempest. 1fl(I the ...
[PDF]
The Epic of Gilgamesh
www.jcu.edu/Bible/200/Readings/ANET1_79-99Gilgamesh.pdf‎
The connection between the Epic of Gilgamesh as we know it in its Akkadian form, and .... U The second of the four Akkadian terms used to describe Enkidu re-.
Mythic Imagination Institute - John David Ebert - Mythic Journeys
www.mythicjourneys.org/newsletter_apr07_ebert.html‎
In Which the Babylonians Reject the Sumerian Gilgamesh ... representing Annubanini, the king of the Lullubi, receiving from Ishtar the rod and ring of rulership. .... is the only version of the story that includes Gilgamesh and Enkidu traveling to ...

 

City And Colour - Northern Wind Lyrics

www.lyricsmode.com › Top 100 › City And Colour‎

You're the Northern Wind / Sending shivers down my spine / You're like falling leaves / In an autumn night / You're the lullaby / That's singing me to sleep. ... If you don't understand what i mean he's from the northern side and he's extremely ...

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

 

“The word used for man is lullu“,

"THE WORD FIRST USED FOR MAN IS LULLU"

"THE WORD FIRST USED FOR MAN IS 33333"

"THE WORD FIRST USED FOR MAN IS LULLU"

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

I hereby name it Babylon, home of the great gods.

The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.
Then he decides to create man, to serve the gods with offerings, so that they can be at leisure. The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found guilty of the war between the gods, his blood is used to create mankind. Here, it is unclear if Marduk or Ea creates mankind. Later in the text, Ea is specified as the creator of man. Finally, the gods praise Marduk, and give him fifty names that represent different aspects of his powers and sovereignty.
The text ends with instructions on how it should be passed on from generation to generation, and the command to worship Marduk, king of the gods.

 

ENUMA ELISH
The Babylonian Creation Myth

"The word used for man is lullu"

LULLU 33333 LULLU

"The word used for man is lullu"



"“The word used for man is lullu“,

"THE WORD FIRST USED FOR MAN IS LULLU"

"THE WORD FIRST USED FOR MAN IS 33333"

"THE WORD FIRST USED FOR MAN IS LULLU"

 

 

L
=
3
-
-
LULLU
-
-
-
-
-
-
-
1
L
12
3
3
-
-
-
-
1
U
21
3
3
-
-
-
-
1
L
12
3
3
-
-
-
-
1
L
12
3
3
-
-
-
-
1
U
21
3
3
-
-
-
-
5
LULLU
78
15
15
-
-
-
-
-
-
7+8
1+5
1+5
L
=
3
-
5
LULLU
15
6
6
-
-
-
-
-
-
1+5
-
-
L
=
3
-
5
LULLU
6
6
6

 


ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

I hereby name it Babylon, home of the great gods.

The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.

The word used in the text is written phonetically, ba-ab-i-li

 

 

B
=
2
-
-
BA-AB-I-LI
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
A+B
3
3
3
-
-
-
-
1
I
9
9
9
-
-
-
-
1
L
12
3
3
-
-
-
-
1
I
9
9
9
B
=
2
-
7
BA-AB-I-LI
36
27
27
-
-
-
-
-
-
3+6
2+7
2+7
B
=
2
-
7
BA-AB-I-LI
9
9
9

 

 

I hereby name it Babylon, home of the great gods.

 

B
=
2
-
-
BABYLON
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
B+Y
27
9
9
-
-
-
-
2
L+O
27
9
9
-
-
-
-
1
N
14
5
5
B
=
2
-
7
BABYLON
71
26
26
-
-
-
-
-
-
7+1
2+6
2+6
B
=
2
-
7
BABYLON
8
8
8

 

Babylonia

From Wikipedia, the free encyclopedia

Babylonia was an ancient Akkadian-speaking Semitic nation state and cultural region based in central-southern Mesopotamia (present-day Iraq). It emerged as an independent state c. 1894 BC, with the city of Babylon as its capital. It was often involved in rivalry with its fellow Akkadian state of Assyria in northern Mesopotamia. Babylonia became the major power in the region after Hammurabi (fl. c. 1792 - 1752 BC middle chronology, or c. 1696 – 1654 BC, short chronology) created an empire out of many of the territories of the former Akkadian Empire.

