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Evokation
  
 
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A

MAZE

IN

ZAZAZA ENTERS AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

26
A
B
C
D
E
F
G
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I
J
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O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
-
7
-
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
-
7
-
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
-
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
-
2
26
A
B
C
D
E
F
G
H
I
J
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O
P
Q
R
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X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
-
9
-
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
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W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
-
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
-
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
-
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
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C
D
E
F
G
H
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J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
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O
P
Q
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T
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X
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Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
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C
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E
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O
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T
U
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X
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Z
-
-
9
-
-
8
-
9
-
9

 

 

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

 

....

 

A
B
C
D
E
F
G
H
I
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
J
K
L
M
N
O
P
Q
R
10
11
12
13
14
15
16
17
18
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
S
T
U
V
W
X
Y
Z
I
19
20
21
22
23
24
25
26
9
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
ME
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
I
ME
I
ME
I
ME
I
ME
I
9
18
9
18
9
18
9
18
9
=
1+8
=
1+8
=
1+8
=
1+8
=
=
9
=
9
=
9
=
9
=
I
ME
I
ME
I
ME
I
ME
1
9
9
9
9
9
9
9
9
9
I
ME
I
ME
I
ME
I
ME
1

 

 

 

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1
2
3
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5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
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N
O
P
Q
R
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T
U
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-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
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L
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N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
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X
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Z

 

 

 

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"

 

 

"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"

 

DNA AND DNA DNA AND DNA DNA AND DNA

DNA AND DNA DNA AND DNA DNA AND DNA

 

 

FINGERPRINTS OF THE GODS

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

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

A message in the bottle of time

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

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

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

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

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

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1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
A
B
C
D
E
F
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H
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M
N
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W
X
Y
Z

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

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

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

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

 

....

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

 

 

26
A
B
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G
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I
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K
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N
O
P
Q
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U
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W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
-
7
-
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
-
7
-
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
-
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
-
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
-
9
-
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
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R
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U
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W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
-
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
-
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
-
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 351 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 126 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z = 9 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

 

 

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 351 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 126 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 9 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
10
MULTIPLIED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
58
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
23
14
15
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
2+3
1+4
 1+5
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

EVOLVE LOVE EVOLVE

LOVES SOLVE LOVES

EVOLVE LOVE EVOLVE

 

 

 

 

 

 

THE DEATH OF GODS IN ANCIENT EGYPT

Jane B. Sellars 1992

Page 204

"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:

Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly. too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10

Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.

Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.

The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.

A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the / Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)

If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.

This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.

Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.

But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 360° in 25,776 years, only 144 years less than the figure of 25,920.

With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, incorrect by a difference of from 2,397.9 years to 3,024.

Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'

AN IMPORTANT POSTSCRIPT

Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.

Page 206

Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12

This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.

Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.

Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.

Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13

Page 207

"...Feniusa Farsa, Graves equates this hero with Dionysus. Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials

We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14

Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15

Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16

In Hamlet's Mill de Santillana adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)

The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18

Whatever one may think-of some of these number coincidences, it becomes difficult to escape the suspicion that many signs (number and otherwise) - indicate that early man observed the results of the movement of Precession and that the - transmission of this information was considered of prime importance.

With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced, that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':

"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four. Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radius ekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up his piece of stripped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

....

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

Y
=
3
-
3
YOU
61
16
7
A
=
1
-
3
ARE
24
15
6
G
=
7
-
5
GOING
52
34
7
O
=
6
-
2
ON
29
11
2
A
=
1
-
1
A
1
1
1
J
=
1
-
7
JOURNEY
108
36
9
A
=
1
-
1
A
1
1
1
V
=
4
-
4
VERY
70
25
7
S
=
1
-
7
SPECIAL
65
29
2
J
=
1
-
7
JOURNEY
108
36
9
D
=
4
-
2
DO
19
10
1
H
=
8
-
4
HAVE
36
18
9
A
=
1
-
1
A
1
1
1
P
=
7
-
8
PLEASANT
88
25
7
J
=
1
-
7
JOURNEY
108
36
9
D
=
4
-
2
DO
19
10
1
``-
-
55
-
54
First Total
790
304
79
-
-
5+5
-
5+4
Add to Reduce
7+9+0
3+0+4
7+9
-
-
10
-
9
Second Total
16
7
16
-
-
1+0
-
-
Reduce to Deduce
1+6
-
1+6
-
-
1
-
9
Essence of Number
7
7
7

 

 

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

 

 

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

 

 

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

 

 

-
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
-
5
7
7
7
2
+
=
28
2+8
=
10
1+0
1
=
1
-
-
5
7
25
16
20
+
=
73
7+3
=
10
1+0
1
=
1
-
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
-
5
7
7
7
2
+
=
28
2+8
=
10
1+0
1
=
1
-
-
5
7
25
16
20
+
=
73
7+3
=
10
1+0
1
=
1
-
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
-
5
7
25
16
20
+
=
73
7+3
=
10
1+0
1
=
1
-
-
5
7
7
7
2
+
=
28
2+8
=
10
1+0
1
=
1
-
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
=
5
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
7
7
7
-
-
-
7
occurs
x
3
=
21
2+1
3
8
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
31
5
E
G
Y
P
T
-
-
14
-
-
5
-
28
-
10
3+1
-
-
7
7
7
-
-
-
1+4
-
-
-
-
2+8
-
1+0
4
5
E
G
Y
P
T
-
-
5
-
-
5
-
10
-
1
-
-
5
-
+
-
2
=
7
-
-
-
-
-
1+0
-
-
4
5
E
G
Y
P
T
-
-
5
-
-
5
-
10
-
1
-
-
5
7
7
7
2
-
-
-
-
-
-
-
1+0
-
-
4
5
E
G
Y
P
T
-
-
5
-
-
5
-
1
-
1

 

 

5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
5
7
7
7
2
+
=
28
2+8
=
10
1+0
1
=
1
-
5
7
25
16
20
+
=
73
7+3
=
10
1+0
1
=
1
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
5
7
7
7
2
+
=
28
2+8
=
10
1+0
1
=
1
-
5
7
25
16
20
+
=
73
7+3
=
10
1+0
1
=
1
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
5
7
25
16
20
+
=
73
7+3
=
10
1+0
1
=
1
-
5
7
7
7
2
+
=
28
2+8
=
10
1+0
1
=
1
5
E
G
Y
P
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
2
occurs
x
1
=
2
=
2
-
5
-
-
-
-
-
-
5
occurs
x
1
=
5
=
5
-
-
7
7
7
-
-
-
7
occurs
x
3
=
21
2+1
3
5
E
G
Y
P
T
-
-
14
-
-
5
-
28
-
10
-
-
7
7
7
-
-
-
1+4
-
-
-
-
2+8
-
1+0
5
E
G
Y
P
T
-
-
5
-
-
5
-
10
-
1
-
5
-
+
-
2
=
7
-
-
-
-
-
1+0
-
-
5
E
G
Y
P
T
-
-
5
-
-
5
-
10
-
1
-
5
7
7
7
2
-
-
-
-
-
-
-
1+0
-
-
5
E
G
Y
P
T
-
-
5
-
-
5
-
1
-
1

 

 

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

 

 

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

 

 

A

MIN

E

OF

INFORMATION

 

 

-
-
-
-
-
MIND
-
-
-
M
=
4
-
1
M
13
4
4
I
=
9
-
1
I
9
9
9
N
=
5
-
1
N
14
5
5
D
=
4
-
1
D
4
4
4
-
-
22
-
4
MIND
40
45
22
-
-
2+2
-
-
-
4+0
2+2
2+2
-
-
4
-
4
MIND
4
4
4

 

 

-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
+
+
=
14
1+4
=
5
=
5
-
-
-
9
14
-
+
+
=
23
2+3
=
5
=
5
-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
4
-
-
4
+
+
=
8
-
=
8
=
8
-
-
13
-
-
4
+
+
=
17
1+7
=
8
=
8
-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
13
9
14
4
+
+
=
40
4+0
=
4
=
4
-
-
4
9
5
4
+
+
=
22
2+2
=
4
=
4
-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
2
=
8
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
27
4
M
I
N
D
-
-
-
18
-
-
4
-
22
2+7
-
-
9
-
-
-
-
-
1+8
-
-
-
-
2+2
9
4
M
I
N
D
-
-
-
9
-
-
4
-
4
-
-
4
9
5
4
-
-
-
-
-
-
-
-
-
9
4
M
I
N
D
-
-
-
9
-
-
4
-
4

 

 

4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
9
5
-
+
+
=
14
1+4
=
5
=
5
-
-
9
14
-
+
+
=
23
2+3
=
5
=
5
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
4
-
-
4
+
+
=
8
-
=
8
=
8
-
13
-
-
4
+
+
=
17
1+7
=
8
=
8
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
13
9
14
4
+
+
=
40
4+0
=
4
=
4
-
4
9
5
4
+
+
=
22
2+2
=
4
=
4
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
2
=
8
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
4
M
I
N
D
-
-
-
18
-
-
4
-
22
-
-
9
-
-
-
-
-
1+8
-
-
-
-
2+2
4
M
I
N
D
-
-
-
9
-
-
4
-
4
-
4
9
5
4
-
-
-
-
-
-
-
-
-
4
M
I
N
D
-
-
-
9
-
-
4
-
4

 

I

ME I ME

MINS MINDS I MINDS MINS

 

4
M
N
D
-
-
-
-
-
-
-
-
-
-
-
5
-
+
+
=
14
1+4
=
5
=
5
-
-
14
-
+
+
=
23
2+3
=
5
=
5
4
M
N
D
-
-
-
-
-
-
-
-
-
-
4
-
4
+
+
=
8
-
=
8
=
8
-
13
-
4
+
+
=
17
1+7
=
8
=
8
4
M
N
D
-
-
-
-
-
-
-
-
-
-
13
14
4
+
+
=
40
4+0
=
4
=
4
-
4
5
4
+
+
=
22
2+2
=
4
=
4
4
M
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
4
-
4
-
-
-
4
occurs
x
2
=
8
-
-
5
-
-
-
-
5
occurs
x
1
=
5
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
4
M
N
D
-
-
-
18
-
-
4
-
22
-
-
-
-
-
-
-
1+8
-
-
-
-
2+2
4
M
N
D
-
-
-
9
-
-
4
-
4
-
4
5
4
-
-
-
-
-
-
-
-
-
4
M
N
D
-
-
-
9
-
-
4
-
4

 

 

-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
+
+
=
14
1+4
=
5
=
5
-
-
-
9
14
-
+
+
=
23
2+3
=
5
=
5
-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
4
-
-
4
+
+
=
8
-
=
8
=
8
-
-
13
-
-
4
+
+
=
17
1+7
=
8
=
8
-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
13
9
14
4
+
+
=
40
4+0
=
4
=
4
-
-
4
9
5
4
+
+
=
22
2+2
=
4
=
4
-
4
M
I
N
D
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
2
=
8
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
27
4
M
I
N
D
-
-
-
18
-
-
4
-
22
2+7
-
-
9
-
-
-
-
-
1+8
-
-
-
-
2+2
9
4
M
I
N
D
-
-
-
9
-
-
4
-
4
-
-
4
9
5
4
-
-
-
-
-
-
-
-
-
9
4
M
I
N
D
-
-
-
9
-
-
4
-
4

 

MINDS I MINDS

I

DIM N DIM

DIM 5 DIM

 

-
-
-
-
-
MIND MINE
-
-
-
M
=
4
-
3
MIN
36
18
9
-
-
-
-
1
D+E
9
9
9
M
=
4
-
3
MIN
36
18
9
-
-
9
-
8
MIND MINE
81
45
27
-
-
-
-
-
-
8+1
4+5
2+7
-
-
9
-
8
MIND MINE
9
9
9

 

 

-
-
-
-
-
MIN E MIN D
-
-
-
-
-
-
-
3
MIN
36
18
9
E
=
5
-
1
E
5
5
5
D
=
4
-
1
D
4
4
4
-
-
-
-
3
MIN
36
18
9
-
-
9
-
8
MIN D MIN E
81
45
18
-
-
-
-
-
-
2+3+4
4+5
1+8
-
-
9
-
8
MIN E MIN D
9
9
9

 

I ME MIN MINE MIND MINE MIN ME I

 

 

-
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
5
+
-
-
+
5
9
-
+
+
=
28
2+8
=
10
1+0
1
=
1
-
-
-
9
14
+
-
-
+
14
9
-
+
+
=
46
4+6
=
10
1+0
1
=
1
-
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
+
5
4
+
-
-
4
+
+
=
17
-
=
8
=
8
=
8
-
-
13
-
-
+
5
4
+
-
-
13
+
+
=
35
3+5
=
8
=
8
=
8
-
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
-
13
9
14
+
5
4
+
14
9
13
+
+
=
81
8+1
=
9
=
9
=
9
-
-
4
9
5
+
5
4
+
5
9
4
+
+
=
45
4+5
=
9
=
9
=
9
-
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
-
-
4
-
-
-
4
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
-
5
-
5
-
-
5
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
1+8
9
27
8
M
I
N
-
E
D
-
N
I
M
-
-
-
18
-
-
3
-
18
-
18
2+7
-
-
9
-
-
-
-
-
-
9
-
-
-
-
1+8
-
-
-
-
1+8
-
1+8
9
8
M
I
N
-
E
D
-
N
I
M
-
-
-
9
-
-
3
-
9
-
9
-
-
4
9
5
-
5
4
-
5
9
4
-
-
-
-
-
-
-
-
-
-
-
9
8
M
I
N
-
E
D
-
N
I
M
-
-
-
9
-
-
3
-
9
-
9

 

 

8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
-
9
5
+
-
-
+
5
9
-
+
+
=
28
2+8
=
10
1+0
1
=
1
-
-
9
14
+
-
-
+
14
9
-
+
+
=
46
4+6
=
10
1+0
1
=
1
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
+
5
4
+
-
-
4
+
+
=
17
-
=
8
=
8
=
8
-
13
-
-
+
5
4
+
-
-
13
+
+
=
35
3+5
=
8
=
8
=
8
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
13
9
14
+
5
4
+
14
9
13
+
+
=
81
8+1
=
9
=
9
=
9
-
4
9
5
+
5
4
+
5
9
4
+
+
=
45
4+5
=
9
=
9
=
9
8
M
I
N
-
E
D
-
N
I
M
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
4
-
-
-
4
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
5
-
5
-
-
5
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
9
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
1
=
9
1+8
9
8
M
I
N
-
E
D
-
N
I
M
-
-
-
18
-
-
3
-
18
-
18
-
-
9
-
-
-
-
-
-
9
-
-
-
-
1+8
-
-
-
-
1+8
-
1+8
8
M
I
N
-
E
D
-
N
I
M
-
-
-
9
-
-
3
-
9
-
9
-
4
9
5
-
5
4
-
5
9
4
-
-
-
-
-
-
-
-
-
-
-
8
M
I
N
-
E
D
-
N
I
M
-
-
-
9
-
-
3
-
9
-
9

 

 

-
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
+
-
9
5
-
+
+
=
28
2+8
=
10
1+0
1
=
1
-
-
-
9
14
-
+
-
9
14
-
+
+
=
46
4+6
=
10
1+0
1
=
1
-
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
5
+
4
-
-
4
+
+
=
17
-
=
8
=
8
=
8
-
-
13
-
-
5
+
13
-
-
4
+
+
=
35
3+5
=
8
=
8
=
8
-
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
13
9
14
5
+
13
9
14
4
+
+
=
81
8+1
=
9
=
9
=
9
-
-
4
9
5
5
+
4
9
5
4
+
+
=
45
4+5
=
9
=
9
=
9
-
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
-
5
5
-
-
-
5
-
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
1+8
9
27
8
M
I
N
E
-
M
I
N
D
-
-
-
18
-
-
3
-
18
-
18
2+7
-
-
9
-
-
-
-
9
-
-
-
-
-
1+8
-
-
-
-
1+8
-
1+8
9
8
M
I
N
E
-
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9
-
-
4
9
5
5
-
4
9
5
4
-
-
-
-
-
-
-
-
-
-
-
9
8
M
I
N
E
-
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9

