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THE NUCLEAR FAMILY 1969
THIS IS THE SEEN OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
THIS IS THE SEEN OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
Page 250 THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THE LIGHT IS RISING NOW RISING IS THE LIGHT
ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321 ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA
LIGHT AND LIFE Lars Olof Bjorn 1976 Page 197 "By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium." "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE" DNA AND DNA DNA AND DNA DNA AND DNA
DNA AND DNA DNA AND DNA DNA AND DNA
"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"
SO OSIRIS THAT SON SO SET'S THAT SON SO RISES THAT SUN SO SETS THAT SUN!.THE NUCLEAR FAMILY 1969
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. 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
THE HUMAN 1977
AFRICAN NIGHTMARE SPECTRE OF FAMINE 1975
THE JOURNEYMAN 1977
THE JOURNEYWOMAN 1978
THE LIGHT IS RISING NOW RISING IS THE LIGHT
THE FAR YONDER SCRIBE AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE THE ZED ALIZ ZED IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 250 "Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."
Page 250 "THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH HE WERE WRITING A BOOK BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS" .... THE LIGHT IS RISING NOW RISING IS THE LIGHT
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 666 999
ALWAYS BALANCING IS THAT FIVE THAT FIVE IS BALANCING ALWAYS
CIRCLE 50 CIRCLE CIRCLE 32 CIRCLE CIRCLE 5 CIRCLE
NUMBER = 534259 = 1 = 534259NUMBER NUMBER = 234559 NUMBER NUMBER = 534259 = 1 = 534259NUMBER
NUMBERS = 5342591 = 1 = 5342591NUMBERS NUMBERS = 1234559 = NUMBER NUMBERS = 5342591 = 1 = 5342591NUMBERS
Vedic Astrology and Numerology, ROHIT KR RAO www.rohitkrrao.com/numerology.html The history of numbers is as old as the recorded history of man. Numerology was in use in ancient Greece, Rome, Egypt, China and India and is to be found in ... What are the Numbers? The most familiar form of numbers are natural numbers 0, 1, 2, 3, 4 5, 6, 7, 8, 9. The numbers 1 to 9 can be called as unit numbers and the numbers from 10 onwards (up to 99) can be called as double-digit numbers which denotes the fusion of two numbers however these can still be reduced to unit numbers, eg; 24 (2+4=6) is reduced to 6. Then, there are Master Numbers such as 11, 22, 33, 44 and so on which are never reduced to a unit number as they carry their own intensified vibration and potency. Every number expresses its qualities in the form of strengths and challenges. Therefore, no number is good or bad, lucky or unlucky and auspicious or inauspicious as each and every number is equally necessary and important, and each gives strength to the next one and takes what it needs from the one before. Numbers have two aspects viz; exoteric or external and esoteric or inner. In a nut shell, every number possesses its own unique quality and power. Our ancient seers believed that numbers symbolize divinity and however our mathematicians believed that study of numbers can possibly reveal the principles of creation and laws of time & space. Numbers can be seen as fundamental in art, poetry, architecture, music, and so on. “The World is built upon the power of Numbers” ...Pythagoras – 6th century BC. What is Numerology? top The word Numerology comes from the Latin word "Numerus," which means number, and the Greek word "Logos," which means word, thought, and expression. Numerology, based upon the sacred science of numbers, is an advanced offshoot of the melodious rhythm of the mathematical precision that controls all creation. It influences every aspect of our life unconsciously or consciously whether we are aware of this or not. Numerology is the science and philosophy of numbers (1 to 9) where each numbers has its own strength, potential and challenge. The whole idea behind this is to know the hidden expression contained in these numbers so as to understand their relationship and progression in our numerology chart. This can help us in knowing the difficulties we may have experienced in the past or under present circumstances and then working towards doing some inner work in our life for bringing harmony, peace and joy. What is the origin and history of Numerology? The history of numbers is as old as the recorded history of man. Numerology was in use in ancient Greece, Rome, Egypt, China and India and is to be found in the ancient books of wisdom, such as the Hebrew Kabala. Most commonly used system for Numerology were developed by the Chaldeans, the Hindus, the Mayans, the Hebrews (Kabala), the Chinese (Book of Changes), and the work of Pythagoras, to name a few. The basic intent behind these systems originally was to understand the relationship between man and his god. Pythagoras, the old master philosopher and mathematician, who lived in the sixth century BC, propounded the theory that nothing in the universe could exist without numbers. He established a Mystery School in Italy when he was 52 years old. He was born in Greece and lived between 582 and 507 BC, much of his life spent in study and travel. His Mystery School taught esoteric knowledge, which included the secret of number and vibration. The knowledge was passed down by word of mouth and a few manuscripts. The academic teaching rested on a foundation of Mathematics, Music and Astronomy. Much of Pythagoras' background in Egyptian philosophy and religion was based upon Number and Kabalistic principle. He postulated that the triangle was particularly important, as it was the first complete shape, and constituted a blueprint. Thus form is preceded by a blueprint, and each stage of this process is measured through numbers, hence nothing exists without numbers.
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE
14 x 5 x 14 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 14 x 5 x 14
ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE Z5RO O55 T5O THR55 FOUR FIV5 SIX S5V55 5IGHT 5I55
Z5RO O55 T5O THR55 FOUR FIV5 SIX S5V55 5IGHT 5I55 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 14 x 5 x 14
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 7 = 35 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 7 = 35 "The most common letter in the English alphabet is E." 5 x 7 = 35 LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
Freiheit - Keeping The Dream Alive lyrics. From the Original Motion Picture ... In my fantasy I remember their faces The hopes we had were much too high ...
