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Evokation
  
 
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-
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-
-
-
-
-
-
-
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
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
57
First Total
626
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+7
Add to Reduce
6+2+6
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
12
Second Total
14
14
14
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+2
Reduce to Deduce
1+4
1+4
1+4
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
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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
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
Q
R
S
T
U
V
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

 

 

6
OSIRIS
89
35
8
4
ISIS
56
20
2
3
SET
44
8
8
13
Add to Reduce
189
63
18
1+3
Reduce to Deduce
1+8
6+3
1+8
4
Essence of Number
9
9
9
5
HORUS
81
27
9
4
GODS
45
18
9
8
CREATORS
99
36
9

 

--

 

RE GODS NAME GODS

RE AS IN THREE IS IS THREE AS IN RE

 

 

I

ATUM 1234 ATUM

I

 

 

STRIKE A LIGHT

LUCIFER MEETS ITS MATCH

 

 

THUS

HAVE

I

HEARD

IN

THE

KINGDOM

OF

THE MIND THE

ONE I'D MAN IS KING

 

 

OSIRIS SO IRIS IS IS IRIS SO OSIRIS

ISIS IS IS ISIS

OSIRIS SO IRIS IS IS IRIS SO OSIRIS

 

 

IS ASTROLOGY A STARRY LOGO ASTROLOGY A STARRY LOGO I S

 

 

SHEM SU HOR ROH US MEHS

SHEM HORUS SUROH MEHS

 

 

FINGERPRINTS OF THE GODS

Graham Hancock 1995

  City of the Sun, Chamber of the Jackal

Page 381(Part VII)

"Heliopolis (City of the Sun) was referred to in the Bible as On but was originally known in the Egyptian language as Innu, or Innu Mehret - meaning 'the pillar' or 'the northern pillar'.3 It was a district of immense sanctity, associated with a strange group of nine solar and stellar deities, and was old beyond reckoning when Senuseret chose it as the site for his obelisk. Indeed, together with Giza (and the distant southern city of Abydos) Innu / Heliopolis was believed to have been part of the first land that emerged from the primeval waters at the / Page 382 / moment of creation, the land of the 'First Time', where the gods had commenced their rule on earth..
Heliopolitan theology rested on a creation-myth distinguished by a . number of unique and curious features. It taught that in the beginning the universe had been filled with a dark, watery nothingness, called the Nun. Out of this inert cosmic ocean (described as 'shapeless, black with the blackness of the blackest night') rose a mound of dry land on which Ra, the Sun God, materialized in his self-created form as Atum (sometimes depicted as an old bearded man leaning on a staff:5

ATUM 1234 ATUM

 

'shapeless, black with the blackness of the blackest night'

BLACK B LACK OF LIGHT C BLACK

 

The sky had not been created, the earth had not been created, the children of the earth and the reptiles had not been fashioned in that place. . . I, Atum, was one by myself. . . There existed no other who worked with me .'. .6

Conscious of being alone, this blessed and immortal being contrived to create two divine offspring, Shu, god of the air and dryness, and Tefnut the goddess of moisture:

'I thrust my phallus into my closed hand. I made my seed to enter my hand. I poured it into my own mouth. I evacuated under the form of Shu, I passed water under the form of Tefnut.,7

Despite such apparently inauspicious beginnings, Shu and Tefnut (who were always described as 'Twins' and frequently depicted as lions) grew to maturity, copulated and produced offspring of their own: Geb the god of the earth and Nut, the goddess of the sky. These two also mated, creating Osiris and Isis, Set and Nepthys, and so completed the Ennead, the full company of the Nine Gods of Heliopolis. Of the nine, Ra, Shu, Geb and Osiris were said to have ruled in Egypt as kings, followed by Horus, and lastly - for 3226 years - by the Ibis-headed wisdom god Thoth.8

3x2x2x6 IS 72 IS 72 IS 6x2x2x3

Who were these people - or creatures, or beings, or gods? Were they figments of the priestly imagination, or symbols, or ciphers? Were the stories told about them vivid myth memories of real events which had taken place thousands of years previously? Or were they, perhaps, part of a coded message from the ancients that had been transmitting itself over and over again down the epochs - a message only now beginning to be unravelled and understood?
Such notions seemed fanciful. Nevertheless I could hardly forget / Page 383 / that out of this very same Heliopolitan tradition the great myth of Isis and Osiris had flowed, covertly transmitting an accurate calculus for the rate of precessional motion. Moreover the priests of Innu, whose responsibility ,it had been to guard and nurture such traditions, had been renowned throughout Egypt for their high wisdom and their proficiency in prophecy, astronomy, mathematics, architecture and the magic arts. They were also famous for their possession of a powerful and sacred object known as the Benben.9
The Egyptians called Heliopolis Innu, the pillar, because tradition had it that the Benben had been kept here in remote pre-dynastic times, when it had balanced on top of a pillar of rough-hewn stone.
The Benben was believed to have fallen from the skies. Unfortu-nately, it had been lost so long before that its appearance was no longer remembered by the time Senuseret took the throne in 1971 BC. In that period (the Twelfth Dynasty) all that was clearly recalled was that the Benben had been pyramidal in form, thus providing (together with the pillar on which it stood) a prototype for the shape of all future obelisks. The name Benben was likewise applied to the pyramidion, or apex stone, usually placed on top of pyramids.10 In a symbolic sense, it was also associated closely and directly with Ra-Atum, of whom the ancient texts said, 'You became high on the height; you rose up as the Benben stone in the Mansion of the Phoenix. . . ,11
Mansion of the Phoenix described the original temple at Heliopolis where the Benben had been housed. It reflected the fact that the mysterious object had also served as an enduring symbol for the mythical Phoenix, the divine Bennu bird whose appearances and disappearances were believed to be linked to Violent cosmic cycles and to the destruction and rebirth of world ages.12"

Page 382

"I, Atum, was one by myself. . . There existed no other who worked with me .'"

 

I

ATUM 1234 ATUM

I

ATUM 1234 ATUM

I

ATUM 1234 ATUM

I

ATUM 1234 ATUM

I

ATUM 1234 ATUM

I

ATUM 1 ATUM

1

ATUM 1 ATUM

 

 

Osireion - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Osireion

The Osirion or Osireon is located at Abydos at the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th ...

From Wikipedia, the free encyclopedia

The Osirion at the rear of the temple of Seti I at Abydos, the underground entry to the Osireion is at the top of the picture, see image below
The Osirion or Osireon is located at Abydos at the rear of the temple of Seti I. It is an integral part of Seti I's funeral complex and is built to resemble an 18th Dynasty Valley of the Kings tomb. [1] It was discovered by archaeologists Flinders Petrie and Margaret Murray who were excavating the site in 1902-3. The Osirion was originally built at a considerably lower level than the foundations of the temple of Seti, who ruled from 1294 - 1279 BC [2]. While there is disagreement as to its true age, despite the fact that it is situated at a lower depth than the structures nearby, that it features a very different architectural approach, and that it is frequently flooded with water which would have made carving it impossible had the water level been the same at the time of construction, Peter Brand says it "can be dated confidently to Seti's reign."[3]

 

 

I

AM

THAT I THAT

AM AT MAAT AT AM

I THAT I THAT I THAT I

IS ALIVE IS DEAD IS ALIVE IS

THAT THAT THAT IS IS THAT THAT THAT

UNIVERSAL MIND ISISIS MIND UNIVERSAL

ISISIS DEAD ISISIS ALIVE ISISIS DEAD ISISIS

GO DO GOOD GODS GODDESSES GODS GOOD DO GO

GO DO GOOD GODDESSES GODS GODDESSES GOOD DO GO

REAL REALITY REVEALED AM I AM REVEALED REALITY REAL

GREATORS PERFECT CREATORS BALANCING PERFECT CREATORS

DEAD AND ALIVE IMMORTAL R U I ME I R U IMMORTAL ALIVE AND DEAD

ALIVE AND DEAD IMMORTAL R U I ME I R U IMMORTAL DEAD AND ALIVE

THAT GREAT SEE I THAT UNIVERSAL MIND UNIVERSAL THAT I SEE GREAT THAT

 

 

GOOD EVIL BLACK WHITE LIGHT DARK NEGATIVE POSITIVE NEGATIVE POSITIVE DARK LIGHTWHITE BLACK EVIL GOOD

 

 

THINKS WATER THINKS WATER THINKS

THINKS I SEE THAT SEE I SEE THAT SEE I THINKS

THAT I KNOW I KNOW THAT

--

I

THAT

AM AT MAAT AT AM

ISISIS MAAT ISISIS

REAL REALITY REVEALED AM I AM REVEALED REALITY REAL

THINKS ALWAYS DIVINE THOUGHT PLASMAS GODS PLASMAS THOUGHT DIVINE ALWAYS THINKS

 

 

BEN BEN STONE 255 255 12655 STONE BEN BEN

 

 

REARRANGEMENT OF THE EGYPTIAN ROOMS F the rearrangements in the ...
by HE Wetzel - 1915
Ini and his wife Rennut from Assiout. H. E. W.. THE OPENING OF THE MINNEA-. POLIS INSTITUTE. O. N Thursday, January 7th, the. Minneapolis Institute opened ... www.jstor.org/stable/3253380

 

 

Archaeological News
by WN Bates - 1915 - Cited by 1 - Related articles
of Ini and his wife Rennut, eighteenth or nineteenth dynasty, from Assiut. P. 83, six bronze and eleven glaze figures of deities and more than one hundred ... www.jstor.org/stable/497389

 

 

Full text of "American journal of archaeology"
... wooden coffin of Khnumu-nakht of the twelfth dynasty, and limestone statue of Iniand his wife Rennut, eighteenth or nineteenth dynasty, from Assiut. ... www.archive.org/stream/.../americanjourser219archuoft_djvu.txt

 

"Ini and his wife Rennut

INI RENNUT

959 955532

INI RENNUT

 

LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES

INI RENNUT

9+5+9 9+5+5+5+3+2

INI RENNUT

LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES

INI RENNUT

9+5+9 9+5+5+5+5

INI RENNUT

LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES

INI RENNUT

I5I R5555

INI RENNUT

LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES

INI RENNUT

LOOK AT THE FIVES LOOK AT THE FIVES LOOK AT THE FIVES THE FIVES THE FIVES

 

 

Pi - Wikipedia, the free encyclopediaπ (sometimes written pi) is a mathematical constant whose value is the ratio of any circle's circumference to its diameter in the Euclidean plane; ...

Fundamentals - History - Open questions - Use in mathematics and science
en.wikipedia.org/wiki/Pi -

 

PiFrom Wikipedia, the free encyclopediaJump to: navigation, search
This article is about the number. For the Greek letter, see Pi (letter). For other uses, see Pi (disambiguation).

Mosaic depicting π at the entrance to the math building at Technische Universität BerlinPart of a series of articles on
the mathematical constant π

Uses
Area of disk · Circumference
Use in other formulae
Properties
Irrationality · Transcendence
Less than 22/7
Value
Approximations · Memorization
People
Archimedes · Zu Chongzhi
Madhava of Sangamagrama
William Jones · John Machin
John Wrench
History
Chronology · Book
In culture
Legislation · Holiday
Related topics
Squaring the circle · Basel problem
Other topics related to π
v · d · e

π (sometimes written pi) is a mathematical constant whose value is the ratio of any circle's circumference to its diameter in the Euclidean plane; this is the same value as the ratio of a circle's area to the square of its radius. It is approximately equal to 3.14159265 in the usual decimal notation. Many formulae from mathematics, science, and engineering involve π, which makes it one of the most important mathematical constants.[1]

π is an irrational number, which means that its value cannot be expressed exactly as a fraction m/n, where m and n are integers. Consequently, its decimal representation never ends or repeats. It is also a transcendental number, which implies, among other things, that no finite sequence of algebraic operations on integers (powers, roots, sums, etc.) can be equal to its value; proving this was a late achievement in mathematical history and a significant result of 19th century German mathematics. Throughout the history of mathematics, there has been much effort to determine π more accurately and to understand its nature; fascination with the number has even carried over into non-mathematical culture.

Probably because of the simplicity of its definition, the concept of π has become entrenched in popular culture to a degree far greater than almost any other mathematical construct.[2] It is, perhaps, the most common ground between mathematicians and non-mathematicians.[3] Reports on the latest, most-precise calculation of π (and related stunts) are common news items.[4][5][6] The current record for the decimal expansion of π, if verified, stands at 5 trillion digits.[7]

The Greek letter π, often spelled out pi in text, was first adopted for the number as an abbreviation of the Greek word for perimeter "περίμετρος" (or as an abbreviation for "perimeter/diameter") by William Jones in 1706. The constant is also known as Archimedes' Constant, after Archimedes of Syracuse who provided an approximation of the number, although this name for the constant is uncommon in modern English-speaking contexts.

Contents [hide]
1 Fundamentals
1.1 The letter π
1.2 Geometric definition
1.3 Irrationality and transcendence
1.4 Decimal representation
1.5 Estimating π
2 History
2.1 Antiquity
2.2 Second millennium AD
2.3 Computation in the computer age
2.4 Pi and continued fraction
2.5 Memorizing digits
3 Open questions
4 Use in mathematics and science
4.1 Geometry and trigonometry
4.2 Complex numbers and calculus
4.3 Physics
4.4 Probability and statistics
4.5 Geomorphology and chaos theory
5 In popular culture
6 See also
7 References
8 External links

FundamentalsThe letter πMain article: pi (letter)

Lower-case π is used to symbolize the constantThe name of the Greek letter π is pi.[8] The name pi is commonly used as an alternative to using the Greek letter. As a mathematical symbol, the Greek letter is not capitalized (Π) even at the beginning of a sentence, and instead the lower case (π) is used at the beginning of a sentence. When referring to this constant, the symbol π is always pronounced "pie" in English, which is the conventional English pronunciation of the Greek letter. The constant is named "π" because "π" is the first letter of the Greek word περίμετρος (perimeter), probably referring to its use in the formula perimeter/diameter which is constant for all circles, the word "perimeter" being synonymous here with "circumference."[9] William Jones was the first to use the Greek letter in this way, in 1706,[10] and it was later popularized by Leonhard Euler in 1737.[11][12] William Jones wrote:

There are various other ways of finding the Lengths or Areas of particular Curve Lines, or Planes, which may very much facilitate the Practice; as for instance, in the Circle, the Diameter is to the Circumference as 1 to ... 3.14159, &c. = π[13]

The capital letter pi (Π) has a completely different mathematical meaning; it is used for expressing products (notice that the word "product" begins with the letter "p" just like "perimeter/diameter" does). It can also refer to the osmotic pressure of a solution.

Geometric definition in Euclidean plane geometry, π is defined as the ratio of a circle's circumference C to its diameter d:[9]

The ratio C/d is constant, regardless of a circle's size. For example, if a circle has twice the diameter d of another circle it will also have twice the circumference C, preserving the ratio C/d.

Alternatively π can be defined as the ratio of a circle's area A to the area of a square whose side is equal to the radius r of the circle:[9][14]

These definitions depend on results of Euclidean geometry, such as the fact that all circles are similar, and the fact that the right-hand-sides of these two equations are equal to each other (i.e. the area of a disk is Cr/2). These two geometric definitions can be considered a problem when π occurs in areas ofmathematics that otherwise do not involve geometry. For this reason, mathematicians often prefer to define π without reference to geometry, instead selecting one of its analytic properties as a definition. A common choice is to define π as twice the smallest positive x for which the trigonometric function cos(x) equals zero.[15

 

EUCLID 533394 EUCLID

PI 79 PI

PHI 789 PHI

 

 

DIVINE PROPORTION

Johannes Kepler [1571-1630]
http://www.summum.us/philosophy/phi.shtml

"Geometry has two great treasures: one is the theorem of Pythagoras; the other, the division of a line into extreme and mean ratio. The first we may compare to a measure of gold; the second we may name a precious jewel."

- Johannes Kepler [1571-1630]

(Illustratins omitted)

Any objective observation we make must include a discussion of proportion for it is the rule of proportion in the examination of nature that causes us to observe an organized universe and a universe in chaos, rational and irrational numbers, harmony and discord, truth and falsity. These descriptions are merely proportional effects of the opposition that is inherent in all things.

We see harmony expressed by those emotions, feelings, and characteristics present within ourselves. This harmony is viewed within nature as the Divine Proportion. The Divine Proportion ascribed to our collective state of observation has been expressed, "For of three magnitudes, if the greatest (AB) is to the mean (CB) as the mean (CB) is to the least (AC), they therefore all shall be one."

AB/CB = CB/AC = 1.618...
The Divine Proportion was closely studied by the Greek sculptor, Phidias, and as a result, it took on the name of Phi. Also referred to as the Golden Mean, the Magic Ratio, the Fibonacci Series, etc., Phi can be found throughout the universe; from the spirals of galaxies to the spiral of a Nautilus seashell; from the harmony of music to the beauty in art. A botanist will find it in the growth patterns of flowers and plants, while the zoologist sees it in the breeding of rabbits. The entomologist views it in the genealogy of a bee, and the physicist observes it in the behavior of light and atoms. A Wall Street analyst can find it in the rising and falling patterns of a market, while the mathematician uncovers it in the examination of the pentagram.

Throughout history, Phi has been observed to evoke emotion or aesthetic feelings within us. The ancient Egyptians used it in the construction of the great pyramids and in the design of hieroglyphs found on tomb walls. At another time, thousands of miles away, the ancients of Mexico embraced Phi while building the Sun Pyramid at Teotihuacan. The Greeks studied Phi closely through their mathematics and used it in their architecture. The Parthenon at Athens is a classic example of the use of the Golden Rectangle. Plato in his Timaeus considered it the most binding of all mathematical relations and makes it the key to the physics of the cosmos.

During the Renaissance, Phi served as the "hermetic" structure on which great masterpieces were composed. Renowned artists such as Michelangelo, Raphael, and Leonardo da Vinci made use of it for they knew of its appealing qualities. Evidence suggests that classical music composed by Mozart, Beethoven, and Bach embraces Phi. Whether it was by design or intuitive is not known.

Phi must be considered in its relation to the human psyche since it is the psyche that interprets this phenomena. Although Phi appears to be fixed in nature, it actually is not. The only reason it seems fixed is because it is fixed within our own minds. This proportion corresponds to the mental vibrations that are within us and dictate our sense of pleasure and pain, beauty and ugliness, love and hate, etc. The result is we are held captive by these memories fixed by both body and mind. For if we were to view nature from an altered state of consciousness, the proportion would also be altered.

Therefore, the Divine Proportion presents itself in the very physical nature of Creation. It is seen as the beauty and organization within the cosmos. It is the harmony and glue that holds the unity of the universe.

 

 

ELECTRIC ET CIRCLE ET CIRCLE ET ELECTRIC

 

 

EUCLID ID CLUE EUCLID

EUCLID 94 3335 EUCLID

EUCLID ID CLUE EUCLID

 

 

EUCLID L DICE U EUCLID

EUCLID 3 4935 3EUCLID

EUCLID L DICE U EUCLID

 

 

PENTAGRAM 5 PENTAGRAM

755217914 FIVE 5 FIVE 755217914

PENTAGRAM 5 PENTAGRAM

 

 

The Meaning Of A Pentagram

www.angelfire.com/id/robpurvis/pentagram.html

The Pentagram is a symbol of a star encased in a circle. Always with 5 points (one pointing upward), each has its own meaning. The upward point of the star is ...

The number 5 - Human stars - Golden proportion - Protection against evil

 

 

Pentagram - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Pentagram

The Sumerian pentagrams served as pictograms for the word "UB" meaning "corner, angle, nook; a small room, cavity, hole; pitfall", suggesting something very ...

Classification - Early history - European occultism - Religious symbolism

 

 

Pentagrams: Meaning and History (The Cauldron: A Pagan Forum)

www.ecauldron.net › Article Library › Miscellaneous

While the Pentagram is often associated with Satanists in the modern American mind, it has a long history of positive usage both by Pagans and Christians, ...

 

 

Symbols and their meaning

www.crossroad.to/Books/symbols1.html

Keep in mind that many of these symbols have double or multiple meanings. For example, the pentagram has been used to transmit occult power in all kinds of ...

The Pentagram and Ram's Head

www.jesus-is-savior.com/False%20Religions/.../pentagram.htm
When the pentagram or five pointed star is turned with one point down and two points up, it takes on an entirely different meaning as the illustration and ...

 

 

PENTACLES AND PENTAGRAMS

www.religioustolerance.org/wic_pent.htm

22 Sep 1999 – The terms pentagram and pentacle are sometimes used interchangeably. However, we believe that the most common precise meanings are: ...

 

 

The pentagram

freemasonry.bcy.ca/anti-masonry/pentagram.html

18 Jun 2007 – Pentagram: from the Greek, "pente", meaning five and "gramma", a letter; the pentagram is a five pointed figure formed by producing the sides ...

 

 

What is the meaning of the pentagram

wiki.answers.com › ... › Alternative Religions › Paganism

The pentagram is drawn with a single interwoven line. A pentacle is a pentagram with a circle drawn around it. The meanings of this vary. To me, it symbolizes ...

 

From here to there | Pentacle Wicca Meaning, Pentagram Wiccan ...

spellworks.net/?page_id=18

The Pentagram The pentacle, or pentagram, is the most revered and most popular sign of the craft. It is similar to the Cross or Crucifix of the Christian.

 

The Meaning of the Pentagram on LDS Temples

www.softcom.net/.../...

To say that the LDS Church is Satanic because of its use of the inverted pentagram, is like saying that Buddhists are Nazi's for their use of the swastika.

 

 

STARS 5 STARS

PENT 55 PENT

PENTAGRAM 5 PENTAGRAM

 

 

PENTATEUCH 5 PENTATEUCH

PENT U TEACH 5 TEACH U PENT

PENTATEUCH 5 PENTATEUCH

FIVE BOOKS 5 BOOKS FIVE

PENTATEUCH 5 PENTATEUCH

PENTATEUCH 5 PENTATEUCH

PENT U TEACH 5 TEACH U PENT

PENTATEUCH 5 PENTATEUCH

 

 

TORAH TO RAH TO RAH TORAH

IS THAT SOME OF MOSES 5 IS 5 IS 5 MOSES OF SOME THAT IS

 

 

TORAH

GENESIS EXODUS LEVITICUS NUMBERS DEUTERONOMY

 

 

"The Pentateuch consists of the first five books of the. OT: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy ".

Torah - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Torah

Scholars usually refer to the first five books of the Hebrew Bible as the Pentateuch, a term first used in the Hellenistic Judaism of Alexandria, meaning five books, ...

 

Torah reading - Torah study - Sefer Torah - Mishneh Torah
An Introduction to the Pentateuch | Bible.org - Worlds Largest Bible ...
bible.org/article/introduction-pentateuch

A. The Pentateuch consists of the first five books of the. OT: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy B. The term "Pentateuch" comes from the ...

 

CATHOLIC ENCYCLOPEDIA: Pentateuch
www.newadvent.org › Catholic Encyclopedia › PC

The name of the first five books of the Old Testament.

 

Pentateuch - Definition and More from the Free Merriam-Webster ...
www.merriam-webster.com/dictionary/pentateuch

29 Nov 2011 – Join Us on FB & Twitter. Get the Word of the Day and More. Facebook | Twitter. Get Our Free Apps. Voice Search, Favorites, Word of the Day, ...

 

PENTATEUCH - JewishEncyclopedia.com
www.jewishencyclopedia.com/articles/12011-pentateuch

The five books of Moses. The word is a Greek adaptation of the Hebrew expression "ḥamishshah ḥumshe ha-Torah" (five-fifths of the Law) applied to the books ...

 

The Pentateuch -- the first five books of the Bible
www.religioustolerance.org/chr_tora.htmCached - Similar
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25 Feb 2008 – "...despite all the arguments made against Mosaic authorship/editorship, the traditional view [that Moses wrote the Pentateuch] is still as ...

 

Pentateuch - definition of Pentateuch by the Free Online Dictionary ...
www.thefreedictionary.com/PentateuchCached - Similar
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Pentateuch. Also found in: Encyclopedia, Wikipedia, Hutchinson, 0.01 sec. Pen·ta·teuch (p n t -t k , -ty k ). n. The first five books of the Hebrew Scriptures. [Middle ...

 

Chapter 3: The Analysis of the Pentateuch
www.infidels.org/library/modern/gerald_larue/otll/chap3.htmlCached - Similar
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22 Jan 2011 – Gerald Larue: Old Testament Life and Literature: Chapter 3: The Analysis of the Pentateuch.

 

Pentateuch | Define Pentateuch at Dictionary.com
dictionary.reference.com/browse/pentateuchCached
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... -ˌtyuk/ Show Spelled[pen-tuh-took, -tyook] Show IPA. noun. the first five books of the Old Testament: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy.

 

Amazon.com: The Pentateuch as Narrative: A Biblical-Theological ...
www.amazon.com › Books › Christian Books & Bibles › ReferenceCached
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Most scholars studying the first five books of the Bible either attempt to dissect it into various pre-pentateuchal documents or, at the very least, analyze Genesis, ...

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PARADISE THE GARDEN OF EDEN

PARADE EYES IN THE GARDEN OF NEED

 

 

WISE IS IS WISE

IS W IS E IS

WISE IS IS WISE

 

 

WISE IS IS WISE

IS 5 IS 5 IS

WISE IS IS WISE

 

 

WISDOM IS IS WISDOM

IS WISDOM IS

WISDOM IS IS WISDOM

 

 

WISDOM IS IS WISDOM

IS W IS DOM IS

WISDOM IS IS WISDOM

 

 

WISDOM IS IS WISDOM

IS 5 IS 464 IS

WISDOM IS IS WISDOM

 

 

WISDOM IS IS WISDOM

5 IS 5

WISDOM IS IS WISDOM

 

 

DIVNE THOUGHT GODS BALANCING GODS THOUGHT DIVINE

 

 

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

1 = ONE TWO THREE FOUR 5 SIX SEVEN EIGHT NINE = 1

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

 

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

1 = 655 256 28955 6639 6945 FIVE 196 15455 59782 5955 = 1

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

 

6 = FIVE = 6

1 = ONE TWO THREE FOUR V SIX SEVEN EIGHT NINE = 1

 

 

351 = ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE = 351

126 = 8596 655 256 28955 6639 6945 196 15455 59782 5955 = 126

IS 9 IS

126 = 8596 655 256 28955 6639 6945 196 15455 59782 5955 = 126

351 = ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE = 351

 

 

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

655 256 28955 6639 6945 196 15455 59782 5955

8

655 256 28955 6639 6945 196 15455 59782 5955

ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE

 

 

I

ME

THE

SWORD OF WORDS

 

THE HEART OF GODS ART

THE ART OF GODS ART

THE R HEAT HEART OF GODS ART

SQUARING THE CIRCLE THE SQUARING

 

 

DECODE CODE CODE DECODE CODE CODE DECODE

453645 3645 3645 453645 3645 3645 453645

DECODE CODE CODE DECODE CODE CODE DECODE

 

 

RIVER RIVER

9999 9999

RIVER RIVER

 

 

RIVER RIVER ISIS IS ISIS RIVER RIVER

99459 99459 9191 91 9191 99459 99459

RIVER RIVER ISIS IS ISIS RIVER RIVER

 

 

ART AT R AT ART

AT MAAT AT AM I AM AT MAAT AM

I THAT AM AT ART AT AM AT ART AT AM THAT I

 

 

Greek language - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Greek_language

Jump to Greek alphabet‎: Its writing system has been the Greek alphabet for the majority of its history; other ... The later Greek alphabet is derived from the Phoenician alphabet (abjad); ...

