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A

MAZE

IN

ZAZAZA ENTER ZAZAZA

ZAZAZAZAZAZAZAAZAZAZAZAZAZAZ

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321

 

 

WORK DAYS OF GOD

Herbert W Morris D.D.circa 1883

Page 22

"As all the words in the English language are composed out of the twenty-six letters of the alphabet,.."

 

 

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"

 

 

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

 

 

"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER

ONE MAY PUT DOWN ALMOST ANY MESSAGE"

 

 

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
                  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
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

A

HISTORY OF GOD

Karen Armstrong

The God of the Mystics

Page 250

"(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."  

 

 

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

 

 

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

 

 

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
                  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
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

FINGERPRINTS OF THE GODS

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

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

A message in the bottle of time"

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

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

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

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

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

 

 

 

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
                  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
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
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
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z

 

 

THE

FAR YONDER SCRIBE

AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE

THE

ZED ALIZ ZED

IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS

AT THE THROW OF THE NINTH RAM WHEN IN CONJUNCTION SET

THE

FAR YONDER SCRIBE

MADE RECORD OF THEIR FALL

 

 

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 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

 

 

3
3
 
A+B+C
6
6
6
2
 
2
D+E
9
9
9
3
3
 
F+G+H
21
21
3
1
 
1
I
9
9
9
3
3
 
J+K+L
33
6
6
2
 
2
M+N
27
9
9
2
2
 
O+P
31
13
4
3
 
3
QRS
54
18
9
3
 
3
TUV
63
9
9
3
 
3
WXY
72
18
9
1
1
 
Z
26
8
8
26
12
14
First Total
351
126
81
2+6
1+2
1+4
Add to Reduce
3+5+1
1+2+6
8+1
8
3
5
Reduce to Deduce
9
9
9

 

 

3
A+B+C
6
6
6
-
D+E
-
-
-
3
F+G+H
21
21
3
-
I
-
-
-
3
J+K+L
33
6
6
-
M+N
-
-
-
2
O+P
31
13
4
-
QRS
-
-
-
-
TUV
-
-
-
-
WXY
-
-
-
1
Z
26
8
8
12
First Total
117
54
27
2+6
Add to Reduce
1+1+7
5+4
2+7
8
Reduce to Deduce
9
9
9

 

 

-
A+B+C
-
-
-
2
D+E
9
9
9
-
F+G+H
-
-
-
1
I
9
9
9
-
J+K+L
-
-
-
2
M+N
27
9
9
-
O+P
-
-
-
3
QRS
54
18
9
3
TUV
63
9
9
3
WXY
72
18
9
-
Z
-
-
-
14
First Total
234
72
54
1+4
Add to Reduce
2+3+4
7+2
5+4
5
Reduce to Deduce
9
9
9

 

 

-

4

ZERO

64

28

1

1
3

ONE

34
16
7
2
3

TWO

58
13
4
3
5

THREE

56
29
2
4
4

FOUR

60
24
6
5
4

FIVE

42
24
6
6
3

SIX

52
16
7
7
5

SEVEN

65
20
2
8
5

EIGHT

49
31
4
9
4

NINE

42
24
6
45
40
-
522
225
45
4+5
4+0
-
5+2+2
2+2+5
4+5
9
4
-
9
9
9

 

 

THE

ZED ALIZ ZED

AGAIN IMAGES JUST THE RIGHT AMOUNT OF MAGI MAGIC

 

 

HAMLET'S MILL

AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE

AND ITS TRANSMISSION THROUGH MYTH

Giorgio De Santillana and Hertha Von Dechend 1969

Intoduction

Page 1 (number omitted)

" The unbreakable fetters which bound down the Great Wolf Fenrir had been cunningly forged by Loki from these: the footfall of a cat, the roots of a rock, the beard of a woman, the breath of a fish, the spittle of a bird. The Edda

Toute vue des choses qui n'est pas estrange est fausse. VALERY


THIS IS meant to be only an essay. It is a first reconnaissance of a realm well-nigh unexplored and uncharted. From whichever way onc enters it, one is caught in the same bewildering circular complexity, as in a labyrinth, for it has no deductive order in the abstract sense, but instead resembles an organism tightly closed in itself, or even better, a monumental "Art of the Fugue."

The figure of Hamlet as a favorable starting point came by chance. Many other avenues offered themselves, rich in strange symbols and beckoning with great images, but the choice went to Hamlet because he led the mind on a truly inductive quest through a familiar landscape-and one which has the merit of its literary setting. Here is a character deeply present to our awareness, in whom ambiguities and uncertainties, tormented self-questioning and dispassionate insight give a presentiment of the modern mind. His personal drama was that he had to be a hero, but still try to avoid the role Destiny assigned him. His lucid intellect remained above the conflict of motives-in other words, his was and is a truly con­/ Page 2 / temporary consciousness. And yet this character whom the poet made one of us, the first unhappy intellectual, concealed a past as a legendary being, his features predetermined, preshaped by long­standing myth. There was a numinous aura around him, and many clues led up to him. But it was a surprise to find behind the mask an ancient and all-embracing cosmic power-the original master of the dreamed-of first age of the world.
Yet in all his guises he remained strangely himself. The original Amlodhi, * as his name was in Icelandic legend, shows the same characteristics of melancholy and high intellect. He, too, is a son dedicated to avenge his father, a speaker of cryptic but inescapable truths, an elusive carrier of Fate who must yield once his mission is accomplished and sink once more into concealment in the depths of time to which he belongs: Lord of the Golden Age, the Once and Future King.

This essay will follow the figure farther and farther afield, from the Northland to Rome, from there to Finland, Iran, and India; he will appear again unmistakably in Polynesian legend. Many other Dominations and Powers will materialize to frame him within the proper order.

Amlodhi was identified, in the crude and vivid imagery of the Norse, by the ownership of a fabled mill which, in his own time, ground out peace and plenty. Later, in decaying times, it ground out salt; and now finally, having landed at the bottom of the sea, it is grinding rock and sand, creating a vast whirlpool, the Maelstrom (i.e., the grinding stream, from the verb mala, "to grind"), which is supposed to be a way to the land of the dead. This imagery stands, as the evidence develops, for an astronomical process, the secular shifting of the sun through the signs of the zodiac which determines world-ages, each numbering thousands of years. Each age brings a World Era, a Twilight of the Gods. Great structures collapse; pillars topple which supported the great fabric; floods and cataclysms herald the shaping of a new world.
The image of the mill and its owner yielded elsewhere to more / Page 3 / sophisticated ones, more adherent to celestial events. In Plato's powerful mind, the figure stood out as the Craftsman God, the Demiurge, who shaped the heavens; but even Plato did not escape the idea he had inherited, of catastrophes and the periodic rebuilding of the world.

Tradition will show that the measures of a new world had to be procured from the depths of the celestial ocean and tuned with the measures from above, dictated by the "Seven Sages," as they are often cryptically mentioned in India and elsewhere. They turn out to be the Seven Stars of Ursa, which are normative in all cosmological alignments on the starry sphere. These dominant stars of the Far North are peculiarly but systematically linked with those which are considered the operative powers of the cosmos, that is, the planets as they move in different placements and configurations along the zodiac. The ancient Pythagoreans, in their conventional language, called the two Bears the Hands of Rhea (the Lady of Turning Heaven), and called the planets the Hounds of Persephone, Queen of the Underworld. Far away to the south, the mysterious ship Argo with its Pilot star held the depths of the past; and the Galaxy was the Bridge out of Time. These notions appear to have been common doctrine in the age before history-all over the belt of high civilizations around our globe. They also seem to have been born of the great intellectual and technological revolution of the late Neolithic period.

The intensity and richness, the coincidence of details, in this cumulative thought have led to the conclusion that it all had its origin in the Near East. It is evident that this indicates a diffusion of ideas to an extent hardly countenanced by current anthropology. But this science, although it has dug up a marvelous wealth of details, has been led by its modern evolutionary and psychological bent to forget about the main source of myth, which was astronomy -the Royal Science. This obliviousness is itself a recent turn of events-barely a century old. Today expert philologists tell us that Saturn and Jupiter are names of vague deities, subterranean or atmospheric, superimposed on the planets at a "late" period; they neatly sort out folk origins and "late" derivations, all unaware that planetary periods, sidereal and synodic, were known and rehearsed / Page 4 / in numerous ways by celebrations already traditional in archaic times. If a scholar has never known those periods even from elementary science, he is not in the best position to recognize them when they come up in his material.