Mmm mmm mmm mmm mmm mmm mmm mmm mmm. Freiheit - Keeping The Dream Alive - YouTube
Sentient beings (Buddhism) - Wikipedia In Buddhism, sentient beings are beings with consciousness, sentience, or in some contexts life itself. ... Sentient beings are composed of the five aggregates, In Buddhism, sentient beings are beings with consciousness, sentience, or in some contexts life itself.[1] Sentient beings are composed of the five aggregates, or skandhas: matter, sensation, perception, mental formations and consciousness. In the Samyutta Nikaya, the Buddha is recorded as saying that "just as the word 'chariot' exists on the basis of the aggregation of parts, even so the concept of 'being' exists when the five aggregates are available."[2] While distinctions in usage and potential subdivisions or classes of sentient beings vary from one school, teacher, or thinker to another, it principally refers to beings in contrast with buddhahood. That is, sentient beings are characteristically not enlightened, and are thus confined to the death, rebirth, and dukkha (suffering) characteristic of sa?sara.[3] However, Mahayana Buddhism simultaneously teaches that sentient beings also contain Buddha-nature—the intrinsic potential to transcend the conditions of sa?sara and attain enlightenment, thereby obtaining Buddhahood.[4] Those who greatly enlighten illusion are Buddhas; those who are greatly deluded about enlightenment are sentient beings. — —Dogen[3] In Mahayana Buddhism, it is to sentient beings that the Bodhisattva vow of compassion is pledged. Particularly in Tibetan Buddhism and Japanese Buddhism, all beings (including plant life and even inanimate objects or entities considered "spiritual" or "metaphysical" by conventional Western Sentient beings is a term used to designate the totality of living, conscious beings that constitute the object and audience of Buddhist teaching. Translating various Sanskrit terms (jantu, bahu jana, jagat, sattva), sentient beings conventionally refers to the mass of living things subject to illusion, suffering, and rebirth (Sa?sara). Less frequently, sentient beings as a class broadly encompasses all beings possessing consciousness, including Buddhas and Bodhisattvas.[1] Classification?[edit] Early scriptures in the Pali Canon and the conventions of the Tibetan Bhavacakra classify sentient beings into five categories—divinities, humans, animals, tormented spirits, and denizens of hell—although sometimes the classification adds another category of beings called asuras between divinities and humans.[1]
What Is a Sentient Being? Definition and Examples of Sentient Beings sentientmedia.org › sentient-being Who Is a Sentient Being? There are a number of different definitions for sentience, and thus sentient beings. Most of the disagreements surrounding who qualifies are about different animals and where they fall on the scale of sentience. In Buddhism, a sentient being includes every conscious creature. There are several classes of sentient beings. Amongst these are a class for humans and one for animals. The class of animals includes all species whether mammal, bird, fish, or insect. The classes are ranked, however, with people ranking above animals. Plants are the only living thing excluded from consideration as a sentient being, because Buddhists do not see them as conscious.
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 6 = 30 "The most common letter in the English alphabet is E."
AFRICAN NIGHTMARE SPECTRE OF FAMINE 1975
LETTERS RE ARRANGED NUMERICALLY
PROBLEMS - PROBLEMS
LETTERS RE ARRANGED NUMERICALLY
LETTERS RE ARRANGED NUMERICALLY
SOLVE PROBLEMS SOLVE
LETTERS RE ARRANGED NUMERICALLY
EVOLVE LOVE EVOLVE LOVE EVOLVE LOVE EVOLVE REVOLVE EVOLVE REVOLVE EVOLVE REVOLVE SOLVE LOVES SOLVE 
THE BULL OF MINOS Leonard Cottrell 1953 Chapter VII Page 90 THE QUEST CONTINUES "OUT IN THE DARK BLUE SEA THERE LIES A LAND CALLED CRETE, A RICH AND LOVELY LAND, WASHED BY THE WAVES ON EVERY SIDE, DENSELY PEOPLED AND BOASTING NINETY CITIES. . . ONE OF THE NINETY TOWNS IS A GREAT CITY CALLED KNOSSOS, AND THERE FOR NINE YEARS, KING MINOS RULED AND ENJOYED THE FRIENDSHIP OF ALMIGHTY ZEUS SUN 9 9 SUN EARTH 7 7 EARTH MOON 3 3 MOON JUPITER 99 99 JUPITER
UNIVERSAL SOLDIER 1973
99 = TWILIGHT = 99 TWILIGHT TWO IN ON E LIGHT TWILIGHT 99 = TWILIGHT = 99 LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK 99 = TWILIGHT = 99 TWILIGHT TWO IN ON E LIGHT TWILIGHT 99 = TWILIGHT = 99
FRATERNAL GREETINGS CITIZEN OF PLANET EARTH. THANK YOU FOR HEARING THE PIPER AT THE GATES OF DAWN AND SENDING FORTH YOUR WORDS OF POWER. THE SIGHT OF THIS SITE IS NOT MY SITE. IT IS OUR SITE. THE ALL AND EVERYTHING OF PLANET EARTH, AN EVOCATION OF ETERNAL UNIVERSAL MIND! AND THOU ART A BRIGHT AND PERCEPTIVE STAR OF WONDER, STAR OF LIGHT, STAR OF ROYAL BEAUTY BRIGHT! SEEK AND YE SHALL FIND! RELIGION RE LIGHT ON. RELIGIONS 108-63-9 RELIGIONS THE CYCLE OF THE CIRCLE? ROUND AND ROUND THE MULBERRY BUSH..
https://www.reddit.com/r/Amazein973ehtnamuh973 https://www.reddit.com/domain/973-eht-namuh-973.com RE THE ABOVE LINKS, SOME GNOSIS INSPIRED SEEKER OF TRUTH. HAS WITH BLESSED GOODWILL MAGICKED UP THESE REDDIT LINKS FROM OUT THE IN OF THE GREAT MOTHERS MOUTH. THE CREATOR CONSCIOUSNESS HAS SENT THIS TO YOU. SOUL SO U LIVE SO U LEARN SO U LOVE.