 

 

Attic Greek - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Attic_Greek

The first form of written Greek was not the Greek alphabet as it later became known, .... followed by a long vowel: ēō → eō; when followed by u and s: ēus → eus ...

 

 

Mycenaean Greek - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Mycenaean_Greek

(see also: Greek alphabet) .... The use of -eus to produce agent nouns; The third person singular ending -ei; The infinitive ending -ein (contracted from -e-en) ...

 

enargea.org | Transliteration and Accentuation of Greek ...

enargea.org/homyth/translit.html

The majuscule (uncial, capital, or upper-case) letters of the ancient Greek .... Greek case-endings, Latin equivalent, Greek, Latin. -os, -us, Aiakos, Aeacus ...

 

 

THE WHITE GODDESS

Robrert Graves circa 1960

"eus"

 

 

EUS 531 EUS

EUS 9 EUS

EUS 531 EUS

 

 

EUS USE EUS

531 315 531

EUS USE USE EUS

 

 

ZEUS Z EUS Z ZEUS

EUS 531 IS 9 IS 531 EUS

ZEUS Z EUS Z ZEUS

 

 

HERA HEAR HERA

HEAR HERA 5 HERA HEAR

HERA HEAR HERA

 

 

ZEUS Z EUS Z ZEUS

EUS 531 IS 9 IS 531 EUS

ZEUS Z EUS Z ZEUS

 

 

ZE US HEAR US HEAR ZE US

 

 

THESESUS

THESEUS THES EUS THES THESEUS

THESESUS

 

 

THESESUS

THESEUS THES 531 THES THESEUS

THESESUS

 

 

PERSEUS

PERSEUS EUS PERSEUS

PERSEUS

 

 

PERSEUS

PERSEUS 531 PERSEUS

PERSEUS

 

 

PERSEUS

PERSEUS SEU PERSEUS

PERSEUS

 

 

PERSEUS

PERSEUS 153 PERSEUS

PERSEUS

 

 

PERSEUS PURSUES PERSEPHONE PURSUES PERSEUS

HADES SHADE HADES

SHADE HADES SHADE

PERSEUS PURSUES PERSEPHONE PURSUES PERSEUS

 

 

JESUS J ESU S JESUS

JESUS J 513 S JESUS

JESUS J ESU S JESUS

 

 

CHRIST

CHRIST C RISH T CHRIST

CHRIST

 

 

CHRIST

CHRIST C 999 T CHRIST

CHRIST

 

 

CHRISTOS SO CHRIST SO CHRISTOS

CHRISTOS SO 39992 SO CHRISTOS

CHRISTOS SO CHRIST SO CHRISTOS

 

 

CHRISTOS SO CHRIST SO CHRISTOS

CHRISTOS SO C999T SO CHRISTOS

CHRISTOS SO CHRIST SO CHRISTOS

 

 

OSIRIS SOIRIS OSIRIS

OSIRIS SO999S OSIRIS

OSIRIS SOIRIS OSIRIS

 

 

OSIRIS ISIS OSIRIS

OS999S 9S9S OS999S

OSIRIS ISIS OSIRIS

 

 

OSIRIS ISIS SIRIUS ISIS OSIRIS

OS999S 9S9S S999US 9S9S OS999S

OSIRIS ISIS SIRIUS ISIS OSIRIS

 

 

OSIRIS ISIS IRIS SIRIUS ISIS OSIRIS

619991 9191 9991 199931 9191 619991

OSIRIS ISIS IRIS ISIS OSIRIS

 

 

OSIRIS ISIS IRIS ISIS OSIRIS

OS999S 9S9S 999S 9S9S OS999S

OSIRIS ISIS IRIS ISIS OSIRIS

 

 

ISIS IRIS ISIS

9S9S 999S 9S9S

SIS IRIS ISIS

 

 

IRIS ISIS IRIS

999S 9S9S 999S

IRIS ISIS IRIS

 

 

OSIRIS ISIS SIRIUS ISIS OSIRIS

OS999S 9S9S S999US 9S9S OS999S

OSIRIS ISIS SIRIUS ISIS OSIRIS

 

 

OSIRIS ISIS SIRIUS ISIS OSIRIS

619991 9191 199931 9191 619991

OSIRIS ISIS SIRIUS ISIS OSIRIS

 

 

SAPTARSHI A PAST RISH PAST A RISH SAPTARSHI

SAPTARSHI A PAST 999 PAST A RISH SAPTARSHI

SAPTARSHI A PAST RISH PAST A RISH SAPTARSHI

 

 

SAPTARSHI A STARSHIP SAPTARSHI

 

 

FROM ATLANTIS TO THE SPHINX

RECOVERING THE LOST WISDOM OF THE ANCIENT WORLD

Colin Wilson 1996

Page 262

9

Of Stars and Gods

IN THE SUMMER OF 1933, a 39-year-old Scot named Alexander Thom anchored his sailing yacht in East Loch Roag, north-west of the island of Lewis in the Hebrides. Thom was an aeronautical engineer whose lifelong passion was sailing. As the moon rose, he looked up and saw, silhouetted against it, the standing stones of Callanish, 'Scotland's Stonehenge'.

After dinner, Thorn walked up to it, and looking along the avenue of menhirs, realised that its main north-south axis pointed direct at the Pole Star. But Thom knew that when the stones were erected - probably before the Great Pyramid - the Pole Star was not in its present position. So how did the men who built it manage to point it with such accuracy to geographical north? To do this, with such incredible precision as is revealed at Callanish, would require something more than guesswork. One way would be to observe the exact position of the rising sun and the setting sun, and then bisect the line between them - but that can only be done accurately in flat country, where both horizons are level. Another would be to observe some star close to the pole in the evening, then again twelve hours later before dawn, and bisect that line.Thom could see that it would be an incredibly complicated business involving plumb lines and upright stakes. Obviously, these ancient engineers were highly sophisticated.

Page 263

Thom began to study other stone circles, most of them, virtually unknown. They convinced him that he was dealing with men whose intelligence was equal to, or superior to, his own - a television programme about his ideas. referred to them. as 'prehistoric Einsteins'.

The idea staggered - and enraged - most archaeologisrs. The astronomer Sir Norman Lockyer had observed, around the beginning of the twentieth century, that Stonehenge might be a kind of astronomical calculator, marking the positions of the sun and moon, but no one - had taken him very seriously, for most 'experts' were convinced that the builders of Stonehenge were superstitious savages, who probably conducted human sacrifices on the altarstone.Thom was asserting that, on the contrary, they were master-geometers.

Moreover, most of. these stone circles were not circles: some were shaped like eggs, some like letter Ds, Yet the geometry as Thom discovered through years of study and calculation - was always precise. How did they do it? Thom finally worked out that the 'circles' were built around 'Pythagorean triangles' - triangles whose sides -were, respectively 3, 4 and 5 units long (so the square on the hypotenuse was equal to the sum of the squares on the - other two sides).

And why did they want these circles? That was more difficult to answer. Presumably to work out such things as the phases of the moon, the movement of the sun between the solstices and equinoxes, and to predict eclipses. But why did they want to predict-eclipses?' Thom admitted that he did 'not know, but he mentioned a story of, two ancient Chinese astronomers losing their heads because. they failed to predict an eclipse - which. meant that the ancients attached immense importance to eclipses.

'There was another interesting problem. If these ancient men were so skilled in geometry, how did they' remember it all? No stone or clay-tablets inscribed with-geometrical / Page 265 / propositions has come down to us from the megalith builders. But then, we do know that the ancient Greeks . knew their Homer - and other poets by heart. They had trained their memories until they could recite hundreds of, thousands of lines. The Iliad. and Odyssey we read in books had been passed down for centuries in the memory of bards - this is why bards. Were so highly respected.

When Alexander Thom died, at the age of 91, in 1985, he was no longer regarded as a member of the lunatic fringe; many. respectable archaeologists and experts on ancient Britain had become his firmest supporters. Moreover, the British astronomer Gerald Hawkins had confirmed Thom's most important assertions by feeding the data from monuments like Stonehenge through his computer at Harvard, and proving. that there were astronomical alignments.

One of Thom's most interesting followers, the Scottish academic Anne Macaulay, has followed in Thom's foot ­ steps with a theory that is just as controversial. In Science and Gods in Megalithic Britain, she starts from Thom's assumption that the earliest geometry was a tradition which was not written down, and that it was connected with astronomy.' She then asked. herself how ancient astronomers could have stored their knowledge in the absence of phonetic writing (which was developed by the Greeks and Phoenicians after 2000 BC). Obviously, memory has to be the answer. But not memory in the sense we speak of it today. It is a little-known fact that the ancients had developed a complex art of memory, which they regarded as comparable to any of the other arts or sciences. The scholar Frances Yates has written about it in her book The Art of Memory (1966) and shows how we can trace it back to the ancient Greeks, and how it survived down to the time of Shakespeare.

The art of memory did not simply depend on brain power, but upon a complicated series of mnemonics (devices for helping us remember, like 'roygbiv' for the / Page 266 / colours of the rainbow). Anne Macaulay's suggestion is that the phonetic alphabet was created as a series of mnemonics to record positions of the polar stars, and that the word 'Apollo' - the god of music - was one of these basic mnemonics. The letters, from A to U, were created as mnemonics for certain geometric theorems or figures, with which numbers were associated. (In fact, Anne Macaulay's starting point was her study of the ancient Greek musical scale.)

Her theory of ancient history, and the geometry of megalithic circles, is too complicated to detail here. But she reaches one thought-provoking conclusion: that when this 'code' is used to encapsulate the extreme southerly rising of the moon, the ideal spot to build an observatory is precisely where Stonehenge is placed. Another is that all this indicates that ancient Greek science - including Pythagoras (who was born about 540 BC) - probably originated in Europe - the exact reverse of a suggestion' made in the nineteenth. century that Stonehenge was built by Mycenaean Greeks. She suggests that the early Greeks may have been British tin traders from Cornwall.

Since we know that the construction of Stonehenge began about 3100 BC, her theory also implies that phonetic writing is about fifteen hundred years older than we at present assume.

From our point of view, the importance of this whole argument is its suggestion that geometry and astronomy existed in a sophisticated form long before there was an accurate method of writing it down. Anne Macaulay believes - as Thom does - that it can be read in the geometry of megalithic circles and monuments, and that their builders are trying to pass a message on to us - just as Robert Bauval and Graham Hancock believe (as we shall see) that the ancient Egyptians were passing on a message in the geometry of Giza.

Page 267

When did our ancestors begin to use mnemonics to record the movements of the sun and moon?

Incredibly, the answer to that question seems to be at least 35,000 years ago.

In the 1960s, a research fellow of the Peabody Museum named Alexander Marshack was studying the history of civilisation, and was troubled by what he called 'a series of "suddenlies" '. Science had begun 'suddenly' with the Greeks, mathematics and astronomy had appeared 'suddenly' among the Egyptians, the Mesopotamians and the Chinese, civilisation itself had begun 'suddenly' in the Fertile Crescent in the Middle East.

In short, Marshack was bothered by the same question that had troubled Schwaller de Lubicz and John Anthony West. And, like Schwaller and West, Marshack decided that these things had not appeared 'suddenly', but after thousands of years of preparation.

.He was curious to know whether there was any archaeological evidence that man indulged in seasonal (he calls them 'time factored') activities like agriculture in the days 'before civilisation'.

At this point, he became fascinated by strange markings on pieces of bone dating from the Stone Age. Under a microscope, he could see that they were made with many different tools, which indicated that they were not made at the same time. He finally reached the conclusion that one series of marks forming a curved line on a 35,000- year-old bone were notations of the phases of the moon. Which meant that, in a sense, Cro-Magnon man had invented 'writing'.

But why? Why should he care about the movements of the sun and moon? To begin with, because he was intelli­ gent - as intelligent as modern man. He probably regarded himself as highly civilised, just as we do. And an intelligent person needs a sense of time, of history. Marshack mentions a 'calendar stick' of the Pima Indians of America, which represents their history over 44 years. This means / Page 268 / that the Indian 'story teller' could take the stick, point out some distant year, and recount its history - represented-by dots or spirals or other faint marks. Cro-Magnon man' of :)5,000 years ago would probably have done-much-the same thing.

And then, of course, a calendar would be useful to hunters, telling them when the deer or other prey would be returning. It would be useful to pregnant women who :wanted to know when they were due to give birth. In fact, a calendar is one of the basic needs of civilisation, the equivalent of modern man's digital watch.

But of course, we are forgetting. another vital' factor. If Schwaller is correct, Cro-Magnon man was interested in the sun and moon, for another reason: because he was sensitlveto their rhythms, and experienced them as living forces. Today, even the most sceptical scientist acknowledges the. influence of the moon on mental patients; any doctor who has worked in a hospital. will verify that certain patients are affected by the full moon. Yet compared to aboriginal peoples, civilised man has lost most of his sensitivity to nature.

If. we want to understand our Cro-Magnon ancesters, then we have to try to imagine human beings who are as sensitive.to the sun, moon and other natural forces (like (earth magnetism) as a mental patient is to the full moon.

In The Roots of Civilisation, Marshack. comments: 'Though In the Upper Palaeolithic explanations were by story and via image and symbol, there was a high intelligence, cognition, rationality, knowledge and technical skill involved.'2 In other words, Stone Age man possessed all the abilities needed to create civilisation.

And yet although he was poised on the brink of civilisiation 35,OOO years ago, living in' a community sufficiently sophisticated to need a knowledge of astronomy, we are asked to believe that it actually took him another 25,000 years before he began to take the, first hesitant steps towards building the earliest cities.

Page 269

It sounds, on the whole, rather unlikely.

In his bafflingly obscure book, The White Goddess, the poet Robert Graves puts forward a view that is in total accord with Marshack's conclusions. He argues-'that worship of the-moon goddess (the 'white goddess') was the original universal religion of mankind, which was supplanted at a fairly late stage by worship of the sun god . Apollo, whom he regards as a symbol of science and ' rationality - that is, of left-brain knowledge, as opposed to the right-brain intuition that he associates with the goddess .

Graves explains that he was reading Lady Charlotte Guest's translation of the Welsh epic The Mabinogion when he came upon an incomprehensible poem called 'The Song of Taliesin'. Suddenly he knew ('don't ask me how') that the lines were a series of mediaeval riddles, to which' he knew the answers. He also knew ('by inspiration') that the riddles were linked with a Welsh tradition about a Battle of the Trees, which was actually about a struggle between two Druid priesthoods for the control of learning.

The Druid alphabet was a closely guarded secret, but its eighteen letters were the names of trees, whose consonants stood for the months of which the trees were characteristic, and the vowels for the positions of the sun.with its equinoxes and solstices. The 'tree calendar' was in use through out Europe and the Middle East in the Bronze Age, and was associated with the Triple Moon Goddess.

This cult, says Graves, was slowly repressed by 'the busy rational cult of the Solar God Apollo, who rejected. the Orphic tree-alphabet in favour of the commercial Phoenician alphabet - the familiar ABC - and initiated European literature and science.'

Graves's idea supports Anne Macaulay's notion that the modern alphabet was associated with Apollo. It also supports many of the suggestions made in the last chapter / Page 270 / about the 'magical' mentality of Cro-Magnon man, which has slowly given way to the 'bicameral' mind of today.

According to Graves, he did not have to 'research' The White Goddess in the normal sense; he had it 'thrust upon him'. And what was 'thrust upon him' was a whole knowledge system that is based upon a mentality that is totally different from our own - upon 'lunar' rather than 'solar' premises.

And this, clearly, is also what Schwaller is attempting to outline in books like Sacred Science, and helps to explain . their obscurity: he is trying to describe a remote and.for­ gotten vision of reality in a language that is totally unsuited to it.

 

 

MNEMONICS 455465931 MNEMONICS

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

ESOTERIC 51625993 ESOTERIC

O SECRET I

6 SECRET 9

O SECRET I

ESOTERIC 51625993 ESOTERIC

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

3THREES3 IS 3 IS 3THREES3

 

 

D
=
4
-
4
DIGNITATES
108
45
9
D
=
4
-
4
DEI
18
9
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
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-
D
=
4
-
6
DIVINE
63
36
9
N
=
5
-
5
NAMES
52
16
7
A
=
1
-
10
ATTRIBUTES
135
36
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
B
=
2
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7
BONITOS
94
31
4
M
=
4
-
9
MAGNITUDO
104
41
5
E
=
5
-
9
ETERNITAS
111
39
3
P
=
7
-
8
POTESTAS
115
25
7
S
=
1
-
9
SAPIENTIA
94
40
4
V
=
4
-
8
VOLUNTAS
124
25
7
V
=
4
-
6
VIRTUS
109
28
1
V
=
4
-
7
VERITAS
94
31
4
G
=
7
-
6
GLORIA
62
35
8
-
-
38
-
69
-
907
295
43
-
-
3+8
-
6+9
-
9+0+7
2+9+5
4+3
-
-
11
-
15
-
16
16
7
-
-
1+1
-
1+5
-
1+6
1+6
-
-
-
2
-
6
-
7
7
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-

 

 

RE GODS NAME GODS RE

RE AS IN THREE IS IS THREE AS IN RE

GODS NAMES MEANS E MEANS NAMES GODS

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 175

CHAPTER 8

LULLISM AS AN ART OF MEMORY

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

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

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

 

Page 282

"By THE LADDER OF MINERVA we rise from the first to the last..."

 

 

B
=
2
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2
BY
27
9
9
T
=
2
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THE
33
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6
L
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6
LADDER
44
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21
12
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M
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MINERVA
82
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W
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5
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28
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R
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RISE
51
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F
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6
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FROM
52
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THE
33
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FIRST
72
27
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T
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35
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LAST
52
7
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52
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563
230
77
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4+7
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5+6+3
2+3+0
7+7
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7
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11
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14
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14
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1+4
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7
-
2
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5
5
5

 

 

ART AT R AT ART

 

 

M
=
2
-
2
MOSLEMS
96
24
6
J
=
1
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3
JEWS
57
12
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C
=
3
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6
CHRISTIANS
120
48
3
-
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6
-
11
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273
84
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3
3

 

 

D
=
4
-
4
DIGNITATES
108
45
9
D
=
4
-
4
DEI
18
9
9
-
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=
4
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DIVINE
63
36
9
N
=
5
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5
NAMES
52
16
7
A
=
1
-
10
ATTRIBUTES
135
36
9
-
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-
-
-
-
-
-
-
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-
-
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-
-
-
-
B
=
2
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7
BONITOS
94
31
4
M
=
4
-
9
MAGNITUDO
104
41
5
E
=
5
-
9
ETERNITAS
111
39
3
P
=
7
-
8
POTESTAS
115
25
7
S
=
1
-
9
SAPIENTIA
94
40
4
V
=
4
-
8
VOLUNTAS
124
25
7
V
=
4
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6
VIRTUS
109
28
1
V
=
4
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7
VERITAS
94
31
4
G
=
7
-
6
GLORIA
62
35
8
-
-
38
-
69
-
907
295
43
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9+0+7
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11
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16
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7
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1+6
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-
-
-
-
-
-
-
-

 

 

I

THAT

AM

ALWAYS AM ALWAYS

 

 

MANE MEAN AMEN NAME AMEN MEAN MANE

NAME

MANE MEAN AMEN NAME AMEN MEAN MANE

 

MANE MEAN AMEN NAME AMEN MEAN MANE

555 NAME 5145 1+4 = 5 = 1+4 5145 NAME 555

MANE MEAN AMEN NAME AMEN MEAN MANE

555 NAME 5145 = 555 = 5145 NAME 555

MANE MEAN AMEN NAME AMEN MEAN MANE

 

 

NAMED ME AND U AND ME NAMED

ME AND GODS DIVINE THOUGHT NAMED ME NAMED THOUGHT DIVINE GODS AND ME

NAMED ME AND U AND ME NAMED

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

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

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

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

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

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

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

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

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

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

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

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

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

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

Page 17

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

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

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

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

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

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

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

 

 

TRIANGLE 5 TRIANGLE

CIRCLE 5 CIRCLE

SQUARE 9 SQUARE

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

Page 13

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

 

Page 13

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

 

Page 13

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

 

ABCD 1234 ABCD

BCDEFGHIK 234567892 BCDEFGHIK

 

 

THREES 3 THREES

 

LULL 3333 LULL

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 136

Page 135 (number omitted)

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

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

"Page 139

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

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

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

 

 

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

155 155 58595 3899121 23634 12951451 95 285 699414552

IS 9 IS

9

IS 9 IS

155 155 58595 3899121 23634 12951451 95 285 699414552

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

 

 

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

 

 

http://www.youtube.com/watch?v=7_IKcMl_a9A

 

 

ZOHAR 5 ZOHAR

5

ZOHAR 5 ZOHAR

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER NAME OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER

CIRCLE

OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

IS

NAUTILUS NEMO OMEN NEMO NAUTILUS

IS

 

 

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

SOLOMON SOL MOON IS IS MOON SOL SOLOMON

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

 

 

HEART EARTH TERAH THERA

THE

RA IS IS RA

THE

THERA TERAH EARTH HEART

EARTH THE R THE EARTH

HEART THE R THE HEART

TERAH THE R THE TERAH

THERA THE R THE THERA

THE

RA IS IS RA

THE

HEART EARTH TERAH THERA

 

 

ISRAEL IS RA EL EL IS RA ISRAEL

RA EL IS IS EL RA

IS REAL REAL IS

RA EL IS IS EL RA

ISRAEL IS RA EL EL IS RA ISRAEL

 

 

IS RA REAL IS IS REAL RA IS

 

 

WISE W IS E WISE

W IS E

WISE W IS E WISE

 

 

WISE W IS E WISE

5 IS 5

WISE W IS E WISE

 

 

LUCIFER L U C FIRE IS IS FIRE LUC LUCIFER

LUCFIRE IS IS LUCFIRE

GODS NAME RE IS IS RE NAME GODS

GODS NAME EL IS IS EL NAME GODS

SEE L FIRE IS IS FIRE EL SEE

U C L FIRE LUCIFER IS IS LUCIFER FIRE UCL

GODS NAME RE IS IS RE NAME GODS

GODS NAME 95 IS IS 95 NAME GODS

GODS NAME RE IS IS RE NAME GODS

GOD GAVE NOAH THE RAINBOW SIGN NO MORE WATER FIRE NEXT TIME

 

 

1234 5 6789

ONE TWO THREE FOUR 5FIVE5 SIX SEVEN EIGHT NINE

1234 5 6789

 

 

THAT THAT THAT

IS

THAT

SEE SAW SEE IS 5 IS SEE SAW SEE

 

 

ALL QUIET ON THE WESTERN FRONT

IS IT FOR YOU FOR YOU IS IT

?

 

 

THE

E

AZIN OUGHT OF THE OUGHT AZIN

THOUGHT

THROUGHOUT

THAT THAT THAT

ISISIS

UNIVERSAL MINDS I MINDS UNIVERSAL

 

 

I

THAT AM THAT

TIME EMIT

 

 

THE

MAHABHARATA

 

 

MAHABHARATA ABRAHAM MAHABHARATA

 

 

C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C

SO C RISH 999 RISH C SO

C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C

 

 

CREATION C RE ACTION RE C CREATION

REACTORS CREATORS REACTORS

 

 

ATUM 1234 ATUM

GOD IS GREAT IS GREAT IS GOD

 

 

Allahu Akbar (disambiguation) - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Allahu_Akbar_(disambiguation)

Allahu Akbar (Arabic: الله أكبر) is a phrase, called Takbir in Arabic, meaning "God is greater" or "God is [the] greatest". Allahu Akbar or Allahu Ekber and similar ...

 

ALLAHU AKBAR 133183 ALLAHU AKBAR

TAKBIR 212200 TAKBIR

GOD IS GREATER IS GOD

GOD IS GREATEST IS GOD

ALLAHU EKBER 133183

 

 

 

 

IRVING BERLIN WROTE "I'LL BE LOVING YOU, ALWAYS" IN 1925. JOSEPHINE BAKER MADE THE FIRST RECORDING IN 1926.

 

FRANK SINATRA RECORDED THE SONG IN 1942. THAT SAME YEAR, THE SONG BECAME THE THEME MUSIC FOR

"PRIDE OF THE YANKEES", THE STORY ABOUT LOU GEHRIG.

 

THE MOVIE STARRED GARY COOPER, TERESA WRIGHT, AND WALTER BRENNAN. IT WAS NOMINATED FOR

ELEVEN ACADEMY AWARDS.
This page was last updated on: June 28, 2010DLS 7-9-2000
I'LL BE LOVING YOU... ALWAYS
FRANK SINATRA

"OLD BLUE EYES" IS SINGING "I'LL BE LOVING YOU, ALWAYS."

1915-1998

 

I'LL BE LOVING YOU, ALWAYS,

WITH A LOVE THAT'S TRUE, ALWAYS.

WHEN THE THINGS YOU'VE PLANNED,

NEED A HELPING HAND,

I WILL UNDERSTAND, ALWAYS, ALWAYS...

 

DAYS MAY NOT BE FAIR, ALWAYS,

THAT'S WHEN I'LL BE THERE, ALWAYS.

NOT FOR JUST AN HOUR,

NOT FOR JUST A DAY,

NOT FOR JUST A YEAR,

BUT ALWAYS.

 

I'LL BE LOVING YOU, ALWAYS,

WITH A LOVE THAT'S TRUE, ALWAYS.

WHEN THE THINGS YOU'VE PLANNED,

NEED A HELPING HAND,

I WILL UNDERSTAND, ALWAYS,

ALWAYS...

 

NOT FOR JUST AN HOUR,

NOT FOR JUST A DAY,

NOT FOR JUST A YEAR,

BUT ALWAYS



I'LL BE LOVING YOU, ALWAYS,

WITH A LOVE THAT'S TRUE, ALWAYS.