 

 

8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
+
-
9
5
-
+
+
=
28
2+8
=
10
1+0
1
=
1
-
-
9
14
-
+
-
9
14
-
+
+
=
46
4+6
=
10
1+0
1
=
1
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
5
+
4
-
-
4
+
+
=
17
-
=
8
=
8
=
8
-
13
-
-
5
+
13
-
-
4
+
+
=
35
3+5
=
8
=
8
=
8
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
13
9
14
5
+
13
9
14
4
+
+
=
81
8+1
=
9
=
9
=
9
-
4
9
5
5
+
4
9
5
4
+
+
=
45
4+5
=
9
=
9
=
9
8
M
I
N
E
-
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
5
5
-
-
-
5
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
9
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
1+8
9
8
M
I
N
E
-
M
I
N
D
-
-
-
18
-
-
3
-
18
-
18
-
-
9
-
-
-
-
9
-
-
-
-
-
1+8
-
-
-
-
1+8
-
1+8
8
M
I
N
E
-
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9
-
4
9
5
5
-
4
9
5
4
-
-
-
-
-
-
-
-
-
-
-
8
M
I
N
E
-
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9

 

 

-
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
-
9
5
-
+
+
=
28
2+8
=
10
1+0
1
=
1
-
-
-
9
14
-
-
9
14
-
+
+
=
46
4+6
=
10
1+0
1
=
1
-
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
5
4
-
-
4
+
+
=
17
-
=
8
=
8
=
8
-
-
13
-
-
5
13
-
-
4
+
+
=
35
3+5
=
8
=
8
=
8
-
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
13
9
14
5
13
9
14
4
+
+
=
81
8+1
=
9
=
9
=
9
-
-
4
9
5
5
4
9
5
4
+
+
=
45
4+5
=
9
=
9
=
9
-
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
4
-
-
-
4
-
-
4
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
-
5
5
-
-
5
-
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
1+8
9
27
8
M
I
N
E
M
I
N
D
-
-
-
18
-
-
3
-
18
-
18
2+7
-
-
9
-
-
-
9
-
-
-
-
-
1+8
-
-
-
-
1+8
-
1+8
9
8
M
I
N
E
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9
-
-
4
9
5
5
4
9
5
4
-
-
-
-
-
-
-
-
-
-
-
9
8
M
I
N
E
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9

 

 

8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
-
9
5
-
-
9
5
-
+
+
=
28
2+8
=
10
1+0
1
=
1
-
-
9
14
-
-
9
14
-
+
+
=
46
4+6
=
10
1+0
1
=
1
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
5
4
-
-
4
+
+
=
17
-
=
8
=
8
=
8
-
13
-
-
5
13
-
-
4
+
+
=
35
3+5
=
8
=
8
=
8
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
13
9
14
5
13
9
14
4
+
+
=
81
8+1
=
9
=
9
=
9
-
4
9
5
5
4
9
5
4
+
+
=
45
4+5
=
9
=
9
=
9
8
M
I
N
E
M
I
N
D
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
-
-
4
-
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
5
5
-
-
5
-
-
-
-
5
occurs
x
3
=
15
1+5
6
-
-
9
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
1+8
9
8
M
I
N
E
M
I
N
D
-
-
-
18
-
-
3
-
18
-
18
-
-
9
-
-
-
9
-
-
-
-
-
1+8
-
-
-
-
1+8
-
1+8
8
M
I
N
E
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9
-
4
9
5
5
4
9
5
4
-
-
-
-
-
-
-
-
-
-
-
8
M
I
N
E
M
I
N
D
-
-
-
9
-
-
3
-
9
-
9

 

 

-
3
M
I
N
-
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
-
9
14
+
=
23
2+3
=
5
=
5
-
3
M
I
N
-
-
-
-
-
-
-
-
-
-
4
-
-
+
=
4
-
=
4
=
4
-
-
13
-
-
+
=
13
1+3
=
4
=
4
-
3
M
I
N
-
-
-
-
-
-
-
-
-
-
13
9
14
+
=
36
3+6
=
9
=
9
-
-
4
9
5
+
=
18
1+8
=
9
=
9
-
3
M
I
N
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
5
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
27
3
M
I
N
-
-
18
-
-
3
-
18
2+7
-
-
9
-
-
-
1+8
-
-
-
-
1+8
9
3
M
I
N
-
-
9
-
-
3
-
9
-
-
4
9
5
-
-
-
-
-
-
-
-
9
3
M
I
N
-
-
9
-
-
3
-
9

 

 

ADVENT 777 ADVENT

 

 

-
THE RAINBOW LIGHT
-
-
-
3
THE
33
15
6
7
RAINBOW
82
37
1
5
LIGHT
56
29
2
15
THE RAINBOW LIGHT
171
81
9
1+5
-
1+7+1
8+1
-
6
THE RAINBOW LIGHT
9
9
9

 

THIS IS THE SCENE OF THE SCENE UNSEEN

THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE

 

 

3
THE
33
15
6
4
MIND
40
22
4
2
OF
21
12
3
9
HUMANKIND
95
41
5
18
-
189
90
18
1+8
-
1+8+9
9+0
1+8
9
-
18
9
9
-
-
1+8
-
-
9
-
9
9
9

 

 

M
=
4
-
7
MEASURE
82
28
1
T
=
2
-
3
THE
33
15
6
M
=
4
-
12
IMMEASURABLE
119
47
2
-
-
10
-
22
Add to Reduce
234
90
9
-
-
1+0
-
2+2
Reduce to Deduce
2+3+4
9+0
-
-
-
1
-
4
Essence of Number
9
9
9

 

 

3
HIK
28
19
1
4
PHAT
45
18
9
7
-
73
37
10
-
-
7+3
3+7
1+0
7
-
10
10
1
-
-
1+0
1+0
-
7
-
1
1
1

 

 

 

H. E. Ayang Rinpoche offers Phowa teachings in Bodh Gaya, India, each January. As is his annual tradition, the teachings are offered free of charge. ...
www.amitabhafoundation.org/About_Phowa.html

Naropa said, “There are nine Gates which are of the world, but there is only one which is the gate of Mahamudra (Nirvana). If you shut the nine Gates then you will get the Path of liberation without any doubt.”

 

 

BHAGAVAD- GITA
As it is.
A. C. Bhaktivedanta Swami Prabhupada

Page 287

THE CITY OF NINE GATES

"When the embodied living being controls his nature and mentally renounces all actions, he resides happily in the city of nine gates."

"The body consists of nine gates (two eyes, two nostrils, two ears, one mouth, the anus and the genitals.)"

 

 

-
5
P
H
O
W
A
-
-
-
-
-
--
-
-
-
-
-
8
6
-
-
+
=
14
1+4
=
5
-
5
`-
`-
-
8
15
-
-
+
=
27
2+3
=
5
-
5
-
5
P
H
O
W
A
-
-
-
-
-
--
-
-
-
-
7
-
-
5
1
+
=
13
1+3
=
4
-
4
`-
`-
16
-
-
23
1
+
=
40
4+0
=
4
-
4
-
5
P
H
O
W
A
-
-
-
-
-
--
-
-
`-
`-
16
8
15
23
1
+
=
63
6+3
=
9
-
9
-
-
7
8
6
5
1
+
=
27
2+7
=
9
-
9
-
5
P
H
O
W
A
-T
-
-
-
-
-
-
-
-
-
-
`
-
-
1
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
-
-
-
-
6
-
-
-
-
6
occurs
x
1
=
6
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
18
5
P
H
O
W
A
-
-
27
-
-
5
-
27
1+8
-
-
-
-
-
-
-
-
2+7
-
-
-
Q
2+7
9
5
P
H
O
W
A
-
-
9
-
-
5
-
9
-
-
7
8
6
5
1
-
-
-
-
-
-
Q
-
9
5
P
H
O
W
A
-
-
9
-
-
5
-
9

 

 

-
5
P
H
O
W
A
-
-
-
-
-
--
-
-
-
-
-
8
6
-
-
+
=
14
1+4
=
5
-
5
`-
`-
-
8
15
-
-
+
=
27
2+3
=
5
-
5
-
5
P
H
O
W
A
-
-
-
-
-
--
-
-
-
-
7
-
-
5
1
+
=
13
1+3
=
4
-
4
`-
`-
16
-
-
23
1
+
=
40
4+0
=
4
-
4
-
5
P
H
O
W
A
-
-
-
-
-
--
-
-
`-
`-
16
8
15
23
1
+
=
63
6+3
=
9
-
9
-
-
7
8
6
5
1
+
=
27
2+7
=
9
-
9
-
5
P
H
O
W
A
-T
-
-
-
-
-
-
-
-
-
-
`
-
-
1
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
-
-
-
-
6
-
-
-
-
6
occurs
x
1
=
6
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
-
-
-
8
-
-
-
-
-
8
occurs
x
1
=
8
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
18
5
P
H
O
W
A
-
-
27
-
-
5
-
27
1+8
-
-
-
-
-
-
-
-
2+7
-
-
-
Q
2+7
9
5
P
H
O
W
A
-
-
9
-
-
5
-
9
-
-
7
8
6
5
1
-
-
-
-
-
-
Q
-
9
5
P
H
O
W
A
-
-
9
-
-
5
-
9

 

 

P
=
7
-
-
POWER
-
-
-
-
-
-
-
1
P
16
7
7
-
-
-
-
1
O
15
6
6
-
-
-
-
1
W
23
5
5
-
-
-
-
1
E
5
5
5
-
-
-
-
1
R
18
9
9
P
=
7
Q
5
POWER
77
32
32
-
-
-
-
-
-
7+7
3+2
3+2
P
=
7
Q
5
POWER
14
5
5
-
-
-
-
-
-
1+4
-
-
P
=
7
Q
5
POWER
5
5
5

 

 

P
=
7
-
-
POWER
-
-
-
-
-
-
-
1
P+O+W
54
18
9
-
-
-
-
1
E
5
5
5
-
-
-
-
1
R
18
9
9
P
=
7
Q
5
POWER
77
32
23
-
-
-
-
-
-
7+7
3+2
2+3
P
=
7
Q
5
POWER
14
5
5
-
-
-
-
-
-
1+4
-
-
P
=
7
Q
5
POWER
5
5
5

 

 

-
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
+
=
6
-
=
6
=
6
=
6
-
-
-
15
-
-
-
+
=
15
1+5
=
6
=
6
=
6
-
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
-
-
7
-
5
5
9
+
=
26
2+6
=
8
=
8
=
8
`-
-
16
-
23
5
18
+
=
62
6+2
=
8
=
8
=
8
-
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
`-
-
16
15
23
5
18
+
=
77
7+7
=
14
1+4
5
1+4
5
-
-
7
6
5
5
9
+
=
32
3+2
=
5
=
5
=
5
-
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
5
-
-
-
5
occurs
x
2
=
10
1+4
1
-
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
--
-
-
-
-
-
-
-
8
FIVE
5
-
-
-
-
-
-
--
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
18
5
P
O
W
E
R
-
-
27
-
-
5
-
32
-
23
1+8
-
-
-
-
-
9
-
-
2+7
-
-
-
-
3+2
-
2+3
9
5
P
O
W
E
R
-
-
9
-
-
5
-
5
-
5
-
-
7
6
5
5
9
-
-
-
-
-
-
-
-
-
-
9
5
P
O
W
E
R
-
-
9
-
-
5
-
5
-
5

 

 

5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
+
=
6
-
=
6
=
6
=
6
-
-
15
-
-
-
+
=
15
1+5
=
6
=
6
=
6
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
-
7
-
5
5
9
+
=
26
2+6
=
8
=
8
=
8
-
16
-
23
5
18
+
=
62
6+2
=
8
=
8
=
8
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
-
16
15
23
5
18
+
=
77
7+7
=
14
1+4
5
1+4
5
-
7
6
5
5
9
+
=
32
3+2
=
5
=
5
=
5
5
P
O
W
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
5
5
-
-
-
5
occurs
x
2
=
10
1+4
1
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
--
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
5
P
O
W
E
R
-
-
27
-
-
5
-
32
-
23
-
-
-
-
-
9
-
-
2+7
-
-
-
-
3+2
-
2+3
5
P
O
W
E
R
-
-
9
-
-
5
-
5
-
5
-
7
6
5
5
9
-
-
-
-
-
-
-
-
-
-
5
P
O
W
E
R
-
-
9
-
-
5
-
5
-
5

 

 

THE

KINGDOM

OF

EVEN

 

 

6
HEAVEN
55
28
1
6
EARTH
52
25
7
5
HELL
37
19
1
6
Add to Reduce
144
72
9
-
Reduce to Deduce
1+4+4
7+2
-
6
Essence of Number
9
9
9

 

 

The Angelus

www.fisheaters.com/angelus.html

About the Catholic practice of ringing the Angelus Bell, with prayers in English and Latin. ... R, Be it done unto me according to thy word. All, Hail Mary, full of ...

 

The Angelus Domini, shortened to "the Angelus," is the ringing of the church bell -- in three groups of three chimes with a pause in between each group, followed by 9 consecutive strokes -- at 6AM, Noon, and 6PM roughly, and its associated prayers, which spring from the monastic practice of praying the tres orationes at Matins, Prime and Compline. While the monastics said their prayers at the sound of the Angelus Bell, the faithful would stop what they were doing and say 3 Hail Marys in honor of the Incarnation. Later, since at least A.D. 1612, verses were added to these Hail Marys such that we get the form of the Angelus we have today (see below). During Paschaltide (the Easter Season), the humbling Angelus prayer below is replaced with the more celebratory, joyous Regina Coeli prayer at the direction of Pope Benedict XIV in 1742.

Some of the earliest bells used for this purpose, dating to the 13th and 14th centuries, still survive and are engraved with inscriptions attesting to their purpose. Some of these inscriptions are (from the Catholic Encyclopedia):

Ave Maria, gratia plena, Dominus tecum (Hail Mary, full of grace, the Lord is with thee)

Dulcis instar mellis campana vocor Gabrielis (I am sweet as honey, and am called Gabriel's bell)

Ecce Gabrielis sonat hæc campana fidelis (Behold this bell of faithful Gabriel sounds)

Missi de coelis nomen habeo Gabrielis (I bear the name of Gabriel sent from heaven)

Missus vero pie Gabriel fert læta Mariæ (Gabriel the messenger bears joyous tidings to holy Mary)

O Rex Gloriæ Veni Cum Pace (O King of Glory, Come with Peace)

Sadly, there are few places where the Angelus is still rung consistently. Vatican City, of course, still chimes the Angelus, as do traditional monasteries and convents and various institutions in the Republic of Ireland, but in this latter case, the cause of "diversity" is challenging the practice. Christendom is losing once again. The prayers of the Angelus (and the Regine Coeli) are below, but first is a video of the prayers chanted by the Daughters of Mary.

The Prayers of the Angelus

The Angelus

During Paschaltide, this prayer, said kneeling, is replaced by the Regina Coeli (see below)

V

The Angel of the Lord declared unto Mary.

R

And she conceived of the Holy Spirit.

All

Hail Mary, full of Grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and in the hour of our death.

V

Behold the handmaid of the Lord.

R

Be it done unto me according to thy word.

All

Hail Mary, full of Grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and in the hour of our death.

V

And the Word was made Flesh.

R

And dwelt among us.

All

Hail Mary, full of Grace, the Lord is with thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners now and in the hour of our death.

V

Pray for us, O Holy Mother of God.