KNOW THE WORD LOVE LOVE 3645 LOVE KNOW THE WORD LOVE LOVE 9 9 LOVE LOVE EVOLVE LOVE 9 9 9 9 9 9 9 LOVE EVOLVE LOVE GOD KNOWS THIS! GNOSIS, MOVES IN MYSTERIOUS AND MAGICAL WAYS IT'S WONDERS TO PERFORM. REAL REALITY REVEALED R IN EVOLUTION = REVOLUTION .RAINBOW = RA IN BOW BIRTHED FROM OUT THE IN OF THE UNIVERSAL GOD MIND. AZ IN THE ALL OF EVERYTHING THAT IS EVER IS. CREATION REACTION. SO MUCH TO DO. DEVELOPING THE SITE!. AND ONLY THE OLD SEE INNER SINNER SEER MAN TO CHURN HAMLETS MILL. WILL YOU PLEASE HELP ME,YOURSELF AND OTHERS BY MEANS OF THE SITE ORACLE, SET UP FOR ADDRESSING QUESTIONS TO THE COMMUNAL MIND. AND ONE OF THE MEANS WHEREBY WE CAN FURTHER HELP IN BALANCING THE SEE SAW SEE OF THE GREAT WORK.'. https://expulsia.com/973/coloured site/start/evokation/the_evokation.htm THIS UNFOLDING OF THE R IN EVOLUTION REVOLUTION IS THE SAVING GRACE OF HUMANKIND. EMANATING OUT THE IN OF UNIVERSAL MIND. WISE WISDOM LOST AT SEA DROWNED IN A SEE OF KNOWLEDGE . OSIRIS SO IR IS SO 99 IS OSIRIS ISIS 9191 ISIS SIRIUS 199931 SIIUS SIRIUS SIRIUS = 95 = SIRIUS IRIS = 9991 IRIS
NO LONGER SHALL MY NAME BE BAAL BAAL 2113 BAAL THOU SHALT CALL ME ISHI ISHI 9189 ISHI ISHI = 999 = ISHI
IRISH = I RISH = IRISH I RISH = 9 999 I RISH
SAPTARSHI = A STARSHIP - A PAST RISH = SAPTARSHI "Seven Rishis (the Saptarsh) are often mentioned in the Brahmanas" "In Vedic astronomy, the Saptarsh form the constellation of Ursa Major" "Saptarsh may stand for the seven senses or the seven vital airs of the body"
SAPTARSHI A STARSHIP SAPTARSHI SAPTARSHI A PAST RISH SAPTARSHI
SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI
SAPTARSHI A STARSHIP SAPTARSHI SAPTARSHI A PAST RISHI SAPTARSHI
SAPTARSHI A STAR SHIP A STAR SHIP SAPTARSHI
SAPTARISHI Saptarishi Matsya (fish) rescues the Saptarishi and Manu from the great Deluge The Saptarishi (seven great yogis) (from Sanskrit:(saptarshi), a Sanskrit dvigu meaning "seven sages") are the seven rishis in ancient India, who are extolled at many places in the Vedas and Jivan literature. The Vedic Samhitas never enumerate these rishis by name, though later Vedic texts such as the Brahmanas and Upanisads do so. They are regarded in the Vedas as the patriarchs of the Vedic religion.
THE R IN EVOLUTION! REVOLUTION, THE REVELATION OF REAL REALITY REVEALED. REAL REALITY REVEALED 9 9 9 9 9 9 9 9 9 9 REAL REALITY REVEALED THIS IS THE PRE-DOMINANT PATTERN OF THOSE PARTICULAR LETTERS AND NUMBERS. ARRIVED AT BY NUMERICAL TRANSPOSITION OF THE LETTERS OF THE ENGLISH LANGUAGE ALPHABET. AZIN A = 1 RIGHT THROUGH TO Z = 26. ADD TO REDUCE REDUCE TO DEDUCE ESSENCE OF NUMBER. MIND + MATTER = 9. I THAT AM THAT TIME EMIT. FROM A TIME WITHOUT TIME, TIME IS THE PROBLEM. I HAVE ASSEMBLED MOST OF THIS LETTER FROM WORK ALREADY SORTED. HEARKEN TO THIS! O SEEKER OF TRUTH. THE IMAGES WERE PAINTED BY THAT THAT THAT I AM. BETWEEN 1963 AND THE LATE EIGHTIES! THEY WERE BIRTHED INTO BEING FOR THE INTERNET BEFORE THERE WAS AN INTERNET. REALISE THAT AND YOU R ON YOUR WAY. FROM THE GOD OF ALL AND EVERYTHING THE TIME THAT IS COMING NOW IS! IF YOU BELIEVE IN THE SIGHT OF THE SITE. SPREAD THE WORD OF THE GREAT AWAKENING. THE PATH OF PTAH. YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO!
I AM THAT I AM. THAT I AM THAT I AM IN THE EVER OF FOREVER NEVER STOPS.
RE THE SITE RE THE SUN GOD. RE ONE TWO THREE FOUR = 208 2+0+8 = 10 1+0 = 1 FIVE (FULCRUM POINT OF BALANCE) 1 2 3 4... 5...6 7 8 9 SIX SEVEN EIGHT NINE = 208 2+0+8 = 10 1+0 = 1 FIVE = 6 ZERO = 1 OUT OF ZERO COMETH ONE! ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE = 9 01234 5 6789 = 9 CIRCLE = 50 = CIRCLE CIRCLE = 5 = CIRCLE
WISE WISE WISDOM
ESOTERIC O SECRET I ESOTERIC
ESOTERIC 6 SECRET 9 ESOTERIC THE UPSIDE DOWN OF THE DOWNSIDE UP!