The Babylonian state retained the written Semitic Akkadian language for official use (the language of its native populace), despite its Amorite founders and Kassite successors not being native Akkadians. It retained the Sumerian language for religious use, but by the time Babylon was founded this was no longer a spoken language, having been wholly subsumed by Akkadian. The earlier Akkadian and Sumerian traditions played a major role in Babylonian (and Assyrian) culture, and the region would remain an important cultural center, even under protracted periods of outside rule.

The earliest mention of the city of Babylon can be found in a tablet from the reign of Sargon of Akkad (2334- 2279 BC), dating back to the 23rd century BC. Babylon was merely a religious and cultural centre at this point and not an independent state; like the rest of Mesopotamia, it was subject to the Akkadian Empire which united all the Akkadian and Sumerian speakers under one rule. After the collapse of the Akkadian empire, the south Mesopotamian region was dominated by the Gutians for a few decades before the rise of the Sumerian third dynasty of Ur, which encompassed the whole of Mesopotamia, including Babylon.

 

B
=
2
-
-
BABYLONIA
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
B+Y
27
9
9
-
-
-
-
2
L+O
27
9
9
-
-
-
-
1
N
14
5
5
-
-
-
-
1
I
9
9
9
-
-
-
-
1
A
1
1
1
B
=
2
-
9
BABYLONIA
81
45
45
-
-
-
-
-
-
8+1
4+5
4+5
B
=
2
-
9
BABYLONIA
9
9
9

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-

The word used for man is lullu, meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found ...

I hereby name it Babylon, home of the great gods..

The word used in the text is written phonetically, ba-ab-i-li, contrary to tradition, maybe to allow for the etymological explanation of the name as the ‘gate of the gods’.
Then he decides to create man, to serve the gods with offerings, so that they can be at leisure. The word used for man is lullu , meaning a first, primitive man. The same word is used about the savage Enkidu in the Gilgamesh epic. Since Qingu is found guilty of the war between the gods, his blood is used to create mankind. Here, it is unclear if Marduk or Ea creates mankind. Later in the text, Ea is specified as the creator of man. Finally, the gods praise Marduk, and give him fifty names that represent different aspects of his powers and sovereignty.
The text ends with instructions on how it should be passed on from generation to generation, and the command to worship Marduk, king of the gods.

 

ENUMA ELISH
The Babylonian Creation Myth

"The word used for man is lullu"

LULLU 33333 LULLU

"The word used for man is lullu"

 

Epic of Gilgamesh: Tablet VI - Academy for Ancient Texts
www.ancienttexts.org/library/mesopotamian/gilgamesh/tab6.htm?

The Lullubu people' will bring you the produce of the mountains and countryside as tribute

THE LULLUBU PEOPLE

THE 3333323 PEOPLE

 

-
-
-
-
LULLUBU
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
1
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
3
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
4
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
5
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
B
=
2
6
1
B
2
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
7
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
-
-
20
-
20
LULLUBU
101
20
36
-
1
2
3
4
5
6
7
8
9
-
-
2+0
-
2+0
-
1+0+1
2+0
3+6
-
-
-
1+8
-
-
-
-
-
-
-
-
2
-
2
LULLUBU
9
9
9
-
1
2
3
4
5
6
7
8
9

 


Mesopotamian Cosmic Geography - Page 90 - Google Books Result
books.google.co.uk › books

Wayne Horowitz - 1998 - Philosophy
SG 51–59 provides insight into the customs of foreign lands and peoples, as well as ... The Amurru are identi ~ed as the 'people of the south' and the Lullubu are ...

 

B LULLU B

 

SLEEPY TIME BABY LULLABY

 

-
-
-
-
-
LULLABY
-
-
-
3
-
-
-
1
L
12
3
3
3
-
-
-
1
U
21
3
3
3
-
-
-
1
L
12
3
3
3
-
-
-
1
L
12
3
3
3
-
-
-
2
A+B
3
3
3
-
-
-
-
1
Y
25
7
7
L
=
3
-
7
LULLABY
85
22
22
-
-
-
-
-
-
8+5
2+2
2+2
L
=
3
-
7
LULLABY
13
4
4
-
-
-
-
-
-
1+3
-
-
L
=
3
-
7
LULLABY
4
4
4

 

Evolution of Sumerian kingship - Ancient World Magazine
www.ancientworldmagazine.com › articles › evolution-sumerian-king...

12 May 2018 - Interestingly, this kingship could only be held by one person at a time. ... The Lullubu people will bring you the produce of the mountains and ...
Since writing was yet to be invented, there is little we can say about the position of this priest king. He may have been regarded as the mortal husband of Inanna, as the Sumerian word for “high priest” – EN – originally meant “husband” or “owner”. In later Mesopotamian literature, Inanna (or Ishtar, as she is called in Akkadian) is repeatedly described as a lover of mortal kings.