R

That we may be made worthy of the promises of Christ.

V

Let us pray. Pour forth, we beseech Thee, O Lord, Thy grace into our hearts; that, we to whom the Incarnation of Christ, Thy Son, was made known by the message of an Angel, may by His Passion and Cross, be brought to the glory of His Resurrection. Through the same Christ our Lord.

All

Amen.

Latin Version:

V
Angelus Domini nuntiavit Mariae;

R

Et concepit de Spiritu Sancto.

All

Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen.

V

Ecce ancilla Domini.

R

Fiat mihi secundum verbum tuum.

All

Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen.

V

Et Verbum caro factum est.

R

Et habitavit in nobis.

All

Ave Maria, gratia plena, Dominus tecum. Benedicta tu in mulieribus, et benedictus fructus ventris tui, Iesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc, et in hora mortis nostrae. Amen.

V

Ora pro nobis, sancta Dei Genetrix.

R

Ut digni efficiamur promissionibus Christi.

V

Oremus.Gratiam tuam, quaesumus, Domine, mentibus nostris infunde; ut qui, Angelo nuntiante, Christi Filii tui incarnationem cognovimus, per passionem eius et crucem, ad resurrectionis gloriam perducamur. Per eundem Christum Dominum nostrum.

All

Amen.

Regina Coeli

This prayer, said standing, is used to replace the Angelus during Paschaltide.

All

Queen of Heaven rejoice, alleluia: For He whom you merited to bear, alleluia, Has risen as He said, alleluia. Pray for us to God, alleluia.

V

Rejoice and be glad, O Virgin Mary, alleluia.

R

Because the Lord is truly risen, alleluia.

V

Let us pray : O God, who by the Resurrection of Thy Son, our Lord Jesus Christ, granted joy to the whole world: grant we beg Thee, that through the intercession of the Virgin Mary, His Mother, we may lay hold of the joys of eternal life. Through the same Christ our Lord.

R

Amen.

Latin Version:

All

Regina coeli, laetare, alleluia: Quia quem meruisti portare, alleluia. Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia.

V

Gaude et laetare, Virgo Maria, Alleluia,

R

Quia surrexit Dominus vere, alleluia.

V

Oremus : Deus qui per resurrectionem Filii tui, Domini nostri Iesu Christi, mundum laetificare dignatus es: praesta, quaesumus, ut per eius Genetricem Virginem Mariam, perpetuae capiamus gaudia vitae. Per eundem Christum Dominum nostrum.

R

Amen.

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

T
=
2
-
3
THE
33
15
6
P
=
7
-
6
PEOPLE
69
33
6
T
=
2
-
4
THAT
49
13
4
W
=
5
-
6
WALKED
56
20
2
I
=
9
-
2
IN
23
14
5
D
=
4
-
8
DARKNESS
91
28
1
H
=
8
-
4
HAVE
36
18
9
S
=
1
-
4
SEEN
43
16
7
A
=
1
-
1
A
1
1
1
G
=
7
-
5
GREAT
51
24
6
L
=
3
-
5
LIGHT
56
29
2
-
-
49
4
48
First Total
508
211
49
-
-
4+9
-
4+8
Add to Reduce
5+0+8
2+1+1
4+9
Q
-
13
-
12
Second Total
13
4
13
-
-
1+3
-
1+2
Reduce to Deduce
1+3
-
1+3
-
-
4
4
3
Essence of Number
4
4
4

 

 

T
=
2
-
4
THEY
58
22
4
T
=
2
-
4
THAT
49
13
4
D
=
4
-
5
DWELL
56
20
2
T
=
2
-
2
IN
23
14
5
T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LAND
31
13
4
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
6
SHADOW
70
25
7
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DEATH
38
20
2
U
=
3
3
4
UPON
66
21
3
T
=
2
4
4
THEM
46
19
1
H
=
8
4
4
HATH
37
19
1
T
=
2
3
3
THE
33
15
6
L
=
3
4
5
LIGHT
56
29
2
S
=
1
4
6
SHINED
59
32
5
-
-
60
4
66
First Total
730
316
64
-
-
6+0
-
6+6
Add to Reduce
7+3+0
3+1+6
6+4
Q
-
6
-
12
Second Total
10
10
10
-
-
-
-
1+2
Reduce to Deduce
1+0
1+0
1+0
-
-
6
4
3
Essence of Number
1
1
1

 

 

T
=
2
-
3
THE
33
15
6
P
=
7
-
6
PEOPLE
69
33
6
T
=
2
-
4
THAT
49
13
4
W
=
5
-
6
WALKED
56
20
2
I
=
9
-
2
IN
23
14
5
D
=
4
-
8
DARKNESS
91
28
1
H
=
8
-
4
HAVE
36
18
9
S
=
1
-
4
SEEN
43
16
7
A
=
1
-
1
A
1
1
1
G
=
7
-
5
GREAT
51
24
6
L
=
3
-
5
LIGHT
56
29
2
T
=
2
-
4
THEY
58
22
4
T
=
2
-
4
THAT
49
13
4
D
=
4
-
5
DWELL
56
20
2
T
=
2
-
2
IN
23
14
5
T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LAND
31
13
4
O
=
6
-
2
OF
21
12
3
T
=
2
-
3
THE
33
15
6
S
=
1
-
6
SHADOW
70
25
7
O
=
6
-
2
OF
21
12
3
D
=
4
-
5
DEATH
38
20
2
U
=
3
3
4
UPON
66
21
3
T
=
2
4
4
THEM
46
19
1
H
=
8
4
4
HATH
37
19
1
T
=
2
3
3
THE
33
15
6
L
=
3
4
5
LIGHT
56
29
2
S
=
1
4
6
SHINED
59
32
5
-
-
109
4
114
First Total
1238
527
113
-
-
1+0+9
-
1+1+4
Add to Reduce
1+2+3+8
5+2+7
1+1+3
Q
-
10
-
6
Second Total
14
14
5
-
-
1+0
-
-
Reduce to Deduce
1+4
1+4
-
-
-
1
4
6
Essence of Number
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
5
S+A+L+E+M
50
14
5
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
5
M+A+L+E+S
50
14
5
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
2
M+E
18
9
9
3
A+L+S
50
14
5
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
-
JERU
104
41
5
4
J+E+R+U
54
18
9
4
J+E+S+U
55
19
1
-
JESU
104
41
5
9
JERUSALEM
104
41
14

 

 

5
JERUSALEM
104
41
5
14
JERU
104
41
14
4
J+E+R+U
54
18
9
5
R
18
18
9
14
S
19
10
1
4
J+E+S+U
55
19
1
5
JESU
104
41
14
9
JERUSALEM
104
41
14

 

 

9
JERUSALEM
104
41
5
5
JESUS
74
29
2
14
Add to Reduce
178
70
7
1+4
Reduce to Deduce
1+7+8
8+1
-
5
Essence of Number
7
7
7

 

 

9
JERUS+ALEM
104
41
5
9
JESUS+MALE
105
29
2
18
Add
178
70
7
1+8
Reduce
1+7+8
8+1
-
9
Deduce
7
7
7

 

 

9
JERUSALEM
104
41
5
4
J+E+S+U
55
19
1
1
R
18
18
9
4
M+A+L+E
31
13
4
9
JERUSALEM
104
41
14
-
-
1+0+4
4+1
1+4
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+S+U
55
10
1
2
E+L
17
8
8
1
R
18
18
9
2
A+M
14
5
5
9
JERUSALEM
104
41
23
-
-
1+0+4
4+1
2+3
9
JERUSALEM
5
5
5

 

 

9
JERUSALEM
104
41
5
4
J+E+R+U
54
18
9
1
S
19
10
1
5
A+L
13
4
4
2
E+M
18
9
9
9
JERUSALEM
104
41
23
-
-
1+0+4
4+1
2+3
9
JERUSALEM
5
5
5

 

 

14
NINENINETYNINE
171
81
9
4
NINE
42
24
6
6
NINETY
87
33
6
4
NINE
42
24
6
14
NINENINETYNINE
171
81
18
-
-
1+7+1
8+1
1+8
1
NINENINETYNINE
9
9
9

 

 

T
=
2
3
THE
33
15
6
E
=
5
N
=
5
6
NINETY
87
33
6
Y
=
7
N
=
5
4
NINE
42
24
6
E
=
5
N
=
5
5
NAMES
52
16
7
S
=
1
O
=
6
2
OF
21
12
3
F
=
6
G
=
7
3
GOD
26
17
8
D
=
4
-
-
30
23
Add to Reduce
261
117
36
-
-
28
-
-
3+0
2+3
Reduce to Deduce
2+6+1
1+1+7
3+6
-
-
10
-
-
3
5
Essence of Number
9
9
9
-
-
1

 

 

 

 

M
=
4
-
7
MEASURE
82
28
1
T
=
2
-
3
THE
33
15
6
M
=
4
-
12
IMMEASURABLE
119
47
2
-
-
10
-
22
Add to Reduce
234
90
9
-
-
1+0
-
2+2
Reduce to Deduce
2+3+4
9+0
-
-
-
1
-
4
Essence of Number
9
9
9

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Page 465 / 466

"They talked of "humanity," of nobility - but it was / the spirit alone that distinguished man, as a creature largely divorced from nature, largely opposed to her in feeling, from all other forms of organic life. In man's spirit, then, resided his true nobility and his merit - in his state of disease, as it were; in a word, the more ailing he was, by so much was he the more man. The genius of disease was more human than the genius of health. How, then, could one who posed as the. friend of man shut his eyes to these fundamental truths concerning man's humanIty? Herr Settembrini had progress ever on his lips: was he aware that all progress, in so far as there was such a thing, was due to illness, and to illness alone? In other words, to genius, which was the same thing? Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

1875 1955

FOREWORD

"THE STORY of Hans Castorp, which we would here set forth, not on his own account, for in him the reader will make acquaintance with a simple-minded though pleasing young man, but for the sake of the story itself, which seems to us highly worth telling- though it must needs be borne in mind, in Hans Castorp's behalf, that it is his story, and not every story happens to everybody- this story, we say, belongs to the long ago; is already, so to speak, covered with historic mould, and unquestionably to be presented in the tense best suited to a narrative out of the depth of the past.
That should be no drawback to a story, but rather the reverse. Since histories must be in the past, then the more past the better, it would seem, for them in their character as histories, and for him, the teller of them, rounding wizard of times gone by. With this story, moreover, it stands as it does today with human beings, not least among them writers of tales: it is far older than its years; its age may not be measured by length of days, nor the weight of time on its head reckoned by the rising or setting of suns. In a word, the degree of its antiquity has noways to do with the passage of time - in which statement the author intentionally touches upon the strange and questionable double nature of that riddling element.
 But we would not wilfully obscure a plain matter. The exaggerated pastness of our narrative is due to its taking place before the epoch when a certain crisis shattered its way through life and consciousness and left a deep chasm behind. It takes place - or, rather, deliberately to avoid the present tense, it took place, and had taken place - in the long ago, in the old days, the days of the world before the Great War, in the beginning of which so much began that has scarcely yet left off beginning. Yes, it took place before that; yet not so long before. Is not the pastness of the past the profounder, the completer, the more legendary, the more im-mediately before the present it falls? More than that, our story has, of its own nature, something of the legend about it now and again.

We shall tell it at length, thoroughly, in detail-for when did a narrative seem too long or too short by reason of the actual time or space it took up? We do not fear being called meticulous, inclining as we do to the view that only the exhaustive can be truly interesting.

Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!
And now we begin"