WHEN THE THINGS YOU'VE PLANNED,

NEED A HELPING HAND,

I WILL UNDERSTAND, ALWAYS,

ALWAYS...

 

DAYS MAY NOT BE FAIR, ALWAYS,

THAT'S WHEN I'LL BE THERE, ALWAYS.

NOT FOR JUST AN HOUR,

NOT FOR JUST A DAY,

NOT FOR JUST A YEAR,

BUT ALWAYS.

 

 

W.B. Yeats (1865–1939). The Wind Among the Reeds. 1899.

9. The Song of Wandering Aengus

 

I WENT out to the hazel wood,
Because a fire was in my head,
And cut and peeled a hazel wand,
And hooked a berry to a thread;
And when white moths were on the wing, 5
And moth-like stars were flickering out,
I dropped the berry in a stream
And caught a little silver trout.

When I had laid it on the floor
I went to blow the fire a-flame, 10
But something rustled on the floor,
And someone called me by my name:
It had become a glimmering girl
With apple blossom in her hair
Who called me by my name and ran 15
And faded through the brightening air.

Though I am old with wandering
Through hollow lands and hilly lands,
I will find out where she has gone,
And kiss her lips and take her hands; 20
And walk among long dappled grass,
And pluck till time and times are done,
The silver apples of the moon,
The golden apples of the sun.

 

 

Matthew Arnold - Morality

We cannot kindle when we will
The fire which in the heart resides;
The spirit bloweth and is still,
In mystery our soul abides.
But tasks in hours of insight will'd
Can be through hours of gloom fulfill'd.

With aching hands and bleeding feet
We dig and heap, lay stone on stone;
We bear the burden and the heat
Of the long day, and wish 'twere done.
Not till the hours of light return,
All we have built do we discern.

Then, when the clouds are off the soul,
When thou dost bask in Nature's eye,
Ask, how she view'd thy self-control,
Thy struggling, task'd morality--
Nature, whose free, light, cheerful air,
Oft made thee, in thy gloom, despair.

And she, whose censure thou dost dread,
Whose eye thou wast afraid to seek,
See, on her face a glow is spread,
A strong emotion on her cheek!
'Ah, child!' she cries, 'that strife divine,
Whence was it, for it is not mine?

'There is no effort on my brow--
I do not strive, I do not weep;
I rush with the swift spheres and glow
In joy, and when I will, I sleep.
Yet that severe, that earnest air,
I saw, I felt it once--but where?

'I knew not yet the gauge of time,
Nor wore the manacles of space;
I felt it in some other clime,
I saw it in some other place.
'Twas when the heavenly house I trod,
And lay upon the breast of God.'

 

 

'If'by Rudyard Kipling, famous inspirational poems and quotes
If, the poem by Rudyard Kipling, is inspirational and motivational, providing a set of rules for life and personal behaviour and development.
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if - rudyard kipling
Rudyard Kipling's inspirational poem - 'If'
Rudyard Kipling's (1865-1936) inspirational poem 'If' first appeared in his collection 'Rewards and Fairies' in 1909. The poem 'If' is inspirational, motivational, and a set of rules for 'grown-up' living. Kipling's 'If' contains mottos and maxims for life, and the poem is also a blueprint for personal integrity, behaviour and self-development. 'If' is perhaps even more relevant today than when Kipling wrote it, as an ethos and a personal philosophy. Lines from Kipling's 'If' appear over the player's entrance to Wimbledon's Centre Court - a poignant reflection of the poem's timeless and inspiring quality.

The beauty and elegance of 'If' contrasts starkly with Rudyard Kipling's largely tragic and unhappy life. He was starved of love and attention and sent away by his parents; beaten and abused by his foster mother; and a failure at a public school which sought to develop qualities that were completely alien to Kipling. In later life the deaths of two of his children also affected Kipling deeply.

Rudyard Kipling achieved fame quickly, based initially on his first stories and poems written in India (he returned there after College), and his great popularity with the British public continued despite subsequent critical reaction to some of his more conservative work, and critical opinion in later years that his poetry was superficial and lacking in depth of meaning.

Significantly, Kipling turned down many honours offered to him including a knighthood, Poet Laureate and the Order of Merit, but in 1907 he accepted the Nobel Prize for Literature. Kipling's wide popular appeal survives through other works, notably The Jungle Book (1894) the novel, Kim (1901), and Just So Stories (1902).

 

'if' by rudyard kipling


If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don't deal in lies,
Or being hated, don't give way to hating,
And yet don't look too good, nor talk too wise:

If you can dream - and not make dreams your master,
If you can think - and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build 'em up with worn-out tools:

If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"

If you can talk with crowds and keep your virtue,
Or walk with kings - nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man, my son!

Rudyard Kipling (1865-1936)


Kipling is said to have written the poem 'If' with Dr Leander Starr Jameson in mind, who led about five-hundred of his countrymen in a failed raid against the Boers, in southern Africa. The 'Jameson Raid' was later considered a major factor in starting the Boer War (1899-1902).

 

Desiderata poem, max ehrmann, go placidly amid the noise and haste ...
Max Ehrmann originally copyrighted Desiderata in 1927 as 'Go Placidly Amid ... Max Ehrmann's widow Bertha published the Desiderata poem with some other of ...
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desiderata by max ehrmann
Max Ehrmann's inspirational poem - Desiderata
The common myth is that the Desiderata poem was found in a Baltimore church in 1692 and is centuries old, of unknown origin. Desiderata was in fact written around 1920 (although some say as early as 1906), and certainly copyrighted in 1927, by lawyer Max Ehrmann (1872-1945) based in Terre Haute, Indiana. The Desiderata myth began after Reverend Frederick Kates reproduced the Desiderata poem in a collection of inspirational works for his congregation in 1959 on church notepaper, headed: 'The Old St Paul's Church, Baltimore, AD 1692' (the year the church was founded). Copies of the Desiderata page were circulated among friends, and the myth grew, accelerated particularly when a copy of the erroneously attributed Desiderata was found at the bedside of deceased Democratic politician Aidlai Stevenson in 1965.

Whatever the history of Desiderata, the Ehrmann's prose is inspirational, and offers a simple positive credo for life.

desiderata - by max ehrmann
Go placidly amid the noise and haste, and remember what peace there may be in silence.

As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant, they too have their story. Avoid loud and aggressive persons, they are vexations to the spirit.

If you compare yourself with others, you may become vain and bitter; for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time.

Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially, do not feign affection. Neither be cynical about love, for in the face of all aridity and disenchantment it is perennial as the grass.

Take kindly to the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with imaginings. Many fears are born of fatigue and loneliness.

Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe, no less than the trees and the stars; you have a right to be here. And whether or not it is clear to you, no doubt the universe is unfolding as it should.

Therefore be at peace with God, whatever you conceive Him to be, and whatever your labors and aspirations, in the noisy confusion of life, keep peace in your soul.

With all its sham, drudgery and broken dreams, it is still a beautiful world.

Be cheerful. Strive to be happy.

Max Ehrmann c.1920

 

 

THE CONCISE

OXFORD DICTIONARY OF QUOTATIONS

1964

Page 85

Charles Dickens 1812-1870

29

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had every- thing before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way".

A Tale of Two Cities, bk.i,ch.l

30

"It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known."
[Sydney Carton's thoughts on the scaf-old] bk.iii, ch15

Page 279

W.B.Yeats 1865-1939
"I will arise and go now, and go to Innis-free,

And a small cabin build there, of clay and wattles made:

Nine bean-rows will I have there, a hive for the honey-bee,

And live alone in the bee-loud glade."

The Lake Isle of Innisfree

Page 94

T.S.Eliot 1888-1965

9

"Macavity, Macavity, there's no one like Macavity,

There never was a Cat of such deceitful-ness and suavity.

He always has an alibi, and one or two to spare:

At whatever time the deed took place-

MACAVITY WASN'T THERE!"

Macavity: The Mystery Cat

Page 93

9

Because I do not hope to know again

The infirm glory of the positive hour.

Ash Wednesday,1

10

Teach us to care and not to care

Teach us to sit still.

11

Round and round the circle

Completing the charm

So the knot be unknotted

The crossed be uncrossed

The crooked be made straight

And the curse be ended.

The Family Reunion,II.iii

12

Sometimes these cogitations still amaze The troubled midnight and the noon's re-pose.

La Figlia Che Piange

13

Time present and time past Are both perhaps present in time future, And time future contained in time past.

Four Quartets. Burnt Norton, 1

14

Humankind

Cannot bear very much reality.

15

In my beginning is my end.

East Coker, I

16

A way of putting it-not very satis- factory:

A periphrastic study in a worn-out poetic- al fashion,

Leaving one still with the intolerable wrestle

With words and meanings.

17

The wounded surgeon plies the steel

That questions the distempered part; Beneath the bleeding hands we feel

The sharp compassion of the healer's art Resolving the enigma of the fever chart.

18

Each venture Is a new beginning, a raid on the inarticu-late

With shabby equipment always deteriorat-ing

In the general mess of imprecision of feeling.

19

What we call the beginning is often the end

And to make an end is to make a begin-ning.

The end is where we start from.

Little Gidding,

20

We shall not cease from exploration

And the end of all our exploring

Will be to arrive where we started

And know the place for the first time.

21

An old man in a dry month.

Gerontion

22

We are the hollow men

We are the stuffed men

Leaning together

Headpiece filled with straw. Alas!

The Hollow Men,1

23

Here we go round the prickly pear

Prickly pear prickly pear.

24

This is the way the world ends Not with a bang but a whimper.

25

A cold coming we had of it,

Just the worst time of the year

For a journey, and such a long journey:

The ways deep and the weather sharp,

The very dead of winter.

Journey of the Magi;. See 2:11

1

And the cities hostile and the towns un-friendly

And the villages dirty and charging high prices.

2

But set down This set down

This: were we led all that way for

Birth or Death? There was a Birth, certain-ly,

We had evidence and no doubt. I had seen birth and death,

But had thought they were different; this Birth was

Hard and bitter agony for us, like Death, our death.

We returned to our places, these King-doms,

But no longer at ease here, in the old dispensation,

With an alien people clutching their gods.

I should be glad of another death.

3

Let us go then, you and I,

When the evening is spread out against the sky

Like a patient etherized upon a table.

The Love Song of J. Alfred Prufrock

4

In the room the women come and go

Talking of Michelangelo.

The yellow fog' that rubs its back upon the window-panes.

5

I have measured out my life with coffee spoons.

6 I should have been a pair of ragged claws Scuttling across the floors of silent seas.

7

No! I am not Prince Hamlet, nor was meant to be;

Am an attendant lord, one that will do

To swell a progress, start a scene or two.

8

I grow old...I grow old...

I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?

I shall wear white flannel trousers, and walk upon the beach.

I have heard the mennaids singing, each to each;

I do not think that they will sing to me.

9

Macavity, Macavity, there's no one like Macavity,

There never was a Cat of such deceitful- ness and suavity.

He always has an alibi, and one or two to spare:

At whatever time the deed took place-

MACAVITY WASN'T THERE!"

Macavity: The Mystery Cat

10

I am aware of the damp souls of house- maids

Sprouting despondently at area gates. Morning at the Window

11

Yet we have gone on living,

Living and partly living.

Murder ill the Cathedral, pt. I

12

Friendship should be more than biting Time can sever.

13

The last temptation is the greatest treason: To do the right deed for the wrong reason.

14

The Naming of Cats is a difficult matter,

It isn't just one of your holiday games; At first you may think I'm as mad as a hatter

When I tell you a cat must have

THREE DIFFERENT NAMES.

The Naming of Cats

15

The winter evening settles down

With smell of steaks in passageways.

Six o'clock.

The burnt-out ends of smoky days.

Preludes, I

16

You'd be bored.

Birth, and copulation, and death.

That's all the facts when you come to brass tacks:

Birth, and copulation and death.

I've been born, and once is enough.

Sweeney Agonistes, Fragment of an Agon

17

The nightingales are singing near

The convent of the Sacred Heart,

And sang within the bloody wood

When Agamemnon cried aloud

And let their liquid siftings fall

To stain the stiff dishonoured shroud.

Sweeney Among the Nightingales

18

April is the cruellest month, breeding

Lilacs out of the dead land, mixing

Memory and desire, stirring

Dull roots with spring rain.

The Waste Land. I. The Burial of the Dead

19

And I will show you something different from either

Your shadow at morning striding behind you,

Or your shadow at evening rising to meet you

I will show you fear in a handful of dust.

20

A crowd flowed over London Bridge, so many,

I had not thought death had undone so many.

Page 95

8
Webster was much possessed by death And saw the skull beneath the skin.

Whispers of Imortality

 

 

ALICE'S ADVENTURES IN WONDERLAND

Lewis Carroll

Page 161

"...and was just saying to herself, 'if one only knew the right way to change them-' when she was a little startled by seeing the Cheshire Cat sitting on a bough of a tree a few yards off.

The Cat only grinned when it saw Alice. It looked good-natured, she thought: still it had very long claws and a great many teeth, so she felt that it ought to be treated with respect.

'Cheshire Puss,' she began, rather timidly, as she did not at all know whether it would like the name: however, it only grinned a little wider. 'Come, it's pleased so far,' thought Alice, and she went on. 'Would you tell me, please, which way I ought to go from here?'

'That depends a good deal on whsre you want to get to,'said the Cat.

'I don't much care where-' said Alice.

'Then it doesn't matter which way you go,' said the Cat. '-so long as I get somewhere,' Alice added as an explanation.

'Oh, you're sure to do that;' said the Cat, 'if you only walk long enough.'

Alice felt that this could not be denied, so she tried another question. 'What sort of people live about here?'

'In that direction,' the Cat said, waving its right paw round, 'lives a Hatter: and in that direction,' waving the other paw, 'lives a March Hare. Visit either you like: they're both mad.'

'But I don't want to go among mad people,' Alice remarked. 'Oh, you ca'n't help that,' said the Cat: 'we're all mad here.I'm mad, You're mad.'

'How do you know I'm mad?' said Alice.

'You must be,' said the Cat; 'or you wouldn't have come here,'

 

 

Stephen Hawking

Quest for a Theory of Everything

The story of his life and work Kitty Ferguson 1991

Page 95

"A few physicists like to make a connection between an observer-dependent universe and some of the ideas in Eastern mysticism: Hinduism, Buddhism, and Tao/Page 96/ism. They get no encouragement from Hawking, who says "The universe of Eastern mysticism is an illusion." 

 

 

The Death Of Forever

A New Future for Human Consciousness

Darryl Reanney (1995 Edition)

Page 218

" The father of the so-called 'Copenhagen interpretation'of quantum mechanics , Niels Bohr speculated as far back as 1958 that key points in the regulatory mechanisms of the brain might be so delicately balanced that they could be affected by quantum me-chanical events. Significantly, eminent brain biologist John.C.Eccles seems to agree. As Eccles has observed :
    
     If one uses the expressive terminology… the 'ghost' (the quantum mechanical event ) operates a 'machine'
     (the brain), not of ropes and pulleys, valves and pipes, but of microscopic spatio-temporal patterns of activity in
     the neuronal net woven by synaptic connexions of ten thousand million neurones, and even then only by operating
     on neurones that are momentarily poised close to a just-threshold level of excitability.

This means  that the Y node choices that are almost evenly /Page 219 /balanced between two outcomes are most likely to be susceptible to quantum influences because it is only in these near-equipoise situations that the quantum flunctuations are the 'feather on the scale' that tips the balance one way or the other."

Page 219"…Quantum fluctuations could also express those thoughts that come to us 'in a flash'or 'out of no where'. I wonder what role, if any, they play in intuition. It is possible that the neural centre that 'sees' unity, no matter how much it is 'perfected' by unselfishness, is incapable of determining when it will have its deeper insights. That may well still be a matter of complete chance, or, on the above hypothesis, of quasi-chance and non-causal cross-linkaging. If some Y node choices were quantum in nature, a profound and enduring link would be established between the dynamics  of consciousness and the structure of the cosmos itself. It is not in the sense of a presently available scientific theory that I intuitively sense a 'rightness' in Hoyles idea but in the sense of a song of truth, an insight. It may take science years to formulate such a concept in a mathematical way that will win acceptance.
However one prediction does seem possible now. The constraints placed on quantum events by the need to maintain consistency in the loop must constitute one of the great ordering principles of nature. Such an ordering principle could require a profound modi-fication of the laws of quantum mechanics which are rooted in and dependent on the statistical principals of probability and randomness. (It was this indeterminate character of quantum mechanics that caused Einstein to complain that God 'did not play dice with the world'.) To maintain consistency in the loop, many quantum events could not be random: they would have to be linked, in the non-local way so characteristic of quantum mechanics. Could this linkage correspond to (and explain) the principle of synchronicity formulated by psychologist Carl Jung and quantum physicist Wolfgang Pauli and others ? "  

Page 219

"Synchronicity refers to the apparently inexplicable coincidences that crop up from time to time. We all have experiences of this type.

Page 220

For no apparent reason you may suddenly think of a friend you have not seen for years at the very moment
When the phone rings and you discover he/she has just landed in town and wants to visit  The quantum event that caused you to think of the person at the very instant he/she was thinking of you may result from the need to preserve the internal consistency of a quantum world closed back upon itself to form a loop of time.
The self-consistency concept may also help to explain what scientists call the anthropic principle. This refers not just to the coincidences of human life, but to cosmic coincidences.  
"…If the fundamental constants of physics were readjusted by just a tiny fraction, the universe would become inhospitable to life…"
"Physicists from Paul Dirac to Paul Davies have also pointed out that the cosmos seems to be sensitively built on a number of quite amazing coincidences. In particular, the large number10/40 crops up in some of the most basic relationships in physics."
"…The letters and numbers on the left refer to qualities or relation-ships that have fundamental importance in physics; their meaning need not concern us - it is the fact that the number 10/40 crops up so regularly in the context of the parameters which determine the structure of the universe that is so remarkable.
The anthropic principle says that all these 'coincidences'create the special kind of cosmic conditions needed to produce us. The puzzle this presents dissolves, however if consciousness inter/Page 221/ acts with matter by means of quantum events in the brain because the spacetime loop can then only maintain its self- consistency by creating and preserving just those conditions which permit consciousness to flourish.
Consciousness, in this context, does not mean the average mode of human consciousness at this moment in evolution, it means whatever completed limit consciousness may reach in future time. The cosmos then emerges as the ultimate feedback loop and consciousness is a created product of its own antecedent activity.
This idea has many similarities to the bootstrap principle formu-lated by physicist Geoffrey Chew (which defines all basic constituents of the real world in terms of their mutually self-consistent relation-ships) It is also a cousin of John Wheeler's concept of the universe as a 'self-exited circuit' in which the cosmos comes into being by retroactive causation, that is by events in the future propagating backwards in time to cause events in the past.
This is a very bold, almost rash speculation and it invites the obvious criticism from a scientific cynic, 'if these synchronicities which underpin consistency are real, if they exist they must show up somewhere as mathematical regularities. OK where are they ?'.
To explore this issue, we must look at the mathematics of randomness. And up front, we encounter a suprising fact.
It is difficult, if not impossible, to say with confidence that a given number sequence that appears random in any one context is in fact random in an absolute sense Most seemingly random numbers when compared, for example by adding or subtracting, would give further numbers which themselves would seem to be random.
However, consider the sequence  31415926535897 (1)
This passes all currently-available tests for randomness.
     Now com-pare it with the sequence 20304815424786 (2)
Which also qualifies as a wholly random number. On the face of it, we simply  have two random numbers. However, if we subtract the lower sequence (2) from the higher (1), with the 'wrinkle' that if we get a negative number we add 10 to the result, we obtain the sequence  111111111111111
This is strikingly non-random.These two 'random' numbers thus have a special property. Heinz Pagels,who gives this example in his book The Cosmic Code, draws from this illustration a conclu/ Page 222 /sion that goes to the heart of my argument about synchronistic cross-linkaging . He says:
                
This illustrates that two random sequences can be correlated-each is individually chaotic but, if properly compared by using some rule, then a non-random pattern appears.
 
If I am right, analgous cross-linkages at the quantum level may be the fine gossamer threads, fragile in themselves, but indestructible in their collective strength, that hold the cosmos in a self-consistent loop of becoming.
Y nodes, choices, thus emerge as the determinants of the pattern of our psychological development. Because of them, we create our own heaven, our own hell, we create ourselves, we create the very fabric of the world.

We are getting into deep waters where ordinary experience cannot guide us. So again, as has become my habit in this penultimate Chapter, I will let a more eloquent voice speak for me. Not the voice of a scientist but a poet-writer. In her remarkable retelling of the legend of Arthur, The Mists of Avalon, Marian Zimmer-Bradley Makes her heroine, Morgan le Fay say:

for this is the great secret, which was known to all educated men in our day, that by what men think, we create the world around us, daily new.

With this discussion of synchronicity and self- consistency, we have arrived at the point where we can begin to see the strange relationship between consciousness and the universe, between the 'thought' within and the 'thing' without.
We have established that consciousness cannot be treated separately from the 'reality' it observes. We can assert this confidently. It is now a (virtually) unchallengeable maxim of quantum mechanics that each act of observation causes the ripple of possibilities of the quantum wave to 'concretise into entities with an observable and measureable existence. In Chapter 9, I postulated that consciousness is that unifying activity in the brain that 'sees' one in many.
However, conscious-ness is not just a passive reciever. By its choices, it creates unities. Indeed, its very essence is that it acts as a nodal integrator between the quantum ripples of possibility that emanate from both past and future. It is if you like, the reality slit into which multiple ripples /Page 223/of possibility enter, leaving the temporally symmetric quantum world and 'falling' into the one-way world of matter which decays with time.      
       Wolf has summarised this viewpoint admirably:
      
Our minds [i.e. consciousness] are thus tuned… to multiple realities. The freely associating mind is able to pass across time barriers, sensing the future and reap-raising the past. Our minds are time machines, able to sense the flow of possibility waves from both the past and the future. In my view, there cannot be anything like existence without this higher form of quantum reality.
 
All this sounds highly abstract, remote from the kind of consciousness you and I experience now. So let me bring the message closer to home. Think back again to a moment when you suddenly felt you really understood something you had not understood before.It may have been a mathematical problem you had been a mathematical problem you had been wrestling with for days. Suddenly, after hours of frustration, the answer was there-complete and perfect.  
This is the essence of insight. Things hitherto separate and unconnected suddenly 'click together'. The pieces of the jigsaw slide into place. As I have stressed, this integrative faculty is the hallmark of consciousness The understanding that follows a 'Eureka' moment is not a surface comprehension; it is a 'deep knowing'  with you for life precisely because it is part of a wider multiform consciousness, of which your mind is but a single unit. In deep knowing you become part of the self unfolding of the cosmos.
Think about this in terms of time.The answer you sought existed prior to your discovery of it. What happened in your flash of understanding was that your individual consciousness suddenly 'caught up'with a truth already 'known'. It tapped into the completed, unitive consciousness that underpins the closed feedback loop of becoming . What you experienced was a faint fore-taste of the final act in the evolution of consciousness, a memory of total togetherness, when the distinction between observer and observed vanishes completely.
One of the founding fathers of quantum mechanics, Werner Heisenberg, said of his subject 'The common division of the world into subject and object, inner world and outer, body and soul, is no longer adequate'. In saying this he, a scientist found himself using /Page 224/ the language of mysticism. Compare Heisenberg's words with those of the Dominican monk Meister Eckart, 'the knower and the known are one'. or the words of the Indian philosopher Krishnamurti, 'consciousness is its content'and ' there is neither the outer nor the inner but only the whole. The experiencer is the experienced… the thinker is the thought'. "  
Here then is the longed -for end of the age old road. Here science and religion speak with the same voice, each subtending and validating the other. Here confusion ends and contradictions cease. All things are one.
Even the distinction between the inner and outer, singer and song fades in the full light of completed consciousness.
Even now, today, here, still trapped in time, if we strain our ears to their  limit, we can just hear the strains of that different music'from the far shore the final chorus sounding' as Whitman said A whisper of tomorrow reaching into today. More than a beacon of hope, more than a promise of things, a commitment from our higher selves to their lowlier foundations, a conviction that the creative evolution which fashioned man from microbe will fashion God from man, no, has fashioned God from man.From round the closed arc of time, the time free God speaks to his time trapped children, who are both his parents and his heirs.

 

 

The Death Of Forever

A New Future for Human Consciousness

Darryl Reanney (1995 Edition)

Page 219

(It was this indeterminate character of quantum mechanics that caused Einstein to complain that God 'did not play dice with the world'.)

 

 

QUANTUM ATUM QUANTUM

ATUM

QUANTUM ATUM QUANTUM

ATUM

QUANTUM ATUM QUANTUM

 

 

The Magic Mountain

Page 511 / 512

"The learner must be of dauntless courage and athirst for knowledge, to speak in the style of our theme. The grave, the sepulchre, has always been the emblem of initiation into the society. The neophyte coveting admission to the mysteries must always preserve undaunted courage in the face of their terrors; it is the purpose of the order that he should be tested in them ,led down into and made to linger among them,and later fetched up from them by the hand of an unknown Brother. Hence the winding passages, the dark vaults , through which the novice is made to wander; the black cloth with which the Hall of Strict Observance was hung , the cult of the sarcophagus , which played so important a role in the ceremonial of meetings and initia-tions. The path of mysteries and purification was encompassed by /dangers, it led through the pangs of death , through the kingdom of dissolution; and the learner, the neophyte, is youth itself, thirsting after the miracles of life, clamouring to be quickened to a demonic capacity of experience, and led by shrouded forms which are the shadowing forth of the mystery."

 

 

The Magic Mountain

"The Making Of"

Page726 / 727

"…in the course of his experiences, overcomes his inborn attraction to death and arrives at an
understanding of a humanity that does not, indeed, rationalistically ignore death , nor scorn the dark  mysterious side of life, but takes account of it, without letting it get control over his mind.
What he comes to understand is that one must go through the deep experience of sickness and death
To arrive at a higher sanity and health; in just the same way that one must have knowledge of sin in order to find redemption."
"There are"
"…two ways to life:one is the regular, direct and good way ; the other is bad , it leads through death, and that is the way of genius" It is this notion of disease and  death as a necessary route to knowledge, health, and life that makes The Magic Mountain a novel of initiation."