 

INANNA 53 INNANA

INANNA 26 INNANA

INANNA 8 INNANA

INANNA 951551 INANNA

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art.

hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it.

The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews.

An extraordinary feature of Lullism is that it assigns a letter­ notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements.

The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala.

It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism.

Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking.

The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations.

Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures.

Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity.

The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10

As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy.

Page 17

The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking.

And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity.

The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'.

Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa.

The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a starting­point. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris­ megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino.

Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola.

It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

Page 13

An extraordinary feature of Lullism is that it assigns a letter­ notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

Page 13

On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

Page 13

On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

ABCD 1234 ABCD

BCDEFGHIK 234567892 BCDEFGHIK

 

THREES = 3 = THREES

 

LULL 3333 LULL

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 175

CHAPTER 8

LULLISM AS AN ART OF MEMORY

THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull.

Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lull was like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art.

Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.

 

-
LULL
-
-
-
1
L
12
3
3
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
4
LULL
57
12
12
-
-
5+7
1+2
1+2
4
LULL
12
3
3
-
-
1+2
-
-
4
LULL
3
3
3

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 111

MEDIEVAL MEMORY AND THE FORMATION OF IMAGES

"Petrarch makes his allusions to the art by introducing examples of men of antiquity famed for good memories and associating these with the classical art. His paragraph on the memories of Lucullus and Hortensius begins thus: - 'Memory is of two kinds, one for things, one for words.' 57

LUCULLUS 33333331 LUCULLUS

 

 

-
LUCULLUS
-
-
-
1
L
12
3
3
1
U
21
3
3
1
C
3
3
3
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
1
U
21
3
3
1
S
19
10
1
8
LUCULLUS
121
31
22
-
-
1+2+1
3+1
2+2
8
LUCULLUS
4
4
4

 

Daily Mail, Thursday, November 17, 2011

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 70

QUESTION The W. B Yeats poem Mad As The Mists and snow name checks Homer, Horace, Cicero and and Tully ('and here is Tully's open page') Who was Tully?


TULLY and Cicero are one and the same person - the Roman statesman and philosopher whose full latin name was Marcus Tullius Cicero (106-43 BC).

Male Roman citizens typically had three names, their praenomen (given name), their nomen (clan name) and their' cognomen (nickname or family name), but in English classical Latin authors are generally known by a single name, often Anglicised. These sometimes derive from the nomen (for example, Horace's full name was Quintus Horatius Flaccus) and sometimes from the cognomen (as with Gaius Julius Caesar).

In Cicero's case, he's today known by his cognomen, but has sometimes in the past been called Tully from his nomen.

Despite coming from humble stock, Cicero's skill as an orator saw him rise to the supreme position of state in the Republic, the consulship, in 63BC and he played a key role in the defeat of the Catiline conspiracy.

As a result of the rise to power of Julius Caesar, he took a lesser role in his later years, devoting himself to literature Instead.

After Caesar's assassination in 44BC, Cicero returned to politics and took a key role in the senatorial opposition to Mark Antony.

He was murdered on Antony's orders when he took power. Cicero's surviving letters form a key source for the history of the fall of the Roman Republic and its replacement by the rule of the emperors.

David Bradbury, London.

 

-
TULLIUS
-
-
-
1
T
20
2
2
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
1
I
9
9
9
1
U
21
3
3
1
S
19
10
1
7
TULLIUS
114
33
24
-
-
1+1+4
3+3
2+4
7
TULLIUS
6
6
6

 

 

-
-
-
-
-
TULLIUS
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
2
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
I
=
9
9
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
1
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
24
12
7
TULLIUS
114
33
24
-
1
2
12
-
-
-
-
-
9
-
-
2+4
1+2
-
-
1+1+4
3+3
2+4
-
-
-
1+2
-
-
-
-
-
-
-
-
6
3
7
TULLIUS
6
6
6
-
1
2
3
-
-
-
-
-
9

 

 

From Wikipedia, the free encyclopedia
Gaius Lucilius

Gaius Lucilius (c. 180 – 103/02 BC),[1] the earliest Roman satirist, of whose writings only fragments remain, was a Roman citizen of the equestrian class, born at Suessa Aurunca in Campania. He was a member of the Scipionic Circle.
In point of form, the satire of Lucilius owed nothing to the Greeks. It was a legitimate development of an indigenous dramatic entertainment, popular among the Romans before the first introduction of the forms of Greek art among them; also, it seems largely to have employed the form of the familiar epistle.