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

BY THE OCEAN OF TIME

CHAPTER SEVEN

Page 541"CAN one tell - that is to say, narrate - time, time itself', as such, for its own sake? That would surely be an absurd undertaking. A story which read: "Time passed, It ran on, the time. flowed on-ward" and so forth - no one in his senses could consider that a narrative. It would be as though one .held a single note or chord fora whole hour, and called it music. For narration resembles music in this, that it fills up the time. It " fills it in " and " breaks it up." so that there's something to it," " something going on" - to quote, with due and mouriiful piety, those casual phrases of our departed Joachim, all echo of which so long ago died away. So long ago, indeed, that we wonder if the reader is clear how long ago it was. For time is the medium of narration, as it is the medium of life. Both are in extricably bound up with it, as inextricably as are bodies in space. Similarly, time is the medium of music; music divides, measures, articulates time, and can shorten it, yet enhance its value, both at once. Thus music and narration are alike, in that they can only present themselves as a flowing, as a succession in time, as one thing after another; and both differ from the plastic arts, which are complete in the present, and unrelated to time save as all bodies are, whereas narration - like music - even if it should try to be completely present at any given moment, would need time to do it in.
So much is clear. But it is just as clear that we have also a difference to deal with. For the time element in music is single. Into a section of mortal time music pours itself, thereby inexpressibly' enhancing and ennobling what it fills. But a narrative must have two kinds of time: first, its own, like music, actual time, condi- tioning its presentation and course; and second, the time of its con-tent, which is relative, so extremely relative that the imaginary time of the narrative can either coincide nearly or completely with the actual, or musical, time, or can be a world away. A piece of music called a "Five-minute Waltz "lasts five minutes, and this is / Page 542 / its sole relation to the time element. But a narrative which concerned itself with the events of five minutes, might, by extraordinary conscientiousness in the telling, take up a thousand times five minutes, and even then seem very short, though long in relation to its imaginary time. On the other hand, the contentual time of a story can shrink its actual time out of all measure. We put it in this way on purpose, in order to suggest another element, an illusory, even, to speak plainly, a morbid element, which is quite definitely a factor in the situation. I am speaking of cases where the story practises a hermetical magic, a temporal distortion of perspective reminding one of certain abnormal and transcendental experiences in actual life. We have records of opium dreams in which the dreamer, during a brief narcotic sleep, had experiences stretching over a period or ten, thirty, sixty years, or even passing the extreme limit of man's temporal capacity for experience: dreams whose contentual time was enormously greater than their actual or musical time, and in which there obtained an incredible foreshortening of events; the images pressing one upon another with such rapidity that it was as though "somethmg had been taken away, like the - spring from a broken watch" from the brain of the sleeper. Such is the description of a hashish eater.
Thus, or in some such way as in these sinister dreams, can the narrative go to work with time; in some such way can time be dealt with in a tale. And if this be so, then it is clear that time, while- the medium of the narrative, can also become its subject. There-fore, if it is too much to say that one can tell a tale of time, it is none the less true that a desire to tell a tale about time is not such an absurd idea as it just now seemed. We freely admit that, in bring-ing up the question as to whether the time can be narrated or not, we have done so only to confess that we had something like that in view.in the present work. And if we touched upon the. further question, whether our readers were clear how .much time had passed since the upnght Joachim, deceased in the mterval, had in-troduced into the conversation the above-quoted phrases about music and time - remarks indicating a certain alchemlstical heightning of his nature, which, in its goodness and simpliciry, was, of its own unaided power, incapable of any such ideas - we should not have been dismayed to hear that they were not clear. We might even have been gratified, on the plain ground that a thorough-go-ing sympathy with the experiences of our hero is precisely what :" we wish to arouse, and he, Hans Castorp, was himself not clear upon the point in question, no, nor had been for a very long time - a fact that has conditioned his romantic adventures up here, to an / Page 543 / extent which has made of them, in more than one sense, a "time-romance."
How long Joachim had lived here with his cousin, up to the time of his fateful departure, or taken all in all; what had been the date of his going, how long he "had been gone, when he had come back; how long Hans Castorp himself had been up here when his cousin returned and then bade time farewell; how long - dismissing Joachim from our calculations - Frau Chauchat had been absent; how long, since what date, she had been back again (for she did come back); how much mortal time Hans Castorp himself had spent in House Berghof by the time she returned; no one asked him all these questions, and he probably shrank from asking him- self. If they had been put him, he would have tapped his forehead with the tips of his fingers, and most certainly not have known - a phenomenon as disquieting as his incapacity to answer Herr Settembrini, that long-ago first evening, when the latter had asked him his age.
All which may sound preposterous; yet there are conditions under which nothing could keep us from losing account of the passage of time, losing account -even of our own age; lacking, as we do, any trace of an inner time-organ, and being absolutely incapable of fixing it even with an approach to accuracy by our-selves, without any outward fixed pomts as guides. There is a case of a party of miners, buried and shut off from every possibility of knowing the passage of day or night, who told their rescuers that they estimated the time they had spent in darkness, flickering be-tween hope and fear, to be some three days, It had actually been ten. Their high state of suspense might, one would think, have made the time seem longer to them than it actually was, whereas it shrank to less than a third of its objective length. It would ap-pear, then, that under conditions of bewilderment man is likely to under-rather than over-estimate time.
No doubt Hans Castorp, were he wishful to do so, could with-out a great trouble have reckoned himself into certainty; just as the reader can, in case all this vagueness and involvedness are repugnant to his healthy sense. Perhaps our hero himself was not quite comfortable either; though he refused to give himself any trouble to wrestle clear of vagueness and involution and arrive at certainty of how much time had gone over his head since he came up here. His scruple was of the conscience - yet surely it is a want
of conscientiousness most flagrant of all not to pay heed to the time.
We do not know whether we may count it in his favour that /Page 544/ circumstances advantaged his lack of inclination, or perhaps we ought to say his disinclination. When Frau Chauchat came back - under circumstances very different from those Hans Castorp had imagined, but of that in its place - when she came back, it was the Advent season again, and the shortest day of the year; the begin-ning; of winter, astronomically speaking, was at hand. Apart. from arbitrary time-divisions, and with reference to the quantity of snow and cold, it had been winter for God knows how long, in-terrupted, as always all too briefly, by burning hot summer days, with a sky of an exaggerated depth of blueness, well-nigh shading into black; real summer days, such as one often had even in the winter, aside from the snow - and the snow one might also have in the summer! This confusion in the seasons, how often had Hans Castorp discussed it with the departed Joachim! It robbed the year of its articulation, made it tediously brief, or briefly tedious,as one chose to put it; and confirmed another of Joachim's disgusted utter-ances, to the effect that there was no time up here to speak of, either long or short. The great confusion played havoc, moreover, with emotional conceptions, or states of consciousness like "still " and "again "; and this was one of the very most gruesome, bewil-dering, uncanny features of the case. Hans Castorp, on his first day up here, had discovered in himself a hankering to dabble in that uncanny, during the five mighty meals in the gaily stenciled dining- room; when a first faint giddiness, as yet quite blameless, had made itself felt.
Since then, however, the deception upon his senses and his mind had assumed much larger proportions. Time, however weakened the subjective perception of it has become, has objective reality in that it brings things to pass. It is a question for professional think- ers - Hans Castorp, in his youthful arrogance, nad one time been led to consider it - whether the hermetically sealed conserve upon its shelf is outside of time. We know that time does its work, even upon Seven Sleepers. A physician cites a case of a twelve-year- old-girl, who fell asleep and slept thirteen years; assuredly she did not remain thereby a twelve-year-old girl; but bloomed into ripe womanhood while she slept. How could it be otherwise? The dead man - is dead; he has closed his eyes on time. He has plenty of time, or personally speaking, he is timeless. Which does not prevent his hair and nails from growing, or, all in all- but no, we shall not repeat those free-and-easy expressions used once by Joachim, to which Hans Castorp, newly arrived from the flat-land, had taken exception. Hans Castorp's hair and nails grew too, grew rather fast. He sat very often in the barber's chair m the main street of the / Page 545 / Dorf, wrapped in a white sheet; and the barber, chatting obsequiously the while, deftly performed upon the fringes of his hair, growing too long behind his ears. First time; then the barber, performed their office upon our hero. When he sat there, or when he stood at the door of his loggia and pared his nails and groomed them, with the accessories from his aainty velvet case, he would suddenly be over-powered by a mixture of terror and eager joy that made him fairly giddy. And this giddiness was in both senses of the word: rendering our hero not only dazed and dizzy, but flighty and light-headed, incapable of distinguishing between "now" and "then, " and prone to mingle these together in a time-less eternity.
As we have repeatedly .said, we wish to make him out neither better nor worse than he was; accordingly we must report that he often tried to atone for his reprehensible indulgence in attacks of mysticism, by virtuously and painstakingly stnving to counteract them. He would sit with his watch open in his hand, his thin gold watch with the engraved. monogram on the lid, looking at the porcelain face with the double row of black and red Arabic figures running round it, the two fine and delicately curved gold hands moving in and out over it, and the little second-hand taking its busy ticking course round its own small circle. Hans Castorp, watching the second-hand, essayed to hold time by the tail, to cling to and prolong the passing moments. The little hand tripped on its way, Unheeding the figures it reached, passed over, left behind, left far behind, approached, and came on to again. It had no feeling for time limits, divisions, or measurements of time. Should it not pause on the sixty, or give some small sign that this was the end of one thing and the beginning of the next? But the way it passed over the intervening unmarked strokes showed that the figures and divisons on its path were.simply beneath it, that it moved on, and on. - Hans Castorp shoved his product of the Glashutte works back in his waistcoat pocket, and left time to take care of itself.
How make plain to the sober intelligence of the flat-land the changes that took place in the inner economy of our young adven-turer? The dizzying problem of identities grew grander in its scale.
If to-day's now - even with decent goodwill-was not easy to distinguish from yesterday's, the day before's or the day before
that's, which were all as like each other as the same number of peas, was it not also capable of being confused. with the now which: had been in force a month or a year ago, was it not also likely to be mingled and rolled round in the course of that other, to blend with / Page 546 / it into the always? However one might still differentiate between the ordinary states of consciousness which we attached to the words .. still," .. again," .. next," there was always the temptation to extend the sigificance of such descriptive words as "to-morrow,"yesterday," by which "to-day" holds at bay" the past " and" the future." It would not be hard to imagine the exist-ence of creatures, perhaps upon smaller planets than ours, practis-ing a miniature time-economy, in whose brief span the brisk trip-ping gait of our second-hand would possess the tenacious spatial economy of our hand that marks the hours. And, contrariwise, one can conceive of a world so spacious that its time system too has a majestic stride, and the distinctions between .. still," ., in a little while," " yesterday," .. to-morrow,'? are, in its economy, possessed of hugely extended significance. That, we say, would be not only conceivable, but, viewed in the spirit of a tolerant relativity, and in the light of an already-quoted proverb, might be considered legitimate, sound, even estimable. Yet what shall one say of a son of earth, and of our time to boot, for whom a day, a week, a month, a semester, ought to play such an important role, and bring so many changes, so much progress in its !:rain, who one day falls into the vicious habit -,- or perhaps we should say, yields sometimes to the desire - to say" yesterday" when he means a year ago, and .. next year " when he means to-morrow? Certainly we must deem him lost and undone, and the object of our just concern.
There is a state, in our human life, there are certain scenic surroundings - if one may use that adjective to describe the surround-ings we have in mind - within which such a confusion and obliteration of distances in time and space is in a measure justified, and temporary submersion in them, say for the term of a holiday, not reprehensible. Hans Castorp, for his part, could never without the greatest longing think of a stroll along the ocean's edge. We know how he loved to have the snowy wastes remind him of his native landscape of broad ocean dunes; we hope the reader's recollections will bear us out when we speak of the joys of that straying. You walk, and walk - never will you come home at the right time, for you are of time, and time is vanished. O ocean, far from thee we sit and spin our tale; we turn toward thee our thoughts, our love, loud and expressly we call on thee, that thou mayst be present in the tale we spin, as in secret thou ever wast and shalt be! - A singing solitude, spanned by a sky of palest grey; full of stinging damp that leaves a salty tang upon the lips. - We walk along the springy floor, strewn with seaweed and tiny mussel-shells. Our ears are wrapped about by the great mild, ample wind, that comes / Page 547 / sweeping untrammelled blandly through space, and gently blunts our senses. We wander - wander - watching the tongues of foam lick upward toward our feet and sink back again. The surf is seething; wave after wave, with high, hollow sound, rears up, re-bounds, and runs with a silken rustle out over the flat strand: here one, there one, and more beyond, out on the bar. The dull; pervasive, sonorous roar loses our ears against all the sounds of the world. O deep content, O wilful bliss of sheer forgetfulness! Let us shut our eyes, safe in eternity! No - for there in the flaming grey- green waste that stretches With uncanny foreshortening to lose itself in the horizon,. look, there is a sail. There? Where is there? How far, how near? You cannot tell. Dizzyingly it escapes your measurement. In order to know how far that ship is from the shore, you would need to know how much room it occupies, as a body in space.is it large and far off, or is it small and near? Your eye grows dim with uncertainty, for in yourself you have no sense-organ to help. you judge of time or space. - We Walk, walk. How long, how far? Who knows? Nothing is changed by our pacing, there is the same as here, once on a time the same as now, or then; time is drowning in the measureless monotony of space, motion from point-to point is no motion more, where uniformity rules; and where motion is no more motion, time is no longer time.
The schoolmen of the Middle Ages would have it that time is an illusion; that its flow in sequence and causality is only the result of
a sensory device, and the real existence of things in an abiding present. Was he walking by the sea, the philosopher to whom this thought first came, walking by the sea, with the faint bitterness of eternity upon his lips? We must repeat that, as for us, we have been speaking only of the lawful licence of a holiday, of fantasies born of leisure, of which the well-conducted mind wearies as quickly as a vigorous man does of lying in the warm sand. To call into question our human means and powers of perception, to question their validity, would be absurd; dishonourable, arbitrary, if it were done in any other spirit than to set bounds to reason, which she may not overstep without incurring the reproach of neglecting her own task. We can only be grateful to a man like Herr Settembrini, who with pedagogic dogmatism characterized metaphysics as the " evil principle," to the young man in whose fate we are in terested, and whom he had once subtly called "life's delicate child." We shall best honour the memory of one departed, who was dear to us, if we say plainly that the meaning, the end and aim of the critical principle can and may be but one thing: the thought of duty, the law of life. Yes, law-giving wisdom, in marking off the / Page548 / limits of reason, planted precisely at those limits the banner of life, and proclaimed it man's soldierly duty to serve under that banner. May we set it down on the credit side of Hans Castorp's account, that he had been strengthened in his vicious time-economy, his baleful traffic with eternity, by seeing that all his cousin's zeal, called doggedness by a certain melancholy blusterer, had but the more surely brought him to a fatal end?"

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 659

"It was learned, further, that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - invisible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her parents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turkish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners some­what hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room.
Was it Holger, Fraulein Kleefeld asked, who had rolled up the cloth? Little Brand did not know. And what had she thought about the affair? But since it was absolutely impossible to think anything about it, little Elly had thought nothing at all. Had she told her parents? No. That was odd. Though so sure she had thought nothing about it, Elly had had a distinct impression, in this and similar cases, that she must keep it to herself, make a profound and shamefaced secret of it. Had she taken it much to heart? No, not particularly. What was there about the rolling up of a cloth to take to heart? But other things she had - for example, the following:
A year before, in her parent's house at Odense, she had risen, as was her custom, in the cool of the early morning and left her room on the ground-floor, to go up to the breakfast-room, in order to brew the moming coffee before her parents rose. She had almost reached the landing, where the stairs turned, when she saw standing there close by the steps her elder sister Sophie, who had married and gone to Amenca to live. There she was, her physical presence, in a white gown, with, curiously enough, a garland of moist water-lilies on her head, her hands folded against one shoulder, and nodded to her sister. Ellen, rooted to the spot, half joyful, half terrified, cried out: "Oh, Sophie, is that you? " Sophie had nodded once again, and dissolved. She became gradually transparent, soon she was only visible as an ascending current of warm air, then not visible at all. so that Ellen's / Page 660 / path was clear. Later, it transpired that Sister Sophie had died of heart trouble in New Jersey, at that very hour.

Hans Castorp, when Fraulein Kleefeld related this to him, expressed the view that there was some sort of sense in it: the apparition here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition.

A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the apparatus Hermine had provided, consisting of a medium­sized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Fraulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of cold feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded table-lamp, as Fraulein Kleefeld, in concession to the mood of the gathering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move.

That should happen with ease. The top of the table was smooth, the rim of the grass well ground, the pressure of the tremulous fingers, however lightly laid on, certainly unequal, some of it being exerted vertically, some rather sidewise, and probably in sufficient strength to cause the glass finally to move from its position in the centre of the table. On the periphery of its field it would come in contact with the marked counters; and if the letters on these, when put together, made words that conveyed any sort of sense, the resultant phenomenon would be complex and contaminate, a mixed product of conscious, half -conscious, and unconscious elements; the actual desire and pressure of some, to whom the wish was father to the act, whether or not they were aware of what they did; and the secret acquiescence of some dark stratum in the soul of the generality, a common if subterranean effort toward seemingly strange experiences, in which the sup / Page 661 / pressed self of the individual was more or less involved, most strongly, of course, that of little Elly. This they all knew be­forehand - Hans Castorp even blurted out something of the sort, after his fashion, as they sat and waited. The ladies' palpitation and cold extremities, the forced hilarity of the men, arose from their knowledge that they were come together in the night to embark on an unclean traffic with their own natures, a fearsome prying into unfamiliar regions of themselves, and that they were awaiting the appearance of those illuso.ry or half-realities which we call magic. It was almost entirely for form's sake, and came about quite conventionally, that they asked the spirits of the departed to speak to them through the movement of the glass. Herr Albin offered to be spokesman and deal with such spirits as manifested themselves - he had already had a little experience at seances.

Twenty minutes or more went by. The whisperings had run dry, the first tension relaxed. They supported their right arms at the elbow with their left hands. The Czech Wenzel was al­most dropping off. Ellen Brand rested her finger lightly on the glass and directed her pure, childlike gaze away into the rosy light from the table-lamp.
Suddenly the glass tipped, knocked, and ran away from under their hands. They had difficulty in keeping their fingers on it. It pushed over to the very edge of the table, ran along it for a space, then slanted back nearly to the middle; tapped again, and remained quiet.

They were all Startled; favourably, yet with some alarm. Frau Stohr whimpered that she would like to stop, but they told her she should have thought of that before, she must just keep quiet now. Things seemed in train. They stipulated that, in order to answer yes or no, the glass need not run to the letters, but might give one or two knocks instead.

" Is there an Intelligence present? " Herr Albin asked, severely directing his gaze over their heads into vacancy. Ater some hesitation, the glass tipped and said yes.

" What is your name? " Herr Albin asked, almost gruffly, and emphasized his energetic speech by shaking his head.

The glass pushed off. It ran with resolution from one point te another, executing a zigzag by returning each time a little distance toward the centre of the table. It visited H, O, and L, then seemed exhausted; but pulled itself together again and sought out the G, and E, and the R. Just as they thought. It was Holger in person, the spirit Holger, who understood such matters as the / Page 661 / pinch of salt and that, but knew better than to mix into lessons at school. He was there, floating in the air, above the heads of the little circle. What should they do with him? A certain diffidence possessed them; they took counsel behind their hands, what they were to ask him. Herr Albin decided to question him about his position and occupation in life, and did so, as before, severely, with frowning brows; as though he were a cross-examining counsel.

The glass was silent awhile. Then it staggered over to the P, zigzagged and returned to O. Great suspense. Dr. Ting-Fu giggled and said Holger must be a poet. Frnu Stohr began to laugh hysterically; which the glass appeared to resent, for after indi­cating the E it stuck and went no further. However, it seemed fairly clear that Dr. Ting-Fu was right.