Page 727 "

"... The Quester legend "
 
"… Faust the eternal seeker  "

"...the eternal seeker, is a group of compositions generally known as the Sangraal or Holy Grail romances. Their hero be it Gawain or Galahad or Perceval, is the seeker, the quester, who ranges heaven and hell , makes terms with them, and strikes a pact with the unknown, with sickness and evil, with death and the other world, with the supernatural, the world that in the Magic Mountain is called 'questionable'.  He is forever searching for the grail - that is to say, the Highest: knowledge, wisdom, consecration, the philosophers' stone, the aurum potabile, the elixir of life."

Page 728

"The Quester of the Grail Legend, at the beginning of his wanderings, is often called a fool, a great fool, a guileless fool."

Page728

"The seeker of the Grail, before he arrives at the Sacred Castle, has to undergo various frightful and mysterious ordeals in a wayside chapel called the Atre Perilleux.  Probably these ordeals were originally rites of initiation, conditions of the permission to approach the esoteric mystery; the idea of knowledge, wisdom, is always bound up with the 'other world,' with night and death."  

Page 728

"In The Magic Mountain there is a great deal said of an alche-mistic, hermetic pedagogy, of
transubstantiatiation.   And I, myself a guiless fool,  was guided by a mysterious tradition for it is those very words that are always used in connection with the mysteries of the Grail."

Page728

"...-who voluntarily, all too voluntarily embraces disease and death, because its very first contact with them gives promise of extraordinary enlightenment and adventurous advancement, bound up, of course, with correspondingly great risks."

Page 728/9

"And perhaps you will find out what the Grail is; the knowledge and the wisdom, the consecration the highest reward, for which not only the foolish hero but the book itself is seeking."

Page 729

"It is the idea of the human being, the conception of a future humanity that has passed through and survived the profoundest knowledge of disease and death.  The Grail is a mystery, but humanity is a mystery too.  For man himself is a mystery, and all humanity rest upon reverence before the mystery that is man."

 

 

Thomas Wolfe  1900-1938

"The life of a book can be as mysterious and wonderful as the life of a man.  Its destiny, like that of man, is often 'touched by that dark miracle of chance which makes new magic in a dusty world."

 

 

The Concise Oxford Dictionary of Current English 1974 Edition.

'Exoteric Of doctrines modes of speech, of disciples not admitted to esoteric teaching; commonplace, ordinary, popular;...'
'Esoteric (Of philosophical doctrines etc.) meant only for the initiated; of disciples (initiated; private confidential within,

 

 

"The Making Of "

The Magic Mountain

Page711

"These were the moments when the "Seven Sleeper" not knowing what had happened was slowly stirring himself..."
"He saw himself released, freed from enchantment - not of his own motion he was fain to confess, but by the operation of exterior powers, of whose activities his own liberation was a minor incident indeed!"

Page713

"And we are shrinking shadows by the way side shamed by the security of our shadowdom,"

 

 

SRI KRISHNA RISHI KRISHNA SRI

KRSNA RISHI KRSNA

SHRI KRISHNA RISHI KRISHNA SHRI

 

 

CHRIST C HR IS T CHRIST

C HERE IS IS HERE C

SEE HERE IS THE CHRISTOS THE CHRISTOS IS HERE SEE

SO HEAR THIS SEE R I R SEE THIS HEAR SO

 

 

THE

HOLY CROSS HOLY

IS

IS HOLY IS

LIGHT LOVE LIFE LOVE LIGHT

ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE

 

 

THE

SEE INNER SINNER INNER SEE

THE

SEE HEAR SEER HEAR SEE

GODS I ME I GODS

LOVE EVOLVE EVOLVE LOVE

 

I

I THAT AM PERFECT CREATIVITY PERFECT CREATIVITY AM I

I

THAT AM I AM THAT

I

NEGATIVE POSITIVE PERFECT BALANCING PERFECT POSITIVE NEGATIVE

CREATORS GOOD AND EVIL LIVE VEIL GODS VEIL LIVE EVIL AND GOOD CREATORS

ALL R THIS DIVINE THE THOUGHT GODS THOUGHT THE DIVINE THIS R ALL

 

 

THE

HE AS IN SHE THAT IS ME THAT IS THEE I ME I THEE IS THAT ME IS THAT SHE IS AS HE

 

 

DEVIL LIVED GODS GO DO GOOD GODS GODDESSES GODDESSES GODS GOOD DO GO GODS LIVED DEVIL

 

 

THERA TERAH EARTH HEART HEAT R R HEAT HEART EARTH TERAH THERA

 

 

I

ME

I THAT AM I AM THAT I

THAT THAT THAT

TIME EMIT TIME

I

ME

TIME THAT TIME

CHANGE THAT CHANGE

THAT I ME I THAT

KNOW GODS REALITY GODS KNOW

REAL REALITY REVEALED IS GODS IS REVEALED REALITY REAL

 

 

TIMELESS EARTH

Peter Kolosimo 1980

Chapter

NINETEEN

Page 192

"The Indians say that thousands of years ago their ancestors travelled on great golden discs which were kept airborne by means of sound vibrations at a certain pitch, produced by continual hammer-blows. This is not so absurd as it may seem. Vibrations of a set frequency may have had the effect of increasing the atomic energy of gold, thus re-ducing the weight of the disc and enabling it to overcome gravity.'
'… To quote Pauwels and Bergier (op. Cit.,p. 197: ' The U.S. archaeologist Hyatt Verrill spent thirty years investigating the lost civilizations of Central and South America. . . In his fine novel, The Bridge of Light, he described a pre-Incaic city protected by a rocky defile which could only be crossed by a bridge constructed of ionized matter which could be made to appear and diappear at will. Verrill,who died at the age of eighty, insisted to the last that this was much more than a legend, and his wife who survives him, is of the same opinion.  

 

 

The Death Of Forever

A New Future for Human Consciousness

Darryl Reanney (1995 Edition)

Page 33

"The laws of physics have no inbuilt time asymmetery.They work just as well in the future-to-past sense as the past-to-future sense. We see this clearly when we look at the quantum wave .The wave is a ripple of possibility, not a real thing It has neither past nor future; it can be described as travelling forwards in time and backward in time with equal validity. This is true not just of the quantum wave. Subatomic particles exhibit the same disregard for time. "

 

 

QUANTUM ATOM ATUM ATOM QUANTUM

I

HAVE COME HAVE COME HAVE

I

SO IRIS ISIS OSIRIS IS IS OSIRIS ISIS IRIS SO

SO THIS SIRIUS THIS SO

OR ION ORION ION OR

THE

HOURS OF HORUS THE HORUS OF HOURS

R ARRIVED ARRIVED R

 

 

The Elixir And The Stone

A history of Magic and Alchemy 1998

Michael Baigent And Richard Leigh

Page 43

" The most famous, important and influential of Arab alchemists Jabir ibn Hayyam was also a Sufi "
 
Page 44
"It was in Jabir's books that the earliest extant text of the Emerald Tablet appeared, though it is ascribed to much older sources. At the same time ,Jabir and his circle wrote on a multitude of other subjects-on mathematics, on magic ,on  astrology and astronomy, on medicine, on mirrors,…"  
 
 

 

The Lure and Romance of Alchemy

C. J. S.Thompson 1999

Page 31 / 32

note 1

Julius Ruska ,Tabula Smaragdini 1926

"A translation from an  Arab collection of commentaries of the early twelth century  known as "
 

"The Emerald Table of Hermes:"

 "True it is, without falsehood certain most true.That which is
above is like to that which is below, and that which is below is like
to that which is above, to accomplish the miracles of one thing.
And as in all things whereby contemplation of one, so in all things
arose from this one thing by a single act of adoption.
The father thereof is the Sun  the mother the Moon.
The wind carried it in its womb,the earth is the source thereof.
It is the father of all works throughout the world.
The power thereof is perfect.
If it be cast on to earth, it will separate the element of  earth
from that of fire, the subtle from the gross.
With great sagacity it doth ascend gently from earth to heaven.
Again it doth descend to earth and uniteth in itself from
things superior and things inferior.
Thus thou wilt possess the brightness of the world , and all
obscurity will fly far from thee.
This thing is the b fortitude of all strength, for it over-
cometh every subtle thing and doth penetrate every solid substance.
Thus was this world created.
Hence will there be marvellous adaptations achieved of which
the manner is this.
For this reason I am called Hermes Trismegistus because I hold
three parts of the wisdom of the whole world.
That which I had to say about the operation of Sol is completed."

 

 

The Lure and Romance of Alchemy

A history of the secret link between magic and science
C. J. S. Thompson

Page 33  

 " In the account of the emerald tablet given by Roger Bacon in the Secretum Secretorum it is stated that
These precious sentences of Hermes were found by Galienus Alfachim the physican, on a plaque of emerald in a cave,clasped in the hands of the corpse of that mysterious legendary figure
Hermes Trismegistus, The Thrice Great" The reader is exhorted  "to preserve the strictest secrecy from all except men of good will, this treasured text, even as Hermes himself had hidden it within the cave."
 
Page 33 / 34

"It may be well to quote another and freer translation of this historic text; it can be judged more clearly from this that the writer designed to teach the doctrines of alchemy that were common in the early Christian era.

I speak not fictious things, but that which is most certain and most True.

What is below is like that which is above , and what is above is like that which is below to accomplish the miracles of One /Page 34/ Thing. And as all things were produced by the One Word of One Being , so all things were produced from the One Thing by adaptation, Its father is the Sun, its mother the Moon , the wind carries it in its belly, its nurse is the earth. It is the father of all perfection throughout the world. The power is vigorous if it be changed into earth. Separate the earth from the the fire , the subtle from the gross, acting prudently and with judgement.Ascend with the sagacity from  the earth to heaven, and then again descend to the earth and unite together the power of things superior and things inferior. Thus you will obtain the glory of the whole world and obscurity will fly far from you.This has more fortitude than fortitude itself,because it conquers every solid thing and can penetrate every solid. Thus was the world formed . Hence proceed wonders which are here established .Therefore I am called Hermes Trismegistus, having three parts of the philosophy of the whole world.That which I had to say concerning the operation of the sun is completed."  

 

Page (number omitted)

"Now you have some idea of the laws governing the life of the macrocosmos and have returned to the earth. Recall to yourself: "as above, so below" I think that already, without any further explanation, you will not dispute the statement that the life of individual man - the microcosmos - is governed by the same laws - "Glimpses of Truth."

 

 

AS ABOVE SO BELOW

IS AN EXPRESSION WHICH REFERS TO

COSMOSES

 

 

The Magic Mountain

Thomas Mann  1875-1955

Page 510

"The higher degrees of Freemasonary were initiates of the 'physica  et mystica ,'the representatives of a magic natural science, they were in the main great alchemists"
"…Alchemy :transmuting into gold, the philosophers stone, aurum potabile ."
"In the popular mind, yes. More informedly put, it was purifi-cation, refinement,metamorphosis,
transubstantiation ,into a higher state , of course; the lapis philosophorum, the male female product  

/ Page 511  /

of sulphur and mercury,the res bina,the double-sexed prima ma-teria was no more ,and no less, than the principle of levitation, of the upward impulse due to the working of influences from with-out. Instruction in magic if you like."

Page 511"

The primary symbol of alchemic transmutation "
"was par exellence the sepulchre." "The grave? " "Yes, the place of corruption .It comprehends all hermetics, all alchemy, it is nothing else than  the  receptacle, the well - guarded crystal retort wherein the material is compressed to its final trans-formation and purification."

 

 

The FULCANELLI phenomenon

Kenneth Rayner Johnson 1980

Page 195

" As Prince Stanislas Klossowski de Rola expresses it:
'It will thus be clear that the alchemical process of creation, is a
microscopic reconstitution of the process of creation, in
other words a re-creation. It is effected by the interplay of forces symbolized by two dragons, one black and one white, locked in an eternal circular combat. The white one is
winged, or volatile, the black one wingless, or fixed; they are
accompanied by the universal alchemical formula solve et

/ Page 196   /  

coagula. This formula and this emblem symbolize the alternating role of the two indespensible halves that compose the whole. Solve et coagula is an injunction to alternate dissolution, which is a spiritualization or sublimation of solids, with coagulation, that is to say a re-matrialization of the purified products of the first operation. Its cyclic aspect is clearly expressed by Nicholas Valois: " Solvite corpora et coagulate spiritum " ; " Dissolve the body  and coagulate the spirit." ' note 1
…'But when we marry the crowned king to our red
daughter, and in a gentle fire, not hurtful she doth concieve
an exellent and supernatural son, which permanent life she
doth also feed with a subtle heat, so that he lives at length in
our fire…Then he is transformed, and his tincture by help

/ Page197 /

of the fire remains red, as it were flesh. But our son the King
begotten, takes his tincture from the fire, and death even,
and darkness, and the waters flee away. The Dragon shuns
the sunbeams which dart through the crevices and our dead
son lives; the king comes from the fire and rejoins with
his spouse,the occult treasures are laid open, and the
virgin's milk is whitened.'
                           - Tractacus aureus, or Golden Tracate of Hermes.
Or again:
        ' Take the serpent and place it in the chariot with four
wheels and let it be turned about on the earth until it is
immersed in the depths of the sea , and nothing more is
visible but the blackest Dead sea …and when the vapour is
precipitated like rain… you should bring the chariot from
water to dry land, and then you have placed the four wheels
on the chariot and will obtain the result if you will advance
further to the Red Sea,running without running, moving
without motion'
               - The Tractate of Aristotle to Alexander the Great.
 
…" Whatever their names and however many processes might have been applied, the important factor to remember is that the alchemists saw their work as reflective and imitative of  the cyclic order of Nature ; of the formation, development and eventual dissolution of the All - followed by its natural
and

/ Page 198 /

inevitable re-formation. ( This may be compared quite favourably with a cyclic universe, which begins as a primal atom containing everything,explodes to form the cosmos, then ultimately collapses back upon itself eventually to repeat the process over again ad infinitum)This process similarly applied on a lesser scale to all living entities including the earth, which went through an obvious cycle of birth, growth, decay death, and re-birth annually. Man himself also followed this assumed pattern of birth, life death and re-birth.

 

Supernature

Lyall Watson 1974 Edition

Page 97/ 98

"Sound, of course, is a vibration that can be conducted only through an elastic medium; it cannot travel through a vac-uum. Electromagnetic waves do travel through free space, and we know far less about factors governing their resonance. There is however, one quite extraordinary piece of evidence which  suggests that shape could be important in receiving even cosmic stimuli. It comes from those favourites of mystics throughout the ages-the pyramids of Egypt.
'The most celebrated are those at Giza built during the fourth.dynasty of which the largest is the one that housed the pharaoh Khufu, better known as Cheops. This is now called the Great Pyramid Some years ago it was visited by a
French-man  named Bovis, who took refuge from the midday sun in the pharaoh's chamber, which is situated at the center of the pyramid, exactly one third of the way up from the base He found it unusually humid there,but what really surprised / him were the garbage cans that contained, among the usual  tourist litter,the bodies of a dead cat and some small desert animals that had wandered into the pyramid and died there. Despite the humidity none of them had decayed but just dried out like mummies. He began to wonder whether the pharaohs had really been so carefully embalmed by their subjects after all, or whether there was something about the pyramids themselves that preserved bodies in a mummified condition. Bovis made an accurate scale model of the Cheops pyramid and placed it like the original with the base lines,facing precisely north-south east-west. Inside the model one third of the way up, he put a dead cat. It became mummified and he concluded that the pyramid promoted rapid dehy-dration.
Reports of this discovery attracted the attention of Karel Drbal, a radio engineer in Prague, who repeated the experiment with several dead animals and concluded, " There is a relation between the shape of the space inside the pyramid and the physical and biological processes going on inside that space. By using suitable  forms and shapes,
We should be able to make processes occur faster or delay them." Note 233  

Page 99

"…We can only guess that the Great Pyramid and its little imitations acts as lenses that focus en-ergy or as resonaters that collect energy,…"

 

 

The Magic Mountain

Thomas Mann  1875-1955

Page 511

"Hermetics - what a lovely word "
"…It sounds like magiking,and has all sorts of vague and extended associations .You must excuse my speaking of such a thing but it reminds me of the conserve jars that our housekeeper …"
"…keeps in her larder. She has rows of them on her shelves, air-tight glasses full of  fruit and meat and all sorts of things.They stand there maybe a whole year-you open them as you need them and the contents are as fresh as on the day they were put up, you can eat them just as they are.To be sure, that isn't alchemy or purification, it is simply conserving , hence the word conserve.The magic part of it lies in the fact that the stuff that is conserved is withdrawn from the effects of time, it is hermetically sealed from time, time passes it by, it stand there on its shelf shut away from time."

 

 

Brahma
If the red slayer think he slays,
Or if the slain think he is slain
They know not well the subtle ways
I keep and pass and turn again.
R.W.Emerson

 

 

TIMELESS EARTH

Peter Kolosimo 1980

Chapter

NINETEEN

Page 190

" The territory known to scholars as ancient Peru is not coter-minous with that country as it exists today, but extends to the headwaters of the Amazon, the Andean zones of Equador and Bolivia, and parts of northern Chile and north-western Argentina. Throughout this large area, day to day life showed a considerably higher level of civilization than in Central America and the contrasts between culture and barbarism were less marked.  
The Peruvians had an impressive system of cultivation by terraces, with advanced methods of irrigation and fertiliza-tion, and had discovered the art of preserving meat and potatoes. Imposing ruins tell of the Mochica civilization
( named after Moche, where the first excavations took place), which flourished along the northern part of the coast from Pacasmayo to Casma. In the Mochica tombs there have been found remains of two different races: skeletons belonging to what we would call a white race, and also Indian ones…"
"… The ancient Peruvian scene was dominated by pyramids, of /Page 191/ which hundreds are to be found along the coast. Those of Mochica were built with clay bricks. From this civilization we possess also the majestic ruins of the temples of the sun and moon ( Huaca del Sol and Huaca de la Luna ).
Huge irrigation works were constructed in the Chincha Valley near the coast, where other ancient ruins include a fortress called La Centinela ( the sentinel ) This area was the scene of the cultures of Nazca ( Nasca ), Ica and Paracas. Tombs hollowed out of the rock contain hundreds of mum-mified corpses in the foetal position: these were probably prepared by a smoking process after the intestines were removed. Magnificent textiles have been found
here: veils brocades and 'gobelins', made by the same methods as the famous French product which dates from the fifteenth cen-tury, and fabrics covered with a mosaic of feathers. These masterpieces display no less than 190 different shades of colour.
Near Nazca, on a plateau 1,200 feet high which is sheltered from sea-winds but parched by the sun, there is a thick network of 'canals'recalling those on Mars, together with enormous figures of known and unknown animals, in-cluding the spider and the legendary fire-bird.
There are said to be many other sites of this kind in Peru and parts of Chile, but the Indians who know of them cannot explain their purpose, though they relate stories which suggest that the figures were intended to guide the course of navigators from outer space who established bases here on earth. Without venturing to say whether there actually were space-

/ Page 192  /

ports on Andean heights we may quote the following as we received it from La Paz:
' The Indians say that thousands of years ago their an-cestors travelled on great golden discs which were kept airborne by means of sound vibrations at a certain pitch, produced by continual hammer-blows. This is not so absurd as it may seem. Vibrations of a set frequency may have had the effect of increasing the atomic energy of gold, thus re-ducing the weight of the disc and enabling it to overcome gravity.'

Page 193  

'… To quote Pauwels and Bergier (op. Cit.,p. 197: ' The U.S. archaeologist Hyatt Verrill spent thirty years investigating the lost civilizations of Central and South America. . . In his fine novel, The Bridge of Light, he described a pre-Incaic city protected by a rocky defile which could only be crossed by a bridge con-structed of ionized matter which could be made to appear and diappear at will. Verrill,who died at the age of eighty, insisted to the last that this was much more than a legend, and his wife who survives him, is of the same opinion.'

Page 195

"A message from the Infinite"
"In the Mediterranean world as we have already seen, pyramids were used as mausolea and also (in the step-pyramid form as temples: the second category includes the Mesopotamian pyramids and the legendary Tower of Babel. In ancient America we also meet with both sites and at Tiahuanaco they are found side by side. The terraced pyramid known as the Acapana contains the ruins of what is thought to have been a sovereign's burial chamber, with an underground passage leading to it .Can its occupant have been the first  'white' lord in America ?. . . At Puma Puncu,
about half a mile to the south-west, there was an even larger pyramid of three or four steps or stories with a building
comprising several chambers on each."

 

CHAPTER TWENTY

Page 200

" Children of the Sun"

" The Chimu empire, with Chanchan as its capital, extended along the northern coast of Peru from north of Lima to the present border with Ecuador.The Chimu people must have descended from inhabitants of Mexico who sailed southward about the beginning of the Christian era founding the cultures of Salinar,Gallinazo and Mochica. As time went on, these settlements united with others along the Moche river creating an empire which lasted from about A.D. 500 to 1400; it was then conquered by the Incas, who borrowed much from it in the field of art, customs and mythology."
"The reliefs at Chanchan are reminiscent of almost every civilization in the world from Grecian friezes to those of central Asia, from the art of Egypt to that of Mesopotamia and China.
The imposing ruins of Chanchan cover an area of 6 or 7 / Page 201 / square miles "
"… Chan signifies 'snake' and the reptile-god was adored here in the same way as the goddess of Buto was in ancient Egypt. But-to revert to the beginning of our chapter-a Spanish pilot named Pedro Corzo who sailed up and down the Peruvian coast at the time of the conquista tells us that everywhere in the temples he found wooden or stone statues of a god named Guatan or 'whirlwind'. This reminds us irresistibly of the Germanic storm-god Wotan.
And in fact we find that Wotan was the original name of the Chimu divinity among the Mayas, who 'exported' him to South America. In Guatemala he was the lord of night and darkness, and the Mayas, Aztecs and Zapotecs all associated him with divination."

Page 203  

" This brings our story as far as the Incas. We shall use this name for them, as do most archaeologists and historians, but it should be born in mind that 'Inca'was a title originally confined to the ruler and the aristocracy, while the common folk were called Quechua Indians (as they still are today)."
" Mummies, past and present"
"According to Inca legend, Manco Capac - the founder of the race and of its ancient dynasty - came to earth and dwelt on the Island of the Sun in Lake Titicaca, together with his sister and escort Mama Ocllo. They wandered northwards until they came to the land designated as their home by the Sun-god, and there founded the Quechua empire with its capital at Cuzco that signifies 'navel' or 'centre of the earth' "
"The Inca empire,known as the 'land of the four quarters ' (Tahuantinsuyu ), extended from the south of what is now Colombia to the north of Argentina"
Some authorities date the origin of the empire back to A.D.494 and 565, others to 1130."
 
Page 204

The first ruler who emerges from myth into a shadowy form of history is Sinchi Roca, who reigned about 1150.
Our chief concern here, however, is with the eighth of the series (counting from Manco Capac), whose name or title was Vira-cocha Inca. The original Viracocha ,as we have seen, was the white god of the Quechuas, and the Spaniards were given this name by reason of their fair skin.The historical  Vira-cocha, Inca was of fair complexion and bearded, as we know from his portrait.  
The nobles were known as 'long-ears' since as we have seen, they pierced their ears and hung heavy ornaments from them. They and the priests were responsible for the wonders of architecture of which E.Fergusson wrote: 'Neither the Greeks nor the Romans nor the middle ages achieved such perfection,' while H. Velarde speaks of a 'country crystallized into geometrical shapes"
"The Incas were devout sun worshippers"
 
As fast as Alizzed could weave a tapestry, the far yonder scribe had stiched it into the patchwork quilt.
 