 

 

-
-
-
-
-
GAIUS
39
21
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
LUCILIUS
-
-
-
L
=
3
-
1
L
12
3
3
U
=
3
-
1
U
21
3
3
C
=
3
-
1
C
3
3
3
I
=
9
-
1
I
9
9
9
L
=
3
-
1
L
12
3
3
I
=
9
-
1
I
9
9
9
U
=
3
-
1
U
21
3
3
S
=
1
-
1
S
19
10
1
-
-
22
-
8
LUCILIUS
106
43
34
-
-
2+2
-
-
-
1+0+6
4+3
3+4
-
-
4
-
8
LUCILIUS
7
7
7

 

 

Macbeth 1 [iii]

Shakespeare,

"Thrice to thine and thrice to mine,

and thrice again to make up nine"

 Number 9

The Search for the Sigma code

Cecil Balmond

Page 45

"Three times three, the trinity of trinities, gains select status then as the doubling and resourcing of special power.

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

 

3 x 3 = 9 = 3 x 3

 

 

Daily Mail, Thursday, December 15, 2011

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 57

At a formal dinner celebrating the opening of the Watford St Albans branch railway line in 1958 several toasts were drunk 'with three times three'. What does this mean?

THE Watford to St Albans branch line, known locally as the Abbey Flyer, opened on May 5, 1858, so the dinner must have been part of the centenary celebrations.

The 'three times three' is the traditional three cheers ('Hip, Hip, Hooray!' shouted three times).

The origin of the cheer is obscure but it's recorded in 1816 when John Quincy Adams, an envoy to the English court, wrote in his diary that he had attended a dinner given by the Lord Mayor in the Mansion House and that 'every toast was drunk standing with what they call three time three hip! hip! hip! and nine huzzahs'.

It is more usual now to proclaim only two hips and 'huzzah' has become 'hooray'. In the 17th and 18th centuries, three huzzahs - two short ones followed by a long sustained one - were given by the British infantry before a charge.

It has been suggested 'hurrah' or 'hooray' comes from old Turkic and that the Turks used to shout 'Ur, ah!' meaning 'Come on, hit!".

A less likely explanation is that 'hip' dates from the crusades and is an acronym of Hierosolyma est perdita -'Jerusalem is lost'. Equally unlikely is the idea that 'hurrah' is a corruption of the Slavonic hu-raj - paradise. In this scheme, 'Hip Hip Hooray!' would mean 'Jerusalem is lost; paradise here we come!'

Barry Saunders, Watford.

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 21

"The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself"

Page 32

"Though the medieval tradition which assigned the authorship of Ad Herennium to 'Tullius' was wrong in fact, it was not wrong in its inference that the art of memory was practised and recommended by Tullius."

 

 

-
TULLIUS
-
-
-
1
T
20
2
2
1
U
21
3
3
1
L
12
3
3
1
L
12
3
3
1
I
9
9
9
1
U
21
3
3
1
S
19
10
1
7
TULLIUS
114
24
12
-
-
1+1+4
2+4
1+2
7
TULLIUS
6
6
6

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 21

"The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself"

Page 32

"Though the medieval tradition which assigned the authorship of Ad Herennium to 'Tullius' was wrong in fact, it was not wrong in its inference that the art of memory was practised and recommended by Tullius."

 

 

A
=
1
-
2
AD
5
5
5
H
=
8
-
9
HERENNIUM
107
53
8
-
-
9
-
11
First Total
112
58
13
-
-
-
-
1+1
Add to Reduce
1+1+2
5+8
1+3
-
-
9
-
2
Second Total
4
13
4
-
-
-
-
-
Reduce to Deduce
1+2
1+3
-
-
-
9
-
2
Essence of Number
4
4
4

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 135 (number omitted)

"No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line."

"Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)"

"Page 139

He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned.