What the deuce, so Holger was a poet? The glass revived, and superfluously, in apparent pridefulness, rapped yes. A lyric poet, Fraulein Kleefeld asked? She said lyric, as Hans Castorp involuntarily noted. Holger was disinclined to specify. He gave no new answer, merely spelled out again, this time quickly and unhesitatingly, the word poet, adding the T he had left off before.
Good, then, a poet. The constraint increased. It was a con­straint that in realIty had to do with manifestations on the part of uncharted regions of their own inner, their subjective selves, but which, because of the illusory, half-actual conditions of these manifestations, referred itself to the objective and external. Did Holger feel at home, and content, in his present state? Dreamily, the glass spelled out the word tranquil. Ah, tranquil It was not a word one would have hit upon oneself, but after the glass spelled it out, they found it well chosen and probable. And how long had Holger been in ,this tranquil state? The answer to this was again something one would never have thought of, and dreamily answered; it was "A hastening while." Very good. As a piece of ventriloquistic poesy from the Beyond, Hans Castorp, in particular, found it capital. A " hastening while" was the time-element Holger lived in: and of course he had to answer as it were in parables, having very likely forgotten how to use earthly terminofogy and standards of exact measurement. Fraulein Levi confessed her curiosity to know how he looked, or had looked, more or less. Had he been a handsome youth? Here Albin said she might ask him herself, he found the request beneath his dignity. So she asked if the spirit had fair hair.

"Beautiful, brown, brown curls," the glass responded, deliberately spelling out the word brown twice. There was much merri­ / Page 663 / ment over this. The ladies said they were in love with him. They kissed their hands at the ceiling. Dr. Ting-Fu, giggling, said Mister Holger must be rather vain.

Ah, what a fury the glass fell into! It ran like mad about the table, quite at random, rocked with rage, fell over and rolled into Frau Stohr's lap, who stretched out her anns and looked down at it pallid with fear. They apologetically conveyed it back to its station, and rebuked the Chinaman. How had he dared to say such a thing - did he see what his indiscretion had led to? Suppose Holger was up and off in his wrath, and refused to say another word!
They addressed themselves to the glass with the extreme of courtesy. WouId Holger not make up some poetry for them? He had said he was a poet, before he went to hover in the hastening while. Ah, how they all yearned to hear him versify! They would love it so!

And lo, the good glass yielded and said yes! Truly there was something placable and good-humoured about the way it tapped. And then Holger the spirit began to poetize, and kept it up, copi­ously, circumstantially, without pausing for thought, for dear knows how long. It seemed impossible to stop him. And what a surprising poem it was, this ventriloquistic effort, delivered to the admiration of the circle - stuff of magic, and shoreless as the sea of which it largely dealt. Sea-wrack in heaps and bands along the narrow strand of the broad-flung bay; an islanded coast, girt by steep, cllify dunes. Ah, see the dim green distance faint and die into eternity, while beneath broad veils of mist in dull cannine and milky radiance the summer sun delays to sink! No word can utter how and when the watery mirror turned from silver into untold changeful colour-play, to bright or pale, to spreading, opaline and moonstone gleams - or how, mysteriously as it came, the voice­less magic died away. The sea slumbered. Yet the last traces of the sunset linger above and beyond. Until deep in the night it has not grown dark: a ghostly twilight reigns in the pine forests on the downs, bleaching the sand until it looks like snow- A simulated winter forest all in silence, save where an owl wings rustling flight. Let us stray here at this hour - so soft the sand beneath our tread, so sublime, so mild the night! Far beneath us the sea respires slowly, and murmurs a long whispering in its dream. Does it crave thee to see it again? Step forth to the sallow, glacierlike cliffs of the dunes, and climb quite up into the softness, that runs coolly into thy shoes. The land falls harsh and bushy steeply down to the pebbly shore, and still the last parting remnants of the day haunt the edge of the vanishing sky. Lie down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty little mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour-glass, that solemn, fragile toy that adorns the hermit's hut. An open book, a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn, mysterious essence. . . .
Thus Holger the spirit and his lyric improvisation, ranging with weird flights of thought from the familiar sea-shore to the cell of a hermit and the tools of his mystic contemplation. And there waf more; more, human and divine, involved in daring and dreamlike terminology - over which the members of the little circle puzzled endlessly as they spelled it out; scarcely finding time for hurried though raptUrous applause, so swiftly did the glass zigzag back and forth, so swiftly the words roll on and on. There was no distant prospect of a period, even at the end of an hour. The glass improvised inexhaustibly of the pangs of birth and the first kiss of lovers; the crown of sorrows, the fatherly goodness of God; plunged into the mysteries of creation, lost itself in other times and lands, in interstellar space; even mentioned the Chaldeans and the zodiac; and would "most, certainly have gone on all night, if the conspirators had not finally taken their fingers from the glass, and expressing their gratitude to Holger, told him that must suffice them for the time, it had been wonderful beyond their wildest dreams, it was an everlasting pity there had been no one at hand to take it down, for now it must inevitably be forgotten, yes, alas, they had already forgotten most of it, thanks to its quality, which made it hard to retain, as dreams are. Next time they must appoint an amanuensis to take it down, and see how it would look m black and white, and read connectedly. For the moment, however, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?
The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy-story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was so difficult to choose. At length, as no one else seemed able to settle, Hans Castorp, with his finger on the glass, supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.
Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door."

 

 

THE SIRIUS MYSTERY

Robert K.G..Temple 1976

Page 145

"We must note Stecchini's remarks about Delphi as follows:38

The god of Delphi, Apollo, whose name means 'the stone', was identified with an object, the omphalos, 'navel'. which has been found. It consisted of an ovoidal stone . . . The omphalos of Delphi was similar to the object which represented the god Amon in Thebes, the 'navel' of Egypt."

"Stecchini also explains his theory that the oracles originally functioned through the operations of computing devices:

An object which resembles a roulette wheel, and actually is it's historical antecedent, was centred on top of the omphalos. The spinning of a ball gave the answers; each of the 36 spokes of the wheel corresponded to a letter symbol.

In studying ancient computing devices, I have discovered that they were used also to obtain oracular answers. This is the origin of many of the oracular instruments we still use today, such as cards and ouija boards for calculating in terms of angles.

 

 

THE SIRIUS MYSTERY

Robert K.G..Temple 1976

APPENDIX IV

The Meaning of the E at Delphi

Plutarch wrote a fascinating essay entitled 'The E at Delphi',' actually in the form of a dialogue, featuring Plutarch himself and several other speakers. It is to be remembered that Plutarch was a close personal friend of Clea, the Delphic priestess of his day, and he knew much and always sought to learn more about the nature and history of the oracles not only of Delphi but elsewhere as well. He was, however, most interested of all in Delphi itself, for he was one of the two priests of Apollo there.
The central subject of the discussion is the letter E which was a prominent inscription at the Delphic shrine. (That is, the letter E was carved in stone quite on its own at Delphi and was a subject of much curious speculation to the classical Greeks, who retained no tradition of the meaning of the ancient inscription of this single letter.) F. C. Babbitt, in his Introduction to the dialogue, says :2
Plutarch, in this essay on the E at Delphi, tells us that beside the well-known inscriptions at Delphi there was also a representation of the letter E, the fifth letter of the Greek alphabet. The Greek name for this letter was EI, and this diphthong, in addition to being used in Plutarch's time as the name of E (which denotes the number five), is the Greek word for 'if', and also the word for the second person singular of the verb 'to be' (thou art).
In searching for an explanation of the unexplainable it is only natural that the three meanings of EI (`five', 'if', 'thou art') should be examined to see if any hypothesis based on any one of them might possibly yield a rational explanation. . . . Plutarch puts forward seven possible explanations of the letter. . . . Attempts to explain the letter have been also made in
modern times by Gottling . and by Schultz . . . Roscher . . . C. Robert
. . . 0. Lagercrantz . . . W: N. Bates, in the American Journal of Archaeology xxix (1925), pp. 239-46, tries to show that the E had its origin in a Minoan character E . . . later transferred to Delphi. Since the character was not understood, it, like other things at Delphi, came to be associated with Apollo. This character has been found on the old omphalos discovered in 1913 at Delphi in the temple of Apollo.
Interesting are the two coins reproduced in Imhoff-Blumer and P. Gardner, A Numismatic Commentary on Pausanius, plate X nos. xxii and xxiii (text p. 119), which show the E suspended between the middle columns of the temple. Learned scholars should note that the letter represented is E, not EI : therefore such explanations as are based on the true diphthong are presumably wrong.

Page 266

The second explanation offered by Plutarch is in fact the correct one. This is how Plutarch suggests it:
Ammonius smiled quietly, suspecting privately that Lamprias had been indulging in a mere opinion of his own and was fabricating history and tradition regarding a matter in which he could not be held to account. Someone else among those present said that all this was similar to the nonsense which the Chaldaean visitor had uttered a short time before: that there are seven vowels in the alphabet and seven stars that have an independent and unconstrained motion; that E is the second in order of the vowels from the beginning, and the sun the second planet after the moon, and that practically all the Greeks identify Apollo with the Sun.
The facts that Delphi is the second descending centre in the geodetic octave, and that it is symbolized by the second vowel E, would seem to go well together. The seven vowels (each corresponding to one of the oracle centres) were uttered in succession as the holy 'unspeakable' name of God by Egyptian priests. Demetrius of Phalerum, the student of Aristotle's Lyceum and who founded the famous great library of Alexandria when later in life he was exiled to Egypt, tells us in his surviving treatise On Style: 'In Egypt the priests sing hymns to the gods by uttering the seven vowels in succession, the sound of which produces as strong a musical impression on their hearers as if flute and lyre were used.'
In Chapter XVI of The White Goddess, Robert Graves discusses this too, and there quotes Demetrius. Graves also refers to an eight-letter version of the sacred name. It may be that if one wants to count the base oracle centre (which in musical analogy is the octave expression of the top centre) one should have an eight-letter version. This version of the name is:

JEHUOVAO.

Note that E is the second letter.

We are faced with archaeological evidence that the second vowel, E, was prominently associated with the second oracle centre in descending order. (See Plate 12 of this book.) And we know from Herodotus that Dodona, the top oracle centre, was said to be founded by Egyptian priestesses from Thebes in Egypt. We also know that certain Egyptian priests sang the seven vowels (or eight vowels, including an aspirate) in succession. We have already seen that the geodetic oracle centres seem to have an octave structure. And as this book went to press a discovery became known which demonstrated the existence of the heptatonic, diatonic musical scale in the ancient Near East. We may even make a presumption that the uttering of the seven vowels in succession may possibly have corresponded to the seven notes of the octave (but we may never know that for certain). And it is most important to emphasize that, however bizarre to us, the association of a vowel with an oracle centre is not our invention or surmise. The E may not only be read about in Plutarch but seen on ancient coins and on the omphalos stone itself (for both of which see Plate 14). And this association of the second vowel with Delphi has never been explained by anyone.
So granted all the above, what follows? If each oracle centre had a vowel /page 267/ associated with it, then the second vowel being associated with the second centre would seem to imply a corresponding arrangement for the other centres. And if that is the case, it would seem that the entire system would be associated with and actually comprise a geodetic spelling-out, over eight degrees of latitude, of the unspeakable holy name of God, known commonly to the Hebrews as 'Jehovah'.
It is most important that anyone intrigued by this possibility should keep a wary eye for any further evidence. We should be on the lookout for representations of or associations of other vowels at the other centres. These may already be known to specialists in the field or there may be evidence of this sort languishing unclassified and unexplained in the basement of some museum. Or this sort of evidence may come to light at any time in the future. One place to begin looking would, it seems to me, be with an examination of the omphalos stone from Delos, which is to be seen in Plate 12 of this book. Does this omphalos stone have a single letter inscribed on it similarly to the Delphi omphalos stone? And what of all the other omphalos stones, such as the one from Thebes in Egypt (see Plate 12). Are any of these well enough preserved to show a puzzling single hieroglyph of a vowel ? I have not carried out any investigation of this sort myself at the present time.
In closing, it would seem that the E at Delphi must fall into some coherent system of the kind I suggest, and the explanation of the enigma must be connected with Plutarch's lightly advocated second explanation — that to do with E being the second vowel. (Babbitt's exclusion of the diphthong on the basis of the ancient coins to be seen in Plate 14 of this book is therefore crucial and to my view conclusive.)
Notes
1. The dialogue 'The E at Delphi' is to be found in English in Volume V of Plutarch's Moralia (altogether 15 vols) published in the Loeb Classical Library series; London: William Heinemann Ltd., and U.S.A. : Harvard University Press. The volume first appeared in 1936, and the translation is by Frank Cole Babbitt. Other works of Plutarch in the same volume are 'Isis and Osiris', 'The Oracles at Delphi No Longer Given in Verse', and 'The Obsolescence of Oracles'.
2. Ibid. See Plate t4 of this book.

 

 

Roulette - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Roulette

Roulette is a casino game named after a French diminutive for little wheel. In the game, players may choose to place bets on either a single number or a range of ...

Russian roulette - Bauernroulette - Category:Roulette and wheel

Roulette

From Wikipedia, the free encyclopedia

This article is about the casino game. For other uses, see Roulette (disambiguation).

Spinning Roulette wheel with ball
(Illustrations omitted)

"Gwendolen at the roulette table" - 1910 illustration to George Eliot' "Daniel Deronda".
Roulette is a casino game named after a French diminutive for little wheel. In the game, players may choose to place bets on either a single number or a range of numbers, the colors red or black, or whether the number is odd or even.

To determine the winning number and color, a croupier spins a wheel in one direction, then spins a ball in the opposite direction around a tilted circular track running around the circumference of the wheel. The ball eventually loses momentum and falls on to the wheel and into one of 37 (in French/European roulette) or 38 (in American roulette) colored and numbered pockets on the wheel.

History

18th Century E.O. wheel with gamblers
The first form of roulette was devised in 18th century France. A century earlier, Blaise Pascal introduced a primitive form of roulette in the 17th century in his search for a perpetual motion machine.[1] The roulette wheel is believed to be a fusion of the English wheel games Roly-Poly, Reiner, Ace of Hearts, and E.O., the Italian board games of Hoca and Biribi, and "Roulette" from an already existing French board game of that name.

The game has been played in its present form since as early as 1796 in Paris. An early description of the roulette game in its current form is found in a French novel La Roulette, ou le Jour by Jaques Lablee, which describes a roulette wheel in the Palais Royal in Paris in 1796. The description included the house pockets, "There are exactly two slots reserved for the bank, whence it derives its sole mathematical advantage." It then goes on to describe the layout with, "...two betting spaces containing the bank's two numbers, zero and double zero." The book was published in 1801. An even earlier reference to a game of this name was published in regulations for New France (Québec) in 1758, which banned the games of "dice, hoca, faro, and roulette."[2]

The roulette wheels used in the casinos of Paris in the late 1790s had red for the single zero and black for the double zero. To avoid confusion, the color green was selected for the zeros in roulette wheels starting in the 1800s.

In 1843, in the German spa casino town of Homburg, fellow Frenchmen François and Louis Blanc introduced the single 0 style roulette wheel in order to compete against other casinos offering the traditional wheel with single and double zero house pockets.[citation needed]

In some forms of early American roulette wheels - as shown in the 1886 Hoyle gambling books, there were numbers 1 through 28, plus a single zero, a double zero, and an American Eagle. The Eagle slot, which was a symbol of American liberty, was a house slot that brought the casino extra edge. Soon, the tradition vanished and since then the wheel features only numbered slots.[3] Existing wheels with Eagle symbols are exceedingly rare, with fewer than a half-dozen copies known to exist. Authentic Eagled wheels in excellent condition can fetch tens of thousands of dollars at auction.

According to Hoyle "the single 0, the double 0, and eagle are never bars; but when the ball falls into either of them, the banker sweeps every thing upon the table, except what may happen to be bet on either one of them, when he pays twenty-seven for one, which is the amount paid for all sums bet upon any single figure."