Page 205

"The ancient American sovereigns were called 'sons of the Sun'as were those of Egypt, Assyria and Crete and also the Chinese emperors, especially the Chou dynasty"
"As regards links between the Quechuas and Egyptians in August 1953 Dr. Bird discovered near Lima the tombs of a prince named Capac who died in the fourth or fifth millen-nium B.C. and was buried in a sarcophagus of Egyptian type. Another such sarcophagus, together with statues in Mexican style, was excavated in the 'Egyptian valley' in the southern part of the Amazon basin,half-way between the rivers Xingu and Tocantins. On 13 November 1954 the Rio de Janeiro newspaper O Cruzeiro reported the discovery, in the village of Durados on the Pira-Veve river of an 'Egyptian' cameo representing a queen with an inscription in hiero-glyphics signifying that after her death her soul mounted to heaven and her virtues were rewarded by celestial peace.
In 1531, when Pizarro's  Spaniards eager for gain as usual, burst into the great temple at Cuzco, they found some strange bundles that proved to contain mummified bodies in a foetal position, wrapped in precious cloths, their faces covered by masks of gold, silver, wood or clay. Unlike the Egyptians, who used natron and resin packs and anointing  
with oil, the Incas relied for mummification on the dry climate and saliferous soil of Peru. However excavators at Ganchavita in Columbia found a group of mummies each wearing a small gold crown and surrounded by funeral offerings-cloth, gold figures ornaments and emeralds. As Honore remarks 'it was suprising that mummies should have been found here, a country with a climate most unfavourable for conservation by natural processes. But chemical analysis has established that resins and oils were used-so the methods of mummi-fication were almost exactly the same as in ancient Egypt.'  
The Quechuas in fact used different techniques,as the discovery of mummified bodies as shown.
In 1560 Garcilaso / Page 206 / de la Vega witnessed the removal of the mummies of five Inca sovereigns identified as
Viracocha Inca of the long white hair, Capac Yupanqui, Huayana Capac, Mama Runto and Mama Ocllo. In a sitting position,with downcast eyes and arms crossed over their breasts, the bodies in royal robes were an impressive sight.
According to Jose de Acosta 'they were so intact and  well preserved with a certain kind of pitch that they seemed as though alive' Garcilaso added :  'I believe that the Indians' secret consists in burying the bodies in snow… and afterwards using the bitumen of which Father de Acosta speaks. When I saw them thus, I felt like touching one of Huayana Capac 's fingers as though it were that of a living man.'  
The Spaniards removed these mummies to Lima, where they rapidly de composed in the heat and damp and had to be buried. We may recall that in March 1963 the mummy of the Egyptian princess Mene, who died in 322 B.C.,  
began to decompose and had to be moved to a cold storage chamber at Oklahoma University, where biologists were astonished to find that the epithelial cells were still intact.
Mummies in a perfect state of preservation have also been found in America in recent times. In 1953 a Chilean muleteer discovered, in an Andean glacier, a small sarcophagus contain-ing the mummified body of an Inca girl
Who had lived about 730 years ago, surrounded by figurines of solid gold including one with a toad's head.
In 1959 chance led to the discovery, in a cave in Sonara province in Mexico, of thirty well preserved mummies dating from about 10,000 years ago and belonging to an unknown civilization.
These facts are remarkable enough in themselves, but Sr. Beltran Garcia embroiders them after his own fashion  
'The mummies of the five Inca sovereigns,' he tells us, were removed from the temple before Garcilaso was born, and their discovery was due to an error.From the scientific point of view they were bodies in a state of hibernation, with all their organs inert but living. The Incas were skilled at producing this condition, and they did so in the expectation that scientists would one day be able to re-suscitate the bodies. The technique of embalming was used at  
the Vatican too, and the "pitch" used by the Incas was in fact a solid transperent cream consisting of three ingrediants, one of which was quinine.'
We report these singular ideas merely as a curiosity, though some people have been taken in by them. Garcilaso's
account makes it clear that he is talking of dead bodies, but his decendant, referring to the Chilean discovery,writes as follows : ' Garcilaso de la Vega states that the method of the "frozen toad" ( sapo helado ) was an Inca secret.
It seems that the child was meant to be the bearer of a message to scientists of the future, but that the body's sudden exhumation deprived it of life. The gold figurines, especially that with the toad's head, contained a secret explanation of the experiment.'  
If and when Sr Garcia and those who share his views are privelidged to hold telepathic converse with some half-
immortal Inca scientist whose hiding place is unknown to the rest of us, it is to be hoped that they can give a fuller ex-planation of the gold figurines. Meanwhile, we are assured 'other live mummies are hidden in the creators of volcanoes and in Andean glaciers. Those in craters are in a state of lethergy induced by the curare process, while those in glaciers are in artificial hibernation due to the "toad method" 

Page 182

"Garcilaso Inca de la Vega. Garcilaso, who lived from 1539 to 1616"
 
 Page 182 / 183

"…We may also quote from Beltran Garcia, a Spaniard who wishes to revive the sun worship of the Incas and claims to be a descendant of Garcilaso Inca de la Vega. Garcilaso, who lived from 1539 to 1616, was the son of a conquistador and an Inca princess; he wrote a history of the Incas and is said by / his descendant to have left important documents that remain unpublished. One of the most bizzare of Beltran Garcia's stories, allegedly based on these documents, is as follows;
'According to the pictograph writings of Tiahuanaco,…"  
 
 
" During their passage through space they cast their excrement out of the space-ship and turned the lake into the shape of a man lying on his back, with his navel at the spot where our first mother is said to have reclined, impregnated with the seed of human knowledge."  
"As for the "excrement" which they jettisoned from the ship to alter the context of the lake, may it perhaps have been an atomic bomb? It is a curious fact that, in order to rob Lake Titicaca of the symbolic character which the Indians ascribed to it, it was represented on maps up to 1912 as almost circular shape. Its true name was Titi - lake of mystery and of the sun - but to this was added a suffix which in many languages conveys the notion of "excrement".'  
We are entitled to treat the story and the gloss with a good deal of scepticism, and this applies even more to the continuation of Sr. Garcia's account in which science fiction is spiced with a touch of pornography."
This part of the story recalls the Inca nobles' custom of /Page 184/ deforming their ear lobes by hanging costly ornaments from them in order to draw attention to their wealth. For this reason the Spaniards called them Orejones ('Big - ears' )…"
" This farrago is only worth quoting as an illustration of how elements of information which deserve to be judged on their merits are blended with pure fantasy and served up in a manner which shows no regard for probability or for the reader's intelligence. Nobody, as far as we are aware, has ever seen, much less examined, the ' secret manuscripts' of Garcilaso Inca de la Vega.  
The writers who base eccentric theories on fables of this / Page 185 / kind are usually careful not to refer to them in too much detail but to select the parts that best fit their purpose. This method has the unfortunate effect of discrediting genuine scholars whose minds are open to new ideas,
While it strengthens the position of hidebound traditionalists and en-courages public opinion to be sceptical of theories which, however fantastic in appearance, may in fact be basically sound. It is not necessary to resort to distortion and ex-travagant imagery in order to frame hypotheses of much greater interest and verisimilitude than that of Orejona. It is in fact quite possible to suppose that the blood of voyagers from outer space flows in our own veins, and if we do so we shall be less sceptical of attempts by some Soviet scholars to place the story of Atlantis in its cosmic setting.
Blue men
Plato tells us that the first Atlanteans were of different race and blood from the other inhabitants of earth, and in 1960 a group of Soviet scholars suggested that they may have been men of a bluish colour. This theory was based in part on Herodotus and the Egyptian historian Manetho, who lived in the third century B.C. and wrote a work which we possess in part only, describing his country,s past on the basis of the inscriptions on ancient monuments. Other sources are the Palermo Stone and the Turin Papyrus which gives lists of the Pharaohs and date respectively from about 2400 and 1250 B.C."

 

 

The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein, [1] describes a psychological phenomenon involving a vague and ... en.wikipedia.org/wiki/Pareidolia

The term pareidolia (pronounced /pæraɪˈdoʊliə/), referenced in 1994 by Steven Goldstein,[1] describes a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include images of animals or faces in clouds, the man in the moon, and hidden messages on records played in reverse. The word comes from the Greek para- — beside, with or alongside — and eidolon — image (the diminutive of eidos — image, form, shape). Pareidolia is a type of apophenia.

EXAMPLES

Religious

Further information: Perceptions of religious imagery in natural phenomena

There have been many instances of perceptions of religious imagery and themes, especially the faces of religious figures, in ordinary phenomena. Many involve images of Jesus, the Virgin Mary, or the word Allah.

In 1978, a New Mexican woman found that the burn marks on a tortilla she had made appeared similar to Jesus Christ's face. Thousands of people came to see the framed tortilla.[2]

The recent publicity surrounding sightings of religious figures and other surprising images in ordinary objects, combined with the growing popularity of online auctions, has spawned a market for such items on eBay. One famous instance was a grilled-cheese sandwich with the Virgin Mary's face.[3]

In September, 2007, the so-called "monkey tree phenomenon" caused a minor social mania in Singapore. A callus on a tree there resembles a monkey, and believers have flocked to the tree to pay homage to the Monkey God.[4]

[edit] Rorschach test

Main article: Rorschach inkblot test

 

The Rorschach inkblot test uses pareidolia to attempt to gain insight into a person's mental state.[2][edit] Audio

In 1971, Konstantin Raudive wrote Breakthrough, detailing what he believed was the discovery of electronic voice phenomenon (EVP). EVP has been described as auditory pareidolia.[2]

The allegations of backmasking in popular music have also been described as pareidolia.[2]

edit] Explanations

[edit] Carl Sagan Carl Sagan hypothesized that as a survival technique, human beings are "hard-wired" from birth to identify the human face. This allows people to use only minimal details to recognize faces from a distance and in poor visibility, but can also lead them to interpret random images or patterns of light and shade as being faces.[5]

[edit] Clarence Irving Lewis

In his 1929 book Mind and the World Order, epistemologist and logician Clarence Irving Lewis, a founder of the philosophical school of conceptual pragmatism, used the question of how to determine whether a perception is a mirage as a touchstone for his philosophical approach to knowledge. Lewis argued that one has no way of knowing whether or not perceptions are "true" in any absolute sense; all one can do is determine whether one's purpose is thwarted by regarding it as true and acting on that basis. According to this approach, two people with two different purposes will often have different views on whether or not to regard a perception as true. [6]

Gallery (Images omitted)

 

 

FROM ATLANTIS TO THE SPHINX

RECOVERING THE LOST WISDOM OF THE ANCIENT WORLD

Colin Wilson 1996

Page 294

Bauval and Hancock suggest, very reasonably, that Snofru built them in that place for a purpose - to signal the beginning of the great design.

And where is Osiris (Orion) at this time? He has also arrived virtually in 'Sokar'. The vernal point and the con­ stellation of Orion - and the star Sirius (Isis) - are now in the same area of the sky.

It was not so in 10,500 BC. As you faced due east towards Leo - which is where the vernal point was situated - you had to turn through a full 90 degrees to look at Orion. Now, eight thousand years later, they have come together.

This, say Bauval and Hancock, is why the Great Pyramid was built eight thousand years after the Sphinx. The 'heavens' were finally ready for it. And their logic seems virtually irrefutable. Provided you agree that the ancient Egyptians knew all about precession - and no one now seriously doubts this - and that Orion was their most important constellation, then it is impossible to disagree that the moment when the vernal point moved into the same area as Orion was perhaps the most important moment in Egyptian history.

What followed was the building of the pyramids at Rostau, with their arrangement pointing back clearly to the 'first time' in 10,500 BC.

Then came the ceremony that the pharaoh now under­ took to send Osiris back to his proper home, which would also gain immortality for himself and for his people.

This ceremony took place at the time of the dawn-rising of Sirius. But it began ten weeks earlier. Sirius was absent for seventy days below the horizon (due, of course, to the fact that the earth is tilted on its axis). So, of course, was its near neighbour Orion - Osiris.

It seems highly probable that a ceremony to 'rescue' Osiris took place every year. But the ceremony that took place at the time of the summer solstice - the event that announced the flooding of the Nile - in the year after

Page 295

the completion of the Great Pyramid, would have been climactic.

The Horus-pharaoh - presumably Cheops - had to undertake, a journey to bring his father Osiris back to life, In his form as the sun, he had to cross the great river -e­ the Milky Way - in his solar boat, and journey to the eastern horizon, where Osiris was held captive. In his form as the king, he had to cross the Nile in a boat; then journey to Giza, to stand before the breast of the Sphinx.

Bauval and Hancock write:

As the 'son of Osiris' he emerged from' the womb of Isis, i.e. the star Sirius, at dawn on the summer solstice ... It was then - and there - both at the sky­ horizon and the earth 'horizon' that the Horus-King was meant to find himself in front of the Gateway to Rostau. Guarding that Gateway on the earth-horizon he would encounter the giant figure of a lion -the, Great Sphinx. And guarding that Gateway in the sky- - horizon his celestial counterpart would find - what?

The answer, of course, is the constellation of Leo.

The Pyramid texts explain that the, beginning of the journey of Horus into -the Underworld occurred 70 days before the great ceremony. Twenty-five days later, the sun has crossed, the 'river' - the Milky Way - and is now moving east towards the constellation of Leo. And 45 days later - the, end of the 70 days - the sun is between the . paws of Leo.

On the ground, the pharaoh stands on the east bank of the Nile, crosses it in the solar boat - perhaps the boat found.buried.near the Pyramid in 1954 - then makes his way; via' the two pyramids at Dahshur, to the breast of the Sphinx. '

, At rhispoint, according to the texts, he has to .face a, ' ritual ordeal, rather like those of the Freemasons described in Mozart's Magic Flute. He is given a choice of two ways, / Page 296 /either by land or by water, by which he can journey to the Underworld to rescue his father. The land route, the authors believe, was an immense causeway (of which there are still remains) linking the Valley Temple with the Great Pyramid. It was once roofed with limestone slabs and had stars painted on its ceiling.

The 'water route' is still undiscovered - but the authors believe that it was an underground corridor that was kept half filled (or perhaps more than half) with water drawn by capillary action from the Nile. (They cite a French engineer, Dr Jean Kerisel, who suggests that the Sphinx

-- may stand over a 700"metre-long tunnel leading to the Great Pyramid.)

What happened next is pure conjecture - except that it - must have ended with the reappearance of Orion and Sirius over the- eastern horizon. Bauval and Hancock believe that this ceremony was the symbolic uniting of Upper and Lower Egypt - that is, of heaven and earth. Clearly, the priests who planned it saw it as the central event of Egyp­ tian history after 'the first time'.

And who were these priests? Bauval and Hancock write:

We shall argue that 'serious and intelligent men' - and women too - were indeed at work behind the stage of prehistory in Egypt, and propose that one of the many names by which they were known was the 'Fol­ -lowers of Horus'. We propose, too, that their purpose, to which their generations adhered for thousands of years with the rigour of a messianic cult,may have been to bring to fruition a great cosmic blueprint.

They go on to speak of the Temple of Edfu, parts of which date back to the Pyramid Age, although its present form was built from 237 BC to 57 BC. Its 'Building Texts' speak of earlier ages going back to the 'First Time', when the words of the Sages were copied by the god Thoth into a book with the oddly modern title Specifications of the / Page 297 / Mounds of the' Early Primeval Age, including the Great­ Primeval Mound itself, where the world was created. This mound is believed by Professor Iodden Edwards to be the huge rock on which the Great Pyramid was erected.

According to the Building Texts, the various temples and mounds were designed by Seven Sages, including the 'mansion of the god' (presumably the Great Pyramid) - which would seem to support Bauval's belief that the pyra­ mids were planned (and perhaps partly constructed) at the same time as the Sphinx. The Seven Sages were. survivors­ of a. catastrophic flood, and came from an island. These Seven Sages seem to be identieal with 'Builder gods', 'Senior ones' and 'Followers of Horus' (Shemsu Hor) referred to in other writings such as the Pyramid Texts. The Followers of Horus were not gods, but humans who rebuilt the world after the great catastrophe =which was

predated by the Age of the Gods. ..

This, then, is the basic thesis of Keeper of Genesis: that a group of priests, survivors of some catastrophe, virtually created ancient Egypt as we know it. It could be regarded as a sequel to Hamlet's Mill, and Jane B. Sellers' Death of the Gods in Ancient Egypt, which also argues powerfully that the ancient Egyptians knew all about precession. But,

- it goes further than these books in its mathematical. and astronomical arguments (of which I have only had space to present a crude outline). Its arguments about the astro­ nomical alignments of the Sphinx and the pyramids are a tour de force. Jane Sellers had already discussed a 'precessional code' of numbers, and Graham Hancock summarises her results in Fingerprints of the Gods. But Bauval's use of computer simulations raises all this to a new level of precision, with the result that evefl those who feel dubious about the idea of a priestly succession lasting forthousands of years will have to admit that the math­ ematics seems uncontradictable. i

l'heauthors reach one more i'nteresting. conclusion, where precisely; they asked the computer, was the vernal / Page 298 / point situated in 10,500 BC? The-answer was 'that it lay exactly 111.111 degrees east of the station that it had ; occupied at 2500 BC. Then it had been at the head of the Hyades- Taurus, close to the right hank of the Milky Way; 8000 years earlier it lay directly under the rear paws of the constellation of Leo.'

And-if this point has an 'earthly. double', then it would seem to hint at some undiscovered "secret below the -rear paws of the Sphinx. The Coffin Texts speak about 'a sealed thing, which is in darkness, with fire about it, which con­ tains the efflux of Osiris, and is put in Rostau'. Could- it be that 'something hidden' - in a chamber under the rear paws of the Sphinx - is a 'treasure' that will transform our knowledge of ancient Egypt? Edgar _ Caycepredicted the discovery of a 'Hallof Records' beneath the Sphinx towards the end of the twentieth century, and Hancock and Bauval speculate whether this is not even now being investigated by the team of 'official Egyptologists' who are the only ones permitted near the Sphinx.

So Keeper of Genesis -'" as is perhaps inevitable -eends " on a question mark. For the real question that lies behind this search into the remote past is: what does it all mean? We have to recognise that even the most precise knowledge of " the Egyptianprecessional code and their religion of resurrection still brings us no closer to answering some _ of the most obvious questions about their achievement ...., " even one as straightforward as how they raised 200-ton blocks ...

10 The Third Force

IN CHAPTER 1, we saw that both.Schwaller and Gurdjieff believed that the men of today have degenerated " from their former level. Schwaller, obviously, was talk- . ing about ancient Egypt, and the earlier civilisation

from which it derived its knowledge. But whatwas it that - according to Schwaller - made these men of former.times 'giants'?

What emerges clearly from his books is the idea that modern man has forgotten something of central

importance. .

Some notion of what he had in mind can be derived from the researches of American anthropologist Edward t. Hall, who spent" much of his life working with or studying Native American Indians - Hopi, .Navajo,' Puebloand Quiche (the descendants of the Maya). His bookThe Dance of Life (1983) -isabout time, and about the fact that the time System of the Indians is so totally.different from that of American-Europeans (which he shortens to AE) that it is virtually a differehtkind of time. He notes that the Hopi do not even have a word for time, and that Hopi verbs have no tenses. They live in an 'eternal present', indifferent to western science, technology and philosophy. Hall coins the term 'polychronic time' to distinguish this Native American 'eternal present' from the 'monochronic' time of western-civilisation, with its ever-ticking dock.

 

 

The Third Force

Page 303

"Egypt was, as Schwaller is never tired of pointing out, a sacred society.

 

Page 303

Each day, Hall explains, has special characteristics - just as, in ancient Egypt (according to Schwaller) each hour has its special neters - and /Page 304 / it takes a special shaman-diviner to provide a proper interpretation of the day. This is particularly import­ ant when critical decisions are contemplated. Not only does each of the twenty days have a proper name and character that is divine, but also a number. The 'nature' of the days 'change depending on the numeri­ cal accompaniment, as well as the actions or moves contemplated during that particular day. A 'good' day in one context may- be bad in another. There are favourable and unfavourable combinations, and it is the combination that determines how the day should be interpreted.

Again, it is important to realise that all this is quite distinct from a 'belief'. The 'right-brain' state of mind permits deeper perception.

 

DAILY MAIL

Thursday, January 24

WATCH THIS SPACE

Michael Hanlon Science Editor

THE proper word for it is pareidolia: the phenomenon where people tend to see human faces and other familiar forms in otherwise unfamiliar objects.

We have all seen faces and creatures in the sky. When Hamlet saw a strange cloud, he explained to Polonius, 'Methinks it is like a weasel' (Polonius, for his part thought it more like a camel).

People are forever seeing Jesus or the Virgin Mary in tortillas, buns, the swirls in their coffee and reflections in windows.

But, for some reason, one of the most popular places to see these unlikely visions is in space.

This week, the Mail showed an extraordinary photograph taken by the Nasa Mars Rover, Spirit, which has been trundling across the surface of the Red Planet for four years.

In the picture, which I have no reason to suspect was doctored or altered, there appears to be a greenish-brown human figure, a woman perhaps, perched on a rock, staring rather wistfully at the crater floor below her.

The longer you stare at this picture, the more convincing the 'human becomes.

But it is an illusion; there is no woman, green or otherwise, on the surface of Mars. If there were, she would suffocate and freeze in short order.

This is simply a trick of the light, shadow and perspective, the brain seeing something familiar in an alien jumble of volcanic rocks under a strange orange-pink sky.

Yet this will not be the first or the last - time we have seen strange apparitions on Mars, on Earth and on other planets. The first and best - known example of pareidolia in space was of course the Man in the Moon. I have never found its surface to look particularly human, but many people insist the pattern of dark lava plains and brighter highland areas look for all the world like a human nose, mouth and two eyes. If I squint, I suppose I can just about see it.

Mars, for some unknown reason, is home to many strange apparitions. People have been 'seeing' things on the Red Planet that aren't there for more than a century.

 

 

Daily Mail

Thursday, February 26,2009

Page 37

The eye of God!

IT STARES down at us from the depths of space, watching our tiny world from 700 light years away. Scientists have nicknamed the image - captured by a giant telescope on the Chilean mountains - the eye of God.
In fact, it shows the death throes of a star similar to our Sun. The blue pupil, the white of the eye and pink lid are created by layers of gas and dust thrown off and illuminated by the star as it comes to the end of its life over the course of thousands of years.
The eye, known as the Helix nebula, is so huge that it would take a beam of light two-and-a-half years to cross it.
Our own sun is expected to suffer a similar fate - but not for five billion years.

 

 

Daily Mail

Tuesday, April 14, 2009

Page 11

Hand of God

Eye in the sky: The Helix nebula

By Dan Newlin;

(Image omitted)

WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
The ghostly blue cloud seems to form an outstretched thumb and fingers grasping a burning lump of coal. This astonishing image was taken by Nasa's Chandra X-ray observatory, which is orbiting 360 miles above the Earth's surface.
It recalls those of the Helix planetary nebula, whose blue centre surrounded by white clouds earned it the nickname 'the eye of God'.
The hand was created when a star exploded in a supernova, creating a rapidly-spinning 12-mile-wide star called a pulsar, which is deep inside the white blob at the hand's wrist.
The pulsar is spewing out enormous amounts of electromagnetic energy, creating a dust and gas cloud so wide that it would take a light beam 150 years to cross from side to side.
The red disc is a separate cloud of gas. The fingers are thought to have been created as the energy passed from the pulsar to this gas cloud.
Nasa scientists estimate the moment depicted here actually happened 17,000 years ago. it has taken since then for the X-rays, travelling at 670million mph, to reach Earth.

 

 

Devnagri Script - Sanskrit - Prakrit - Hindi - Brahmi - Haryana ...
The name Devanagari comes from the Sanskrit words Deva (god), and Nagari (city); together they mean, ... Phonetic Alphabet character(s) corresponding to the Hindi pronunciation of the Devanagari character. ... Devanagari numerals ...
www.haryana-online.com/devnagri.htm

Cached - Similar pagesDevanagari script block
Devanagari has its own set of shapes for the digits 0-9, (see lists). These are traditionally referred to as 'indian numerals', but are called indic ...
people.w3.org/rishida/uniprop32/descn-devanagari.html - 18k - Cached - Similar pages

 

www.unesco.org/most/lnindia.htm - 14k - Cached - Similar pagesNational Language Of India, Official Language Of India, Regional ...
The official language of India shall be Hindi in Devanagari script. The form of numerals to be used for the official purposes of the Union shall be the ...
www.iloveindia.com/constitution-of-india/languages.html

 

Devanagari - Wikipedia, the free encyclopedia
Devanāgarī is the main script used to write Hindi, Marathi, and Nepali. ... 3.4 Accent marks; 3.5 Punctuation; 3.6 Numerals. 4 Transliteration ...
en.wikipedia.org/wiki/Devanagari - 230k - Cached - Similar pages

Devanagari
From Wikipedia, the free encyclopedia
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"Nagari" redirects here. For the place in Andhra Pradesh, see Nagari, Andhra Pradesh.
Devanāgarī

Rigveda manuscript in Devanāgarī (early 19th century)
Type Abugida
Spoken languages Several Indo-Aryan languages, including Sanskrit, Hindi, Marathi, Nepali, Bhili, Konkani, Bhojpuri, Magahi, Maithili, Newari and sometimes Sindhi and Kashmiri. Formerly used to write Gujarati.
Time period c. 1200–present
Parent systems Proto-Canaanite alphabet
→ Phoenician alphabet
→ Aramaic alphabet
→ Brāhmī
→ Gupta
→ Nāgarī
→ Devanāgarī
Child systems Gujarati
Moḍī
Ranjana
Canadian Aboriginal syllabics
Sister systems Sharada, Eastern Nāgarī
Unicode range U+0900–U+097F
ISO 15924 Deva
Note: This page may contain IPA phonetic symbols in Unicode.
This article contains Indic text. Without proper rendering support, you may see question marks or boxes, misplaced vowels or missing conjuncts instead of Indic text.

Devanāgarī (देवनागरी, pronounced /ˌdeɪvəˈnɑːɡəriː/ in English[1]), or Nāgarī, is an abugida alphabet of India and Nepal. It is written from left to right, lacks distinct letter cases, and is recognizable by a distinctive horizontal line running along the tops of the letters that links them together. Devanāgarī is the main script used to write Hindi, Marathi, and Nepali. Since the 19th century, it has been the most commonly used script for Sanskrit. Devanāgarī is also employed for Gujari, Bhili, Bhojpuri, Konkani, Magahi, Maithili, Marwari, Newari, Pahari (Garhwali and Kumaoni), Santhali, Tharu, and sometimes Sindhi, Panjabi, and Kashmiri. It was formerly used to write Gujarati.

 

 

Daily Mail

Monday, May 18, 2009

LETTERS

We are ALL to blame for this lack of morals

Page 53

IT'S amusing how some politicians are now so desperate to win back the confidence of the public.
I've taken some soundings of the Top Ten records they're likely to take to a Desert Island:

No.10: Follow The Money (The Proclaimers).

No 9: Money's Too Tight To Mention (Simply Red).

No.8: Money Honey (Elvis Presley).

No.7: Money Makes The World Go Round (from the film Cabaret).

No.6: Money (Flying Lizards).

No.5: We're In The Money (the goldiggers' song)

No.4: Money (Pink Floyd).

No.3: Easy Money (King Crimson).

No.2: Money, Money, Money (Abba)

No.1: Money For Nothing (Dire Straits)

Maybe all these artists (except Elvis, of course) could get together for a one-off benefit performance to raise some money for our MPs on holiday?

MARTIN LAWRENCE, South Croydon,

 

 

Daily Mail

Tuesday, May 19, 2009

Page 8

THE CROMWELL WAY

"HISTORY provides a lesson in how to deal with a Parliament seen as corrupt and finished. In 1653, Oliver Cromwell lost patience with the House after learning that it was attempting to stay in session despite an agreement to dissolve.

His speech will still resonate today with disgusted voters. This is what he said:

"It is High time for me to put an end to your sitting in this place, which you have dishonoured by your contempt of all virtue, and defiled by your practice of every vice; ye are a factious crew, and enemies to all good government; ye are a pack of mercenary wretches, and would like Esau sell your country for a mess of pottage, and like Judas betray your God for a few pieces of money.

Is there a single virtue now remaining amongst you? Is there one vice you do not possess? Ye have no more religion than my horse; gold is your God; which of you have not barter'd your conscience for bribes? is there a man amongst you that has the least care for the good of the Commonwealth?

Ye sordid prostitutes have you not defil'd this sacred place, and turn'd the Lord's temple into a den of thieves, by your immoral principles and wicked practices? Ye are grown intolerably odious to the whole nation; you were deputed here by the people to get grievances redress'd, are yourselves become the greatest grievance.

Your country therefore calls upon me to cleanse this Augean stable, by putting a final period to your iniquitous proceedings in this House; and which by God's help and the strength he has given me, I am now come to do; I command ye therefore, upon the peril of your lives, to depart immediately out of this place; go, get you out!

Make haste! Ye venal slaves be gone! So! Take away that shining bauble there, and lock up the doors. In the name of God, go!'"

OLIVER CROMWELL

 

 

THE HOLY BIBLE

Scofield References

DEUTERONOMY

Page 227

Chapter 9 Verses

1

Hear, O Israel: Thou art to pass over Jordan this day, to go in to possess nations greater and mightier than thyself, cities great and fenced up to heaven,

2

A people great and tall, the children of the Anakims, whom thou knowest, and of whom thou hast heard say, Who can stand before the children of Anak!

3

Understand therefore this day, that the LORD thy God is he which goeth over before thee; as a consuming fire he shall destroy them, and he shall bring them down before thy face: so shalt thou drive them out, and destroy them quickly, as the LORD hath said unto thee.

4

Speak not thou in thine heart, after that the LORD thy God hath cast them out from before thee, saying, For my righteousness the LORD hath brought me in to possess this land: but for the wickedness of these nations the LORD doth drive them out from before thee.