NUMBERS SBUMENR NUMBERS NUMBERS 5342591 SBUMENR 1234559 SBUMENR NUMBERS
SOUL SO U LIVE SOUL SO U LEARN SOUL SO U LOVE!
KARMA A MARK IS IS LIFE FILE IS LIVED = DEVIL LIVE = EVIL HEART = EARTH HEART R HEAT R HEART THERA = TERAH WORLD W LORD VENUS VE SUN VE VENUS SPINE = PENIS VAGINA =V AGAIN = VAGINA VIRGIN V ORIGIN CLITORIS C LITTLE ORIFICE CLITORIS SEE LITTLE ORIFICE TWINS = TWO IN = TWINS WEATHER =- W...EARTH... E = WEATHER
BLACK B LACK OF LIGHT BE LACK OF LIGHT
THE SKILL THAT KILLS
COSMIC COMICS KING KIN OF GOD QUEEN QUE ENTER DOES HE LIKE WHAT HE SEES SIGHT SEE LIGHT EAT TEA ATE
BUDDHA BUD HAD BUDDHA
HASHISH = 9 H+A = 9 S+H = 9 I = 9 S+H = 9 HASHISH = 9
MENOPAUSE PAUSE O MEN I WANT YOU NOT SILVER HAIR AMONGST THE GOLD MESTRUATE MENS TRUE HATE LOVER HOLD YOUR FIRE
LUCIFER L U C FIRE LUCIFER L U C FIRE
PERSEPHONE PERSEUS IS ON THE PHONE FOR YOU? ATLANTIC ATLANTIS ATLANTIC FOR YOU I THANK THE ANKH THE ANKH FOR YOU I THANK
KEEP TREADING THE PATH OF PTAH!
PATH = 9 PTAH = 9 ABRAHAM A BRAHMAN IS ONE = 7 SEVEN = 2 TWO = 4 FOUR = 6 SIX = 7 BACK TO SQUARE ONE!
OUT OF ZERO COMETH ONE ZERO = 64 6+4 = 10 1+0 = 1 OUT OF ZERO COMETH ONE
RA RA IN = RAIN B IN BRAIN I = 9 = I ME= 9 = ME EGO = 9 = EGO CENTRIC = 9 = CENTRIB
THE GREAT WORK ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE
ABCDEFGHIJKLMNOPQRSTUVWXYZ = 351-126-9 ABCDEFGHIJKLMNOPQRSTUVWXYZ
GNOSIS GOD KNOWS THIS GODS SON IS GNOSIS
OSIRIS ISIS SIRIUS IRIS OS999S 9S9S S99931 9991 OSIRIS ISIS SIRIUS IRIS
PROMETHEUS 7964528531 PROMETHEUS NUMBERS REARRANGED IN NUMERICAL ORDER 1234 55 6789 PROMETHEUS 7964528531 PROMETHEUS
THE GROWTH OF SCIENCE A.P.Rossiter 1939 Page 15 "The Egyptians,…" "…made good observations on the stars and were able to say when the sun or moon would become dark in an eclipse (a most surprising event even in our times), and when the land would be covered by the waters of the Nile: they were expert at building and made some discoveries about the relations of lines and angles - among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots." "...among them one very old rule for getting a right-angle by stretching out knotted cords with 5, 4 And 3 units between the knots."
CIVILIZATION, SCIENCE AND RELIGION A. D. RITCHIE 1945 THE ART OF THINKING Page 39 "The Egyptians could set out a right-angle on the ground, for building or for land surveying, by means of a cord knotted at intervals of 3, 4 and 5 units of length."
PYTHAGORAS 7728176911 PYTHAGORAS NUMBERS REARRANGED IN NUMERICAL ORDER 1112 - 6789 PYTHAGORAS 7728176911 PYTHAGORAS
PYTHAGORAS THE MISSING NUMBERS IN THE NAME PYTHAGORAS 345 PYTHAGORAS THE MISSING NUMBERS PYTHAGORAS
3 4 5 PYTHAGORAS THE MISSING NUMBERS IN THE WORD PYTHAGORAS 3 4 5
A BRIEF HISTORY OF INFINITY "The Quest to Think the Unthinkable Brian Clegg 2003 Page 66 "When dealing with such ratios, they would know that there was a clear relationship in terms of a full unit - so, for instance, in the famous right angled triangle of Pythagoras' theorem, they would think of of the longest side being 5 units long when the other side were 3 and 4..."
Pythagorean Triangles and Triples Jump to The 3-4-5 Triangle: 3 4 5 on graph paper But all Pythagorean triangles are even easier to draw on squared paper because all their sides are ...
www.mcs.surrey.ac.uk/Personal/R.Knott/Pythag/pythag.html - Cached - Similar
-3:4:5 triangle definition - Math Open Reference - Sep 23
-The Pythagorean Theorem and the Maya Long Count Various ancient cultures based some of their artwork on the 3-4-5 right triangle, frequently referred to by geometrists as a perfect triangle. Pythagoras is ...
www.earthmatrix.com/pythagoras.html - Cached - Similar
-Our Ancient Friend and Brother, the Great Pythagoras The evidence that the particular triangle alluded to in the Monitor is the 3,4,5 right triangle can be derived from the odd comments about Pythagoras' ...