Ancient historians would have been aghast had they been told that obvious things were to become unnoticeable. Aristotle was proud to state it as known that the gods were originally stars, even if popular fantasy had later obscured this truth. Little as he believed in progress, he felt this much had been secured for the future. He could not guess that W. D. Ross, his modern editor, would condescendingly annotate: "This is historically untrue." Yet we know that Saturday and Sabbath had to do with Saturn, just as Wednesday and Mercredi had to do with Mercury. Such names are as old as time; as old, certainly, as the planetary heptagram of the Har­ranians. They go back far before Professor Ross' Greek philology. The inquiries of great and meticulous scholars such as Ideler, Lep­sius, Chwolson, BoIl and, to go farther back, of Athanasius Kircher and Petavius, had they only been read carefully, and noted, would have taught several relevant lessons to the historians of culture, but interest shifted to other goals, as can be seen from current anthro­pology, which has built up its own idea of the "primitive" and what came after.

One still reads in that most unscientific of records, the Bible, that God disposed all things by number, weight and measure; ancient Chinese texts say that "the calendar and the pitch pipes have such a close fit, that you could not slip a hair between them." People read it, and think nothing of it. Yet such hints might reveal a world of vast and firmly established complexity, infinitely different from ours. But the experts now are benighted by the current folk fantasy, which is the belief that they are beyond all this-critics without nonsense and extremely wise.

In 1959 I wrote:
The dust of centuries had settled upon the remains of this great world-wide archaic construction when the Greeks came upon the scene. Yet something of it survived in traditional rites, in myths and fairy tales no longer understood. Taken verbally, it matured the / Page 5 / bloody cults intended to procure fertility, based on the belief in a dark universal force of an ambivalent nature, which seems now to monopolize our interest. Yet its original themes could flash out again, preserved almost intact, in the later thought of the Pythagoreans and of Plato.

But they are tantalizing fragments of a lost whole. They make one think of those "mist landscapes" of which Chinese painters are masters, which show here a rock, here a gable, there the tip of a tree, and leave the rest to imagination. Even when the code shall have yielded, when the techniques shall be known, we cannot expect to gauge the thought of those remote ancestors of ours, wrapped as it is in its symbols.

Their words are no more heard again Through lapse of many ages. . .

We think we have now broken part of that code. The thought behind these constructions of the high and far-off times is also lofty, even if its forms are strange. The theory about "how the world began" seems to involve the breaking asunder of a harmony, a kind of cosmogonic "original sin" whereby the circle of the ecliptic (with the zodiac) was tilted up at an angle with respect to the equator, and the cycles of change came into being.

This is not to suggest that this archaic cosmology will show any great physical discoveries, although it required prodigious feats of concentration and computing. What it did was to mark out the unity of the universe, and of man's mind, reaching out to its farthest limits. Truly, man is doing the same today.

Einstein said: "What is inconceivable about the universe, is that it should be at all conceivable." Man is not giving up. When he discovers remote galaxies by the million, and then those quasi-stellar radio sources billions of light-years away which confound his speculation, he is happy that he can reach out to those depths. But he pays a terrible price for his achievement. The science of astro­physics reaches out on a grander and grander scale without losing its footing. Man as man cannot do this. In the depths of space he loses himself and all notion of his significance. He is unable to fit himself into the concepts of today's astrophysics short of schizophrenia. Modern man is facing the nonconceivable. Archaic man, however, kept a firm grip on the conceivable by framing within his cosmos / Page 6 / an order of time and an eschatology that made sense to him and reserved a fate for his soul. Yet it was a prodigiously vast theory, with no concessions to merely human sentiments. It, too, dilated the mind beyond the bearable, although without destroying man's role in the cosmos. It was a ruthless metaphysics.

Not a forgiving universe, not a world of mercy. That surely not. Inexorable as the stars in their courses, miserationis parcissimae, the Romans used to say. Yet it was a world somehow not unmindful of man, one in which there was an accepted place for everything, rightfully and not only statistically, where no sparrow could fall unnoted, and where even what was rejected through its own error would not go down to eternal perdition; for the order of Number and Time was a total order preserving all, of which all were members, gods and men and animals, trees and crystals and even absurd errant stars, all subject to law and measure.

This is what Plato knew, who could still speak the language of archaic myth. He made myth consonant with his thought, as he built the first modern philosophy. We have trusted his clues as landmarks even on occasions when he professes to speak "not quite seriously." He gave us a first rule of thumb; he knew what he was talking about.

Behind Plato there stands the imposing body of doctrine attributed to Pythagoras, some of its formulation uncouth, but rich with the prodigious content of early mathematics, pregnant with a sci­ence and a metaphysics that were to flower in Plato's time. From it come such words as "theorem," "theory," and "philosophy." This in its turn rests on what might be called a proto-Pythagorean phase, spread all over the East but with a focus in Susa. And then there was something else again, the stark numerical computing of Baby­Ion. From it all came that strange principle: "Things are numbers."

Once having grasped a thread going back in time, then the test of later doctrines with their own historical developments lies in their congruence with tradition preserved intact even if half under­stood. For there are seeds which propagate themselves along the jetstream of time.

Page 7

And universality is in itself a test when coupled with a firm design. When something found, say, in China turns up also in Babyionian astrological texts, then it must be assumed to be relevant, for it reveals a complex of uncommon images which nobody could claim had risen independently by spontaneous generation.

Take the origin of music. Orpheus and his harrowing death may be a poetic creation born in more than one instance in diverse places. But when characters who do not play the lyre but blow pipes get themselves flayed alive for various absurd reasons, and their identical end is rehearsed on several continents, then we feel we have got hold of something, for such stories cannot be linked by internal sequence. And when the Pied Piper turns up both in the medieval German myth of Hamelin and in Mexico long before Columbus, and is linked in both places with certain attributes like the color red, it can hardly be a coincidence. Generally, there is little that finds its way into music by chance.

Again, when one finds numbers like 108, or 9 x 13, reappearing under several multiples in the Vedas, in the temples of Angkor, in Babylon, in Heraclitus' dark utterances, and also in the Norse Valhalla, it is not accident.

There is one way of checking signals thus scattered in early data, in lore, fables and sacred texts. What we have used for sources may seem strange and disparate, but the sifting was considered, and it had its reasons. Those reasons will be given later in the chapter on method. I might call it comparative morphology. The reservoir of myth and fable is great, but there are morphological "markers" for what is not mere storytelling of the kind that comes naturally. There is also wonderfully preserved archaic material in "secondary" primitives, like American Indians and West Africans. Then there are courtly stories and annals of dynasties which look like novels: the Feng Shen Yen I, the Japanese Nihongi, the Hawaiian Kumulipo. These are not merely fantasy-ridden fables.

In hard and perilous ages, what information should a well-born man entrust to his eldest son? Lines of descent surely, but what else? The memory of an ancient nobility is the means of preserving the / Page 8 / arcana imperii, the arcana legis and the arcana mundi, just as it was in ancient Rome. This is the wisdom of a ruling class. The Polynesian chants taught in the severely restricted Whare-wananga were mostly astronomy. That is what a liberal education meant then.

Sacred texts are another great source. In our age of print one is tempted to dismiss these as religious excursions into homiletics, but originally they represented a great concentration of attention on material which had been distilled for relevancy through a long period of time and which was considered worthy of being committed to memory generation after generation. The tradition of Celtic Druidism was delivered not only in songs, but also in tree-lore which was much like a code. And in the East, out of complicated games based on astronomy, there developed a kind of shorthand which became the alphabet.

As we follow the clues-stars, numbers, colors, plants, forms, verse, music, structres-a huge framework of connections is re­vealed at many levels. One is inside an echoing manifold where everything responds and everything has a place and a time assigned to it. This is a true edifice, something like a mathematical matrix, a World-Image that fits the many levels, and all of it kept in order by strict measure. It is measure that provides the countercheck, for there is much that can be identified and redisposed from rules like the old Chinese saying about the pitch pipes and the calendar. When we speak of measures, it is always some form of Time that provides them, starting from two basic ones, the solar year and the octave, and going down from there in many periods and intervals, to actual weights and sizes. What modern man attempted in the merely conventional metric system has archaic precedents of great complexity. Down the centuries there comes an echo of Al-Biruni's wondering a thousand years ago, when that prince of scientists discovered that the Indians, by then miserable astronomers, calculated aspects and events by means of stars-and were not able to show him anyone star that he asked for. Stars had become items for them, as they were to become again for Leverrier and Adams, who never troubled to look at Neptune in their life although they had computed and discovered it in 1847. The Mayas and the Aztecs in their / Page 9 / unending calculations seem to have had similar attitudes. The connections were what counted. Ultimately so it was in the archaic universe, where all things were signs and signatures of each other, inscribed in the hologram, to be divined subtly. And Number dominated them all (appendix # I ).

