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THE ORIGINAL NUMBERS
Prometheus - Wikipedia, the free encyclopedia In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ... Prometheus From Wikipedia, the free encyclopedia This article is about the Greek mythological figure. For other uses, see Prometheus (disambiguation). In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2] The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules). In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4] In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).
The oldest legends of Prometheus among the Ancients[edit] The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras. Hesiod and the Theogony[edit] The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7] Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7] Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone. Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope. Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14] Homer, the Iliad, and the Homeric Hymns[edit] The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods. Pindar and the Nemean Odes[edit] The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans. Pythagoras and the Pythagorean Doctrine[edit] In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22] The Athenian Tradition of Prometheus: Aeschylus and Plato[edit] The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime. Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit] Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24] Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him. Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC)
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LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
NUMBER 9 THE SEARCH FOR THE SIGMA CODE Cecil Balmond 1998 Page 32 5
THE BALANCING ONE TWO THREE FOUR FIVE NINE EIGHT SEVEN SIX
1 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
V 5 FIVE 5 1 2 3 4 5V5 6 7 8 9 5 AS IN FIVE IS THE FULCRUM IN THE BALANCING OF THE NINE NUMBERS
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The Archanthropos is the Logos, whom the souls follow... "The Archanthropos is the Logos, whom the souls follow twittering, as the bats follow Hermes in the nekyia. He leads them to Oceanus and—in the immortal ...
Carl Jung on “Evil,” “Power,” and Lucifer as the Anthropos ... 10 Dec 2019 — C.G. Jung Letters, Vol. 1: 1906-1950 To Max Pulver Dear Dr. Pulver, 2 November 1944 Many thanks for kindly sending me your interesting and ...
Carl Jung the Anthropos, the Pleroma, the Monad, and the ... 5 Feb 2020 — Psychology and Alchemy (Collected Works of C.G. Jung Vol.12) [Carl Jung the Anthropos, the Pleroma, the Monad, and the spark of light ...
Quote by C.G. Jung: “Jung identifies the “Anthropos” (“Primal ... C.G. Jung — 'Jung identifies the “Anthropos” (“Primal Man” or “Original Man”), “Christ,” and the “Son” with God. The Anthropos begins as part of the unco... “Jung identifies the “Anthropos” (“Primal Man” or “Original Man”), “Christ,” and the “Son” with God. The Anthropos begins as part of the unconscious godhead, emerges as an independent ego, eventually forgets his unconscious origin, must be reminded of it by the godhead, and then returns to it to form a unified” - C.G. Jung, The Gnostic Jung: Including <Seven Sermons to the Dead> Read more quotes from C.G. Jung
Anthropos, literally translated "humanity," was a term used by the Gnostic teacher Valentinus in his teachings to describe the archetypical or spiritual ... www.themystica.com/mystica/articles/a/anthropos.html Anthropos Anthropos, literally translated "humanity," was a term used by the Gnostic teacher Valentinus in his teachings to describe the archetypical or spiritual essence of humanity, which was opposite of the collective meaning of the term humanity. Valentinus stated the church consists of the portion of humanity that recognizes and celebrates its divine origin. This could refer to the followers of Valentinus who "considered (themselves) more skillful" than the rest and agreed with the teacher Colorbasus, who said when God revealed himself, He revealed himself in the form of Anthopos. Still others maintained that
This is the reason that those Gnostics believing in the concept of Anthropos explained, the Savior called himself "Son of Man" (that is, Son of Anthropos). A.G.H. Source(s): Pagels, Elaine, The Gnostic Gospels, New York: Vintage Books, 1979, pp. 122-123
del greco anthopos, homine, e morphè, forma. Anthropomorphismo, etiam nominate personification, es le attribution de characteristicas e qualitates human a ... ia.wikipedia.org/wiki/Anthropomorphismo Etymologia . of the Greek anthopos, homine, and morphè, shape.
THE GNOSTIC JUNG Including "Seven Sermons to the dead" Selected and introduced by Robert A. Segal 1992 MAIN PSYCHOLOGICAL INTERPRETATION Page 61 " This magnetic process revolutionizes the ego-oriented psyche by setting up, in contradistinction to the ego, another goal or centre which is characterized by all manner of names and symbols: fish, serpent, centre of the sea-hawk,14 point, monad, cross, paradise, and so on. The myth of the ignorant demiurge who imagined he was the highest divinity illustrates the perplexity of the ego when it can no longer hide from itself the knowledge that it has been dethroned by a supraordinate authority. The "thousand names" of the lapis philosophorum correspond to the innumerable Gnostic designations for the Anthropos, which make it quite obvious what is meant: the greater, more comprehensive Man, that indescribable whole consisting of the sum of conscious and unconscious processes. This objective whole, the antithesis of the subjective egopsyche, is what I have called the self, and this corresponds exactly to the idea of the Anthropos."