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-The 3-4-5 Rule is the Pythagorean Theorem: Set Control Lines for ... The Pythagorean theorem is the basis for the 3-4-5 rule. This simple math equation is a carpenter's tool used to find or verify the squareness of a room or ... 3 4 5 PYTHAGORAS THE MISSING NUMBERS IN THE WORD PYTHAGORAS 3 4 5
A SERPENT I PRESENT
EGYPT 57772 EGYPT 5+2 = 7 - 7 = 5+2 EGYPT 57772 EGYPT
HAVE YOU ANYTHING TO DECLARE ? KNOW I’M TRAVELLING LIGHT
I’M DENISON = DIMENSION I’M DENISON FROM THE I’M DENISON DIMENSION.
LOVE EVOLVE LOVE 9 9 9 9 9 9 9 LOVE EVOLVE LOVE
LOVE LIGHT LIFE GREETINGS O NAMUH THE ROOM IN WHICH I WORK THE STARSHIP ITSELF, IS A WOMB WITH A VIEW! IT RESONATES A BEAUTIFUL CREATIVE HARMONIC AND IS THE HAPPY MEANS WHEREBY IS GENERATED THE CREATIVE WHEREWITHAL UNFOLDING THE R IN EVOLUTION ,REVOLUTION. http://www.973-eht-namuh-973.com/coloured%20site/start/evokation/the_evocation_first.htm#start http://www.973-eht-namuh-973.com/Alchemy/ADVENT%20950.html https://expulsia.com/973/Alchemy/ADVENT%20703.htm https://expulsia.com/973/Alchemy/THE%20ENNEA%20.htm https://expulsia.com/973/coloured site/start/evokation/the_evokation.htm THE FORUM AWAITS THY WISDOM. REMEMBER THIS IS NOT HIS SITE THIS IS THE SITE OF THAT THAT THAT U AND ALL ELSE R. UNIVERSAL MIND MATTER MIND THE CIRCLE O SYMBOL OF PERFECTION CIRCLE = 50! THE WORD GOD READ AS FOLLOWS. GO DO GOOD! BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND
PYTHAGORAS 7728176911 PYTHAGORAS NUMBERS REARRANGED IN NUMERICAL ORDER 1112 - 6789 PYTHAGORAS 7728176911 PYTHAGORAS
PYTHAGORAS THE MISSING NUMBERS IN THE NAME PYTHAGORAS 3 4 5 PYTHAGORAS THE MISSING NUMBERS PYTHAGORAS
Pythagoras theorem states that “In a right-angled triangle, the square of the hypotenuse side is equal to the sum of squares of the other two sides“. One of the most famous triangles is the 345 triangle. It is also known as Egyptian Triangle. Mystically, the upright side, the perpendicular, is likened to the male; the base to the female and the hypotenuse to the child of both.The 345 Triangle – Symbolism of Mathematics https://robertedwardgrant.com/the-3-4-5-pythagorean-triangle-is... The numbers 3, 4, and 5 are called Pythagorean triples since… From
CIVILIZATION, SCIENCE AND RELIGION A. D. RITCHIE 1945 THE ART OF THINKING Page 39 "The Egyptians could set out a right-angle on the ground, for building or for land surveying, by means of a cord knotted at intervals of 3, 4 and 5 units of length."
THE BALANCING I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1 I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
THE BALANCING I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1 I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S
PROMETHEUS MET ORPHEUS MET PROMETHEUS
ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS
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) Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus). The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26] Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29] According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30] In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31] Plato and the Philosophical Interpretation of Prometheus[edit] Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36] The Athenian tradition of religious dedication and observance[edit] It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38] Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36] The Aesthetic tradition of Prometheus in Athenian art[edit] Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC. The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46] Other authors[edit] Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD) Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877) Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay. Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36] Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36] Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50] Religious symbolism in late Roman antiquity[edit] The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis. As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus. The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55] In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57] In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58] Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58] It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58] Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62] The allegorical tradition of the Middle Ages[edit] Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists. Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas. Prometheus in the Renaissance[edit] After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae. The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period. Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans. The Post-Renaissance tradition[edit] Mythological narrative of Prometheus by Piero di Cosimo (1515) The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West. The literary Post-Renaissance tradition[edit] For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge. Goethe and the Prometheus-Ganymede poems[edit] "Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement. The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition. "Prometheus" The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities. In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives. Percy Bysshe Shelley and Prometheus Unbound[edit] Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available. The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71] Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73] To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75] Mary Shelley and Frankenstein: The Modern Prometheus[edit] The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others. Prometheus in the Twentieth Century[edit] Prometheus (1909) by Otto Greiner According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed. This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस). In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78] The artificial element Promethium was named with the myth in mind. The aesthetic Post-Renaissance tradition[edit] Classical music, opera, and ballet[edit] Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84] An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89] In film[edit] The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed. Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]
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LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK
THE BALANCING I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1 I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1 I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1
PROMETHEUS MET ORPHEUS MET PROMETHEUS
ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS
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ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS THE SIRIUS MYSTERY Robert K.G.Temple 1976 Page 74 "Mead quotes an Egyptian magic papyrus, this being an uncontested Egyptian document which he compares to a passage in the Trismegistic literature: 'I invoke thee, Lady Isis, with whom the Good Daimon doth unite, He who is Lord in the perfect black. '37 Page 77 "Bearing these books in mind (and I am sure they are there waiting underground like a time bomb for us), it is interesting to read this passage in 'The Virgin of the World' following shortly upon that previously quoted: Page 82 "We must note Stecchini's remarks about Delphi as follows :38
EUS USE USE EUS ODYSSEUS PERSEUS ZEUS THESEUS ORPHEUS PROMETHEUS EUS USE USE EUS 5+3+1 3+5+1 3+5+1 5+3+1
PERSEUS PURSUES
ANU 153 ANU
THE HERMETICA THE LOST WISDOM OF THE PHARAOHS Timothy Freke & Peter Gandy To the Memory of Giordano Bruno 1548 - 1600 Mundus Nihil Pulcherrimum The World is a Beautiful Nothing Page 23 "Although we have used the familiar term 'God' in the explanatory notes which accompany each chapter, we have avoided this term in the text itself. Instead we have used 'Atum - one of the ancient Egyptian names for the Supreme One God."