This ancient world moves a little closer if one recalls two great transitional figures who were simultaneously archaic and modern in their habits of thought. The first is Johannes Kepler, who was of the old order in his unremitting calculations and his passionate devotion to the dream of rediscovering the "Harmony of the Spheres." But he was a man of his own time, and also of ours, when this dream began to prefigure the polyphony that led up to Bach. In somewhat the same way, our strictly scientific world view has its counterpart in what John Hollander, the historian of music, has described as "The Untuning of the Sky." The second transitional figure is no less a man than Sir Isaac Newton, the very inceptor of the rigorously scientific view. There is no real paradox in mentioning Newton in this connection. John Maynard Keynes, who knew Newton as well as many of our time, said of him:

Newton was not the first of the Age of Reason. He was the last of the magicians, the last of the Babylonians and Sumerians, the last great mind which looked out on the visible and intellectual world with the same eyes as those who began to build our intellectual world rather less than 10,000 years ago. . . Why do I call him a magician? Because he looked on the whole universe and all that is in it as a riddle, as a secret which could be read by applying pure thought to certain evidence, certain mystic clues which God had laid about the world to allow a sort of philosopher's treasure hunt to the esoteric brother­hood. He believed that these clues were to be found partly in the evidence of the heavens and in the constitution of elements (and that is what gives the false suggestion of his being an experimental natural philosopher), but also partly in certain papers and traditions handed down by the brethren in an unbroken chain back to the original cryptic revelation in Babylonia. He regarded the universe as a cryptogram set by the Almighty-just as he himself wrapt the discovery of the calculus in a cryptogram when he communicated with Leibniz. By pure thought, by concentration of mind, the riddle, he believed, would be revealed to the initiate.1

Page 10

Lord Keynes' appraisal, written ca. 1942, remains both unconventional and profound. He knew, we all know, that Newton failed. Newton was led astray by his dour sectarian preconceptions. But his undertaking was truly in the archaic spirit, as it begins to appear now after two centuries of scholarly search into many cul­tures of which he could have had no idea. To the few clues he found with rigorous method, a vast number have been added. Still, the wonder remains, the same that was expressed by his great predecessor Galileo:

But of all other stupendous inventions, what sublimity of mind must have been his who conccived how to communicate his most secret thoughts to any othcr person, though very far distant either in time or place, speaking with those who are in the In dies, 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 arrangement of two dozcn little signs upon paper? Let this be the seal of all the admirable inventions of man.

'Way back in the 6th century A.D., Gregoire de Tours was writing: "The mind has lost its cutting edge, we hardly understand the Ancicnts." So much more today, despite our wallowing in mathematics for the million and in sophisticated technology.
It is undeniable that, notwithstanding our Classics Departments' labors, the wilting away of classical studies, the abandonment of any living familiarity with Greek and Latin has cut the ompha­loessa, the umbilical cord which connected our cultUre-at least at its top level-with Greece, in the same manner in which men of the Pythagorean and Orphic tradition were tied up through Plato and a few others with the most ancient Near East. It is beginning to appear that this destruction is leading into a very up-to-date Middle Ages, much worse than the first. People will sneer: "Stop the World, I want to get off." It cannot be changed, however; this is the way it goes when someone or other tampers with the reserved knowledge that science is, and was meant to represent.
But, as Goethe said at the very onset of the Progressive Age, "Noch ist es Tag, da ruhre sich der Mann! Die Nacht tritt ein, wo niemand wirken kann." ("It is still day, let men get up and / Page 11 / going-the night creeps in, when there is nothing doing.") There might come once more some kind of "Renaissance" out of the hopelessly condemned and trampled past, when certain ideas come to life again, and we should not deprive our grandchildren of a last chance at the heritage of the highest and farthest-off times. And if, as looks infinitely probable, even that last chance is passed up in the turmoil of progress, why then one can still think with Poliziano, who was himself a master humanist, that there will be men whose minds find a refuge in poetry and art and the holy tradition "which alone make men free from death and turn them to eternity, so long as the stars will go on, still shining over a world made for­ever silent." Right now, there is still left some daylight in which to undertake this first quick reconnaissance. It will necessarily leave out great and significant areas of material, but even so, it will in­vestigate many unexpected byways and crannies of the past."

Page 2 Note *. The indulgence of specialists is asked for the form of certain transliterations throughout the text; for example, Amlodhi instead of Amlodi, Grotte instead of Grotti, etc. (Ed.)

Page 9 Note 1 1 "Newton the Man," in The Royal Society. Newton Tercentenary Celebrations (1947), p. 29.

 

 

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CODE
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2
CO
18
9
9
2
DE
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27
18
18
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2+7
1+8
1+8
4
CODE
9
9
9

 

 

HAMLET'S MILL

AN ESSAY INVESTIGATING THE ORIGINS OF HUMAN KNOWLEDGE

AND ITS TRANSMISSION THROUGH MYTH

Giorgio De Santillana and Hertha Von Dechend 1969

Page 162

"Finally, there is one remarkable and disturbing coincidence from the same direction. It is known that in the final battle of the gods, the massed legions on the side of "order" are the dead warriors, the "Einherier" who once fell in combat on earth and who have been transferred by the Valkyries to reside with Odin in Valhalla-a theme much rehearsed in heroic poetry. On the last day, they issue forth to battle in martial array. Says the Grimnismal (23): "Five hundred gates and forty more-are in the mighty building of Wal­halla-eight hundred 'Einherier' come out of each one gate-on the time they go out on defence against the Wolf."
That makes 432,000 in all, a number of significance from of old.
This number must have had a very ancient meaning, for it is also the number of syllables in the Rigveda. But it goes back to the basic figure 10,800, the number of stanzas in the Rigveda (40 syllables to a stanza) which, together with 108, occurs insistently in Indian tradition. 10,800 is also the number which has been given by Heraclitus for the duration of the Aion, according to Censorinus (De die natali 18), whereas Berossos made the Babylonian Great Year to last 432,000 years. Again, 10,800 is the number of bricks of the Indian fire-altar (Agnicayana). 32
"To quibble away such a coincidence," remarks Schroder, "or to ascribe it to chance, is in my opinion to drive skepticism beyond its limits."33 Shall one add Angkor to the list? It has five gates, and to each of them leads a road, bridging over that water ditch which surrounds the whole place. Each of these roads is bordered by a row of huge stone figures, 108 per avenue, 54 on each side, altogether 540 statues of Deva and Asura, and each row carries a huge Naga / Page 163 / serpent with nine heads. Only, they do not "carry" that serpent, they are shown to "pull" it, which indicates that these 540 statues are churning the Milky Ocean, represented (poorly, indeed) by the water ditch,34 using Mount Mandara as a churning staff, and Vasuki, the prince of the Nagas, as their drilling rope. (Just to prevent misunderstanding: Vasuki had been asked before, and had agreeably consented, and so had Vishnu's tortoise avatar, who was going to serve as the fixed base for that "incomparably mighty churn," and even the Milky Ocean itself had made it clear that it was willing to be churned.) The whole of Angkor thus turns out to be a colossal model set up for "alternative motion" with true Hindu fantasy and incongruousness to counter the idea of a continuous one-way Precession from west to east."

 

 

CITY OF REVELATION

John Michell 1972

Page 77

CHAPTER SEVEN

3168, The Perimeter of the Temple

"If the numbers of the sacred principles, mentioned by St John in connection with the New Jerusalem, are obtained from the Greek text by the cabalistic method of gematria, it is found that they correspond to the dimensions of the city, set out in Fig 16. (Figure omitted) For example, the perimeter of a hexagon contained within the circle representing the earth, 7920 feet in diameter, measures 2376 feet, and 2376 is the number of (Greek text omitted), the twelve apostles of the Lamb (Revelation 21.14). 2376 x 2 feet is equal to 1746 MY, and 1745 = (Greek text omitted), the twelve apostles. The names of the apostles are said to be in the twelve foundations of the wall of the city. The wall is the circle of diameter 7920 feet and 14,400 cubits in circumference, and the foundations are the twelve corners of the double hexagon inscribed within it, fonowing the customary pattern of an astrological chart. The position of the twelve apostles in the scheme is thus clearly defined.
Of all the canonical numbers the most notable is 3168. The New Jerusalem measures 48,000 furlongs or 31,680,000 feet round the perimeter of its four sides; the mean perimeter of the Stonehenge sarsen circle is 316.8 feet; the perimeter of the square 12 hides of Glastonbury is 31,680 feet; the significance of 31,680 in the canon of cosmology is illustrated in Fig.11, and we shall also find this number set round the border of Plato's mystical city, described in Laws.
Obviously the number 3168 had an important symbolic meaning, the Christian interpretation of which is provided in New Testament
gematria. The most sacred name of Christianity is (Greek text omitted);
(Greek text omitted), Lord Jesus Christ, and the number of these three words together is 3168. (Greek text omitted) is an astrological term meaning the ruler or dominant influence.
Another sacred phrase from the New Testament, (Greek text omitted) the Power of Christ (2 Corinthians 12.9) has the value 3168 if the alternative spelling of Christos, (Greek text omitted) is adopted.