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THE TEN COMMANDMENTS The Ten Commandments (Decalog, Decalogue) ... This section deals with the Ten Commandments (a.k.a. Decalogue) which appears in three places in the Hebrew ... www.religioustolerance.org/chrOverview:According to Wikipedia:
The Book of the Dead was written circa 1800 BCE. 2 The Schofield Reference Bible estimates that the Hebrew Exodus from Egypt and the provision of the Ten Commandments on Mount Sinai occurred in 1491 BCE., some three centuries later. Thus, many religious liberals, historians, and secularists have concluded that the Hebrew Scripture's Ten Commandments were based on this earlier document, rather than vice-versa. About the Egyptian "Book of the Dead:" The ancient Egyptian religion taught that person had to undergo trials after death as they proceeded towards the underworld. One major test was that the weight of their heart was compared to that of a feather. Egyptians believed that If the person had committed sin during his or her lifetime, then their heart would become heavier. The heart does naturally gain weight with age. The Egyptians might have noticed this and assumed that the weight gain was caused by the commission of sins. Unfortunately, there appears to be no chance that the deceased person can pass that test. Adult hearts weigh over a pound: an male heart weighs 280 to 340 grams. Female hearts weigh from 230 to 280 grams. 3 A feather weighs a small fraction of a pound. "The god Thoth would record the results and the monster Ammit would wait nearby to eat the heart should it prove unworthy." 4 Presumably, failing this test and having one's heart eaten would not be an encouraging sign. A second second trial was that the deceased would have to recite a negative confession "when [she or] he descends to the hall of the Two Truths." In the statement, he or she swore that they had not engaged in specific behaviors while alive. According to Egyptologist Ahmed Osman, one translation of the statement reads:
Comparison of ancient Egyptian and Hebrew texts: A comparison of the Book of the Dead text with the version of the Ten Commandments found in Exodus 20:2-17 is striking. Both consist of a series of negative statements. Comparing another translation of the Book with the King James Version of Exodus: Book of the Dead: "I have done away sin for thee and not acted fraudulently or deceitfully. I have not belittled God. I have not inflicted pain or caused another to weep. I have not murdered or given such an order. I have not used false balances or scales. I have not purloined (held back) the offerings to the gods. I have not stolen. I have not uttered lies or curses." Exodus 20:7-16: "Thou shalt not take the name of the Lord thy God in vain....Thou shalt not kill. Thou shalt not commit adultery...Thou shalt not bear false witness against they neighbor..." 6,7 One major difference between the two documents is that statues of the Gods and Goddesses formed a major part of the ancient Egyptian religion. The religion of the ancient Hebrews forbade any image or statue of Yahweh. Another difference was the Decalogue's emphasis on the Sabbath -- one day of rest each week. It is not found in the Book of the Dead or in ancient Egyptian culture.
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ADVENT 2174 ADVENT
JOSEPH AND HIS BROTHERS Thomas Mann 1875-1955 Page 935 "Come nearer, my friend," he said, as the bee studded curtain closed behind them, "pray come close to me, dear Khabiru from the Retenu, fear not, nor startle in your step, come quite close to me! This is the mother of god, Tiy, who lives a million years. And I am Pharaoh. But think no more of that, lest it make you fearful. Pharaoh is God and Man, but sets as much store by the second as the first, yes he rejoices, sometimes his rejoicing amounts to defiance and scorn that he is a man like all men, seen from one side; he rejoices to snap his fingers at those sour faces who would have him bear himself uniformly as God
SIMULATIONS OF GOD THE SCIENCE OF BELIEF John Lilly 1975 Page xi bottom line (30th) "I am only an extraterrestrial who has come to the / Page xii / planet Earth to inhabit a human body, Everytime I leave this body and go back to my own civilization, I am expanded beyond all human imaginings, When I must return I am squeezed down into the limited vehicle."
HOW GREAT THOU ART MY GOD HOW GREAT THOU ART
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