5

Not for thy righteousness, or for the uprightness of thine heart, dost thou go to possess their land: but for the wickedness of these nations the LORD thy God doth drive them out from before thee, and that he may perform the word which the LORD sware unto thy fathers, Abraham, Isaac, and Jacob.

6

Understand therefore, that the LORD thy God giveth thee not this good land to possess it for thy righteousness; for thou art a stiffnecked people.

7

Remember, and forget not, how thou provokedst the LORD thy God to wrath in the wilderness: from the day that thou didst depart out of the land of Egypt, until ye came unto this place, ye have been rebellious against the LORD

8

Also in Horeb ye provoked the LORD to wrath, so that the LORD was angry with you to have destroyed you.

 

9

When I was gone up into the mount to receive the tables of stone, even the tables of the covenant which the LORD made with you then I abode in the mount forty days and forty nights, I neither did eat bread nor drink water:

10

And the LORD delivered unto me two tables of stone written with the finger of God; and on them was written according to all the words, which the LORD spake with you in the mount out of the midst of the fire in the day of the assembly.

11

And it came to pass at the end of forty days and forty nights, that the LORD gave me the two tables of stone, even the tables of the covenant.

12

And the LORD said unto me, Arise, get thee down quickly from hence; for thy people which thou hast brought forth out of Egypt have corrupted themselves; they are quickly turned aside out of the way which I commanded them; they have made them a molten image.

13

Furthermore the LORD spake unto me, saying, I have seen this people, and, behold, it is a stiffnecked people:

14

Let me alone, that I may destroy them, and blot out their name from under heaven: and I will make of thee a nation mightier and greater than they.

15

So I turned and came down from the mount, and the mount burned with fire: and the two tables of the covenant were in my two hands.

16

And I looked, and, behold, ye had sinned against the LORD your God, and had made you a molten calf: ye had turned aside quickly out of the way which the LORD had commanded you.

17

And I took the two tables, and cast them out of my two hands, and brake them before your eyes.

18

And I fell down before the LORD, as at the first, forty days and forty nights: I did neither eat bread, nor drink water, because of all your sins which ye sinned, in doing wickedly in the sight of the LORD, to provoke him to anger.

19

For I was afraid of the anger and hot displeasure, wherewith the LORD was wroth against you to destroy you. But the LORD hearkened unto me at that time also.

20

And the LORD was very angry with Aaron to have destroyed him: and I prayed for Aaron also the same time.

21

And I took your sin, the calf which ye had made, and burnt it with fire, and stamped it, and ground it very small, even until it was as small as dust: and I cast the dust thereof into the brook that descended out of the mount.

22

And at Taberah, and at Massah, and at Kibrothhattaavah, ye provoked the LORD to wrath.

23

Likewise when the LORD sent you from Kadeshbarnea, saying, Go up and possess the land which I have given you; then ye rebelled against the commandment of the LORD your God, and ye believed him not, nor hearkened to his voice.

24

Ye have been rebellious against the LORD from the day that I knew you.

25

Thus I fell down before the LORD forty days and forty nights, as I fell down at the first; because the LORD had said he would destroy you.

26

I prayed therefore unto the LORD, and said, O Lord GOD, destroy not thy people and thine inheritance, which thou hast redeemed through thy greatness, which thou hast brought forth out of Egypt with a mighty hand.

27

Remember thy servants, Abraham, Isaac, and Jacob; look not unto the stubbornness of this people, nor to their wickedness, nor to their sin:

28

Lest the land whence thou broughtest us out say, Because the LORD was not able to bring them into the land which he promised them, and because he hated them, he hath brought them out to slay them in the wilderness.

29

Yet they are thy people and thine inheritance, which thou broughtest out by thy mighty power and by thy stretched out arm.

 

 

I

SHALL

SOUND THE QUESTION THE QUESTION SOUND

I

WHITHER GOEST THOU AND THOU GOEST WHITHER

GODS GODDESSES ALWAYS LOVE BALANCING LOVE ALWAYS GODDESSES GODS

 

 

Daily Mail

Tuesday, April 14, 2009

Page 11

Eye in the sky: The Helix nebula

By Dan Newlin;

(Image omitted)

WE'VE already seen pictures of his eye ... now we have the first image of the hand of God.
The ghostly blue cloud seems to form an outstretched thumb and fingers grasping a burning lump of coal. This astonishing image was taken by Nasa's Chandra X-ray observatory, which is orbiting 360 miles above the Earth's surface.
It recalls those of the Helix planetary nebula, whose blue centre surrounded by white clouds earned it the nickname 'the eye of God'.
The hand was created when a star exploded in a supernova, creating a rapidly-spinning 12-mile-wide star called a pulsar, which is deep inside the white blob at the hand's wrist.
The pulsar is spewing out enormous amounts of electromagnetic energy, creating a dust and gas cloud so wide that it would take a light beam 150 years to cross from side to side.
The red disc is a separate cloud of gas. The fingers are thought to have been created as the energy passed from the pulsar to this gas cloud.
Nasa scientists estimate the moment depicted here actually happened 17,000 years ago. it has taken since then for the X-rays, travelling at 670million mph, to reach Earth.

 

 

GODS AND SPACEMEN IN THE ANCIENT EAST

W. Raymond Drake 1968

New evidence on the unexplained mysteries of civilization in the ancient East

Page 124

"it is said that in the ancient Egyptian language OS-IRIDE meant 'mouth of the iris'168 or 'the voice of the light..."

 

 

OS-IRIDE SO R I DE SO OS-IRIDE

 

 

OSIRIS SO IRIS ISIS IS ISIS IRIS SO OSIRIS

 

 

YEA

THOUGH I WALK THROUGH

THE

VALLEY OF THE SHADOW OF DEATH

I

WILL FEAR NO EVIL FOR THOU ART WITH

ME

 

 

THE

EASTER

FESTIVAL

GOOD FRIDAY 10TH OF THE 4TH 2009

SATURDAY 11TH OF THE 4TH 2008

SUNDAY 12TH OF THE 4TH 2009

MONDAY 13TH OF THE 4TH 2009

HALLELUJAH

 

 

JUST SIX NUMBERS

Martin Rees

1
999

OUR COSMIC HABITAT

PLANETS STARS AND LIFE

Page 24

A

proton

is

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

would have the same connotations to any 'intelligence'

 

 

 

THE

HOURS OF HORUS

IS

ARRIVED

HURRAH FOR RAH FOR RAH HURRAH

AMEN THAT NAME GODS NAME AMEN

RA IN BOW LIGHT GODS LIGHT RA IN BOW

THE LIGHT IS RISEN NOW RISEN IS THE LIGHT

 

 

AWAKENING INNER AWARENESS

 

 

The Abbe Sieyes author of the pamphlet What is the third estate? intrigued with Napoleon Bonaparte and became a Consul of the French Republic.
www.age-of-the-sage.org/historical/biography/abbe_sieyes.html

 

Qu'est-ce que le tiers état? ( What is the third estate? ).

The Abbé Sieyès "... it was in Paris that he spent his last days in 1836."

 

 

Pan (mythology) - Wikipedia, the free encyclopedia
The god, still infatuated, took some of the reeds, because he could not identify ... When you reach Palodes, take care to proclaim that the great god Pan is dead. .... Vinci, Leo (1993), Pan: Great God Of Nature, Neptune Press, London ... en.wikipedia.org/wiki/Pan_(mythology)

 

The Death of Pan

Pan, Mikhail Vrubel 1900.If one were to believe the Greek historian Plutarch (in "The Obsolescence of Oracles" (Moralia, Book 5:17)), Pan is the only Greek god who is dead. During the reign of Tiberius (A.D. 14-37), the news of Pan's death came to one Thamus, a sailor on his way to Italy by way of the island of Paxi. A divine voice hailed him across the salt water, "Thamus, are you there? When you reach Palodes,[17] take care to proclaim that the great god Pan is dead." Which Thamus did, and the news was greeted from shore with groans and laments.

Robert Graves (The Greek Myths) suggested that the Egyptian Thamus apparently misheard Thamus Pan-megas Tethnece 'the all-great Tammuz is dead' for 'Thamus, Great Pan is dead!' Certainly, when Pausanias toured Greece about a century after Plutarch, he found Pan's shrines, sacred caves and sacred mountains still very much frequented.

 

GREAT PAN IS NOT DEAD

 

 

THAT THAT THAT

ISISISISIS

THAT THAT THAT

 

 

ISTHAT THAT THAT IS

OSIRIS SO IRIS IRIS SO OSIRIS

OSIRIS SO 9991 IS 9991 IS SO OSIRIS

OSIRIS SO IRIS IRIS SO OSIRIS

IS THAT THAT THAT IS

 

 

THAT THAT THAT

OSIRIS SO IR IS IR IS SO OSIRIS

OSIRIS SO 99 IS IS 99 SO OSIRIS

THAT THAT THAT

 

 

THE LIGHT IS NOW STRUCK NOW STRUCK IS THE LIGHT

 

 

HORUS OF HOURS NOWIS ARRIVED NOWIS HOURS OF HORUS

AMEN GODS NAME I MEAN I MEAN I NAME GODS AMEN

HURRAH FOR RAH FOR RAH HURRAH

 

 

I C 3 C I

MAGI THE MAGIC C MAGIC THE MAGI

IS MAGIC 41793 MAGIC IS

MAGIC 393 MAGIC

IS MAGIC 41793 MAGIC IS

MAGI THE MAGIC C MAGIC THE MAGI

 

 

I C 5 C I

IS REAL 9 LEAR IS

N 5 N

LEAR N 5 REAL 5 N LEARN

 

 

words and music by eden ahbez

Nature Boy

Nat King Cole

There was a boy
A very strange enchanted boy
They say he wandered very far, very far
Over land and sea
A little shy and sad of eye
But very wise was he

And then one day
A magic day he passed my way
And while we spoke of many things
Fools and kings
This he said to me
"the greatest thing you’ll ever learn
Is just to love and be loved in return"

"the greatest thing you’ll ever learn
Is just to love and be loved in return"

 

 

LOVE EVOLVE LOVE LOVE EVOLVE

LO VE EV OL VE LO VE LO VE EV OL VE

36 45 54 63 45 36 45 36 45 54 63 45

LO VE EV OL VE LO VE LO VE EV OL VE

LOVE EVOLVE LOVE LOVE EVOLVE

 

 

LOVE EVOLVE LOVE LOVE EVOLVE

LO VE EV OL VE LO VE LO VE EV OL VE

9 9 9 9 9 9 9 9 9 9 9 9

LO VE EV OL VE LO VE LO VE EV OL VE

LOVE EVOLVE LOVE LOVE EVOLVE

 

 

I

SAY

YOU CAN UNDERSTAND IT THAT IT UNDERSTAND CAN YOU

UNDERSTAND IT UNDERSTAND

WHAT

?

GODS DIVINE EVERLASTINGNESSGODSEVERLASTINGNESS DIVINE GODS

 

 

SIRIUS OSIRIS ISISISISIS OSIRIS SIRIUS

 

 

ISIS OSIRIS ISIS

OSIRIS ISIS OSIRIS

 

 

ISIS SET OSIRIS SET ISIS

SET ISIS OSIRIS ISIS SET

SET OSIRIS ISIS OSIRIS SET

OSIRIS ISIS SET ISIS OSIRIS

SO OSIRIS IRIS ISISIS IRIS OSIRIS SO

 

 

OSIRIS THAT SUN SETS THAT SON SETS THAT SUN OSIRIS THAT SUN

SETS THAT SON OSIRIS THAT SON OSIRIS THAT SON SETS THAT SUN

SO SETS THAT SUN SO RISES THAT SUN SO RISES THAT SUN SO SETS THAT SUN

SO RISES THAT SUN SO SETS THAT SON SO SETS THAT SON SO RISES THAT SUN

SO OSIRIS THAT SON SO SETS THAT SON SO SETS THAT SUN SO OSIRIS THAT SON

SO SETS THAT SON SO OSIRIS THAT SON SO OSIRIS THAT SON SO SETS THAT SON

REAL REALITY REVEALED IS HOURS OF HORUS ISISISISISIS HORUS OF HOURS IS REVEALED REALITY REAL

 

 

http://www.youtube.com/watch?v=w9aYrHzEW-w

 

 

HOLY BIBLE

Scofield References

Page114/5/6

John Chapter 1

1 In the beginning was the Word, and the Word was with God, and the Word was God.

2 The same was in the beginning with God.

3 All things were made by him; and without him was not any thing made that was made.

4 In him was life; and the life was the light of men.

5 And the light shineth in darkness; and the darkness comprehended it not.

6 There was a man sent from God, whose name was John.

7 The same came for a witness, to bear witness of the Light, that all men through him might believe.

8 He was not that Light, but was sent to bear witness of that Light.

9 That was the true Light, which lighteth every man that cometh into the world.

10 He was in the world, and the world was made by him, and the world knew him not.

11 He came unto his own, and his own received him not.

12 But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name:

13 Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God.

14 And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth.

15 John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me.

16 And of his fulness have all we received, and grace for grace.

17 For the law was given by Moses, but grace and truth came by Jesus Christ.

18 No man hath seen God at any time, the only begotten Son, which is in the bosom of the Father, he hath declared him.

19 And this is the record of John, when the Jews sent priests and Levites from Jerusalem to ask him, Who art thou?

20 And he confessed, and denied not; but confessed, I am not the Christ.

21 And they asked him, What then? Art thou Elias? And he saith, I am not. Art thou that prophet? And he answered, No.

22 Then said they unto him, Who art thou? that we may give an answer to them that sent us. What sayest thou of thyself?

23 He said, I am the voice of one crying in the wilderness, Make straight the way of the Lord, as said the prophet Esaias.

24 And they which were sent were of the Pharisees.

25 And they asked him, and said unto him, Why baptizest thou then, if thou be not that Christ, nor Elias, neither that prophet?

26 John answered them, saying, I baptize with water: but there standeth one among you, whom ye know not;

27 He it is, who coming after me is preferred before me, whose shoe's latchet I am not worthy to unloose.

28 These things were done in Bethabara beyond Jordan, where John was baptizing.

29 The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world.

30 This is he of whom I said, After me cometh a man which is preferred before me: for he was before me.

31 And I knew him not: but that he should be made manifest to Israel, therefore am I come baptizing with water.

32 And John bare record, saying, I saw the Spirit descending from heaven like a dove, and it abode upon him.

33 And I knew him not: but he that sent me to baptize with water, the same said unto me, Upon whom thou shalt see the Spirit descending, and remaining on him, the same is he which baptizeth with the Holy Ghost.

34 And I saw, and bare record that this is the Son of God.

35 Again the next day after John stood, and two of his disciples;

36 And looking upon Jesus as he walked, he saith, Behold the Lamb of God!

37 And the two disciples heard him speak, and they followed Jesus.

38 Then Jesus turned, and saw them following, and saith unto them, What seek ye? They said unto him, Rabbi, (which is to say, being interpreted, Master,) where dwellest thou?

39 He saith unto them, Come and see. They came and saw where he dwelt, and abode with him that day: for it was about the tenth hour.

40 One of the two which heard John speak, and followed him, was Andrew, Simon Peter's brother.

41 He first findeth his own brother Simon, and saith unto him, We have found the Messias, which is, being interpreted, the Christ.

42 And he brought him to Jesus. And when Jesus beheld him, he said, Thou art Simon the son of Jona: thou shalt be called Cephas, which is by interpretation, A stone.

43 The day following Jesus would go forth into Galilee, and findeth Philip, and saith unto him, Follow me.

44 Now Philip was of Bethsaida, the city of Andrew and Peter.

45 Philip findeth Nathanael, and saith unto him, We have found him, of whom Moses in the law, and the prophets, did write, Jesus of Nazareth, the son of Joseph.

46 And Nathanael said unto him, Can there any good thing come out of Nazareth? Philip saith unto him, Come and see.

47 Jesus saw Nathanael coming to him, and saith of him, Behold an Israelite indeed, in whom is no guile!

48 Nathanael saith unto him, Whence knowest thou me? Jesus answered and said unto him, Before that Philip called thee, when thou wast under the fig tree, I saw thee.

49 Nathanael answered and saith unto him, Rabbi, thou art the Son of God; thou art the King of Israel.

50 Jesus answered and said unto him, Because I said unto thee, I saw thee under the fig tree, believest thou? thou shalt see greater things than these.

51 And he saith unto him, Verily, verily, I say unto you, Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of man.

 

 

HOLY BIBLE

Scofield References

Page1117

John Chapter 1

1 There was a man of the Pharisees, named Nicodemus, a ruler of the Jews:

2 The same came to Jesus by night, and said unto him, Rabbi, we know that thou art a teacher come from God: for no man can do these miracles that thou doest, except God be with him.

3 Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God.

4 Nicodemus saith unto him, How can a man be born when he is old? can he enter the second time into his mother's womb, and be born?

5 Jesus answered, Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God.

6 That which is born of the flesh is flesh; and that which is born of the Spirit is spirit.

7 Marvel not that I said unto thee, Ye must be born again.

8 The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh, and whither it goeth: so is every one that is born of the Spirit.

9 Nicodemus answered and said unto him, How can these things be?

10 Jesus answered and said unto him, Art thou a master of Israel, and knowest not these things?

11 Verily, verily, I say unto thee, We speak that we do know, and testify that we have seen; and ye receive not our witness.

12 If I have told you earthly things, and ye believe not, how shall ye believe, if I tell you of heavenly things?

13 And no man hath ascended up to heaven, but he that came down from heaven, even the Son of man which is in heaven.

14 And as Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up:

15 That whosoever believeth in him should not perish, but have eternal life.

16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

17 For God sent not his Son into the world to condemn the world; but that the world through him might be saved.

18 He that believeth on him is not condemned: but he that believeth not is condemned already, because he hath not believed in the name of the only begotten Son of God.

19 And this is the condemnation, that light is come into the world, and men loved darkness rather than light, because their deeds were evil.

20 For every one that doeth evil hateth the light, neither cometh to the light, lest his deeds should be reproved.

21 But he that doeth truth cometh to the light, that his deeds may be made manifest, that they are wrought in God.

22 After these things came Jesus and his disciples into the land of Judaea; and there he tarried with them, and baptized.

23 And John also was baptizing in Aenon near to Salim, because there was much water there: and they came, and were baptized.

24 For John was not yet cast into prison.

25 Then there arose a question between some of John's disciples and the Jews about purifying.

26 And they came unto John, and said unto him, Rabbi, he that was with thee beyond Jordan, to whom thou barest witness, behold, the same baptizeth, and all men come to him.

27 John answered and said, A man can receive nothing, except it be given him from heaven.

28 Ye yourselves bear me witness, that I said, I am not the Christ, but that I am sent before him.

29 He that hath the bride is the bridegroom: but the friend of the bridegroom, which standeth and heareth him, rejoiceth greatly because of the bridegroom's voice: this my joy therefore is fulfilled.

30 He must increase, but I must decrease.

31 He that cometh from above is above all: he that is of the earth is earthly, and speaketh of the earth: he that cometh from heaven is above all. 32 And what he hath seen and heard, that he testifieth; and no man receiveth his testimony.

33 He that hath received his testimony hath set to his seal that God is true.

34 For he whom God hath sent speaketh the words of God: for God giveth not the Spirit by measure unto him.

35 The Father loveth the Son, and hath given all things into his hand.

36 He that believeth on the Son hath everlasting life: and he that believeth not the Son shall not see life; but the wrath of God abideth on him.

 

 

MNEMONICS 455465931 MNEMONICS

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

ESOTERIC 51625993 ESOTERIC

O SECRET I

6 SECRET 9

O SECRET I

ESOTERIC 51625993 ESOTERIC

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

3THREES3 IS 3 IS 3THREES3

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 13

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

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

 

D
=
4
-
4
DIGNITATES
108
45
9
D
=
4
-
4
DEI
18
9
9
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-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
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D
=
4
-
6
DIVINE
63
36
9
N
=
5
-
5
NAMES
52
16
7
A
=
1
-
10
ATTRIBUTES
135
36
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
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B
=
2
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7
BONITOS
94
31
4
M
=
4
-
9
MAGNITUDO
104
41
5
E
=
5
-
9
ETERNITAS
111
39
3
P
=
7
-
8
POTESTAS
115
25
7
S
=
1
-
9
SAPIENTIA
94
40
4
V
=
4
-
8
VOLUNTAS
124
25
7
V
=
4
-
6
VIRTUS
109
28
1
V
=
4
-
7
VERITAS
94
31
4
G
=
7
-
6
GLORIA
62
35
8
-
-
38
-
69
-
907
295
43
-
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3+8
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6+9
-
9+0+7
2+9+5
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11
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15
-
16
16
7
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1+1
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2
-
6
-
7
7
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-
-
-
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-
-
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RE GODS NAME GODS

RE AS IN THREE IS IS THREE AS IN RE

 

 

M
=
2
-
2
MOSLEMS
96
24
6
J
=
1
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3
JEWS
57
12
3
C
=
3
-
6
CHRISTIANS
120
48
3
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6
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11
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273
84
12
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3
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D
=
4
-
4
DIGNITATES
108
45
9
D
=
4
-
4
DEI
18
9
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
D
=
4
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6
DIVINE
63
36
9
N
=
5
-
5
NAMES
52
16
7
A
=
1
-
10
ATTRIBUTES
135
36
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
B
=
2
-
7
BONITOS
94
31
4
G
=
7
-
8
GOODNESS
89
35
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
M
=
4
-
9
MAGNITUDO
104
41
5
G
=
7
-
9
GREATNESS
108
36
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
E
=
5
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ETERNITAS
111
39
3
E
=
5
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8
ETERNITY
116
44
8
-
-
-
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-
-
-
-
-
-
-
-
-
-
-
-
-
-
P
=
7
-
8
POTESTAS
115
25
7
P
=
7
-
5
POWER
77
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
-
9
SAPIENTIA
94
40
4
W
=
5
-
6
WISDOM
83
29
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
=
4
-
8
VOLUNTAS
124
25
7
W
=
5
-
4
WILL
56
20
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
=
4
-
6
VIRTUS
109
28
1
V
=
4
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6
VIRTUE
95
32
5
S
=
1
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8
STRENGTH
111
39
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
V
=
4
-
7
VERITAS
94
31
4
T
=
2
-
5
TRUTH
87
24
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
G
=
7
-
6
GLORIA
62
35
8
G
=
7
-
5
GLORY
77
32
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

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

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

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

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

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

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

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

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

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

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

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

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

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

Page 17

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

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

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

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

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

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

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

 

 

TRIANGLE 5 TRIANGLE

CIRCLE 5 CIRCLE

SQUARE 9 SQUARE

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

Page 13

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

 

Page 13

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

 

Page 13

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

 

ABCD 1234 ABCD

BCDEFGHIK 234567892 BCDEFGHIK

 

 

THREES 3 THREES

 

 

LULL 3333 LULL

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 135 (number omitted)

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

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

"Page 139

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

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

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

 

 

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

155 155 58595 3899121 23634 12951451 95 285 699414552

IS 9 IS

9

IS 9 IS

155 155 58595 3899121 23634 12951451 95 285 699414552

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

 

 

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

 

 

http://www.youtube.com/watch?v=7_IKcMl_a9A

 

 

ZOHAR 5 ZOHAR

5

ZOHAR 5 ZOHAR

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER NAME OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER

CIRCLE

OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

IS

NAUTILUS NEMO OMEN NEMO NAUTILUS

IS

 

 

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

SOLOMON SOL MOON IS IS MOON SOL SOLOMON

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

 

 

HEART EARTH TERAH THERA

THE

RA IS IS RA

THE

THERA TERAH EARTH HEART

EARTH THE R THE EARTH

HEART THE R THE HEART

TERAH THE R THE TERAH

THERA THE R THE THERA

THE

RA IS IS RA

THE

HEART EARTH TERAH THERA

 

 

ISRAEL IS RA EL EL IS RA ISRAEL

RA EL IS IS EL RA

IS REAL REAL IS

RA EL IS IS EL RA

ISRAEL IS RA EL EL IS RA ISRAEL

 

 

IS RA REAL IS IS REAL RA IS

 

 

WISE W IS E WISE

W IS E

WISE W IS E WISE

 

 

WISE W IS E WISE

5 IS 5

WISE W IS E WISE

 

 

LUCIFER L U C FIRE IS IS FIRE LUC LUCIFER

LUCFIRE IS IS LUCFIRE

GODS NAME RE IS IS RE NAME GODS

GODS NAME EL IS IS EL NAME GODS

SEE L FIRE IS IS FIRE EL SEE

U C L FIRE LUCIFER IS IS LUCIFER FIRE UCL

GODS NAME RE IS IS RE NAME GODS

GODS NAME 95 IS IS 95 NAME GODS

GODS NAME RE IS IS RE NAME GODS

GOD GAVE NOAH THE RAINBOW SIGN NO MORE WATER FIRE NEXT TIME

 

 

1234 5 6789

ONE TWO THREE FOUR 5FIVE5 SIX SEVEN EIGHT NINE

1234 5 6789

 

 

THAT THAT THAT

IS

THAT

SEE SAW SEE IS 5 IS SEE SAW SEE

 

 

ALL QUIET ON THE WESTERN FRONT

IS IT FOR YOU FOR YOU IS IT

?

 

 

THE

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AZIN OUGHT OF THE OUGHT AZIN

THOUGHT

THROUGHOUT

THAT THAT THAT

ISISIS

UNIVERSAL MINDS I MINDS UNIVERSAL

 

 

I

THAT AM THAT

TIME EMIT

 

 

THE

MAHABHARATA

 

 

MAHABHARATA ABRAHAM MAHABHARATA

 

 

C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C

SO C RISH 999 RISH C SO

C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C

 

 

CREATION C RE ACTION RE C CREATION

REACTORS CREATORS REACTORS

 

 

ATUM 1234 ATUM

GOD IS GREAT IS GREAT IS GOD

 

 

Allahu Akbar (disambiguation) - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Allahu_Akbar_(disambiguation)

Allahu Akbar (Arabic: الله أكبر) is a phrase, called Takbir in Arabic, meaning "God is greater" or "God is [the] greatest". Allahu Akbar or Allahu Ekber and similar ...