Page 78

The perimeter of the temple is 3168, Lord Jesus Christ, when the temple is measured by the foot, the most sacred unit of ancient metrology. In terms of the megalithic yard (2.72 feet), however, the perimeter measures 1164, because 3168 feet = 1164 MY. Yet this makes no difference to the symbolic interpretation by gematria, for 1164 is the number of another name of Christ, (Greek text omitted) Son of God.

As a geodetic or earth-measuring number, 3168 also demonstrates the antiquity and sacred origin of British metrology, for
31,680 inches = half a mile

31,680 ft. = 6 miles.

31,680 furlongs = 3960 miles = radius of the earth.

31,680 miles = perimeter of square containing the terrestrial sphere.

31,680 miles = circumference of circle drawn on the combined diameters of the earth and moon (10,080 miles)

Other cosmological correspondences of 3168 are given on page 109.

The Stonehenge sarsen circle with circumference of 316.8 feet
contains an area of 888 square yards, 888 being the number of Jesus, which is equal to 1080 square MY. The circle contained within a square of perimeter 316.8 feet, corresponding to the bluestone circle at Stonehenge, has an area of 666 square MY. Thus the two stone circles at Stonehenge have areas of 1080 and 666 square MY, these two numbers representing the opposite poles of lunar and solar or negative and positive energy.
The number 144 or 122 is characteristic of the New Jerusalem scheme, and 3168 demonstrates the value of (pi symbol 22/7 omitted) in terms of this number, for 144 x 7 = 1008 and 144 x 22 = 3168.

3168 in Plato's city
A remarkable use of the number 3168 occurs in Plato's account in Book V of.Laws of the mystical dimensions of the perfect city. Throughout his work Plato makes guarded reference to a secret canon of numbers that applies universally to every aspect of human life and activity, including government, astronomy, acoustics, kinetics, plane and solid geometry and divination. Linear measurements, areas and volumes are obviously incommensurable, but Plato declares that there are certain numbers that link these with each other and with all phenomena capable of being measured. As an example of these numbers, the study of which Plato recommends as the most sanctifying of all pursuits, he gives 5040. This is the ideal number of citizens in the state and serves other purposes in con­/ Page 79 / nection with the framing of laws and standards. The reason why it is most suitable for all matters of division is that for its size it has the greatest number of divisors, 60 in all, including the entire decad, the numbers 1 - 10. Another property of the number 5040 is that it is the radius of a circle with circumference 31,680. Further examina­tion of the numerical foundations of Plato's state shows that the scheme to which he refers is the ancient plan of the cosmic temple.
The lawgivers in Plato's state are reminded that the perfect human society would be one in which all possessions, wives, children, land and chattels were held in common, where all the citizens were of one mind and acted together so harmoniously that it were as if eyes, ears and hands were also common property. To keep this ideal alive is the function of the prophet. Human nature and conditioning, however, demand a more practical alternative, 'very near to the first in immortality and second to it in merit'. This is provided in Laws V.
Plato's state is arranged in a manner that can scarcely be under­stood literally, and is obviously intended, like the New Jerusalem, as a geometer's allegory. The land is all divided into twelve parts, each dedicated to one of the twelve gods and populated by one of the twelve tribes of the 5040 households. The city is similarly divided, forming a microcosm of the state as a whole. In the centre of the city is the acropolis and 'from this centre he must divide up the city itself and the whole country into twelve parts. The twelve parts must be equalised by making those of good land small and those of inferior land greater. He must mark off 5040 allotments, and each of these he must cut in two and join two pieces to form the allotments, so that each contains a near piece and a distant piece - joining the piece next to the city with the piece furthest off, the second nearest with the second furthest, and so on with the rest.'
The only way in which this division can be represented is by a circle of radius 5040, a hundred times larger than that of Stonehenge measured in feet; the perimeter of this circle is 31 ,680. In Fig. 24 (Figure 24 omitted) the radius of the circle should be divided equally into 5040 parts to produce 5040 concentric circles. These are bisected into 10,080 semi­circles by the diameter and positioned out in Plato's manner into 5040 double allotments, each of equal area.
In this scheme 31,680 is not only the circumference of the circular state, but also the area of each of its 2520 pairs of rings, proving Plato's assertion that linear and area pleasurements can be made / Page 80 / (Figure 24 omitted) commensurable by number. The entire circle is divided into two halves, each containing 39,916,800 square units of land. These numbers, which are inherent in the New Jerusalem scheme, have the following significance:
31,680 is divisible by all the numbers1-12 with the exception of 7

50401 x 2 x 3 x 4 x 5x 6 x 7

39,916,800 = 1 x 2 x 3 x 4 x 5x 6 x 7 x 8 x 9 x.10 x 11

5040, the radius of the circular city, is the product of the numbers1 - 7; 7920, the side of the square city, is the product of numbers 8 - 11. In each case the perimeter of the city is 31,680. In Plato's Republic is the famous, cryptic reference to the 'marriage number', which should be consulted by the guardians of the state in all matters relating to the seasonal union of male and female. There appear to be two numbers involved, adding up to a third, but the riddle is so obscure that no firm solution has been reached despite the vast literature on the subject. For various reasons the number 12,960,000 or 36002 is most commonly proposed, and this would seem appropriate, for 12,960 = 5040 + 7920. 12,960 therefore represents the union of square and circle, symbol of the sacred marriage, and the gematria is also appropriate, for 1296 = (Greek text omitted) Mary mother of Jesus.

FIGURE 24 (Figure omitted) Plato's city divided into 5040 rings, Perimeter = 31,680, Areas: A + a = B + b = C + c = 31,680.

 

 

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FIFTY FOUR
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OUR
54
18
9
9
FIFTY FOUR
126
54
45
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-
1+2+6
5+4
4+5
9
FIFTY FOUR
9
9
9

 

 

-
FIFTY FOUR
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1
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6
6
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36
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18
9
9
9
FIFTY FOUR
126
54
45
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1+2+6
5+4
4+5
9
FIFTY FOUR
9
9
9

 

 

--
9
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-
-
-
6
-
6
2
7
-
6
-
3
9
+
=
39
3+9
=
12
1+2
3
=
3
-
-
6
-
6
20
25
-
6
-
21
18
+
=
102
1+0+2
=
3
-
3
=
3
--
9
F
I
F
T
Y
--
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
6
9
6
20
25
-
6
15
21
18
+
=
126
1+2+6
=
9
=
9
=
9
-
-
6
9
6
2
7
-
6
6
3
9
+
=
54
5+4
=
9
=
9
=
9
-
9
F
I
F
T
Y
-
F
O
U
R
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
--
 
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
--
-
-
-
-
5
-
-
-
-
-
-
-
-
-
6
-
6
-
-
-
6
6
-
-
-
-
6
occurs
x
4
=
24
2+4
6
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
--
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
 
9
-
-
9
occurs
x
2
=
18
1+8
9
18
9
F
I
F
T
Y
-
F
O
U
R
-
-
27
-
-
9
-
54
-
27
1+8
-
-
9
-
-
-
-
-
-
-
9
-
-
2+7
-
-
-
-
5+4
-
2+7
9
9
F
I
F
T
Y
-
F
O
U
R
-
-
9
-
-
9
-
9
-
9
-
-
6
9
6
2
7
-
6
6
3
9
-
-
-
-
-
-
-
-
-
-
9
9
F
I
F
T
Y
-
F
O
U
R
-
-
9
-
-
9
-
9
-
9

 

 