Awaiting damnation he calls on Christ, and there comes the famous line

" See see where Christs bloud streames in the firmament.11"

 

 

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

155 155 58595 3899121 23634 12951451 95 285 699414552

IS 9 IS

9

IS 9 IS

155 155 58595 3899121 23634 12951451 95 285 699414552

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

 

 

S
=
1
-
3
SEE
29
11
2
S
=
1
-
3
SEE
29
11
2
W
=
5
-
5
WHERE
59
32
5
C
=
3
-
7
CHRISTS
96
33
6
B
=
2
-
5
BLOUD
54
18
9
S
=
1
-
8
STREAMES
100
28
1
I
=
9
-
2
IN
23
14
5
T
=
2
-
3
THE
33
15
6
F
=
6
-
9
FIRMAMENT
99
45
9
-
-
33
-
45
-
522
207
45
-
-
3+3
-
4+5
-
5+2+2
2+0+7
4+5
-
-
6
-
9
-
9
9
9

 

 

ZOHAR 5 ZOHAR

5

ZOHAR 5 ZOHAR

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER NAME OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER

CIRCLE

OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

IS

NAUTILUS NEMO OMEN NEMO NAUTILUS

IS

 

 

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

SOLOMON SOL MOON IS IS MOON SOL SOLOMON

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

 

 

HEART EARTH TERAH THERA

THE

RA IS IS RA

THE

THERA TERAH EARTH HEART

EARTH THE R THE EARTH

HEART THE R THE HEART

TERAH THE R THE TERAH

THERA THE R THE THERA

THE

RA IS IS RA

THE

HEART EARTH TERAH THERA

 

TRIANGLE 5 TRIANGLE

CIRCLE 5 CIRCLE

SQUARE 9 SQUARE

 

HERMES 68 HERMES

HERMES 41 HERMES

HERMES 5 HERMES

 

HERMES MESSENGER OF THE GODS

HERE ME SEE ME SEE ME HERE

 

 

Enya - Wikipedia, the free encyclopedia Enya is an Irish singer, instrumentalist and composer. The media sometimes refer to her by the Anglicized name, Enya Brennan; Enya is an approximate ...

Enya discography - The Very Best of Enya - Enya (album) - And Winter Came...
en.wikipedia.org/wiki/Enya

 

HOLY BIBLE

REVELATION

C 21 V 1

And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea.

2

And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband.

3

And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men,

and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God.

4

And God shall wipe away all tears from their eyes; and there shall be no more death,

neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.

5

And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful.

6

And he said unto me, It is done. I am Alpha and Omega, the beginning and the end.

I will give unto him that is athirst of the fountain of the water of life freely.

7

He that overcometh shall inherit all things; and I will be his God, and he shall be my son.

 

 

-
-
-
-
11

GLORIA IN EXCELSIS

-
-
-
G
=
7
-
6
GLORIA
62
35
8
I
=
9
-
2
IN
23
14
5
E
=
5
-
8
EXCELSIS
96
33
6
-
-
21
-
16

GLORIA IN EXCELSIS

181
82
19
-
-
2+1
-
1+6
-
1+8+1
8+2
1+9
-
-
3
-
7

GLORIA IN EXCELSIS

10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
-
-
3
-
72

GLORIA IN EXCELSIS

1
1
1

 

 

2
IS
28
19
1
9
UNIVERSAL
121
40
4
4
MIND
40
22
4
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
189
90
18
3+3
Add to Reduce
1+8+9
9+0
1+8
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

 

9
UNIVERSAL
121
40
4
4
MIND
40
22
4
2
IS
28
10
1
3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
33
First Total
378
162
27
3+3
Add to Reduce
3+7+8
1+6+2
2+7
6
Second Total
18
9
9
-
Reduce to Deduce
1+8
-
-
6
Essence of Number
9
9
9

 

THE LIGHT IS RISING RISING IS THE LIGHT

 

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

 

 

J
=
1
-
6
JOSEPH
73
37
1
C
=
3
-
6
CHRIST
77
41
5
M
=
4
-
4
MARY
57
21
3
-
-
8
-
16
-
207
99
9
-
-
-
-
1+6
-
2+0+7
9+9
-
-
-
8
-
7
-
9
18
9
-
-
-
-
-
-
-
1+8
-
-
-
8
-
7
-
9
9
9

 

 