Page 45 The Being of Atum "Atum is Primal Mind." Page 45 The Being of Atum Give me your whole awareness, and concentrate your thoughts, for Knowledge of Atum's Being requires deep insight, which comes only as a gift of grace. It is like a plunging torrent of water whose swiftness outstrips any man who strives to follow it, leaving behind not only the hearer, but even the teacher himself. To conceive of Atum is difficult. To define him is impossible. The imperfect and impermanent cannot easily apprehend the eternally perfected. Atum is whole and conconstant. In himself he is motionless, yet he is self-moving. He is immaculate, incorruptible and ever-lasting. He is the Supreme Absolute Reality. He is filled with ideas which are imperceptible to the senses, and with all-embracing Knowledge. Atum is Primal Mind. Page 46 He is too great to be called by the name 'Atum'. He is hidden, yet obvious everywhere. His Being is known through thought alone, yet we see his form before our eyes. He is bodiless, yet embodied in everything. There is nothing which he is not. He has no name, because all names are his name. He is the unity in all things, so we must know him by all names and call everything 'Atum'. He is the root and source of all. Everything has a source, except this source itself, which springs from nothing. Atum is complete like the number one, which remains itself whether multiplied or divided, and yet generates all numbers. Atum is the Whole which contains everything. He is One, not two. He is All, not many. The All is not many separate things, but the Oneness that subsumes the parts. The All and the One are identical. You think that things are many when you view them as separate, but when you see they all hang on the One, /Page 47/ and flow from the One, you will realise they are unitedlinked together, and connected by a chain of Being from the highest to the lowest, all subject to the will of Atum. The Cosmos is one as the sun is one, the moon is one and the Earth is one. Do you think there are many Gods? That's absurd - God is one. Atum alone is the Creator of all that is immortal, and all that is mutable. If that seems incredible, just consider yourself. You see, speak, hear, touch, taste, walk, think and breathe. It is not a different you who does these various things, but one being who does them all. To understand how Atum makes all things, consider a farmer sowing seeds;
here wheat - there barley, Just as the same man plants all these seeds, so Atum sows immortality in heaven and change on Earth. Throughout the Cosmos he disseminates Life and movementthe two great elements that comprise Atum and his creation, and so everything that is. Page 48 Atum is called 'Father' because he begets all things, and, from his example, the wise hold begetting children the most sacred pursuit of human life. Atum works with Nature, within the laws of Necessity, causing extinction and renewal, constantly creating creation to display his wisdom. Yet, the things that the eye can see are mere phantoms and illusions. Only those things invisible to the eye are real. Above all are the ideas of Beauty and Goodness. Just as the eye cannot see the Being of Atum, so it cannot see these great ideas. They are attributes of Atum alone, and are inseparable from him. They are so perfectly without blemish that Atum himself is in love with them. There is nothing which Atum lacks, so nothing that he desires. There is nothing that Atum can lose, so nothing can cause him grief. Atum is everything. Atum makes everything, and everything is a part of Atum. Atum, therefore, makes himself. This is Atum's glory - he is all-creative, and this creating is his very Being. It is impossible for him ever to stop creatingfor Atum can never cease to be. Page 49 Atum is everywhere. Mind cannot be enclosed, because everything exists within Mind. Nothing is so quick and powerful. Just look at your own experience. Imagine yourself in any foreign land, and quick as your intention you will be there! Think of the ocean - and there you are. You have not moved as things move, but you have travelled, nevertheless. Fly up into the heavens - you won't need wings! Nothing can obstruct you - not the burning heat of the sun, or the swirling planets. Pass on to the limits of creation. Do you want to break out beyond the boundaries of the Cosmos? For your mind, even that is possible. Can you sense what power you possess? If you can do all this, then what about your Creator? Try and understand that Atum is Mind. This is how he contains the Cosmos. All things are thoughts which the Creator thinks."
ATUM QUANTUM ATOM QUANTUM QUNATUM ATUM
GOOGLE SEARCH AM 25/11/2011. About 4,780,000 results (0.23 seconds)
ATUM
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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
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V 5 FIVE 5 1 2 3 4 5V5 6 7 8 9 5 FIVE IS THE FULCRUM IN THE BALANCING OF THE NINE NUMBERS
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APOLLO 13 THIRTEEN
"Houston, we have a problem " is a popular but erroneous quotation from the radio communications between the Apollo 13 astronaut John ("Jack") Swigert and the NASA Mission Control Center (" Houston ") during the Apollo 13 spaceflight, as the astronauts communicated their discovery of the explosion that crippled their spacecraft. Houston, we have a problem - Wikipedia The words actually spoken, initially by Swigert, were "Okay, Houston, we've had a problem here". After being prompted to repeat the transmission by CAPCOM Jack R. Lousma, this time Lovell responded with "Uh, Houston, we've had a problem."[1] Since then, the phrase "Houston, we have a problem" has become popular,[3] being used to account, informally, the emergence of an unforeseen problem,[4] often with a sense of ironic understatement.