9
F
I
F
T
Y
-
F
O
U
R
-
-
-
-
-
--
-
-
-
-
-
-
9
-
-
-
-
-
6
-
-
+
=
15
1+5
=
6
=
6
=
6
-
-
9
-
-
-
-
-
15
-
-
+
=
24
2+4
=
6
-
6
=
6
9
F
I
F
T
Y
-
F
O
U
R
-
-
-
-
-
--
-
-
-
-
-
6
-
6
2
7
-
6
-
3
9
+
=
39
3+9
=
12
1+2
3
=
3
-
6
-
6
20
25
-
6
-
21
18
+
=
102
1+0+2
=
3
-
3
=
3
9
F
I
F
T
Y
-
F
O
U
R
-
-
-
-
-
--
-
-
-
-
-
6
9
6
20
25
-
6
15
21
18
+
=
126
1+2+6
=
9
=
9
=
9
-
6
9
6
2
7
-
6
6
3
9
+
=
54
5+4
=
9
=
9
=
9
9
F
I
F
T
Y
-
F
O
U
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
--
 
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
6
-
6
-
-
-
6
6
-
-
-
-
6
occurs
x
4
=
24
2+4
6
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
9
-
-
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
9
F
I
F
T
Y
-
F
O
U
R
-
-
27
-
-
9
-
54
-
27
-
-
9
-
-
-
-
-
-
-
9
-
-
2+7
-
-
-
-
5+4
-
2+7
9
F
I
F
T
Y
-
F
O
U
R
-
-
9
-
-
9
-
9
-
9
-
6
9
6
2
7
-
6
6
3
9
-
-
-
-
-
-
-
-
-
-
9
F
I
F
T
Y
-
F
O
U
R
-
-
9
-
-
9
-
9
-
9

 

 

2
FIFTY FOUR
126
54
9
1
FORTYFIVE
126
54
9

 

 

1
I
9
9
9
4
PLAY
54
18
9
5
PLATO
64
19
1
5
CHESS
54
18
9

 

 

9
FIFTY FOUR
126
54
9

 

"Plato declares that there are certain numbers that link these with each other and with all phenomena capable of being measured. As an example of these numbers, the study of which Plato recommends as the most sanctifying of all pursuits, he gives 5040."

 

 

 

 

NAMES OF GOD

TETRAGRAMMATON

The most impotant and most often written name of God in Judaism is the Tetragrammaton, the four-letter name of God. "Tetragrammaton" derives from the Greek prefix tetra- ("four") and gramma

http://en.wikipedia.org/wiki/Names of God in Judaism

 

 

THE STAIRWAY TO HEAVEN

BOOK

II

THE EARTH CHRONICLES

Zecharia Sitchin 1980

Page 72

"In the Book of the Dead nine objects affiliated with the Hieroglyph for Shem were depicted in the division paralleling the shrine of Heliopolis; / Page 73 / it could well be that there were indeed another nine space-related objects or spacecraft parts on display at the shrine."

 

 

THE STAIRWAY TO HEAVEN

BOOK

II

THE EARTH CHRONICLES

Zecharia Sitchin 1980

Page 189

X

Tilmun: Land of the Rocketships

" The epic search of Gilgamesh for Immortality has undoubtedly been the fountainhead of the many tales and legends, in subsequent millenia, of kings and heroes who have likewise gone to find everlasting youth. Somewhere on Earth, Mankind's mythified memories held, there was a place where Man could join the gods, and be spared the indignity of death.
Nearly 5,000 years ago, Gilgamesh of Uruk had pleaded with Utu (Shamash):


In my city, man dies; oppressed is my heart.
Man perishes; heavy is my heart. . .
Man, the tallest, cannot stretch to Heaven. . .
O Utu,
The Land I wish to enter; be thou my ally. . .
In the place where the Shems have been raised up, Let me set up my Shem!

The Shem, we have shown, though commonly translated "Name" (that by which one is remembered), was in fact a rocketship: Enoch vanished upon his "Name" as he was taken heavenward. Half a millenium after Gilgamesh, in Egypt, King Teti made an almost identical plea:


Men fall,
They have no Name.
(O god),
Seize thou King Teti by his arms, Take thou King Teti to the sky,That he die not on Earth among men.


The goal of Gilgamesh was Tilmun, the land where the rocketships were raised up. To ask where he went to reach Tilmun, is to ask where Alexander went, deeming himself a Pharaoh and a god's son. It is to ask: Where on Earth was the Duat?
Because all these destinations, we must conclude, were one and the same."

 

 

E
=
5
4
EPIC
33
24
6
O
=
6
2
OF
21
12
3
G
=
7
9
GILGAMESH
81
45
9
-
-
18
15
Add to Reduce
135
81
18
-
-
1+8
1+5
Reduce to Deduce
1+3+5
8+1
1+8
-
-
9
6
Essence of Number
9
9
9

 

 

-
15
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
-
-
9
-
-
6
-
-
-
9
-
-
-
-
-
1
8
+
=
33
3+3
=
6
=
6
=
6
-
-
-
-
9
-
-
15
-
-
-
9
-
-
-
-
-
19
8
+
=
60
6+0
=
6
=
6
=
6
-
15
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
5
7
-
3
-
-
6
-
7
-
3
7
1
4
5
-
-
+
=
66
6+6
=
12
1+2
3
=
3
-
-
5
16
-
3
-
-
6
-
7
-
12
7
1
13
5
-
-
+
=
75
7+5
=
12
1+2
3
=
3
-
15
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
5
16
9
3
-
15
6
-
7
9
12
7
1
13
5
19
8
+
=
135
1+3+5
=
9
=
9
=
9
-
-
5
7
9
3
-
6
6
-
7
9
3
7
1
4
5
1
8
+
=
99
9+9
=
18
1+8
9
=
9
-
15
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
occurs
x
2
=
6
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
-
4
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
6
6
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
-
7
-
-
-
-
-
-
7
-
-
7
-
-
-
-
-
-
-
7
occurs
x
3
=
21
2+1
3
`-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
2
15
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
43
-
-
15
-
81
Q
36
-
1+5
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
4+3
-
-
1+5
-
8+1
-
3+6
2
6
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
7
-
-
6
-
9
Q
9
-
-
5
7
9
3
-
6
6
-
7
9
3
7
1
4
5
1
8
-
-
-
-
-
-
-
-
-
-
2
6
E
P
I
C
-
O
F
-
G
I
L
G
A
M
E
S
H
-
-
7
-
-
6
-
9
-
9

 

 

3
THE
33
15
6
4
EPIC
33
24
6
2
OF
21
12
3
9
GILGAMESH
81
45
9
18
First Total
168
96
24
1+8
Add to Reduce
1+6+8
9+6
2+4
9
Second Total
15
15
6
-
Reduce to Deduce
1+5
1+5
-
9
Essence of Number
6
6
6

 

 

9
GILGAMESH
-
-
-
-
GILGA
36
27
9
-
SHEM
45
18
9
9
GILGAMESH
81
45
18
-
-
8+1
4+5
1+8
9
GILGAMESH
9
9
9

 

 

-
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
-
9
-
-
-
-
-
1
8
+
=
18
1+8
=
9
=
9
=
9
-
-
-
9
-
-
-
-
-
19
8
+
=
36
3+6
=
9
=
9
=
9
-
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
7
-
3
7
1
4
5
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
7
-
12
7
1
13
5
-
-
+
=
45
4+5
=
9
=
9
=
9
-
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
7
9
12
7
1
13
5
19
8
+
=
81
8+1
=
9
=
9
=
9
-
-
7
9
3
7
1
4
5
1
8
+
=
45
4+5
=
9
=
9
=
9
-
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
=
5
6
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
7
-
-
7
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
-
-
-
9
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
-
9
8
9
G
I
L
G
A
M
E
S
H
-
-
37
-
-
9
-
45
=
36
-
-
-
9
-
-
-
-
-
-
-
-
-
3+7
-
-
-
-
4+5
=
3+6
8
9
G
I
L
G
A
M
E
S
H
-
-
10
-
-
9
-
9
-
9
-
-
7
9
3
7
1
4
5
1
8
-
-
1+0
--
-
-
-
4+5
-
3+6
8
9
G
I
L
G
A
M
E
S
H
-
-
1
-
-
9
-
9
-
9

 

 