1800s engraving French Roulette
In the 19th century, roulette spread all over Europe and the U.S.A., becoming one of the most famous and most popular casino games. When the German government abolished gambling in the 1860s, the Blanc family moved to the last legal remaining casino operation in Europe at Monte Carlo, where they established a gambling mecca for the elite of Europe. It was here that the single zero roulette wheel became the premier game, and over the years was exported around the world, except in the United States where the double zero wheel had remained dominant. Some[who?] call roulette the "King of Casino Games", probably because it was associated with the glamour of the casinos in Monte Carlo.[citation needed]

A legend says that François Blanc supposedly bargained with the devil to obtain the secrets of roulette. The legend is based on the fact that the sum of all the numbers on the roulette wheel (from 1 to 36) is 666, which is the "Number of the Beast".[4]

Early American West Makeshift Game
In the United States, the French double zero wheel made its way up the Mississippi from New Orleans, and then westward. It was here, because of rampant cheating by both operators and gamblers, that the wheel was eventually placed on top of the table to prevent devices being hidden in the table or wheel, and the betting layout was simplified. This eventually evolved into the American style roulette game as different from the traditional French game. The American game developed in the gambling dens across the new territories where makeshift games had been set up, whereas the French game evolved with style and leisure in Monte Carlo. However, it is the American style layout with its simplified betting and fast cash action, using either a single or double zero wheel, that now dominates in most casinos around the world.

During the first part of the 20th century, the only casino towns of note were Monte Carlo with the traditional single zero French wheel, and Las Vegas with the American double zero wheel. In the 1970s, casinos began to flourish around the world. By 2008 there were several hundred casinos world wide offering roulette games. The double zero wheel is found in the U.S., Canada, South America, and the Caribbean, while the single zero wheel is predominant elsewhere.

 

 

MIN 495 MIN

 

Min (god) - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Min_(god)

Min is an Ancient Egyptian god whose cult originated in predynastic times (4th millennium BC). He was represented in many different forms, but was often ...

Min (god)

From Wikipedia, the free encyclopedia

Min

The fertility dark-skinned god Min, with an erect penis and a flail

God of fertility

Name in hieroglyphsMajor cult center

Qift

Symbol

the lettuce, the phallus

Parents

Isis and Osiris

Siblings

Horus

Consort

Iabet

Repit

Min is an Ancient Egyptian god whose cult originated in predynastic times (4th millennium BC).[1] He was represented in many different forms, but was often represented in male human form, shown with an erect penis which he holds in his left hand and an upheld right arm holding a flail. As Khem or Min, he was the god of reproduction; as Khnum, he was the creator of all things, "the maker of gods and men".[2]

Contents
[hide] 1 Myths and function
2 Family
3 References
4 External links

[edit] Myths and function

As a god of fertility, he was shown as having black skin. His cult was strongest in Coptos and Akhmim (Panopolis), where in his honour great festivals were held celebrating his “coming forth” with a public procession and presentation of offerings.[1] His other associations include the eastern desert and links to the god Horus. Flinders Petrie excavated two large statues of Min at Qift which are now in the Ashmolean Museum and it is thought by some that they are pre-dynastic. Although not mentioned by name a reference to 'he whose arm is raised in the East' in the Pyramid Texts is thought to refer to Min.[3]

His importance grew in the Middle Kingdom when he became even more closely linked with Horus as the deity Min-Horus. By the New Kingdom he was also fused with Amen in the deity Min-Amen-kamutef (Min-Amen - bull of his mother). Min's shrine was crowned with a pair of bull horns.[4]

As the central deity of fertility and possibly orgiastic rites Min became identified by the Greeks with the god Pan. One feature of Min worship was the wild prickly lettuce Lactuca virosa and Lactuca serriola of which is the domestic version Lactuca sativa which has aphrodisiac and opiate qualities and produce latex when cut, possibly identified with semen. He also had connections with Nubia. However, his main centres of worship were Qift (Coptos) and Akhmim (Khemmis).

As a god of male sexual potency, he was honoured during the coronation rites of the New Kingdom, when the Pharaoh was expected to sow his seed — generally thought to have been plant seeds, although there have been controversial suggestions that the Pharaoh was expected to demonstrate that he could ejaculate — and thus ensure the annual flooding of the Nile. At the beginning of the harvest season, his image was taken out of the temple and brought to the fields in the festival of the departure of Min, when they blessed the harvest, and played games naked in his honour, the most important of these being the climbing of a huge (tent) pole.

In Egyptian art, Min was depicted as wearing a crown with feathers, and often holding his penis erect in his left hand and a flail (referring to his authority, or rather that of the Pharaohs) in his upward facing right hand. Around his forehead, Min wears a red ribbon that trails to the ground, claimed by some to represent sexual energy. The symbols of Min were the white bull, a barbed arrow, and a bed of lettuce, that the Egyptians believed to be an aphrodisiac, as Egyptian lettuce was tall, straight, and released a milk-like substance when rubbed, characteristics superficially similar to the penis.

Even some war goddesses were depicted with the body of Min (including the phallus), and this also led to depictions, ostensibly of Min, with the head of a lioness. Min usually was depicted in an ithyphallic (with an erect and uncovered phallus) style. Christians routinely defaced his monuments in temples they co-opted and Victorian Egyptologists would take only waist-up photographs of Min, or otherwise find ways to cover his protruding penis. However, to the ancient Egyptians, Min was not a matter of scandal - they had very relaxed standards of nudity: in their warm climate, farmers, servants, and entertainers often worked partially or completely naked, and children did not wear any clothes until they came of age.

In the 19th century, there was an alleged erroneous transcription of the Egyptian for Min as ḫm ("khem"). Since Khem was worshipped most significantly in Akhmim, the separate identity of Khem was reinforced, Akhmim being understood as simply a corruption of Khem. However, Akhmim is an alleged corruption of ḫm-mnw, meaning Shrine of Min, via the demotic form šmn.

[edit] Family

In Hymn to Min it is said:
"Min, Lord of the Processions, God of the High Plumes, Son of Osiris and Isis, Venerated in Ipu..."
It is not strange that to him are given fertility gods for parents.

Min's wives were Iabet and Repyt (Repit).

[edit] References

1.^ a b "Min". Encyclopædia Britannica. Encyclopædia Britannica Online. 2008. Retrieved 2008-03-27.
2.^ Bechtel, F. (1907). "Ammon". The Catholic Encyclopedia. I. New York: Robert Appleton Company. Retrieved 2008-03-27.
3.^ Frankfort, Henry (1978). Kingship and the Gods: A Study of Ancient Near Eastern Religion as the Integration of Society and Nature. University of Chicago Press. pp. 187–189.
4.^ Frankfort, Henry (1978). Kingship and the Gods: A Study of Ancient Near Eastern Religion as the Integration of Society and Nature. University of Chicago Press. pp. 187–189.

 

-
3
M
I
N
-
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
-
9
14
+
=
23
2+3
=
5
=
5
-
3
M
I
N
-
-
-
-
-
-
-
-
-
-
4
-
-
+
=
4
-
=
4
=
4
-
-
13
-
-
+
=
13
1+3
=
4
=
4
-
3
M
I
N
-
-
-
-
-
-
-
-
-
-
13
9
14
+
=
36
3+6
=
9
=
9
-
-
4
9
5
+
=
18
1+8
=
9
=
9
-
3
M
I
N
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
ONE
1
-
-
-
2
-
-
-
-
-
-
2
TWO
2
-
-
-
3
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
-
-
-
-
5
-
-
5
occurs
x
1
=
5
6
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
7
SEVEN
7
-
-
-
8
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
9
-
-
-
9
occurs
x
1
=
9
27
3
M
I
N
-
-
18
-
-
3
-
18
2+7
-
-
9
-
-
-
1+8
-
-
-
-
1+8
9
3
M
I
N
-
-
9
-
-
3
-
9
-
-
4
9
5
-
-
-
-
-
-
-
-
9
3
M
I
N
-
-
9
-
-
3
-
9

 

 

3
M
I
N
-
-
-
-
-
-
-
-
-
-
9
5
+
=
14
1+4
=
5
=
5
-
-
9
14
+
=
23
2+3
=
5
=
5
3
M
I
N
-
-
-
-
-
-
-
-
-
4
-
-
+
=
4
-
=
4
=
4
-
13
-
-
+
=
13
1+3
=
4
=
4
3
M
I
N
-
-
-
-
-
-
-
-
-
13
9
14
+
=
36
3+6
=
9
=
9
-
4
9
5
+
=
18
1+8
=
9
=
9
3
M
I
N
-
-
-
-
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
5
occurs
x
1
=
5
-
-
9
-
-
-
9
occurs
x
1
=
9
3
M
I
N
-
-
18
-
-
3
-
18
-
-
9
-
-
-
1+8
-
-
-
-
1+8
3
M
I
N
-
-
9
-
-
3
-
9
-
4
9
5
-
-
-
-
-
-
-
-
3
M
I
N
-
-
9
-
-
3
-
9

 

 

3
MIN
-
-
-
-
M
13
4
4
-
I
9
9
9
1
N
14
5
5
3
MIN
36
18
18
-
-
3+6
1+8
1+8
3
MIN
9
9
9

 

 

M
=
4
-
4
MIND
40
22
4
M
=
4
-
6
MATTER
77
23
5
-
-
8
-
10
Add to Reduce
117
45
9
-
-
-
-
1+0
Reduce to Deduce
2+7+1
4+5
1+0
-
-
8
-
1
Essence of Number
9
9
9

 

P
=
7
-
6
PEOPLE
69
33
6
T
=
2
-
3
THE
33
15
6
P
=
7
-
6
PEOPLE
69
33
6
T
=
2
-
3
THE
33
15
6
H
=
8
-
4
HOLY
42
24
6
P
=
7
-
6
PEOPLE
69
33
6
-
-
33
4
28
First Total
333
153
36
-
-
3+3
-
2+8
Add to Reduce
3+3+3
1+5+3
3+6
Q
-
6
-
10
Second Total
9
9
9
-
-
-
-
1+0
Reduce to Deduce
-
-
-
-
-
6
4
1
Essence of Number
9
9
9

 

 


Daedalus - Wikipedia, the free encyclopedia

 

en.wikipedia.org/wiki/Daedalus

In Greek mythology, Daedalus /di:dəlɪs/ or /dɛdəlɪs/ (Ancient Greek: Δαίδαλος, meaning "clever worker"; Latin: Daedalos; Etruscan: Taitale) was a skillful ...

Daedalus


From Wikipedia, the free encyclopedia


Jump to: navigation, search

This article is about the mythological character. For other uses see Daedalus (disambiguation).

Family

His parentage was supplied as a later addition to the mythos, providing him with a father in either Metion,[3] Eupalamus[4] or Palamaon,[5] and a mother, either Alcippe, Athena,[6] Iphinoe[7] or Phrasimede.[8] Daedalus had two sons: Icarus[9] and Iapyx,[10] along with a nephew, whose name was Perdix.

Athenians transferred Cretan Daedalus to make him Athenian-born, the grandson[11] of the ancient king Erechtheus, who fled to Crete, having killed his nephew. Over time, other stories were told of Daedalus.

[edit] The Labyrinth

Daedalus is first mentioned by Homer as the creator of a wide dancing-ground for Ariadne.[12] He also created the Labyrinth on Crete, in which the Minotaur (part man, part bull) was kept. In the story of the labyrinth Hellenes told, the Athenian hero Theseus is challenged to kill the Minotaur, finding his way with the help of Ariadne's thread. Daedalus' appearance in Homer is in an extended simile, "plainly not Homer's invention," Robin Lane Fox observes: "he is a point of comparison and so he belongs in stories which Homer's audience already recognized."[13] In Bronze Age Crete, an inscription da-da-re-jo-de has been read as referring to a place at Knossos,[14] and a place of worship.[15]

In Homer's language, objects which are daidala are finely crafted. They are mostly objects of armour, but fine bowls and furnishings are daidala, and on one occasion so are the "bronze-working" of "clasps, twisted brooches, earrings and necklaces" made by Hephaestus while cared for in secret by the goddesses of the sea.[16]

Ignoring Homer, later writers envisaged the Labyrinth as an edifice rather than a single dancing path to the center and out again, and gave it numberless winding passages and turns that opened into one another, seeming to have neither beginning nor end.[17] Ovid, in his Metamorphoses, suggests that Daedalus constructed the Labyrinth so cunningly that he himself could barely escape it after he built it.[18] Daedalus built the labyrinth for King Minos, who needed it to imprison his wife's son the Minotaur. The story is told that Poseidon had given a white bull to Minos so that he might use it as a sacrifice. Instead, Minos kept it for himself; and in revenge, Poseidon made his wife Pasiphaë lust for the bull with the help of Aphrodite.[19] For Pasiphaë, as Greek mythologers interpreted it, Daedalus also built a wooden cow so she could mate with the bull, for the Greeks imagined the Minoan bull of the sun to be an actual, earthly bull, the slaying of which later required a heroic effort by Theseus.

This story thus encourages others to consider the long-term consequences of their own inventions with great care, lest those inventions do more harm than good. As in the tale of Icarus' wings, Daedalus is portrayed assisting in the creation of something that has subsequent negative consequences, in this case with his creation of the monstrous Minotaur's almost impenetrable Labyrinth which made slaying the beast an endeavour of legendary difficulty. Additionally, Daedalus' legend evokes the virtue of humility as the Daedalean labyrinth was defeated by a simple ball of thread that its architect had ostensibly failed to consider.[citation needed]

[edit] Daedalus and Icarus

The most familiar literary telling explaining Daedalus' wings is a late one, that of Ovid: in his Metamorphoses (VIII:183-235) Daedalus was shut up in a tower to prevent his knowledge of his Labyrinth from spreading to the public. He could not leave Crete by sea, as the king kept strict watch on all vessels, permitting none to sail without being carefully searched. Since Minos controlled the land and sea routes, Daedalus set to work to fabricate wings for himself and his young son Icarus. He tied feathers together, from smallest to largest so as to form an increasing surface. He secured the feathers at their midpoints with string and at their bases with wax, and gave the whole a gentle curvature like the wings of a bird. When the work was done, the artist, waving his wings, found himself buoyed upward and hung suspended, poising himself on the beaten air. He next equipped his son in the same manner, and taught him how to fly. When both were prepared for flight, Daedalus warned Icarus not to fly too high, because the heat of the sun would melt the wax, nor too low, because the sea foam would soak the feathers.

They had passed Samos, Delos and Lebynthos by the time the boy, forgetting himself, began to soar upward toward the sun. The blazing sun softened the wax which held the feathers together and they came off. Icarus fell into the sea and drowned. His father cried, bitterly lamenting his own arts, and called the land near the place where Icarus fell into the ocean Icaria in memory of his child.

An early image of winged Daedalus appears on an Etruscan jug of ca 630 BC found at Cerveteri, where a winged figure captioned Taitale appears on one side of the vessel, paired on the other side, uniquely, with Metaia, Medea:[20] "its linking of these two mythical figures is unparalleled," Robin Lane Fox observes: "The link was probably based on their wondrous, miraculous art. Magically, Daedalus could fly, and magically Medea was able to rejuvenate the old (the scene on the jug seems to show her doing just this)".[21] The image of Daedalus demonstrates that he was already well known in the West.

[edit] Sicily

Further to the west, Daedalus arrived safely in Sicily, in the care of King Cocalus of Kamikos on the island's south coast; there Daedalus built a temple to Apollo, and hung up his wings, an offering to the god. In an invention of Virgil (Aeneid VI), Daedalus flies to Cumae and founds his temple there, rather than in Sicily; long afterwards Aeneas confronts the sculpted golden doors of the temple.