" Houston, we've had a problem here"
en.wikipedia.org › wiki › Close_Encounters_of_the_Third_Kind
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 7 = 35 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 7 = 35 "The most common letter in the English alphabet is E." 5 x 7 = 35
BLESSED BE THE FRUIT OF THAT WOMBS FOETUS
THE DIVINE INVASION Phillip Dick 1981 "The time you have waited for has come. The work is complete: the final world is here. He has been transplanted and is alive." -Mysterious voice in the night Page 85 'What's wrong?' Elias put his arm around the boy and lifted him up to hold him. 'I've never seen you so upset.' 'He listened to that while my mother was dying!' Emmanuel stared into Elias's bearded face. I remember, Emmanuel said to himself. I am beginning to remember who I am. Elias said, 'What is it?' He held the boy tight. It is happening, Emmanuel realized. At last. That was the first of the signal that I - I myself - prepared. Knowing it would eventually fire. The two of them gazed into each other's faces. Neither the boy nor the man spoke. Trembling, Emmanuel clung to the old bearded man; he did not let himself fall. 'Do not fear,' Elias said. 'Elijah,' Emmanuel said. 'You are Elijah who comes first. Before the great and terrible day.' Elias, holding the boy and rocking him gently, said, 'You have nothing to fear on that day.' 'But he does,' Emmanuel said. 'The Adversary whom' we hate. His time has come. I fear for him, knowing as I do, now, what is ahead.' 'Listen,' Elias said quietly. How you have fallen from heaven, bright morning star, felled to the earth, sprawling helpless across the nations! You thought in your own mind, I will scale the heavens; I will set my throne high above the stars of God, I will sit on the mountain where the gods meet in the far recesses of the north. I will rise high above the cloud-banks and make myself like the Most High. Yet you shall be brought down to Sheol, to the depths of the abyss. Those who see you will stare at you, they will look at you and ponder. . . Page 86 'You see?' Elias said. 'He is here. This is his place, this little world. He made it his fortress two thousand years ago, and set up a prison for the people as he did in Egypt. For two thousand years the people have been crying and. there was no response, no aid. He has them all. All thinks he is safe.' Emmanuel, clutching the old man, began to cry. 'Still afraid?' Elias said. Emmanuel said, 'I cry with them. 1 cry with my mother. I cry with the dying dog who did not cry. 1 cry for them. And for Belial who fell, the bright morning star. Fell from heaven and began it all.' And, he thought, I cry for myself. 1 am my mother; I am the dying dog and the suffering people, and I, he thought, am that bright morning star, too. . . even Belial; I am that and what it has become.
ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGH9JKLMNOPQ9STUVWXYZ "The most common letter in the English alphabet is E." ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCD5FGHIJKLM5OPQRSTUV5XYZ
DOES GOD PLAY DICE THE NEW MATHEMATICS OF CHAOS Ian Stewart 1989 Page 1 PROLOGUE CLOCKWORK OR CHAOS? "YOU BELIEVE IN A GOD WHO PLAYS DICE, AND I IN COMPLETE LAW AND ORDER." Albert Einstein, Letter to Max Born
"YOU BELIEVE IN A GOD WHO PLAYS DICE, AND I IN COMPLETE LAW AND ORDER."
LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S 5 x 12 = 60 "YOU B5LI5V5 I5 A GOD 5HO PLAYS DIC5, A5D I I5 COMPL5T5 LA5 A5D ORD5R."
ALBERT EINSTEIN LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S LOOK AT THE 5FIVE5S THE 5FIVE5S THE 5FIVE5S 5 x 5 = 25 ALB5RT 5I5ST5I5
"YOU BELIEVE IN A GOD WHO PLAYS DICE, AND I IN COMPLETE LAW AND ORDER." Albert Einstein, Letter to Max Born
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 "The most common letter in the English alphabet is E." 5 x 5 = 25 LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 5 = 25 "The most common letter in the English alphabet is E." 5 x 5 = 25
ABCDEFGHIJKLMNOPQRSTUVWXYZ
I AM THE OPPOSITE OF THE OPPOSITE I AM THE OPPOSITE OF OPPOSITE IS THE AM I I ALWAYS AM
Names of God in Islam - Wikipedia From Wikipedia, the free encyclopedia In Islam, God is believed to have 99 names in the Qur'an, known as the 99 Names of God (Arabic:asma?u llahi l-?usna, "Allah's Beautiful Names"). In some hadiths of Shia and Sunni, it is said that Mahdi reveals the 100th name.[1] While some names are only in the Quran, and others are only in the hadith, there are some names which appear in both. Different sources give different lists of the 99 names.[2] The following list is based on one list found in the 9th century. Other hadith, such as those of al-Bukhari, Sahih Muslim, Ibn Majah, al-Hakim al-Tirmidhi or Ibn ?Asakir, have variant lists. Al-Tirmidhi comments on his list: "This (version of the) hadith is gharib [unusual, scarce]; it has been narrated from various routes on the authority of Abu Hurairah, but we do not know of the mention of the Names in the numerous narrations, except this one." Various early Muslim exegetes, including Ja?far al-Sadiq, Sufyan ibn `Uyaynah, Ibn Hazm, al-Qurtubi, Ibn Hajar al-Asqalani, have given their own versions of lists of 99 names.[3] See also: List of Arabic theophoric names Talismanic shirt inscribed with the 99 names of God as well as Quranic verses and prayers, Turkey, 18th century, Khalili Collection of Hajj and the Arts of Pilgrimage Because the names of God themselves are reserved to God and their use as a person's given name is considered religiously inappropriate, theophoric names are formed by prefixing the term ?abd (??????: "slave/servant of") to the name in the case of male names; in the case of female names, the prefix amat is used in place of ?abd.[4] This distinction is established out of respect for the sanctity of Divine names, which denote attributes (of love, kindness, mercy, compassion, justice, power, etc.) that are believed to be possessed in a full and absolute sense only by God, while human beings, being limited creatures, are viewed by Muslims as being endowed with the Divine attributes only in a limited and relative capacity. The prefixing of the definite article would indicate that the bearer possesses the corresponding attribute in an exclusive sense, a trait reserved to God. Quranic verse 3:26 is cited as evidence against the validity of using Divine names for persons, with the example of Malik ul-Mulk (???????? ?????????: "Lord of Power" or "Owner of all Sovereignty"): Say: "O God! Lord of Power, You give power to whom You please, and You strip off power from whom You please. You endue with honour whom You please, and You bring low whom You please. In Your hand is all Good." Verily, over all things You have power. — Quran 3:26 The two parts of the name starting with ?abd may be written separately (as in the previous example) or combined as one in the transliterated form; in such a case, the vowel transcribed after ?abdu is often written as u when the two words are transcribed as one: e.g., Abdur-Rahman, Abdul-Aziz, Abdul-Jabbar, or even Abdullah (?????? ??????: "Servant of God"). (This has to do with Arabic case vowels, the final u vowel showing the normal "quote" nominative case form.)