9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
-
9
-
-
-
-
-
1
8
+
=
18
1+8
=
9
=
9
=
9
-
-
9
-
-
-
-
-
19
8
+
=
36
3+6
=
9
=
9
=
9
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
7
-
3
7
1
4
5
-
-
+
=
27
2+7
=
9
=
9
=
9
-
7
-
12
7
1
13
5
-
-
+
=
45
4+5
=
9
=
9
=
9
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
--
-
-
-
-
-
7
9
12
7
1
13
5
19
8
+
=
81
8+1
=
9
=
9
=
9
-
7
9
3
7
1
4
5
1
8
+
=
45
4+5
=
9
=
9
=
9
9
G
I
L
G
A
M
E
S
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
3
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
-
3
-
-
-
-
-
-
4
-
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
5
-
-
-
-
5
occurs
x
1
=
5
=
5
-
7
-
-
7
-
-
-
-
-
-
-
7
occurs
x
2
=
14
1+4
5
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
=
8
-
-
9
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
-
9
9
G
I
L
G
A
M
E
S
H
-
-
37
-
-
9
-
45
=
36
-
-
9
-
-
-
-
-
-
-
-
-
3+7
-
-
-
-
4+5
=
3+6
9
G
I
L
G
A
M
E
S
H
-
-
10
-
-
9
-
9
-
9
-
7
9
3
7
1
4
5
1
8
-
-
1+0
--
-
-
-
4+5
-
3+6
9
G
I
L
G
A
M
E
S
H
-
-
1
-
-
9
-
9
-
9

 

 

9
GILGAMESH
-
-
-
-
G+I+L
28
19
1
-
G+A+M+E
26
17
8
-
S+H
27
9
9
9
GILGAMESH
81
45
9
-
-
8+1
4+5
-
9
GILGAMESH
9
9
9

 

 

9
GILGAMESH
-
-
-
-
G+L
19
10
1
-
IMAGES
54
27
9
-
H
8
8
8
9
GILGAMESH
81
45
18
-
-
8+1
4+5
1+8
9
GILGAMESH
9
9
9

 

 

9
GILGAMESH
-
-
-
-
G
7
7
7
-
I
9
9
9
-
L
12
3
3
-
G+A
8
8
8
-
M+E
18
9
9
-
S+H
27
18
9
9
GILGAMESH
81
54
45
-
-
8+1
5+4
4+5
9
GILGAMESH
9
9
9

 

 

 

"THE WORD FIRST USED FOR MAN IS LULLU"

"THE WORD FIRST USED FOR MAN IS 33333"

"THE WORD FIRST USED FOR MAN IS LULLU"

 

 

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

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

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

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

 

ENUMA ELISH
The Babylonian Creation Myth

"The word used for man is lullu"

LULLU 33333 LULLU

"The word used for man is lullu"

 

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

 

 

-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
21
+
=
78
7+8
=
15
1+5
6
=
6
-
-
3
3
3
3
3
+
=
15
1+5
=
6
=
6
=
6
-
5
L
U
L
L
U
-
-
-
-
-
-
-
-
-
-
1
-
-
--
-
-
--
-
-
1
ONE
1
-
-
-
-
-
2
-
-
--
-
-
--
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
3
-
-
3
occurs
x
5
=
15
1+5
6
4
-
-
--
-
-
--
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
--
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
--
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
--
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
--
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
-
--
-
-
9
NINE
9
-
-
-
-
-
42
5
L
U
L
L
U
-
-
3
-
-
5
-
15
-
6
4+2
-
3
3
3
3
3
-
-
-
-
-
-
-
1+5
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6
-
-
3
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
5
L
U
L
L
U
-
-
3
-
-
5
-
6
-
6

 

 

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

 

ENUMA ELISH - Babylonian Creation Myth - The continued story www.stenudd.com/myth/enumaelish/enumaelish-
The word used for man is lullu, meaning a first, primitive man.The same word is used about the savage Enkidu in the Gilgamesh epic ...

 

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

 

 

B
=
2
-
-
BABYLONIA
-
-
-
-
-
-
-
2
B+A
3
3
3
-
-
-
-
2
B+Y
27
9
9
-
-
-
-
1
L
12
3
3
-
-
-
-
4
O+N+I+A
39
21
3
B
=
2
Q
9
BABYLONIA
81
36
18
-
-
-
-
-
-
8+1
2+3
1+8
B
=
2
Q
9
BABYLONIA
9
9
9

 

THE

LULLABY

 

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

 

 

T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LULL
57
12
3
B
=
2
-
6
BEFORE
51
33
6
T
=
2
-
3
THE
33
15
6
S
=
1
-
5
STORM
85
22
4
-
-
10
-
21
First Total
259
97
25
-
-
1+0
-
2+1
Add to Reduce
2+5+9
9+7
2+5
-
-
1
-
3
Second Total
16
16
7
-
-
-
-
-
Reduce to Deduce
1+6
1+6
-
-
-
1
-
3
Essence of Number
7
7
7

 

 

Tho' much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Ulysses

www.victorianweb.org/authors/tennyson/ulyssestext.html

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
R
=
9
-
10
REMEMBERED
88
52
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
11
DISMEMBERED
97
52
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
4
ONLY
66
21
3
-
-
-
3
-
-
-
-
-
-
R
=
9
-
5
RIGHT
80
35
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
3
WAY
49
13
4
-
-
-
-
4
-
-
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
D
=
4
-
3
DIE
18
18
9
-
-
-
-
-
-
-
-
-
9
-
-
53
-
52
First Total
558
270
72
-
1
2
3
4
5
6
28
16
9
-
-
5+3
-
5+2
Add to Reduce
5+5+8
2+7+0
7+2
-
-
-
-
-
-
-
2+8
1+6
-
-
-
8
-
7
Second Total
18
9
9
-
1
2
3
4
5
6
10
10
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
1+0
1+0
-
-
-
8
-
7
Essence of Number
9
9
9
-
1
2
3
4
5
6
1
1
9

 

 

INRI 9599 INRI

"INRI" is an abbreviation for the Latin "Iesus Nazarenus, Rex Iudaeorum" ("Jesus the Nazarene, King of the Jews"), posted on the cross by order of the Roman procurator, Pontius Pilate.

 

 

9
PTAH
-
-
-
-
P+T
36
9
9
-
A+H
9
9
9
9
PATH
45
18
18
-
-
4+5
1+8
1+8
9
PTAH
9
9
9

 

 

THE

PATH OF PTAH

 

 

THE STAIRWAY TO HEAVEN

BOOK

II

THE EARTH CHRONICLES

Zecharia Sitchin 1980

Page 78

The Gods Who Came to Planet Earth

"The interesting point about these earliest drawings is that they showed the boats arriving from a foreign land. When the drawings included people, they showed seated rowers commanded by a tall master, distinguished by the horns protruding from his helmet (Fig. 36)(figure omitted)-the mark of being a Neter.

Pictorially, then, the Egyptians affirmed from the very beginning that their gods had come to Egypt from elsewhere. This confirmed the tales of how Egypt began-that the god Ptah, having come from the south, and having found Egypt inundated, performed great works of dyking and land reclamation and made the land habitable. There was a place in Egyptian geography which they called Ta Neter- "Place/Land of the Gods." It was the narrow straits at the southern end of the Red Sea which is now called Bab-el-Mandeb; it was through that strait that the ships bearing the ensign NTR and carrying the horned gods had come to Egypt.