 

ALLAHU AKBAR 133183 ALLAHU AKBAR

TAKBIR 212200 TAKBIR

GOD IS GREATER IS GOD

GOD IS GREATEST IS GOD

ALLAHU EKBER 133183

 

 

 

 

I

THAT

AM

CRUCIFIED

A

CROSS A CROSS

 

--

 

10
LOVE EVOLVE
-
-
-
-
LOVE
-
-
-
-
L+O
27
9
9
-
V+E
27
9
9
-
EVOLVE
-
-
-
-
E+V
27
9
9
-
O+L
27
9
9
-
V+E
27
9
9
-
EVOLVE LOVE
-
-
-
-
-
-
-
-
-
-
-
-
-
10
LOVE EVOLVE
135
45
9

 

 

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

 

 

-
7
L
U
L
L
A
B
Y
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
-
-
-
+
=
22
2+2
=
4
=
4
=
4
-
-
12
21
12
12
-
-
-
+
=
85
8+5
=
13
1+3
4
=
4
-
7
L
U
L
L
A
B
Y
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
1
2
7
+
=
22
2+2
=
4
=
4
=
4
-
-
12
21
12
12
1
2
25
+
=
85
8+5
=
13
1+3
4
=
4
-
7
L
U
L
L
A
B
Y
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
1
2
25
+
=
85
8+5
=
13
1+3
4
=
4
-
-
3
3
3
3
1
2
7
+
=
22
2+2
=
4
=
4
=
4
-
7
L
U
L
L
A
B
Y
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
1
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
--
-
-
-
2
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
3
3
3
-
-
-
-
-
3
occurs
x
4
=
12
1+2
3
4
-
-
--
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
--
-
-
-
-
7
-
-
7
occurs
x
1
=
7
=
7
8
-
-
--
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
42
7
L
U
L
L
A
B
Y
-
-
12
-
-
7
-
22
-
13
4+2
-
3
3
3
3
1
2
7
-
-
1+2
-
-
-
-
2+2
-
1+3
6
7
L
U
L
L
A
B
Y
-
-
3
-
-
7
-
4
-
4
-
-
3
3
3
3
1
2
7
-
-
-
-
-
-
-
-
-
-
6
7
L
U
L
L
A
B
Y
-
-
3
-
-
7
-
4
-
4

 

 

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

 

 

Macbeth 1 [iii]

Shakespeare,

"Thrice to thine and thrice to mine,

and thrice again to make up nine"

 Number 9

The Search for the Sigma code

Cecil Balmond

Page 45

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

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

 

3 x 3 = 9 = 3 x 3

 

 

Daily Mail, Thursday, December 15, 2011

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 57

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

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

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

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

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

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

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

Barry Saunders, Watford.

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 21

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

Page 32

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

 

 

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

 

 

-
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
9
-
1
+
=
10
1+0
=
1
=
1
=
1
-
-
-
--
-
-
9
-
19
+
=
28
2+8
=
10
1+0
1
=
1
-
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
2
3
3
3
-
3
-
+
=
14
1+4
=
5
=
5
=
5
-
-
20
21
12
12
-
21
-
+
=
86
8+6
=
14
1+4
5
=
5
-
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
20
21
12
12
9
21
19
+
=
114
1+1+4
=
6
=
6
=
6
-
-
2
3
3
3
9
3
1
+
=
24
2+4
=
6
=
6
=
6
-
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
-
-
2
--
-
-
-
--
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
3
3
3
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
4
-
-
--
-
-
-
--
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
-
--
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
-
--
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
-
--
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
-
--
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
--
-
-
9
--
-
-
-
9
occurs
x
1
=
9
=
9
30
4
T
U
L
L
I
U
S
-
-
15
-
-
7
-
24
-
15
3+0
-
-
3
3
3
-
3
-
-
-
1+5
-
-
-
-
2+4
-
1+5
3
4
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6
-
-
2
3
3
3
9
3
1
-
-
-
-
-
-
-
-
-
-
3
4
T
U
L
L
I
U
S
-
-
6
-
-
4
-
6
-
6

 

 

4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
9
-
1
+
=
10
1+0
=
1
=
1
=
1
-
-
--
-
-
9
-
19
+
=
28
2+8
=
10
1+0
1
=
1
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
2
3
3
3
-
3
-
+
=
14
1+4
=
5
=
5
=
5
-
20
21
12
12
-
21
-
+
=
86
8+6
=
14
1+4
5
=
5
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
20
21
12
12
9
21
19
+
=
114
1+1+4
=
6
=
6
=
6
-
2
3
3
3
9
3
1
+
=
24
2+4
=
6
=
6
=
6
4
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
-
2
--
-
-
-
--
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
3
3
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
-
-
--
-
-
9
--
-
-
-
9
occurs
x
1
=
9
=
9
4
T
U
L
L
I
U
S
-
-
15
-
-
7
-
24
-
15
-
-
3
3
3
-
3
-
-
-
1+5
-
-
-
-
2+4
-
1+5
4
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6
-
2
3
3
3
9
3
1
-
-
-
-
-
-
-
-
-
-
4
T
U
L
L
I
U
S
-
-
6
-
-
4
-
6
-
6

 

 

RE GODS NAME GODS RE

RE AS IN THREE IS IS THREE AS IN RE

GODS NAMES MEANS E MEANS NAMES GODS

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 175

CHAPTER 8

LULLISM AS AN ART OF MEMORY

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

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

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

 

Page 282

"By THE LADDER OF MINERVA we rise from the first to the last..."

 

 

B
=
2
-
2
BY
27
9
9
T
=
2
-
3
THE
33
15
6
L
=
3
-
6
LADDER
44
26
8
O
=
6
-
2
OF
21
12
3
M
=
4
-
7
MINERVA
82
37
1
W
=
5
-
2
WE
28
10
1
R
=
9
-
4
RISE
51
24
6
F
=
6
-
4
FROM
52
25
7
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FIRST
72
27
9
T
=
2
-
2
TO
35
8
8
T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LAST
52
7
7
-
-
52
-
47
-
563
230
77
-
-
5+2
-
4+7
-
5+6+3
2+3+0
7+7
-
-
7
-
11
-
14
5
14
-
-
-
-
1+1
-
1+4
-
1+4
-
-
7
-
2
-
5
5
5

 

 

ART AT R AT ART

 

 

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

 

 

-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
-
12
21
12
12
+
=
57
5+7
=
12
1+2
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
-
12
21
12
12
+
=
57
5+7
=
12
1+2
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
+
=
57
5+7
=
12
=
3
=
3
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
1
-
-
--
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
--
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
-
-
3
occurs
x
4
=
12
1+2
3
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
4
L
U
L
L
-
-
3
-
-
4
-
12
-
3
4+2
-
3
3
3
3
-
-
-
-
-
-
-
1+2
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3
-
-
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3

 

 

-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
-
12
21
12
12
+
=
57
5+7
=
12
1+2
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
-
12
21
12
12
+
=
57
5+7
=
12
1+2
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
+
=
57
5+7
=
12
=
3
=
3
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
-
-
3
occurs
x
4
=
12
1+2
3
42
4
L
U
L
L
-
-
3
-
-
4
-
12
-
3
4+2
-
3
3
3
3
-
-
-
-
-
-
-
1+2
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3
-
-
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3

 

 

-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
12
21
12
12
+
=
57
5+7
=
12
=
3
=
3
-
-
3
3
3
3
+
=
12
1+2
=
3
=
3
=
3
-
4
L
U
L
L
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
-
-
3
occurs
x
4
=
12
1+2
3
42
4
L
U
L
L
-
-
3
-
-
4
-
12
-
3
4+2
-
3
3
3
3
-
-
-
-
-
-
-
1+2
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3
-
-
3
3
3
3
-
-
-
-
-
-
-
-
-
-
6
4
L
U
L
L
-
-
3
-
-
4
-
3
-
3

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 111

MEDIEVAL MEMORY AND THE FORMATION OF IMAGES

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

LUCULLUS 33333331 LUCULLUS

 

 

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

 

 

-
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
-
-
1
+
=
10
1+0
=
1
=
1
=
1
-
-
-
--
-
-
-
-
-
19
+
=
19
1+9
=
10
1+0
1
=
1
-
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
3
3
-
+
=
21
2+1
=
3
=
3
=
3
-
-
12
21
3
21
12
12
21
-
+
=
30
3+0
=
3
=
3
=
3
-
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
12
21
3
21
12
12
21
19
+
=
121
1+2+1
=
4
=
4
=
4
-
-
3
3
3
3
3
3
3
1
+
=
22
2+2
=
4
=
4
=
4
-
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
--
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
2
-
-
--
-
--
-
-
--
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
3
3
3
3
3
3
-
-
-
3
occurs
x
7
=
21
2+1
3
4
-
-
--
-
--
-
-
--
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
--
-
-
--
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
--
-
-
--
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
--
-
-
--
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
--
-
-
--
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
--
-
--
-
-
--
-
-
-
9
NINE
9
-
-
-
-
-
41
8
L
U
C
U
L
L
U
S
-
-
4
-
-
8
-
22
-
4
4+1
-
3
3
3
3
3
3
3
-
-
-
-
-
-
-
-
2+2
-
-
5
8
L
U
C
U
L
L
U
S
-
-
4
-
-
8
-
4
-
4
-
-
3
3
3
3
3
3
3
1
-
-
-
-
-
-
-
-
-
-
5
8
L
U
C
U
L
L
U
S
-
-
4
-
-
8
-
4
-
4

 

 

7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
-
-
1
+
=
10
1+0
=
1
=
1
=
1
-
-
--
-
-
-
-
-
19
+
=
19
1+9
=
10
1+0
1
=
1
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
3
3
3
3
3
3
3
-
+
=
21
2+1
=
3
=
3
=
3
-
12
21
3
21
12
12
21
-
+
=
30
3+0
=
3
=
3
=
3
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
12
21
3
21
12
12
21
19
+
=
121
1+2+1
=
4
=
4
=
4
-
3
3
3
3
3
3
3
1
+
=
22
2+2
=
4
=
4
=
4
7
L
U
C
U
L
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
--
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
-
3
3
3
3
3
3
3
-
-
-
3
occurs
x
7
=
21
2+1
3
8
L
U
C
U
L
L
U
S
-
-
4
-
-
8
-
22
-
4
-
3
3
3
3
3
3
3
-
-
-
-
-
-
-
-
2+2
-
-
8
L
U
C
U
L
L
U
S
-
-
4
-
-
8
-
4
-
4
-
3
3
3
3
3
3
3
1
-
-
-
-
-
-
-
-
-
-
8
L
U
C
U
L
L
U
S
-
-
4
-
-
8
-
4
-
4

 

 

Daily Mail, Thursday, November 17, 2011

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

Page 70

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


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

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

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

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

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

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

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

David Bradbury, London.

 

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

 

 

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

 

 

-
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
9
-
1
+
=
10
1+0
=
1
=
1
=
1
-
-
-
--
-
-
9
-
19
+
=
28
2+8
=
10
1+0
1
=
1
-
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
2
3
3
3
-
3
-
+
=
14
1+4
=
5
=
5
=
5
-
-
20
21
12
12
-
21
-
+
=
86
8+6
=
14
1+4
5
=
5
-
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
20
21
12
12
9
21
19
+
=
114
1+1+4
=
6
=
6
=
6
-
-
2
3
3
3
9
3
1
+
=
33
3+3
=
6
=
6
=
6
-
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
-
-
2
--
-
-
-
--
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
3
3
3
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
4
-
-
--
-
-
-
--
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
--
-
-
-
--
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
--
-
-
-
--
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
--
-
-
-
--
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
--
-
-
-
--
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
--
-
-
9
--
-
-
-
9
occurs
x
1
=
9
=
9
30
7
T
U
L
L
I
U
S
-
-
15
-
-
7
-
24
-
15
3+0
-
-
3
3
3
-
3
-
-
-
1+5
-
-
-
-
2+4
-
1+5
3
7
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6
-
-
2
3
3
3
9
3
1
-
-
-
-
-
-
-
-
-
-
3
7
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6

 

 

7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
9
-
1
+
=
10
1+0
=
1
=
1
=
1
-
-
--
-
-
9
-
19
+
=
28
2+8
=
10
1+0
1
=
1
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
2
3
3
3
-
3
-
+
=
14
1+4
=
5
=
5
=
5
-
20
21
12
12
-
21
-
+
=
86
8+6
=
14
1+4
5
=
5
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
20
21
12
12
9
21
19
+
=
114
1+1+4
=
6
=
6
=
6
-
2
3
3
3
9
3
1
+
=
33
3+3
=
6
=
6
=
6
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
-
2
--
-
-
-
--
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
3
3
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
-
-
--
-
-
9
--
-
-
-
9
occurs
x
1
=
9
=
9
7
T
U
L
L
I
U
S
-
-
15
-
-
7
-
24
-
15
-
-
3
3
3
-
3
-
-
-
1+5
-
-
-
-
2+4
-
1+5
7
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6
-
2
3
3
3
9
3
1
-
-
-
-
-
-
-
-
-
-
7
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6

 

 

7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
20
21
12
12
9
21
19
+
=
114
1+1+4
=
6
=
6
=
6
-
2
3
3
3
9
3
1
+
=
33
3+3
=
6
=
6
=
6
7
T
U
L
L
I
U
S
-
-
-
-
-
-
-
-
-
-
-
-
--
-
-
-
--
1
-
-
1
occurs
x
1
=
1
=
1
-
2
--
-
-
-
--
-
-
-
2
occurs
x
1
=
2
=
2
-
-
3
3
3
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
-
-
--
-
-
9
--
-
-
-
9
occurs
x
1
=
9
=
9
7
T
U
L
L
I
U
S
-
-
15
-
-
7
-
24
-
15
-
-
3
3
3
-
3
-
-
-
1+5
-
-
-
-
2+4
-
1+5
7
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6
-
2
3
3
3
9
3
1
-
-
-
-
-
-
-
-
-
-
7
T
U
L
L
I
U
S
-
-
6
-
-
7
-
6
-
6

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 21

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

Page 32

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

Page 282

"By the THE LADDER OF MINERVA we rise from the first to the last..."

 

 

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

 

 

-
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
5
5
9
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
-
-
8
-
-
-
14
14
9
-
-
+
=
45
4+5
=
9
=
9
=
9
-
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
1
4
-
-
5
9
5
-
-
-
3
4
+
=
31
3+1
=
4
=
4
=
4
-
-
1
4
-
-
5
18
5
-
-
-
21
13
+
=
67
6+7
=
13
1+3
4
=
4
-
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
1
4
-
8
5
18
5
14
14
9
21
13
+
=
112
1+1+2
=
4
=
4
=
4
-
-
1
4
-
8
5
9
5
5
5
9
3
4
+
=
58
5+8
=
13
1+3
4
=
4
-
11
A
D
-
H
E
R
E
N
N
I
U
M
-T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
4
-
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
-
5
-
5
5
5
-
-
-
-
-
5
occurs
x
4
=
20
2+0
2
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
1
=
18
1+8
9
15
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
30
-
1
11
-
58
-
31
1+5
1+1
-
-
-
-
-
9
-
-
-
9
-
-
-
-
3+0
-
-
1+1
-
5+8
-
3+1
6
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
1
2
-
13
-
4
-
-
1
4
-
8
5
9
5
5
5
9
3
4
-
-
-
-
-
-
-
1+3
-
-
6
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
-
2
-
4
-
4

 

 

1
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
5
5
9
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
-
8
-
-
-
14
14
9
-
-
+
=
45
4+5
=
9
=
9
=
9
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
-
-
5
9
5
-
-
-
3
4
+
=
31
3+1
=
4
=
4
=
4
-
1
4
-
-
5
18
5
-
-
-
21
13
+
=
67
6+7
=
13
1+3
4
=
4
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
-
8
5
18
5
14
14
9
21
13
+
=
112
1+1+2
=
4
=
4
=
4
-
1
4
-
8
5
9
5
5
5
9
3
4
+
=
58
5+8
=
13
1+3
4
=
4
11
A
D
-
H
E
R
E
N
N
I
U
M
-T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
4
-
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
-
5
-
5
5
5
-
-
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
1
=
18
1+8
9
11
A
D
-
H
E
R
E
N
N
I
U
M
-
-
30
-
1
11
-
58
-
31
1+1
-
-
-
-
-
9
-
-
-
9
-
-
-
-
3+0
-
-
1+1
-
5+8
-
3+1
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
1
2
-
13
-
4
-
1
4
-
8
5
9
5
5
5
9
3
4
-
-
-
-
-
-
-
1+3
-
-
2
A
D
-
H
E
R
E
N
N
I
U
M
-
-
3
-
-
2
-
4
-
4

 

 

1
A
D
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
5
5
9
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
8
-
-
-
14
14
9
-
-
+
=
45
4+5
=
9
=
9
=
9
11
A
D
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
-
5
9
5
-
-
-
3
4
+
=
31
3+1
=
4
=
4
=
4
-
1
4
-
5
18
5
-
-
-
21
13
+
=
67
6+7
=
13
1+3
4
=
4
11
A
D
H
E
R
E
N
N
I
U
M
-
-
-
-
-
-
-
-
-
-
-
1
4
8
5
18
5
14
14
9
21
13
+
=
112
1+1+2
=
4
=
4
=
4
-
1
4
8
5
9
5
5
5
9
3
4
+
=
58
5+8
=
13
1+3
4
=
4
11
A
D
H
E
R
E
N
N
I
U
M
-T
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
=
3
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
5
-
5
5
5
-
-
-
-
-
5
occurs
x
4
=
20
2+0
2
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
9
-
-
-
9
-
-
-
-
9
occurs
x
1
=
18
1+8
9
11
A
D
H
E
R
E
N
N
I
U
M
-
-
30
-
1
11
-
58
-
31
1+1
-
-
-
-
9
-
-
-
9
-
-
-
-
3+0
-
-
1+1
-
5+8
-
3+1
2
A
D
H
E
R
E
N
N
I
U
M
-
-
3
-
1
2
-
13
-
4
-
1
4
8
5
9
5
5
5
9
3
4
-
-
-
-
-
-
-
1+3
-
-
2
A
D
H
E
R
E
N
N
I
U
M
-
-
3
-
-
2
-
4
-
4

 

 

-
-
-
-
-
AD HERENNIUM
-
-
-
A
=
1
-
2
A+D
5
5
5
-
-
-
-
9
HERENNIUM
-
-
-
-
S
-
S
S
H
8
8
8
S
-
S
-
-
E
5
5
5
-
S
-
S
S
R
18
9
9
S
-
S
-
-
E
5
5
5
-
S
-
S
S
N
14
5
5
-
S
-
S
S
N
14
5
5
-
S
-
S
S
I
9
9
9
S
-
S
-
-
U
21
3
3
S
-
S
-
-
M
13
4
4
S
S
-
S
-
AD HERENNIUM
-
-
-
H
=
8
4
11
First Total
112
58
58
-
S
-
-
1+1
Add to Reduce
1+1+2
5+8
5+8
S
-
9
4
2
Second Total
4
13
13
-
-
-
-
-
Reduce to Deduce
1+2
1+3
1+3
-
-
9
-
2
Essence of Number
4
4
4

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 175

CHAPTER 8

LULLISM AS AN ART OF MEMORY

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

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

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

 

ART AT R AT ART

 

 

8
SIG1LLUS
108
36
9
10
SIGILLORUM
135
54
9
18
-
243
90
18
1+8
-
2+4+3
9+0
1+8
9
-
9
9
9

 

 

-
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
1
9
-
9
-
-
-
1
-
1
9
-
9
-
-
6
-
-
-
+
=
45
4+5
=
9
=
9
=
9
-
-
19
9
-
9
-
-
-
19
-
19
9
-
9
-
-
15
-
-
-
+
=
108
1+0+8
=
9
=
9
=
9
-
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
3
3
3
-
-
-
-
7
-
3
3
-
9
3
4
+
=
45
4+5
=
9
=
9
=
9
-
-
-
-
7
-
12
12
21
-
-
-
-
7
-
12
12
-
18
21
13
+
=
135
1+3+5
=
9
=
9
=
9
-
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
19
9
7
9
12
12
21
19
-
19
9
7
9
12
12
15
18
21
13
+
=
243
2+4+3
=
9
=
9
=
9
-
-
1
9
7
9
3
3
3
1
-
1
9
7
9
3
3
6
9
3
4
+
=
90
9+0
=
9
=
9
=
9
-
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
1
-
1
-
-
-
-
-
-
-
-
-
-
-
1
occurs
x
3
=
3
=
3
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
-
-
3
3
3
-
-
-
-
-
-
3
3
-
-
3
-
-
-
3
occurs
x
6
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
1
=
4
=
4
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
14
1+4
5
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
9
-
-
-
-
-
-
9
-
9
-
-
-
9
-
-
-
-
9
occurs
x
5
=
45
4+5
9
15
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
30
-
-
18
-
90
-
36
1+5
1+8
-
-
-
-
3
3
3
-
-
-
-
-
-
3
3
-
-
3
-
-
-
3+0
-
-
1+8
-
9+0
-
3+6
6
9
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
3
-
-
9
-
9
-
9
-
-
1
9
7
9
3
3
3
1
-
1
9
7
9
3
3
6
9
3
4
-
-
-
-
-
-
-
-
-
-
6
9
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
3
-
-
9
-
9
-
9

 

 

18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
1
9
-
9
-
-
-
1
-
1
9
-
9
-
-
6
-
-
-
+
=
45
4+5
=
9
=
9
=
9
-
19
9
-
9
-
-
-
19
-
19
9
-
9
-
-
15
-
-
-
+
=
108
1+0+8
=
9
=
9
=
9
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
3
3
3
-
-
-
-
7
-
3
3
-
9
3
4
+
=
45
4+5
=
9
=
9
=
9
-
-
-
7
-
12
12
21
-
-
-
-
7
-
12
12
-
18
21
13
+
=
135
1+3+5
=
9
=
9
=
9
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
19
9
7
9
12
12
21
19
-
19
9
7
9
12
12
15
18
21
13
+
=
243
2+4+3
=
9
=
9
=
9
-
1
9
7
9
3
3
3
1
-
1
9
7
9
3
3
6
9
3
4
+
=
90
9+0
=
9
=
9
=
9
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
--
1
-
1
-
-
-
-
-
-
-
--
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
3
3
3
-
-
-
-
-
-
3
3
-
-
3
-
-
-
3
occurs
x
6
=
18
1+8
9
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
-
--
4
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
6
-
--
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
7
-
-
-
--
-
-
-
-
7
-
-
-
-
-
--
-
-
-
9
occurs
x
2
=
14
1+4
5
-
-
9
-
9
-
-
--
-
-
-
9
-
9
-
-
-
9
--
-
-
-
9
occurs
x
5
=
45
4+5
9
18
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
30
-
-
18
-
90
-
36
1+8
-
-
-
-
3
3
3
-
-
-
-
-
-
3
3
-
-
3
-
-
-
3+0
-
-
1+8
-
9+0
-
3+6
9
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
3
-
-
9
-
9
-
9
-
1
9
7
9
3
3
3
1
-
1
9
7
9
3
3
6
9
3
4
-
-
-
-
-
-
-
-
-
-
9
S
I
G
I
L
L
U
S
-
S
I
G
I
L
L
O
R
U
M
-
-
3
-
-
9
-
9
-
9

 

 

18
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
1
9
-
9
-
-
-
1
1
9
-
9
-
-
6
-
-
-
+
=
45
4+5
=
9
=
9
=
9
-
19
9
-
9
-
-
-
19
19
9
-
9
-
-
15
-
-
-
+
=
108
1+0+8
=
9
=
9
=
9
18
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
3
3
3
-
-
-
7
-
3
3
-
9
3
4
+
=
45
4+5
=
9
=
9
=
9
-
-
-
7
-
12
12
21
-
-
-
7
-
12
12
-
18
21
13
+
=
135
1+3+5
=
9
=
9
=
9
18
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
19
9
7
9
12
12
21
19
19
9
7
9
12
12
15
18
21
13
+
=
243
2+4+3
=
9
=
9
=
9
-
1
9
7
9
3
3
3
1
1
9
7
9
3
3
6
9
3
4
+
=
90
9+0
=
9
=
9
=
9
18
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
--
1
1
-
-
-
-
-
-
-
--
-
-
-
1
occurs
x
3
=
3
=
3
-
-
-
-
-
3
3
3
-
-
-
-
-
3
3
-
-
3
-
-
-
3
occurs
x
6
=
18
1+8
9
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
-
-
--
4
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
--
-
-
-
-
-
-
-
6
-
--
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
7
-
-
-
--
-
-
-
7
-
-
-
-
-
--
-
-
-
9
occurs
x
2
=
14
1+4
5
-
-
9
-
9
-
-
--
-
-
9
-
9
-
-
-
9
--
-
-
-
9
occurs
x
5
=
45
4+5
9
18
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
30
-
-
18
-
90
-
36
1+8
-
-
-
-
3
3
3
-
-
-
-
-
3
3
-
-
3
-
-
-
3+0
-
-
1+8
-
9+0
-
3+6
9
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
3
-
-
9
-
9
-
9
-
1
9
7
9
3
3
3
1
1
9
7
9
3
3
6
9
3
4
-
-
-
-
-
-
-
-
-
-
9
S
I
G
I
L
L
U
S
S
I
G
I
L
L
O
R
U
M
-
-
3
-
-
9
-
9
-
9

 

 

8
CALCULUS
-
-
-
-
-
-
-
C
3
3
3
-
-
3
-
A
1
1
1
-
1
-
-
L
12
3
3
-
-
3
-
C
3
3
3
-
-
3
-
U
21
3
3
-
-
3
-
L
12
3
3
-
-
3
-
U
21
3
3
-
-
3
-
S
19
10
10
-
1
-
8
CALCULUS
92
29
29
-
2
18
-
-
9+2
2+9
2+9
-
-
1+8
8
CALCULUS
11
11
11
-
2
9
-
-
1+1
1+1
1+1
-
-
-
8
CALCULUS
2
2
2
-
2
9

 

 

-
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
+
=
1
-
=
1
=
1
=
1
-
-
-
-
-
-
-
-
-
19
+
=
19
1+9
=
10
1+0
1
=
1
-
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
3
1
3
3
3
3
3
-
+
=
19
1+9
=
10
1+0
1
=
1
-
-
3
1
12
3
21
12
21
-
+
=
73
7+3
=
10
1+0
1
=
1
-
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
3
1
12
3
21
12
21
19
+
=
92
9+2
=
11
1+0
2
=
2
-
-
3
1
3
3
3
3
3
1
+
=
20
2+0
=
2
=
2
=
2
-
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
-
3
3
3
3
3
-
-
-
3
occurs
x
6
=
18
1+8
9
4
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
41
8
C
A
L
C
U
L
U
S
-
-
4
-
-
8
-
20
-
11
4+1
-
3
-
3
3
3
3
3
-
-
-
-
-
-
-
-
2+0
-
2+0
5
8
C
A
L
C
U
L
U
S
-
-
4
-
-
8
-
2
-
2
-
-
3
1
3
3
3
3
3
1
-
-
-
-
-
-
-
-
-
-
2
8
C
A
L
C
U
L
U
S
-
-
4
-
-
8
-
2
-
2