THE 99 NAMES OF GOD
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 9 = 45 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 94 = 45 "The most common letter in the English alphabet is E." 5 x 9 = 45 LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER
99 NAMES OF GOD GOD OF NAMES 99 THEN SINGS MY SOUL MY SAVIOUR GOD TO THEE HOW GREAT THOU ART HOW GREAT THOU ART
GREETINGS CHILD OF THE RAINBOW
THE HOURS OF HORUS THAT I OF THAT I OF THAT I THAT I AM SALUTES THE ALMIGHTY THAT IS THEE PEACE BE UNTO YOU GOODWILL UNTO ALL SENTIENT BEINGS
A STRAIGHT ANSWER TO A STRAIGHT QUESTION ? ARE YOU AN ALIEN AND IF SO ARE YOU FROM OUTER SPACE OR INNER SPACE ? YES AND YOU ?
YOU ARE GOING ON A JOURNEY A VERY SPECIAL JOURNEY DO HAVE A PLEASANT JOURNEY DO
KEEPER OF GENESIS A QUEST FOR THE HIDDEN LEGACY OF MANKIND Robert Bauval Graham Hancock 1996 Page 254 "...Is there in any sense an interstellar Rosetta Stone?
LETTERS TRANSPOSED INTO NUMBER REARRANGED IN NUMERICAL ORDER 5 x 5 = 25 LOOK AT THJE 5FIVES LOOK AT THE 5FIVES LOOK AT THE 5FIVES THE 5FIVES THE 5FIVES 5 x 5 = 25
HUMAN EXISTENCE
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 "The most common letter in the English alphabet is E."
HUMAN EXTINCTION
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 4 = 20 "The most common letter in the English alphabet is E."
JUST SIX NUMBERS Martin Rees 1 OUR COSMIC HABITAT I 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' " "A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence'"
THE GREAT PYRAMID ITS DIVINE MESSAGE AN ORIGINAL CO-ORDINATION OF HISTORICAL DOCUMENTS AND ARCHEOLOGICAL EVIDENCES D. Davidson and H. Aldersmith 1925 Page 279 "The resulting length for the Grand Gallery roof is 1836 P an important Pyramid dimension dealt with later."
HARMONIC 288 Bruce Cathie 1977 EIGHT THE MEASURE OF LIGHT : I Page 95 Page 95/97
THE TUTANKHAMUN PROPHECIES Maurice Cotterell 1999 Page194 Anderson's Constitutions of the Freemasons (In3) comments: Page 190 "The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9. Freemasons" for reasons we shall see, are said to be 'on the square'."
THE BIOLOGY OF DEATH Lyall Watson 1974 Page 49 "AS long ago as 1836, in a Manual of Medical Jurisprudence, this was said: Individuals who are apparently destroyed in a sudden manner, by certain wounds, diseases , or even decapitation are not really dead, but are only in conditions incompatible with the persistence life."
THE JUPITER EFFECT John Gribbin and Stephen Plagemann 1977 Page 122 : "Seventeen 'major historical earthquakes' are referred to in the report all of which occurred since
AUTOBIOGRAPHY OF A YOGI Paramahansa Yogananda 1946 Book cover comments "I am grateful to you for granting me some insight into this fascinating world." - Thomas Mann" "As an eye witness recountal of the extraordinary lives and powers of modern Hindu saints, the book has importance both timely and timeless." - W. Y. Evans-Wentz, Orientalist Page 275 "In the gigantic concepts of Einstein, the velocity of light - 1863 miles per second - dominates the whole theory of relativity" 1863 - 1836
GODS OF THE DAWN THE MESSAGE OF THE PYRAMIDS AND THE TRUE STARGATE MYSTERY Peter Lemesurier 1997 Page 118 "With the entry into the Grand Gallery, all kinds of extraordinary things now start to happen"
KEEPER OF GENESIS Page 254 Professor Sagan then offers a comparison that is highly apposite to our present inquiry. 'Today,' he says: Extraterrestrial intelligence will be elegant, complex, internally consistent and utterly alien.
RE 95 RE REARRANGED NUMERICALLY REARRANGED RE 95 RE
MATHEMATICS A LANGUAGE OF LETTERS AND NUMBERS
MATHEMATICS A LANGUAGE OF LETTER AND NUMBER
Signalling - definition of signalling by The Free Dictionary Define signalling. signalling synonyms, signalling pronunciation, signalling translation, English dictionary definition of signalling.
GREETINGS CHILDREN OF THE RAINBOW LIGHT PEACE AND GOODWILL BE UNTO YOU AND UNTO ALL SENTIENT BEINGS
THE SCULPTURE OF VIBRATIONS 1971
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