The Egyptian name for the Red Sea was the Sea of UR. The term Ta Ur meant the Foreign Land in the East. Henri Gauthier, who compiled the Dictionnaire des Noms Geographiques from all the place names in the hieroglyphic texts, pointed out that the hieroglyph for Ta Ur "was a symbol which designated a nautical element. . . The sign means that 'You have to go by boat, to the left side.'" Looking at the map of the ancient lands (page 19), we see that a turn leftward as one came from Egypt and passed / Page 79 / through the straits of Bab-el-Mandeb, would take the sailor along the Arabian peninsula toward the Persian Gulf.
There are more clues. Ta Ur literally meant the Land of OR, and the name Ur was not unknown. It was the birthplace of Abraham, the Hebrew patriarch. Descended of Shem, the elder son of Noah (the biblical hero of the Deluge), he was born to his father Terah at the city of Ur, in Chaldea; "and Terah took Abram his son, and Lot the son of Haran, his son's son, and Sarah his daughter-in-law, the wife of Abram; and they went forth from Ur of the Chaldees, to go into the Land of Canaan. ..
When archaeologists and linguists began to unravel, at the beginning of the nineteenth century, the history and written records of Egypt, Ur was unknown from any other source except the Old Testament. Chaldea, however, was known: it was the name by which the Greeks had called Babylonia, Mesopotamia's ancient kingdom.
The Greek historian Herodotus, who had visited Egypt and Babylonia in the fifth century B. C., found many similarities in the customs of the Egyptians and the Chaldeans. Describing the sacred precinct of the supreme god Bel (whom he called Jupiter Belus) in the city of Babylon, and its huge stage tower, he wrote that "on the upmost tower there is a spacious temple, and inside the temple stands a couch of unusual size, richly adorned, with a golden table by its side. There is no statue of any kind set up in the place, nor is the chamber occupied by nights by anyone but a native woman, who, as the Chaldeans, the priests of this god, affirm, is chosen for himself by the deity. . . . They also declare. . . that the god comes down in person into this chamber, and sleeps upon the couch. This is like the story of the Egyptians of what takes place in their city Thebes, where the woman always passes the night in the temple of the Theban
Jupiter (Amon)." ,
The more nineteenth-century scholars learnt of Egypt, and matched the emerging historic picture with the writings of Greek and Roman historians, the more did two facts stand out: First, that Egyptian civilization and greatness were not like an isolated flower blooming in a cultural desert, but part of overall developments throughout the ancient lands. And secondly, that the biblical tales of other lands and kingdoms, of fortified cities and trade routes, of wars and treaties, of migrations and settlements-were not only true, but also accurate.
The Hittites, known for centuries only from brief mentions in the Bible, were discovered in Egyptian records as mighty adversaries of the Pharaohs. A totally unknown page of history-a pivotal battle between Egyptian armies and Hittite legions which came from Asia Minor, that had taken place at Kadesh in northern Canaan-was discovered not only in text, but also depicted pictorially on temple walls. There was even a historical personal touch, for the Pharaoh ended up marrying the daughter of the Hittite king in an effort to cement peace between them."

 

 

THE STAIRWAY TO HEAVEN

BOOK

II

THE EARTH CHRONICLES

Zecharia Sitchin 1980

Page 57

". . . he journeyeth where there is no stream and where / Page 58 / there are none to tow him; he performeth this by words of power" which proceed from the mouth of a god.
As the king passes through a guarded gate into the seventh division, the gods and the surroundings lose their "underworld" aspects and begin to assume celestial affiliations. The king encounters the falcon-headed god Heru-Her-Khent, whose hieroglyphic name included the stairway symbol and who wore on his head the Celestial Disk emblem. His task is "to send the star-gods on their way and to make the constellation-goddesses go on their way." These were a group of twelve gods and twelve goddesses who were depicted with star emblems. The incantations to them were addressed to "the starry gods

who are divine in flesh, whose magical powers have come into being. . . who are united into your stars, who rise up for Ra . . .
Let your stars guide his two hands so that he may journey to the Hidden Place in peace.

In this division, there are also present two companies of gods associated with the Ben-ben, the mysterious object of Ra that was kept at his temple in the city of An (Heliopolis). They "are those who possess the mystery," guarding it inside the Het-Benben (The Ben-ben House); and eight who guard outside but also "enter unto the Hidden Object." Here there are also nine objects, set up in a row, representing the symbol Shem which hieroglyphically meant "Follower."

The king has indeed arrived in parts of the Duat associated with An, after whom Heliopolis was named. In the Ninth Hour, he sees the resting place of the twelve "Divme Rowers of the Boat of Ra," they who operate Ra's celestial "Boat of Millions of Years." In the Tenth Hour, passing through a gate, the king enters a place astir with activity. The task of the gods there is
. to provide Flame and Fire to the boat of Ra. One of the gods is called "Captain of the gods of the boat." Two others are those "Who order the course of the stars." They and other gods are depicted with one, two or three star symbols, as though showing some rank associated with the heavens.

Passing from the tenth to the eleventh division, the affinity to the heavens rapidly increases. Gods bear the Celestial Disk and star emblems. There are eight goddesses with star emblems "who have come from the abode of Ra." The king sees the "Star Lady" and the "Star Lord," and gods whose task it is to provide "power for emerging" from the Duat, "to make the Object of Ra advance to the Hidden House in the Upper Heavens."

In this place there are also gods and goddesses whose task it is to equip the king for a celestial trip "over the sky." Together with some gods he is made to enter a "serpent" inside which he is to "shed the skin" and emerge "in the form of a rejuvenated Ra." Some of the terms here employed in the texts are still not understood, but the process is clearly explained: the king, / Page 59 / having entered dressed as he came, emerges as a falcon, "equipped as a god": the king "lays down on the ground the Mshdt-garment"; he puts on his back the "Mark-garment"; he "takes his divine Shuh-vestment" and he puts on "the collar of beloved Horus" which is like "a collar on the neck of Ra." Having done all that, "the king has established himself there as a god, like them." And he tells the god who is with him: "If thou goest to Heaven, so will the king go to Heaven."

The illustrations in the ancient texts depict here a group of gods dressed in unusual garb, like tightly fitting overalls adorned with circular collar bands (Fig. 21) (figure omitted).

They are led or directed by a god with the emblem of the Celestial Disk upon his head, who stands with outstretched arms between the wings of a serpent with four human legs. Against a starry background, the god and the serpent face another serpent which, though wingless, clearly flies as it carries aloft a seated Osiris. (Fig. 22). (figure omitted).

Having been properly equipped, the king is led to an opening in the center of a semi-circular wall. He passes the hidden door. Now he moves within a tunnel which is "1300 cubits long" called "Dawn at the End." He reaches a vestibule; the emblems of the Winged Disk are seen everywhere. He encounters goddesses "who shed light upon the road of Ra" and a magical scepter representing "Seth, the Watcher."
The gods explain to the awed king:

This cavern is the broad hall of Osiris Wherein the wind is brought;
The north wind, refreshing,
Will raise thee, O king, as Osiris.

It is now the twelfth division, the final Hour of the king's subterranean journey. It is "the uttermost limit of the thick darkness." The point which he has reached is named "Mountain of the Ascent of Ra." The king looks up and is startled: the celestial boat of Ra looms in front of his eyes, in all its awesome majesty.

He has reached an object which is called "The Ascender to the Sky." Some texts suggest that Ra himself prepared the Ascender for the king, "that the king may ascend upon it to the heavens"; other texts say that the Ascender was made or set up by several other gods. It is "the Ascender which had carried Seth" heavenward. Osiris could not reach the Firmament of Heaven except by means of such an Ascender; thus the king too requires it in order to be translated, as Osiris, to eternal life.

The Ascender or Divine Ladder was not a common ladder. It was bound together by copper cables; "its sinews (like those) of the Bull of Heaven." The "uprights at its sides" were covered over tightly with a kind of "skin"; its rungs were "Shesha-hewn" (meaning unknown); and "a great support (was) placed under it by He Who binds."

Page 60 Figures 21/22/23 omitted)

Page 61

 

 

THE STAIRWAY TO HEAVEN

BOOK

II

THE EARTH CHRONICLES

Zecharia Sitchin 1980

The Gods Who Came to Planet Earlh

Page 70
in the Sinai peninsula during the reign of the renowned Pharaoh Tut-Ankh­Amon. Decorated with scenes of people, places and objects trom the two domains of which he was viceroy, his tomb preserved to this very day a depiction in vivid colors of a rocketship: its shaft is contained in an underground silo, its upper stage with the command module is above ground (Fig. 27). The shaft is subdivided, like a multi-stage rocket. Inside its lower part, two persons attend to hoses and levers; there is a row of circular dials above them. The silo cutaway shows that it is surrounded by tubular cells for heat-exchange or some other energy-related function.
Above ground, the hemispherical base of the upper stage is clearly depicted in the color painting as scorched, as though trom a re-entry into Earth's atmosphere. The command module--Iarge enough to hold three to four persons-is conical in shape, and there are vertical "peep holes" all / Page 71 / around its bottom. The cabin is surrounded by worshippers, in a landscape of date palm trees and giraffes.

The underground chamber is decorated with leopard skins, and this provides a direct link with certain phases in the Pharaoh's Journey to Immortality. The leopard skin was the distinctive garb symbolically worn by the Shem priest as he performed the Opening of the Mouth ceremony. It was the distinctive garb symbolically worn by the gods who towed the Pharaoh through "The Secret Path of the Hidden Place" of the Duat-a symbolism repeated to stress the affinity between the Pharaoh's journey and the rocketship in the underground silo.

As the Pyramid Texts make clear, the Pharaoh, in his Translation into an eternal Afterlife, embarked on a journey simulating the gods. Ra and Seth, Osiris and Horus and other gods had ascended to the heavens in this manner. But, the Egyptians also believed, it was by the same Celestial Boat that the Great Gods had come down to Earth in the first place. At the city of An (Heliopolis), Egypt's oldest center of worship, the god Ptab built a special structure-a "Smithsonian Institution," if you will--wherein an actual space capsule could be viewed and revered by the people of Egypt!