Minos, meanwhile, searched for Daedalus by travelling from city to city asking a riddle. He presented a spiral seashell and asked for a string to be run through it. When he reached Kamikos, King Cocalus, knowing Daedalus would be able to solve the riddle, privately fetched the old man to him. He tied the string to an ant which, lured by a drop of honey at one end, walked through the seashell stringing it all the way through. Minos then knew Daedalus was in the court of King Cocalus and demanded he be handed over. Cocalus managed to convince Minos to take a bath first, where Cocalus' daughters killed Minos. In some versions, Daedalus himself poured boiling water on Minos and killed him.

The anecdotes are literary, and late; however, in the founding tales of the Greek colony of Gela, founded in the 680s on the southwest coast of Sicily, a tradition was preserved that the Greeks had seized cult images wrought by Daedalus from their local predecessors, the Sicani.[22]

[edit] Daedalus and Perdix

Daedalus was so proud of his achievements that he could not bear the idea of a rival. His sister had placed her son, named variously as Perdix, Talus, or Calos,[23] under his charge to be taught the mechanical arts. He was an apt scholar and showed striking evidence of ingenuity. Walking on the seashore, he picked up the spine of a fish. According to Ovid, imitating it, he took a piece of iron and notched it on the edge, and thus invented the saw. He put two pieces of iron together, connecting them at one end with a rivet, and sharpening the other ends, and made a pair of compasses.[24] Daedalus was so envious of his nephew's accomplishments that he took an opportunity and caused him to fall from the Acropolis. Athena turned Perdix into a partridge and Daedalus left Athens due to this.

[edit] Innovator

Such anecdotal details as these were embroideries upon the reputation of Daedalus as an innovator in many arts. In Pliny's Natural History (7.198) he is credited with inventing carpentry "and with it the saw, axe, plumb-line, drill, glue, and isinglass". Pausanias, in travelling around Greece, attributed to Daedalus numerous archaic wooden cult figures (see xoana) that impressed him: "All the works of this artist, though somewhat uncouth to look at, nevertheless have a touch of the divine in them."[25]

Daedalus gave his name, eponymously, to any Greek artificer and to many Greek contraptions that represented dextrous skill. At Plataea there was a festival, the Daedala, in which a temporary wooden altar was fashioned, and an effigy was made from an oak-tree and dressed in bridal attire. It was carried in a cart with a woman who acted as bridesmaid. The image was called Daedale and the archaic ritual given an explanation through a myth to the purpose

In the period of Romanticism, Daedalus came to denote the classic artist, a skilled mature craftsman, while Icarus symbolized the romantic artist, whose impetuous, passionate and rebellious nature, as well as his defiance of formal aesthetic and social conventions, may ultimately prove to be self-destructive. Stephen Dedalus, in Joyce's Portrait of the Artist as a Young Man envisages his future artist-self "a winged form flying above the waves [...] a hawk-like man flying sunward above the sea, a prophecy of the end he had been born to serve”.

Daedalus constructs wings for his son, Icarus, after a Roman relief in the Villa Albani, Rome (Meyers Konversationslexikon, 1888).
In Greek mythology, Daedalus /di:dəlɪs/ or /dɛdəlɪs/ (Greek: Δαίδαλος, meaning "clever worker"; Latin: Daedalos; Etruscan: Taitale) was a skillful craftsman and artisan.[1][2] He is the father of Icarus and Iapyx and the uncle of Perdix.

 

DAEDALUS

DEAD ALL US R DEAD R US ALL DEAD


 

4
MAAT
35
8
8
1
I
9
9
9
2
AT
21
3
3
4
MAAT
35
8
8
2
AM
14
5
5

 

 

-
MAAT
-
-
-
2
AM
14
5
5
2
AT
21
3
3
4
MAAT
35
8
8
-
-
3+5
-
-
4
MAAT
8
8
8

 

 

3
THE
33
15
6
11
IMAGINATIVE
110
56
2
9
IMITATIVE
108
45
9
4
NEED
28
19
1
10
IMPERATIVE
118
55
1
37
First Total
397
190
19
3+7
Add to Reduce
3+9+7
1+9+0
1+9
10
Second Total
19
10
10
1+0
Reduce to Deduce
1+9
1+0
1+0
1
Third Total
10
1
1
-
Add to Reduce
1+0
-
-
1
Essence of Number
1
1
1

 

 

Klaatu gives Helen a chance by going with her to see her friend, Professor Barnhardt (John Cleese). The Professor tries to reason with Klaatu, saying that all civilizations only change when they're at the precipice of a crisis. He says human will change, now that they are really at the edge of destruction.

 

 

YOU SAY WE'RE ON THE BRINK OF DESTRUCTION AND YOU'RE RIGHT.

BUT IT IS ONLY ON THE BRINK THAT PEOPLE FIND THE WILL TO CHANGE.

ONLY AT THE PRECIPICE DO WE EVOLVE. THIS IS OUR MOMENT DON'T TAKE IT FROM US

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
Y
=
7
-
3
YOU
61
16
7
-
-
-
-
-
-
-
7
-
-
S
=
1
-
3
SAY
45
18
9
-
-
-
-
-
-
-
-
-
9
W
=
5
-
4
WE'RE
51
24
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
2
ON
29
11
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
B
=
2
-
5
BRINK
54
27
9
-
-
-
-
-
-
-
-
-
9
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
D
=
4
-
11
DESTRUCTION
148
49
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
2
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
Y
=
7
-
7
YOU'RE
84
30
3
-
-
-
3
-
-
-
-
-
-
R
=
9
-
3
RIGHT
62
35
8
-
-
-
-
-
-
-
-
8
-
-
-
50
-
55
-
607
247
58
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
B
=
2
-
3
BUT
43
7
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IT
29
11
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
O
=
6
-
4
ONLY
66
21
3
-
-
-
3
-
-
-
-
-
-
O
=
6
-
2
ON
29
11
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
B
=
2
-
5
BRINK
54
27
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
P
=
7
-
6
PEOPLE
69
33
6
-
-
-
-
-
-
6
-
-
-
F
=
6
-
4
FIND
33
24
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
W
=
5
-
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
C
=
3
-
6
CHANGE
38
29
2
-
-
2
-
-
-
-
-
-
-
-
-
63
-
50
-
595
244
64
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
O
=
6
-
4
ONLY
66
21
3
-
-
-
3
-
-
-
-
-
-
A
=
1
-
2
AT
21
3
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
9
PRECIPICE
84
57
3
-
-
-
3
-
-
-
-
-
-
D
=
4
-
2
DO
19
10
1
-
1
-
-
-
-
-
-
-
-
W
=
5
-
2
WE
28
10
1
-
1
-
-
-
-
-
-
-
-
E
=
5
-
2
EVOLVE
81
27
9
-
-
-
-
-
-
-
-
-
9
-
-
30
-
24
-
332
143
26
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
4
THIS
56
20
2
-
-
2
-
-
-
-
-
-
-
I
=
9
-
2
IS
28
10
1
-
1
-
-
-
-
-
-
-
-
O
=
6
-
3
OUR
54
18
9
-
-
-
-
-
-
-
-
-
9
M
=
4
-
6
MOMENT
80
26
8
-
-
-
-
-
-
-
-
8
-
D
=
4
-
4
DON'T
53
17
8
-
-
-
-
-
-
-
-
8
-
T
=
2
-
4
TAKE
37
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
2
IT
29
11
2
-
-
2
-
-
-
-
-
-
-
F
=
6
-
4
FROM
52
25
7
-
-
-
-
-
-
-
7
-
-
U
=
3
-
2
US
40
4
4
-
-
-
-
4
-
-
-
-
-
-
-
45
-
31
-
429
141
42
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
188
-
160
First Total
1963
775
190
-
6
14
18
12
5
42
21
32
45
-
-
1+8+8
-
1+6+0
Add to Reduce
1+9+6+3
7+7+5
1+9+0
-
-
1+4
1+8
1+2
-
4+2
2+1
3+2
4+5
-
-
17
-
7
Second Total
19
19
10
-
6
5
9
3
5
6
3
5
9
-
-
1+7
-
-
Reduce to Deduce
1+9
1+9
1+9
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
Third Total
10
10
10
-
6
5
9
3
5
6
3
5
9
-
-
-
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
Essence of Number
1
1
1
-
6
5
9
3
5
6
3
5
9

 

 

"You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change.

Only at the precipice do we evolve. This is our moment. Don't take it from us, we are close to an answer".

 

 

T
=
2
-
3
THE
33
15
6
D
=
4
-
3
DAY
30
12
3
T
=
2
-
3
THE
33
15
6
E
=
5
-
5
EARTH
52
25
7
S
=
1
-
5
STOOD
73
19
1
S
=
1
-
5
STILL
72
18
9
-
-
15
4
24
First Total
293
104
32
-
-
1+5
-
2+4
Add to Reduce
2+9+3
1+0+4
3+2
Q
-
6
-
6
Second Total
14
5
5
-
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
6
4
6
Essence of Number
5
5
5

 

 

The Day the Earth Stood Still (2008) - Memorable quotes

www.imdb.com/title/tt0970416/quotes

You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is ...

Regina Jackson: What is your purpose in coming here?
Klaatu: There is a gathering of world leaders not far from here; I will explain my purpose to them.
Regina Jackson: I'm afraid thats not possible. Perhaps you should explain yourself to me instead.
Klaatu: Do you speak for the entire human race?
Regina Jackson: I speak for the President of the United States. Now, please; tell me why have you come to our planet.
Klaatu: *Your* planet.
Regina Jackson: Yes; this is our planet.
Klaatu: No, it is not.
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--------------------------------------------------------------------------------

Klaatu: The decision is made.
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--------------------------------------------------------------------------------

Klaatu: [to Helen] Your professor is right. At the precipice we change.
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--------------------------------------------------------------------------------

Guardswoman: [Catching Helen with a cellphone after they had been forbidden] Is that a cell phone?
Helen Benson: [nods]
Guardswoman: [Chokingly] Can I borrow it?
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--------------------------------------------------------------------------------

Helen Benson: I need to know what's happening.
Klaatu: This planet is dying. The human race is killing it.
Helen Benson: So you've come here to help us.
Klaatu: No, *I* didn't.
Helen Benson: You said you came to save us.
Klaatu: I said I came to save the Earth.
Helen Benson: You came to save the Earth... from us. You came to save the Earth *from* us.
Klaatu: We can't risk the survival of this planet for the sake of one species.
Helen Benson: What are you saying?
Klaatu: If the Earth dies, you die. If you die, the Earth survives. There are only a handful of planets in the cosmos that are capable of supporting complex life...
Helen Benson: You can't do this.
Klaatu: ...this one can't be allowed to perish.
Helen Benson: We can change. We can still turn things around.
Klaatu: We've watched, we've waited and hoped that you *would* change.
Helen Benson: Please...
Klaatu: It's reached the tipping point. We have to act.
Helen Benson: Please...
Klaatu: We'll undo the damage you've done and give the Earth a chance to begin again.
Helen Benson: Don't do this. Please, we can change. We can change.
Klaatu: The decision is made. The process has begun.

 

The Day the Earth Stood Still (2008) - Memorable quotes

www.imdb.com/title/tt0970416/quotes

You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is ...

Helen Benson: Oh God.
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--------------------------------------------------------------------------------

Professor Barnhardt: There must be alternatives. You must have some technology that could solve our problem.
Klaatu: Your problem is not technology. The problem is you. You lack the will to change.
Professor Barnhardt: Then help us change.
Klaatu: I cannot change your nature. You treat the world as you treat each other.
Professor Barnhardt: But every civilization reaches a crisis point eventually.
Klaatu: Most of them don't make it.
Professor Barnhardt: Yours did. How?
Klaatu: Our sun was dying. We had to evolve in order to survive.
Professor Barnhardt: So it was only when your world was threated with destruction that you became what you are now.
Klaatu: Yes.
Professor Barnhardt: Well that's where we are. You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us, we are close to an answer.
Share this quote

--------------------------------------------------------------------------------

Klaatu: There are some things I can't do.
Jacob Benson: But you have powers.
Klaatu: I'm sorry.
Jacob Benson: Please. Please!
Klaatu: Jacob, nothing ever truly dies. The universe wastes nothing. Everything is simply, transformed.
Jacob Benson: Just leave me alone.
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--------------------------------------------------------------------------------

Helen Benson: It's alright. He's here to help.
Klaatu: There's another side to you. I feel it now.
Helen Benson: [referring to large, black cloud] Is that how it ends?
Klaatu: Yes.
Helen Benson: You can't stop it?
Klaatu: I don't know. It would come at a price, to you and your way of life.
Helen Benson: But we can change, you know that now. Please, please, just give us a chance.
Klaatu: I'll try. I must get back to the city.
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--------------------------------------------------------------------------------

Professor Barnhardt: I have so many questions to ask you.
Helen Benson: [addressing Klaatu about the music playing] It's Bach.
Klaatu: It's beautiful.
Professor Barnhardt: So we're not so different after all.
Klaatu: I wish that were true.
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The Day the Earth Stood Still (2008) - Memorable quotes
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You say we are on the brink of destruction and you are right. But it is only on the brink that people find the will to change. Only at the precipice do we evolve.

 

 

Do People need to be on the Brink of Extinction to Change ?, page 1
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Add your own comments to "Its only on the brink that people find the will to change. Only at the precipice do we evolve." from J. Jackson on Myspace.

 

 

At the Precipice of Catastrophic Climate Change?
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Mar 14, 2010 –But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us. We are ...

 

 

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A revealing and very important dialogue transpires between Klaatu and Dr Benson:

Klaatu: “This planet is dying. The human race is killing it.”
Dr Benson: “So you’ve come here to help us?”
Klaatu: “No, I didn’t.”
Dr Benson: “You said you came to save us.”
Klaatu: “I came to save the Earth.”
Dr Benson:”You came to save the earth, from us.”
Klaatu: “We cannot risk the survival of this planet for the sake of one species. If the earth dies, you die. If you die, the earth survives. There are only a handful of planets in the cosmos that are capable of supporting complex life. This one cannot be allowed to perish.”
Dr Benson: “We can change. We can still turn things around…”
Klaatu: “We’ve watched. We’ve awaited and hoped that you would change. It has reached a tipping point where we have to act. We’ll undo the damage you done and give the Earth a chance to begin again.”
Dr Benson: “Don’t do that… Please. We can change.”
Klaatu: “The decision has been made. The process has begun.”

The movie makes no bones about the notion that the typical viewer is to blame for the phenomenon of the world going to hell in a hand basket. The degenerating environment, ballooning pollution, over-population global warming, it’s all the fault of the average joe. Humans like a virus eating away the planet. What a horrible realization, the viewer is nudged into thinking… Consequently, he or she is left teetering on the brink of a guilt trip. Fortunately, the movie quickly offers a way out of this unbearable psychological predicament. All we have to do is… change! Easy, no?

 

 

"... it's only on the brink that people find the will to change. Only at ...
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Apr 20, 2010 – it's only on the brink that people find the will to change. Only at the precipice do we evolve..." from the entertaining sci-fi fantasy movie, 'The Day ...

 

 

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Mar 14, 2010 –But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us. We are ...

At the Precipice of Catastrophic Climate Change?

Some thoughts on what it will take for us to change our nature and try to prevent catastrophes instead of reacting too late with too little.

Consider the 2008 remake of the film "The Day the Earth Stood Still."

Klaatu’s last words, “At the precipice we change.”

In this remake of the original 1951 film, the threat of Global Warming has replaced nuclear annihilation. The message being that the aliens will defend the continued habitability of one of the few such planets in their universe when they conclude we humans are on a path to environmental destruction. That therefore we must be eliminated to save the planet.