-
-
-
-
-
JOSEPH CHRIST MARY
-
-
-
-3
1
2
3
4
5
6
7
8
9
J
=
1
-
6
JOSEPH
73
37
1
-
-
-
-
-
-
-
-
-
-
C
=
3
-
6
CHRIST
77
41
5
-
-
-
-
-
-
-
-
-
-
M
=
4
-
4
MARY
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
JOSEPH CHRIST MARY
207
99
9
-3
1
2
3
4
5
6
7
8
9
J
=
1
1
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
O
=
6
2
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
3
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
-
-
28
-
6
JOSEPH
73
37
28
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
CHRIST
-
-
-
-
-
-
-
-
-
-
-
-
-
C
=
3
7
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
11
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
32
-
5
CHRIST
77
41
32
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
MARY
-
-
-
-
-
-
-
-
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
A
=
1
14
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
R
=
9
15
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
16
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
-
-
21
-
4
MARY
57
21
21
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
JOSEPH CHRIST MARY
-
-
-
-
4
2
3
4
5
6
14
16
27
J
=
1
-
6
JOSEPH
73
28
1
-
-
-
-
-
-
-
1+4
1+6
2+7
C
=
3
-
6
CHRIST
77
41
5
-
4
2
3
4
5
6
5
7
9
M
=
4
-
4
MARY
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
JOSEPH CHRIST MARY
207
99
9
-
4
2
3
4
5
6
5
7
9
-
-
-
-
1+6
-
2+0+7
9+9
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
JOSEPH JESUS MARY
9
18
9
-
4
2
3
4
5
6
5
7
9
-
-
-
1
-
-
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
JOSEPH JESUS MARY
9
9
9
-
4
2
3
4
5
6
5
7
9

 

JOSEPH CHRIST MARY

 

-
-
-
-
-
JOSEPH CHRIST MARY
-
-
-
-3
1
2
3
4
5
6
7
8
9
J
=
1
-
6
JOSEPH
73
37
1
-
-
-
-
-
-
-
-
-
-
C
=
3
-
6
CHRIST
77
41
5
-
-
-
-
-
-
-
-
-
-
M
=
4
-
4
MARY
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
JOSEPH CHRIST MARY
207
99
9
-3
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
J
=
1
1
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
O
=
6
2
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
3
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
C
=
3
7
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
11
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
A
=
1
14
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
R
=
9
15
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
16
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
JOSEPH CHRIST MARY
-
-
-
-
4
2
3
4
5
6
14
16
27
J
=
1
-
6
JOSEPH
73
28
1
-
-
-
-
-
-
-
1+4
1+6
2+7
C
=
3
-
6
CHRIST
77
41
5
-
4
2
3
4
5
6
5
7
9
M
=
4
-
4
MARY
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
JOSEPH CHRIST MARY
207
99
9
-
4
2
3
4
5
6
5
7
9
-
-
-
-
1+6
-
2+0+7
9+9
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
JOSEPH JESUS MARY
9
18
9
-
4
2
3
4
5
6
5
7
9
-
-
-
1
-
-
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
JOSEPH JESUS MARY
9
9
9
-
4
2
3
4
5
6
5
7
9

 

 

-
-
-
-
-
JOSEPH CHRIST MARY
-
-
-
-3
1
2
3
4
5
6
7
8
9
J
=
1
-
6
JOSEPH
73
37
1
-
-
-
-
-
-
-
-
-
-
C
=
3
-
6
CHRIST
77
41
5
-
-
-
-
-
-
-
-
-
-
M
=
4
-
4
MARY
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
JOSEPH CHRIST MARY
207
99
9
-3
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
J
=
1
1
1
J
10
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
3
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
11
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
14
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
12
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
C
=
3
7
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
4
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
2
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
P
=
7
5
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
Y
=
7
16
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
6
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
H
=
8
8
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
10
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
15
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
JOSEPH CHRIST MARY
-
-
-
-
4
2
3
4
5
6
14
16
27
J
=
1
-
6
JOSEPH
73
28
1
-
-
-
-
-
-
-
1+4
1+6
2+7
C
=
3
-
6
CHRIST
77
41
5
-
4
2
3
4
5
6
5
7
9
M
=
4
-
4
MARY
57
21
3
-
-
-
-
-
-
-
-
-
-
-
-
8
-
16
JOSEPH CHRIST MARY
207
99
9
-
4
2
3
4
5
6
5
7
9
-
-
-
-
1+6
-
2+0+7
9+9
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
JOSEPH JESUS MARY
9
18
9
-
4
2
3
4
5
6
5
7
9
-
-
-
1
-
-
-
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
JOSEPH JESUS MARY
9
9
9
-
4
2
3
4
5
6
5
7
9

 

LETTERS TRANSPOSED INTO NUMBERS REARRANGED IN NUMERICAL ORDER

 

 

3
THE
33
15
6
5
GREAT
51
24
6
4
WORK
67
22
4
12
Add to Reduce
151
61
16
1+2
Reduce to Deduce
1+5+1
6+1
1+6
3
Essence of Number
7
7
7

 

 

 

 

 
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