The secret object-the Ben-Ben-was enshrined in the Het Benben, the "Temple of the Benben." We know from the hieroglyphic depiction of the place's name that the structure looked like a massive launch tower from within which a pointed rocket was poised skyward (Fig. 28).

The Ben-Ben was, according to the ancient Egyptians, a solid object that had actually come to Earth from the Celestial Disk. It was the "Celestial Chamber" in which the great god Ra himself had landed on Earth; the term Ben (literally: "That Which Flowed Out") conveying the combined mean­ings of"to shine" and "to shoot up in the sky."

An inscription on the stela of the Pharaoh Pi-Ankhi (per Brugsch, Dictionnaire Geographique de I'Ancienne Egypte) said thus:

The king Pi-Ankhi mounted the stairs toward the large window, in order to view the god Ra within the Ben-Ben. The king personally, standing up and being all alone, pushed apart the bolt and opened the two dom... leaves. Then he saw his father Ra in the splendid sanctuary of Het­Benben. He saw the Maad, Ra's Barge; and he saw Sektet, the Barge of the Aten.

Page 72

The shrine, we know from the ancient texts, was guarded and serviced by two groups of gods. There were those "who are outside the Het-Benben" but were allowed into the shrine's most sacred parts, for it was their task to receive the offerings from the pilgrims and bring them into the temple. The others were primarily guardians, not only of the Ben-Ben itself, but of all "the secret things of Ra which are in Het-Benben." Much as tourists nowadays flock to the Smithsonian to view, admire and even touch the actual vehicles flown in space, so did the devout Egyptians make pil­grimages to Heliopolis, to revere and pray to the Ben-Ben-probably with a religious fervor akin to that of the faithful Muslims who make pilgrimages to Mecca, there to pray at the Qa'aba (a black stone believed to be a replica of God's "Celestial Chamber").

At the shrine, there was a fountain or well, whose waters acquired a reputation for their healing powers, especially in matters of virility and fertility. The term Ben and its hieroglyphic depiction (inscription omitted) in time indeed acquired the connotations virility and reproduction; and could well have been the source of the meaning "male offspring" that Ben has in Hebrew. In addition to virility and reproduction, the shrine also acquired the attributes of rejuvenation; this in turn gave rise to the legend of the Ben bird, which the Greeks who had visited Egypt called the Phoenix. As these legend.; had it, the Phoenix was an eagle with plumage partly red and partly golden; once every 500 years, as it was about to die, it went to Heliopolis and in some manner rose again from the ashes of itself (or of its father).

Heliopolis and its healing waters remained venerated until early Christian times; local traditions claim that when Joseph and Mary escaped to Egypt with the child Jesus, they rested by the shrine's well.

The shrine at Heliopolis, Egyptian histories tell, was destroyed several times by enemy invaders. Nothing remains of it nowadays; the Ben-Ben is also gone. But it was depicted on Egyptian monuments as a conical chamber within which a god could be seen. Archaeologists have in fact found a stone scale-model of the Ben-Ben, showing a god at its open hatch­door in a gesture of welcome (Fig. 29). The true shape of the Celestial Chamber was probably accurately depicted in the tomb of Huy (Fig. 27); that modern command modules-the capsules housing the astronauts.atop rockets hips at launching, and in which they splash down back to Earth - Fig. 30 - look so similar to the Ben-Ben, is no doubt a result of similarity of purpose and function.

In the absence of the Ben-Ben itself, is there any other physical piece of evidence-and not mere drawings or scale models--left from the He­liopolitan shrine? We have noted above that according to Egyptian texts there were other secret things of Ra on display or in safekeeping at the shrine. In the Book of the Dead nine objects affiliated with the hieroglyph for Shem were depicted in the division paralleling the shrine of Heliopolis;

it could well be that there were indeed another nine space-related objects or spacecraft parts on display at the shrine.
Archaeologists may also have found a replica of one of these smaller objects. It is an oddly shaped circular object full of intricate curves and cutouts (Fig. 3Ia); it has baflled all scholars since its discovery in 1936. It is important to realize that the object was found-among other "unusual copper objects"-in the tomb of the crown prince Sabu, son of King Adjib of the First Dynasty. It is, therefore, certain that the object was placed in the tomb circa 3100 H.C. It could have been older, but certainly not more recent, than that date.

Reporting on the discoveries in northern Saqqara Oust south of the great pyramids at Gizah), Walter B. Emery (Great Tombs of the First Dynasty) described the object as a "bowl-like vessel of schist," and remarked that "No satisfactory explanation of the curious design of this object has been forthcoming." The object was carved from a solid block of schist-a rock which is very brittle and which easily splits into thin, irregular layers. If it were put to any use, it would have quickly broken apart; so the particular stone was chosen because the very unusual and delicate shape could best be carved out in such a material-a means to preserve the shape, rather than to actually use it. This has led other scholars, such as Cyril Aldred (Egypt to the End of the Old Kingdom) to conclude that the stone object "possibly imitates a form originally made in metal."

But what metal could have been used in the fourth millenium H.C. to produce the object, what process of precision grinding, what skilled metallurgists were then available to create such a delicate and structurally complex design? And, above all, for what purpose?
A technical study of the object's unique design (Fig. 3Ib) shed little light/ Page 74 / on its use or origin. "

 

 

Middle Eastern Mythology

S. H. Hooke 1963

Hebrew Mythology

Page 114

Recent Sumerian studies 5 have shown that the conception of a divine garden and of a state when sickness and death did not exist and wild animals did not prey on one anotHer is to be found in Sumerian mythology. The description of this earthly Paradise is contained in the Sumerian poem which Dr Kramer has called the Epic of Emmerkar

The land Dilmun is a pure place, the land Dilmun is a clean place.:

The land Dilmun is a clean place, the land Dilmun is a bright place.

In Dihnun the raven uttered no cry, The kite uttered not the cry of the kite, The lion killed not,

The wolf snatched not the lamb,

Unknown was the kid-killing dog, Unknown was the grain-devouring boar ..• The sick-eyed says not 'I am sick-eyed',

The sick·headed says not 'I am sick-headed',

Its (Dilmun's) old woman says not 'I am an old woman', Its old man says not 'I am an old man',

Unbathed is the maid, no sparkling water is poured in the city,

Who rosses the river (of death?) utters no ...

The wailing priests walk not about him,

The singer utters no wail,By the side of the city he utters no lament

Later, in the Semitic editing of the Sumerian myths, Dilmun became the dwelling of the immortals, where Utnapishtim and nis wife were allowed to live after the Flood (p. 49). It l.vas apparently located at the mouth of the Persian Gulf.

According to the Sumerian myth the only thing which Dilrnun lacked was fresh water; the god Enki (or Ea) ordered Utu, the sun-god, to 'bring up fresh water from the earth to water the garden. Here we may have the source of the

Page 114

"mysterious 'ed of which the Yahwist speaks as coming up from the ground to water the garden.

In the myth of Enki and Ninhursag it is related that the mother-goddess Ninhursag caused eight plants to grow in the garden of the gods. Enki desired to eat these plants and sent his messenger Isimud to fetch them. Enki ate them one by one, and Ninhursag in her rage pronounced the curse of death upon Enki. As the result of the curse eight of Enki's bodily organs were attacked by disease and he was at the point of death. The great gods were in dismay and Enlil was powerless to help. Ninhursag was induced to return and deal with the situation. She created eight goddesses of healing who proceeded to heal each of the diseased parts of Enki's body. One of these parts was the god's rib, and the goddess who was created to deal with the rib was named Ninti, which means 'the lady of the rib'. But the Sumerian word ti has the double meaning of 'life' as well as 'rib', so that Ninti could also mean 'the lady of life'. We have seen that in the Hebrew myth the woman who was fashioned from Adam's rib was named by him Hawwah, meaning 'Life'. Hence one of the most curious features of the Hebrew myth of Paradise clearly has its origin in this somewhat crude Sumerian myth.

Other elements in the Yahwist's form of the Paradise myth have striking parallels in various Akkadian myths. The importance of the possession of knowledge, which is always magical knowledge, is a recurring theme. We have seen that the myth of Adapa and the Gilgamesh Epic are both concerned with the search for immortality and the problem of death and the existence of disease. These and other examples which we have cited will serve to illustrate the point that the Akkadian myths were concerned with the themes which appear in the Yahwist's Paradise story."

 

 
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