Conservative reviewers were annoyed that the nuclear war danger was replaced with global warming, and put the film down for supposedly saying "Go Green or Die." Actually, the film says "Since we believe you won't change, you must be sacrificed to save the rest of life on the planet." Fortunately, in this film a very logical Nobel Prize-winning Professor Barnhardt (John Cleese, of Monty Python fame.) persuades Klaatu (Keanu Reeves) to re-consider, since the aliens own species only changed when faced with destruction, and that maybe humans too can change at the brink. The professor then advises Helen, the beautiful scientist (Jennifer Connelly) to use her self, not logic, to emotionally persuade Klaatu. Presumably, this can work since Klaatu is an alien in a man's body. Yea! Earth is saved and as a bonus, Keanu Reeves who after all is a robotic actor anyway, exits!

However, the alien's bargain is that all electrical and carbon based energy is eliminated. My guess is that hydraulic and mechanical power might be allowed.

The Crucial Scene: (Helen takes Klaatu and the Jacob to the home of the physicist who specializes in the evolutionary basis of altruism.)

Klaatu: (appreciating Bach) It’s beautiful.

Professor: So we are not so different after all.

Klaatu: I wish that were true.

Meanwhile: (The US government and military tries to open Gort, the giant robot, which releases the replicating insects that start eating humans and all our products.)

The Professor: There must be alternatives. You must have some technology that can solve the problem.

Klaatu: Your problem is not technology. The problem is you. You lack the will to change.

Professor: Then help us change.

Klaatu: I can not change your nature. You treat the world as you treat each other.

Professor: But every civilization reaches a crisis point eventually.

Klaatu: Most of them don't make it.

Professor: Yours did. How?

Klaatu: Our Sun was dying. We had to evolve in order to survive.

Professor: So it was only when your world was threatened with destruction that you became what you are now.

Klaatu: Yes.

Professor: Well, that’s where we are. You say we're on the brink of destruction, and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us. We are close to an answer.

Klaatu: (Pauses and then goes outside to see the military coming for him. They get ready to flee, suggesting that he now may want to get to his ship and maybe save humans.)

Beautiful scientist: (To the professor) He can't get caught. What do I do?

Professor: Change his mind. Not with reason, but with yourself.

Beautiful scientist: (Kisses the professor's cheek and rushes off with Klaatu and the boy Jacob.)

Final Scene: (Seeing the boy and scientist about to be consumed by the alien insects, Klaatu is moved to try to save them.)

Beautiful scientist: Help him, please.

Klaatu: (Takes the insects into himself.) Your professor was right. At the precipice we change.

(Moved by the beautiful scientist and young fatherless boy to feel for humans, Klaatu decides at the last moment to stop the destruction and save humanity, but only with the elimination of electricity and fossil fuel power.)

(The destruction stops and Klaatu leaves earth behind, without lights.)

---

"The fate of mankind must not be left in the hands of robots turned into people or people turned into robots." Fidel Castro: Seven Daggers at the Heart of the Americas, 8/6/09

Walter Teague 3/8/10.

--------------------------------------------------------------------------------

Some additional thoughts on the precipice:

Seems we are on the precipice of catastrophic climate changes. Will we do what is necessity to try to prevent C3? Will we meet the challenge of organizing a public and political movement sufficient to do so. One of the major human difficulties, besides the political, economic and military barriers, is our seeming inability to act before crises, even the ones we see coming such as Katrina, Haiti, Tsunamis, etc.

Consider that the two versions of the film classic "The Day the Earth Stood Still" are selling well on Amazon.

In the original 1951 film "The Day the Earth Stood Still," the aliens warn us, don't take your destructive ways to space or we'll fry your planet! Well the thousands of atomic rockets remain and the outcome is still uncertain.
In the new 2008 revised and more confused version of the same story, the alien decides at the last minute to let humans live, but removes electricity and presumably all carbon based energy. We saved, because a logical professor, a beautiful woman and a little boy persuade the alien that "Your professor was right. At the precipice we change."

While these are just movies, I'm left wondering what percentage of the viewers got the message, even if garbled and Hollywood-ish?

Are we at the precipice? Perhaps. Will we change enough not to push ourselves over the edge? Perhaps.

My question remains, what can we do to facilitate this alleged capacity to change in face of a real precipice?

Walter Teague 3/14/10

 

Do People need to be on the Brink of Extinction to Change ?, page 1

www.abovetopsecret.com/forum/thread854406/pg1

11 posts - 8 authors - 24 Jun 2012
You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do ...

Professor Barnhardt

Klaatu: Your problem is not technology. The problem is you. You lack the will to change.
Professor Barnhardt Then help us change.
Klaatu I cannot change your nature. You treat the world as you treat each other.
Professor Barnhardt: But every civilization reaches a crisis point eventually.
Klaatu Most of them don't make it.
Professor Barnhardt Yours did. How?
Klaatu: Our sun was dying. We had to evolve in order to survive.
Professor Barnhardt: So it was only when your world was threated with destruction that you became what you are now.
Klaatu: Yes.
Professor Barnhardt Well that's where we are. You say we're on the brink of destruction and you're right. But it's only on the brink that people find the will to change. Only at the precipice do we evolve. This is our moment. Don't take it from us, we are close to an answer.

 

 

IT'S ONLY ON THE BRINK THAT PEOPLE FIND THE WILL TO CHANGE

ONLY AT THE PRECIPICE DO WE EVOLVE THIS IS OUR MOMENT DON'T TAKE IT FROM US

 

 

NUMBER = 534259 = 1 = 534259NUMBER

NUMBER = 234559 NUMBER

NUMBER = 534259 = 1 = 534259NUMBER

 

 

NUMBERS = 5342591 = 1 = 5342591NUMBERS

NUMBERS = 1234559 = NUMBER

NUMBERS = 5342591 = 1 = 5342591NUMBERS

 

 

SOULS O SOULS

SO U LIVE REMEMBER ME I ME REMEMBER LIVE U SO

SO U LEARN REMEMBER ME I ME REMEMBER LEARN U SO

SO U LOVE REMEMBER ME I ME REMEMBER LOVE U SO

 

CREATION REACTION CREATION

REACTION CREATION REACTION

CREATORS REACTORS CREATORS

REACTORS CREATORS REACTORS

 

SO U LOVE REMEMBER ME I ME REMEMBER LOVE U SO

SO U LEARN REMEMBER ME I ME REMEMBER LEARN U SO

SO U LIVE REMEMBER ME I ME REMEMBER LIVE U SO

SOULS O SOULS

 

 

THE ELEMENTS OF THE GODDESS

Caitlin Mathews

WE ARE ENTERING THE TIME OF THE NINE-POINTED STAR THE STAR OF MAKING REAL UPON EARTH THE GOLDEN DREAM OF PEACE THAT LIVES WITHIN US

BROOKE MEDICINE EAGLE

Page 72

"THE WAY OF THE DELIVERER IS THAT OF BONDAGE-BREAKER WHATEVER IS TRAPPED DENIED FREEDOM OF MOVEMENT THE DELIVERER PERSONALLY SETS FREE HER METHOD OF LIBERATION IS TO GO TO THE ROOTS OF THE BLOCKAGE AND LITERALLY BLAST IT FREE IN THIS THE DELIVERER BEARS A STRONG RESEMBLANCE TO THE SHAPER OF ALL WHO IS WILLING TO BE BROKEN INTO PIECES

THE SYMBOLIC IMAGE OF THIS TRANSFORMATION IS THAT OF THE BUTTERFLY EMERGING FROM THE CHRYSALIS FROM APPARENT DEATH AND DESTRUCTION ARISES A NEW FORM OF LIFE SO ARE WE BORNE OF THE DELIVERER RESHAPED AND TRANSFORMED TO LIVE MORE EFFECTIVELY WITHIN OUR CHOSEN FIELD OF OPERATION

Page 38

THIS ENNEAD OF ASPECTS IS ENDLESSLY ADAPTABLE FOR IT IS MADE UP OF NINE THE MOST AJUSTABLE AND YET ESSENTIALLY UNCHANGING NUMBER HOWEVER ONE CHOOSES TO ADD UP MULTIPLES OF NINE FOR EXAMPLE 54 72 108 THEY ALWAYS ADD UP TO NINE"

"HOWEVER ONE CHOOSES TO ADD UP MULTIPLES OF NINE FOR EXAMPLE

54 72 108

THEY ALWAYS ADD UP TO NINE"

 

 

-
-
-
-
-
NINENINETYNINE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
NINENINETYNINE
-
-
-
-
-
-
-
-
-
-
-
-
-
N
=
5
-
2
N+I
23
14
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
2
N+I
23
14
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
T+Y+N
59
14
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
2
I+N
23
14
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
46
-
14
NINENINETYNINE
171
81
45
-
1
2
3
4
45
6
7
8
9
-
-
4+6
-
1+4
-
1+7+1
8+1
4+5
-
-
-
-
-
4+5
-
-
-
-
-
-
10
-
5
NINENINETYNINE
9
9
9
-
1
2
3
4
9
6
7
8
9
-
-
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
5
NINENINETYNINE
9
9
9
-
1
2
3
4
9
6
7
8
9

 

 

-
-
-
-
-
NINENINETYNINE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
NINENINETYNINE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
NINE
-
-
-
-
1
2
3
4
5
6
7
8
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
24
-
4
NINE
42
24
24
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
NINETY
-
-
-
-
-
-
-
-
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
2
TY
27
9
9
-
-
-
-
-
-
-
-
-
9
-
-
26
-
6
NINETY
69
33
33
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
NINE
-
-
-
-
-
-
-
-
-
-
-
-
-
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
24
-
4
NINE
42
24
24
-
-
-
-
-
-
-
-
-
-
-
-
74
-
14
NINENINETYNINE
171
81
81
-
1
2
3
4
45
6
7
8
36
-
-
7+4
-
1+4
-
1+7+1
8+1
8+1
-
-
-
-
-
4+5
-
-
-
3+6
-
-
11
-
5
NINENINETYNINE
9
9
9
-
1
2
3
4
9
6
7
8
9
-
-
1+1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
NINENINETYNINE
9
9
9
-
1
2
3
4
9
6
7
8
9

 

 

14
NINENINETYNINE
171
81
9
4
NINE
42
24
6
6
NINETY
87
33
6
4
NINE
42
24
6
14
NINENINETYNINE
171
81
18
-
-
1+7+1
8+1
1+8
1
NINENINETYNINE
9
9
9

 

 

T
=
2
3
THE
33
15
6
E
=
5
N
=
5
6
NINETY
87
33
6
Y
=
7
N
=
5
4
NINE
42
24
6
E
=
5
N
=
5
5
NAMES
52
16
7
S
=
1
O
=
6
2
OF
21
12
3
F
=
6
G
=
7
3
GOD
26
17
8
D
=
4
-
-
30
23
Add to Reduce
261
117
36
-
-
28
-
-
3+0
2+3
Reduce to Deduce
2+6+1
1+1+7
3+6
-
-
10
-
-
3
5
Essence of Number
9
9
9
-
-
1

 

 

3
THE
33
15
6
13
CONSTELLATION
159
51
6
2
OF
21
12
3
5
ORION
71
35
8
23
First Total
284
113
23
2+3
Add to Reduce
2+8+4
1+1+3
2+3
5
Second Total
14
5
5
-
Reduce to Deduce
1+4
-
-
5
Essence of Number
5
5
5

 

 

-
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
6
5
1
-
-
-
-
-
-
9
6
5
-
6
-
-
6
-
9
6
5
+
=
72
7+2
=
9
=
9
=
9
-
-
-
8
-
-
-
15
14
19
-
-
-
-
-
-
9
15
14
-
15
-
-
15
-
9
15
14
+
=
162
1+6+2
=
9
=
9
=
9
-
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
-
-
2
5
3
3
1
2
-
-
-
-
-
6
-
-
9
-
-
-
+
=
41
4+1
=
5
=
5
=
5
-
-
20
-
5
-
3
-
-
-
20
5
12
12
1
20
-
-
-
-
-
6
-
-
18
-
-
-
+
=
122
1+2+2
=
5
=
5
=
5
-
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
3
15
14
19
20
5
12
12
1
20
9
15
14
-
15
6
-
15
18
9
15
14
+
=
284
2+8+4
=
9
=
9
=
9
-
-
2
8
5
-
3
6
5
1
2
5
3
3
1
2
9
6
5
-
6
6
-
6
9
9
6
5
+
=
113
1+1+3
=
9
=
9
=
9
-
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
2
-
-
-
-
-
-
-
2
-
-
-
-
2
-
-
-
-
-
-
-
-
3
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
-
3
--
-
-
-
-
3
3
-
-
-
--
-
-
--
--
-
-
3
-
-
-
-
-
3
occurs
x
3
=
9
=
9
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
-
4
FOUR
-
-
-
-
-
-
-
-
-
-
5
-
-
-
5
-
-
5
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
6
-
-
6
6
-
6
-
-
6
-
-
-
6
occurs
x
6
=
36
3+6
9
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
7
-
-
-
7
SEVEN
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
9
-
-
-
-
9
occurs
x
3
=
27
1+8
9
11
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
34
-
-
23
-
113
-
50
1+1
2+3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
9
-
-
-
-
3+4
-
-
2+3
-
1+1+3
-
5+0
2
5
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
7
-
-
5
-
5
-
5
-
-
2
8
5
-
3
6
5
1
2
5
3
3
1
2
9
6
5
-
6
6
-
6
9
9
6
5
-
-
-
-
-
-
-
-
-
-
2
5
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
7
-
-
5
-
5
-
5

 

 

23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
6
5
1
-
-
-
-
-
-
9
6
5
-
6
-
-
6
-
9
6
5
+
=
72
7+2
=
9
=
9
=
9
-
-
8
-
-
-
15
14
19
-
-
-
-
-
-
9
15
14
-
15
-
-
15
-
9
15
14
+
=
162
1+6+2
=
9
=
9
=
9
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
3
-
-
-
2
5
3
3
1
2
-
-
-
-
-
6
-
-
9
-
-
-
+
=
41
4+1
=
5
=
5
=
5
-
20
-
5
-
3
-
-
-
20
5
12
12
1
20
-
-
-
-
-
6
-
-
18
-
-
-
+
=
122
1+2+2
=
5
=
5
=
5
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
3
15
14
19
20
5
12
12
1
20
9
15
14
-
15
6
-
15
18
9
15
14
+
=
284
2+8+4
=
9
=
9
=
9
-
2
8
5
-
3
6
5
1
2
5
3
3
1
2
9
6
5
-
6
6
-
6
9
9
6
5
+
=
113
1+1+3
=
9
=
9
=
9
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
2
-
-
-
-
-
-
-
2
-
-
-
-
2
-
-
-
-
-
-
-
-
3
-
-
-
-
-
2
occurs
x
3
=
6
=
6
-
-
-
-
-
3
--
-
-
-
-
3
3
-
-
-
--
-
-
--
--
-
-
3
-
-
-
-
-
3
occurs
x
3
=
9
=
9
-
-
-
5
-
-
-
5
-
-
5
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
5
=
25
2+5
7
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
6
-
-
6
6
-
6
-
-
6
-
-
-
6
occurs
x
6
=
36
3+6
9
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
9
-
-
-
-
9
occurs
x
3
=
27
1+8
9
23
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
34
-
-
23
-
113
-
50
2+3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
9
9
-
-
-
-
3+4
-
-
2+3
-
1+1+3
-
5+0
5
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
7
-
-
5
-
5
-
5
-
2
8
5
-
3
6
5
1
2
5
3
3
1
2
9
6
5
-
6
6
-
6
9
9
6
5
-
-
-
-
-
-
-
-
-
-
5
T
H
E
-
C
O
N
S
T
E
L
L
A
T
I
O
N
-
O
F
-
O
R
I
O
N
-
-
7
-
-
5
-
5
-
5

 

 
 
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