 

 

8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
+
=
1
-
=
1
=
1
=
1
-
-
-
-
-
-
-
-
19
+
=
19
1+9
=
10
1+0
1
=
1
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
3
1
3
3
3
3
3
-
+
=
19
1+9
=
10
1+0
1
=
1
-
3
1
12
3
21
12
21
-
+
=
73
7+3
=
10
1+0
1
=
1
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
3
1
12
3
21
12
21
19
+
=
92
9+2
=
11
1+0
2
=
2
-
3
1
3
3
3
3
3
1
+
=
20
2+0
=
2
=
2
=
2
8
C
A
L
C
U
L
U
S
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
-
-
1
occurs
x
2
=
2
=
2
-
3
-
3
3
3
3
3
-
-
-
3
occurs
x
6
=
18
1+8
9
8
C
A
L
C
U
L
U
S
-
-
4
-
-
8
-
20
-
11
-
3
-
3
3
3
3
3
-
-
-
-
-
-
-
-
2+0
-
2+0
8
C
A
L
C
U
L
U
S
-
-
4
-
-
8
-
2
-
2
-
3
1
3
3
3
3
3
1
-
-
-
-
-
-
-
-
-
-
8
C
A
L
C
U
L
U
S
-
-
4
-
-
8
-
2
-
2

 

 

11
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
+
=
9
-
=
9
-
9
=
9
-
-
-
-
-
-
-
-
9
+
=
9
-
=
9
-
9
=
9
-
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
-
3
1
3
3
3
3
-
+
=
16
1+6
=
7
-
7
=
7
-
-
3
1
12
3
21
12
-
+
=
52
5+2
=
7
-
7
=
7
11
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
-
3
1
12
3
21
12
9
+
=
61
6+1
=
7
-
7
=
7
-
-
3
1
3
3
3
3
9
+
=
25
2+5
=
7
-
7
=
7
11
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
-
2
TWO
-
-
-
-
-
-
-
-
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
occurs
x
1
=
9
=
9
32
7
C
A
L
C
U
L
I
-
-
13
-
-
7
-
25
-
16
3+2
-
3
-
3
3
3
3
-
-
-
1+3
-
-
-
-
2+5
-
1+6
5
7
C
A
L
C
U
L
I
-
-
4
-
-
7
-
7
-
7
-
-
3
1
3
3
3
3
9
-
-
-
-
-
-
-
-
-
-
5
7
C
A
L
C
U
L
I
-
-
4
-
-
7
-
7
-
7

 

 

7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
+
=
9
-
=
9
-
9
=
9
-
-
-
-
-
-
-
9
+
=
9
-
=
9
-
9
=
9
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
3
1
3
3
3
3
-
+
=
16
1+6
=
7
-
7
=
7
-
3
1
12
3
21
12
-
+
=
52
5+2
=
7
-
7
=
7
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
3
1
12
3
21
12
9
+
=
61
6+1
=
7
-
7
=
7
-
3
1
3
3
3
3
9
+
=
25
2+5
=
7
-
7
=
7
7
C
A
L
C
U
L
I
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
1
occurs
x
1
=
1
=
1
-
3
-
3
3
3
3
-
-
-
3
occurs
x
5
=
15
1+5
6
-
-
-
-
-
-
-
9
-
-
9
occurs
x
1
=
9
=
9
7
C
A
L
C
U
L
I
-
-
13
-
-
7
-
25
-
16
-
3
-
3
3
3
3
-
-
-
1+3
-
-
-
-
2+5
-
1+6
7
C
A
L
C
U
L
I
-
-
4
-
-
7
-
7
-
7
-
3
1
3
3
3
3
9
-
-
-
-
-
-
-
-
-
-
7
C
A
L
C
U
L
I
-
-
4
-
-
7
-
7
-
7

 

 

ISLAM EID ISLAM

 

 

EID I DIE

 

 

www.answers.com/topic/king-of-kings

The 99 Attributes of Allah

I found many different versions of the 99 names. The above 99 are on a poster I have. Another list includes Al-Mu'tiy - The Bestower, The Giver and does not have Al- Ahad - The One. Another list did not have Al- Ahad -The Sustainer, The Provider but did have Al - Razzaaq The Noble, The One who is Majid.

Allah (subhanahu wa ta' ala)s' There are a couple of evidences, one is the du`aa where one calls upon Allah by the names He (subhanahu wa ta`ala) has kept to Himself (obviously not taking these names since Allah has not revealed them to us); another is the fact that in the narrations of the famous ninety nine names hadith that do contain 99 names, the names are not consistent between narrations (for example, imam al-bayhaqi reports two versions of this hadith, with different 99 names in each). It is suggested by one commentator that the names were not explicitly stated by the rasul (sallallahu `alayhi wa sallam).

 

 

THE

HEART

OF

ISLAM

Enduring Values for Humanity

Seyyed Hossein Nasr 2002

ONE GOD, MANY PROPHETS

The Unity of Truth and the Multiplicity of Revelations

Say: He, God, is One, God the Self-Sufficient Besought of all.

He begetteth not, nor is begotten, and none is like Him. Quran 112: v.1-41

Page 3/4

"To testify to this oneness lies at the heart of the credo of Islam, and the formula that expresses the truth of this oneness, La ilaha illa 'Llah, "There is no god but God," is the first of two testifications (shahadahs) by which a person bears witness to being a Muslim; the second is Muammadun rasal Allah, "Muhammad is the messenger of God." The oneness of God is for Muslims not only the heart of their religion, but that of every authentic religion. It is a reassertion of the revelation of God to the Hebrew prophets and to Christ, whom Muslims also consider to be their prophets, the revelation of the truth that "The Lord is one," the reconfirmation of that timeless truth that is also stated in the Catholic creed, Credo in unum Deum, "I believe in one God"."

 

 

T
=
2
5
THERE
56
29
2
I
=
9
2
IS
28
19
1
N
=
5
2
NO
29
11
2
G
=
7
3
GOD
26
17
8
B
=
2
3
BUT
43
7
7
G
=
7
3
GOD
26
17
8
-
-
32
18
First Total
208
100
28
-
-
3+2
1+8
Add to Reduce
2+0+8
1+0+0
2+8
Q
-
5
9
Second Total
10
1
10
-
-
-
-
Reduce to Deduce
1+0
-
1+0
-
-
5
9
Essence of Number
1
1
1

 

 

-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
8
-
-
9
-
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
-
-
-
-
-
9
-
-
8
-
-
9
-
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
3
1
-
-
3
1
-
1
-
-
3
3
1
-
3
3
1
-
+
=
23
2+3
=
5
=
5
=
5
-
-
12
1
-
-
12
1
-
1
-
-
12
12
1
-
12
12
1
-
+
=
77
7+7
=
14
1+4
5
=
5
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
12
1
-
9
12
1
8
1
-
9
12
12
1
-
12
12
1
8
+
=
111
1+1+1
=
3
=
3
=
3
-
-
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
+
=
57
5+7
=
12
1+2
3
=
3
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
--
-
-
1
-
-
-
1
-
1
-
-
-
-
1
-
-
-
1
-
-
-
1
occurs
x
5
=
5
=
5
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
-
-
-
3
-
-
-
-
-
3
3
-
-
3
3
-
-
-
-
3
occurs
x
6
=
18
1+8
9
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
--
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
9
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
24
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
21
-
-
15
46-
57
-
30
2+4
1+5
-
-
-
9
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
2+1
-
-
1+5
-
5+7
-
3+0
6
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
46-
12
-
3
-
1
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
-
-
-
-
-
-
-
1+2
-
-
6
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
-
3
-
3

 

 

15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
8
-
-
9
-
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
-
-
-
-
9
-
-
8
-
-
9
-
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
3
1
-
-
3
1
-
1
-
-
3
3
1
-
3
3
1
-
+
=
23
2+3
=
5
=
5
=
5
-
12
1
-
-
12
1
-
1
-
-
12
12
1
-
12
12
1
-
+
=
77
7+7
=
14
1+4
5
=
5
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
12
1
-
9
12
1
8
1
-
9
12
12
1
-
12
12
1
8
+
=
111
1+1+1
=
3
=
3
=
3
-
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
+
=
57
5+7
=
12
1+2
3
=
3
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
1
-
-
-
-
1
-
-
-
1
-
-
-
1
occurs
x
5
=
5
=
5
-
3
-
-
-
3
-
-
-
-
-
3
3
-
-
3
3
-
-
-
-
3
occurs
x
6
=
18
1+8
9
--
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
9
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
21
-
-
15
46-
57
-
30
1+5
3
-
-
-
3
-
-
-
-
-
3
3
-
-
3
3
-
-
-
-
2+1
-
-
1+5
-
5+7
-
3+0
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
46-
12
-
3
1
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
-
-
-
-
-
-
-
1+2
-
-
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
-
3
-
3

 

 

15
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
8
-
9
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
-
-
-
9
-
-
8
-
9
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
15
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
3
1
-
3
1
-
1
-
3
3
1
3
3
1
-
+
=
23
2+3
=
5
=
5
=
5
-
12
1
-
12
1
-
1
-
12
12
1
12
12
1
-
+
=
77
7+7
=
14
1+4
5
=
5
15
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
12
1
9
12
1
8
1
9
12
12
1
12
12
1
8
+
=
111
1+1+1
=
3
=
3
=
3
-
3
1
9
3
1
8
1
9
3
3
1
3
3
1
8
+
=
57
5+7
=
12
1+2
3
=
3
15
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
1
-
-
-
1
-
-
1
-
-
-
1
occurs
x
5
=
5
=
5
-
3
-
-
3
-
-
-
-
3
3
-
3
3
-
-
-
-
3
occurs
x
6
=
18
1+8
9
--
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
15
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
21
-
-
15
46-
57
-
30
1+5
3
-
-
3
-
-
-
-
3
3
-
3
3
-
-
-
-
2+1
-
-
1+5
-
5+7
-
3+0
6
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
3
-
-
6
46-
12
-
3
1
3
1
9
3
1
8
1
9
3
3
1
3
3
1
8
-
-
-
-
-
-
-
1+2
-
-
6
L
A
I
L
A
H
A
I
L
L
A
L
L
A
H
-
-
3
-
-
6
-
3
-
3

 

 

-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
8
-
-
9
-
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
-
-
-
-
-
9
-
-
8
-
-
9
-
-
-
-
-
-
-
8
+
=
34
3+4
=
7
=
7
=
7
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
3
1
-
-
3
1
-
1
-
-
3
3
1
-
3
3
1
-
+
=
23
2+3
=
5
=
5
=
5
-
-
12
1
-
-
12
1
-
1
-
-
12
12
1
-
12
12
1
-
+
=
77
7+7
=
14
1+4
5
=
5
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
12
1
-
9
12
1
8
1
-
9
12
12
1
-
12
12
1
8
+
=
111
1+1+1
=
3
=
3
=
3
-
-
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
+
=
57
5+7
=
12
1+2
3
=
3
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
--
-
-
1
-
-
-
1
-
1
-
-
-
-
1
-
-
-
1
-
-
-
1
occurs
x
5
=
5
=
5
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
3
-
-
-
3
-
-
-
-
-
3
3
-
-
3
3
-
-
-
-
3
occurs
x
6
=
18
1+8
9
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
--
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
9
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
24
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
21
-
-
15
46-
57
-
30
2+4
1+5
-
-
-
9
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
2+1
-
-
1+5
-
5+7
-
3+0
6
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
46-
12
-
3
-
1
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
-
-
-
-
-
-
-
1+2
-
-
6
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
-
3
-
3

 

 

LA ILAHA ILLA LLAH

1
L
12
3
3
-
1
A
1
1
1
1
1
I
9
9
9
-
1
L
12
3
3
-
1
A
1
1
1
1
2
H+A
9
9
9
-
1
I
9
9
9
-
1
L
12
3
3
-
1
L
12
3
3
-
1
A
1
1
1
1
1
L
12
3
3
-
1
L
12
3
3
-
2
A+H
9
9
9
-

LA ILAHA ILLA LLAH

 

 

15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
-
-
-
-
-
-
-
-
-
L
A
--
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
+
=
4
-
=
4
=
4
=
4
-
-
-
-
I
L
A
H
A
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
3
1
8
1
-
-
-
-
-
-
-
-
-
-
+
=
22
2+2
=
4
=
4
=
4
-
-
-
-
-
-
-
-
-
-
I
L
L
A
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
3
3
1
-
-
-
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
L
L
A
H
T
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
3
1
8
+
=
15
1+5
=
6
=
6
=
6
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
57
-
-
21
46-
21
-
21
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5+7
-
-
2+1
-
2+1
-
2+1
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
12
-
-
3
46-
3
-
3
1
3
1
-
9
3
1
8
1
-
9
3
3
1
-
3
3
1
8
-
-
1+2
-
-
-
-
-
-
-
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
3
-
3
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
T
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
1
-
-
-
-
1
-
-
-
1
-
-
-
1
occurs
x
5
=
5
=
5
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
T
-
-
-
-
-
-
-
-
-
-
3
-
-
-
3
-
-
-
-
-
3
3
-
-
3
3
-
-
-
-
3
occurs
x
6
=
18
1+8
9
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
T
-
-
-
-
-
-
-
-
-
--
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
T
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
15
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
21
-
-
15
46-
57
-
30
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2+1
-
-
1+5
-
5+7
-
3+0
6
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
46-
12
-
3
1
3
-
-
-
3
-
-
-
-
-
3
3
-
-
3
3
-
-
-
-
-
-
-
-
-
1+2
-
-
4
L
A
-
I
L
A
H
A
-
I
L
L
A
-
L
L
A
H
-
-
3
-
-
6
-
3
-
3

 

 

ISLAM EID ISLAM

 

 

EID I DIE

 

 

THE

HEART

OF

ISLAM

Enduring Values for Humanity

Seyyed Hossein Nasr 2002

ONE GOD, MANY PROPHETS

The Unity of Truth and the Multiplicity of Revelations

Say: He, God, is One, God the Self-Sufficient Besought of all.

He begetteth not, nor is begotten, and none is like Him. Quran 112: v.1-41

Page 3/4

"To testify to this oneness lies at the heart of the credo of Islam, and the formula that expresses the truth of this oneness, La ilaha illa 'Llah, "There is no god but God," is the first of two testifications (shahadahs) by which a person bears witness to being a Muslim; the second is Muammadun rasal Allah, "Muhammad is the messenger of God." The oneness of God is for Muslims not only the heart of their religion, but that of every authentic religion. It is a reassertion of the revelation of God to the Hebrew prophets and to Christ, whom Muslims also consider to be their prophets, the revelation of the truth that "The Lord is one," the reconfirmation of that timeless truth that is also stated in the Catholic creed, Credo in unum Deum, "I believe in one God"."

 

 

www.answers.com/topic/king-of-kings

The 99 Attributes of Allah

I found many different versions of the 99 names. The above 99 are on a poster I have. Another list includes Al-Mu'tiy - The Bestower, The Giver and does not have Al- Ahad - The One. Another list did not have Al- Ahad -The Sustainer, The Provider but did have Al - Razzaaq The Noble, The One who is Majid.

Allah (subhanahu wa ta' ala)s' There are a couple of evidences, one is the du`aa where one calls upon Allah by the names He (subhanahu wa ta`ala) has kept to Himself (obviously not taking these names since Allah has not revealed them to us); another is the fact that in the narrations of the famous ninety nine names hadith that do contain 99 names, the names are not consistent between narrations (for example, imam al-bayhaqi reports two versions of this hadith, with different 99 names in each). It is suggested by one commentator that the names were not explicitly stated by the rasul (sallallahu `alayhi wa sallam).

 

 

G
=
7
3
GOD
26
17
8
I
=
9
2
IS
28
19
1
-
-
16
5
Add to Reduce
54
36
9
-
-
1+6
-
Reduce to Deduce
5+4
3+6
-
Q
-
7
5
Essence of Number
9
9
9

 

 

I
=
9
5
ISLAM
54
18
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
3
THE
33
15
6
F
=
6
4
FIVE
42
24
6
P
=
7
7
PILLARS
87
33
6
O
=
6
2
OF
21
12
3
W
=
5
6
WISDOM
83
29
2
-
-
26
22
First Total
266
113
23
-
-
2+6
2+2
Add to Reduce
2+6+6
1+1+3
2+3
Q
-
8
4
Second Total
14
5
5
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
8
4
Essence of Number
5
5
5

 

 

-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
-
-
-
9
-
-
-
-
1
-
6
-
-
-
9
1
-
6
-
+
=
49
4+9
=
13
1+3
4
=
4
-
-
-
8
-
-
-
9
-
-
-
-
9
-
-
-
-
19
-
15
-
-
-
9
19
-
15
-
+
=
103
1+0+3
=
4
=
4
=
4
-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
6
-
4
5
-
7
-
3
3
1
9
-
-
-
6
-
5
-
-
4
-
4
+
=
64
6+4
=
10
1+0
1
=
1
-
-
20
-
5
-
6
-
22
5
-
16
-
12
12
1
18
-
-
-
6
-
23
-
-
4
-
13
+
=
163
1+6+3
=
10
1+0
1
=
1
-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
6
9
22
5
-
16
9
12
12
1
18
19
-
15
6
-
23
9
19
4
15
13
+
=
266
2+6+6
=
14
1+4
5
=
5
-
-
2
8
5
-
6
9
4
5
-
7
9
3
3
1
9
1
-
6
6
-
5
9
1
4
6
4
+
=
113
1+1+3
=
5
=
5
=
5
-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
3
=
3
=
3
2
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
3
3
-
-
-
-
--
-
-
-
-
-
-
--
-
-
-
3
occurs
x
2
=
6
=
6
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
4
occurs
x
3
=
12
1+2
3
5
-
-
-
5
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
6
6
-
-
-
-
-
6
-
-
-
6
occurs
x
4
=
24
2+4
6
7
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
45
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
45
-
-
22
-
113
-
50
4+5
2+2
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
4+5
-
-
2+2
-
1+1+3
-
5+0
9
4
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
9
-
-
4
-
9
-
5
-
-
2
8
5
-
6
9
4
5
-
7
9
3
3
1
9
1
-
6
6
-
5
9
1
4
6
4
-
-
-
-
-
-
-
-
-
-
9
4
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
9
-
-
4
-
9
-
5

 

 

-
22
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
9
-
-
-
9
-
-
-
-
1
6
-
-
9
1
-
6
-
+
=
49
4+9
=
13
1+3
4
=
4
-
-
-
8
-
-
9
-
-
-
9
-
-
-
-
19
15
-
-
9
19
-
15
-
+
=
103
1+0+3
=
4
=
4
=
4
-
22
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
6
-
4
5
7
-
3
3
1
9
-
-
6
5
-
-
4
-
4
+
=
64
6+4
=
10
1+0
1
=
1
-
-
20
-
5
6
-
22
5
16
-
12
12
1
18
-
-
6
23
-
-
4
-
13
+
=
163
1+6+3
=
10
1+0
1
=
1
-
22
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
6
9
22
5
16
9
12
12
1
18
19
15
6
23
9
19
4
15
13
+
=
266
2+6+6
=
14
1+4
5
=
5
-
-
2
8
5
6
9
4
5
7
9
3
3
1
9
1
6
6
5
9
1
4
6
4
+
=
113
1+1+3
=
5
=
5
=
5
-
22
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
-
-
-
1
-
-
-
-
-
1
occurs
x
3
=
3
=
3
2
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
3
3
-
-
-
--
-
-
-
-
-
--
-
-
-
3
occurs
x
2
=
6
=
6
4
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
4
occurs
x
3
=
12
1+2
3
5
-
-
-
5
-
-
-
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
6
6
-
-
-
-
6
-
-
-
6
occurs
x
4
=
24
2+4
6
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
-
-
9
-
-
-
9
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
45
22
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
45
-
-
22
-
113
-
50
4+5
2+2
-
-
-
-
9
-
-
-
9
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
4+5
-
-
2+2
-
1+1+3
-
5+0
9
4
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
9
-
-
4
-
9
-
5
-
-
2
8
5
6
9
4
5
7
9
3
3
1
9
1
6
6
5
9
1
4
6
4
-
-
-
-
-
-
-
-
-
-
9
4
T
H
E
F
I
V
E
P
I
L
L
A
R
S
O
F
W
I
S
D
O
M
-
-
9
-
-
4
-
9
-
5

 

 

-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
-
-
-
-
9
-
-
-
-
1
-
6
-
-
-
9
1
-
6
-
+
=
49
4+9
=
13
1+3
4
=
4
-
-
-
8
-
-
-
9
-
-
-
-
9
-
-
-
-
19
-
15
-
-
-
9
19
-
15
-
+
=
103
1+0+3
=
4
=
4
=
4
-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
6
-
4
5
-
7
-
3
3
1
9
-
-
-
6
-
5
-
-
4
-
4
+
=
64
6+4
=
10
1+0
1
=
1
-
-
20
-
5
-
6
-
22
5
-
16
-
12
12
1
18
-
-
-
6
-
23
-
-
4
-
13
+
=
163
1+6+3
=
10
1+0
1
=
1
-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
6
9
22
5
-
16
9
12
12
1
18
19
-
15
6
-
23
9
19
4
15
13
+
=
266
2+6+6
=
14
1+4
5
=
5
-
-
2
8
5
-
6
9
4
5
-
7
9
3
3
1
9
1
-
6
6
-
5
9
1
4
6
4
+
=
113
1+1+3
=
5
=
5
=
5
-
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
3
=
3
=
3
2
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
3
3
-
-
-
-
--
-
-
-
-
-
-
--
-
-
-
3
occurs
x
2
=
6
=
6
4
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
4
occurs
x
3
=
12
1+2
3
5
-
-
-
5
-
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
6
6
-
-
-
-
-
6
-
-
-
6
occurs
x
4
=
24
2+4
6
7
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
9
occurs
x
4
=
36
3+6
9
45
22
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
45
-
-
22
-
113
-
50
4+5
2+2
-
-
-
-
-
9
-
-
-
-
9
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
4+5
-
-
2+2
-
1+1+3
-
5+0
9
4
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
9
-
-
4
-
9
-
5
-
-
2
8
5
-
6
9
4
5
-
7
9
3
3
1
9
1
-
6
6
-
5
9
1
4
6
4
-
-
-
-
-
-
-
-
-
-
9
4
T
H
E
-
F
I
V
E
-
P
I
L
L
A
R
S
-
O
F
-
W
I
S
D
O
M
-
-
9
-
-
4
-
9
-
5

 

 

I
=
9
5
ISLAM
54
18
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
3
THE
33
15
6
F
=
6
4
FIVE
42
24
6
P
=
7
7
PILLARS
87
33
6
O
=
6
2
OF
21
12
3
W
=
5
6
WISDOM
83
29
2
-
-
26
22
First Total
266
113
23
-
-
2+6
2+2
Add to Reduce
2+6+6
1+1+3
2+3
Q
-
8
4
Second Total
14
5
5
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
8
4
Essence of Number
5
5
5

 

 

T
=
2
5
THERE
56
29
2
I
=
9
2
IS
28
19
1
N
=
5
2
NO
29
11
2
G
=
7
3
GOD
26
17
8
B
=
2
3
BUT
43
7
7
G
=
7
3
GOD
26
17
8
-
-
32
18
First Total
208
100
28
-
-
3+2
1+8
Add to Reduce
2+0+8
1+0+0
2+8
Q
-
5
9
Second Total
10
1
10
-
-
-
-
Reduce to Deduce
1+0
-
1+0
-
-
5
9
Essence of Number
1
1
1

 

 

-
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
9
5
-
-
5
-
-
-
-
-
-
-
+
=
25
2+5
=
7
-
7
=
7
-
-
-
-
-
-
15
-
9
14
-
-
14
-
-
-
-
-
-
-
+
=
52
5+2
=
7
-
7
=
7
-
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
-
3
9
5
4
-
-
-
-
-
3
-
3
4
-
4
5
3
4
+
=
47
4+7
=
11
1+1
2
=
2
-
-
3
18
5
4
-
-
-
-
-
21
-
21
13
-
4
5
21
13
+
=
128
1+2+8
=
11
1+1
2
=
2
-
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
-
3
18
5
4
15
-
9
14
-
21
14
21
13
-
4
5
21
13
+
=
180
1+8+0
=
9
-
9
=
9
-
-
3
9
5
4
6
-
9
5
-
3
5
3
4
-
4
5
3
4
+
=
72
7+2
=
9
=
9
=
9
-
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
3
-
-
-
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
4
-
-
4
-
-
4
occurs
x
4
=
16
1+6
7
-
-
-
-
5
-
-
-
-
5
-
-
5
-
-
-
-
5
-
-
=
-
5
occurs
x
4
=
20
2+0
2
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
=
-
9
occurs
x
2
=
18
1+8
9
18
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
27
-
-
15
-
72
-
27
1+8
1+5
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
2+7
-
-
1+5
-
7+2
-
2+7
9
6
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
9
-
-
6
-
9
-
9
-
-
3
9
5
4
6
-
9
5
-
3
5
3
4
-
4
5
3
4
-
-
-
-
-
-
-
-
-
-
9
6
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
9
-
-
6
-
9
-
9

 

"Credo in unum Deum, "I believe in one God".

 

15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
9
5
-
-
5
-
-
-
-
-
-
-
+
=
25
2+5
=
7
-
7
=
7
-
-
-
-
-
15
-
9
14
-
-
14
-
-
-
-
-
-
-
+
=
52
5+2
=
7
-
7
=
7
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
3
9
5
4
-
-
-
-
-
3
-
3
4
-
4
5
3
4
+
=
47
4+7
=
11
1+1
2
=
2
-
3
18
5
4
-
-
-
-
-
21
-
21
13
-
4
5
21
13
+
=
128
1+2+8
=
11
1+1
2
=
2
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
3
18
5
4
15
-
9
14
-
21
14
21
13
-
4
5
21
13
+
=
180
1+8+0
=
9
-
9
=
9
-
3
9
5
4
6
-
9
5
-
3
5
3
4
-
4
5
3
4
+
=
72
7+2
=
9
=
9
=
9
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
3
-
-
-
-
3
-
-
-
3
occurs
x
4
=
12
1+2
3
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
4
-
-
4
-
-
4
occurs
x
4
=
16
1+6
7
=
-
-
5
-
-
-
-
5
-
-
5
-
-
-
-
5
-
-
=
-
5
occurs
x
4
=
20
2+0
2
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
=
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
=
-
9
occurs
x
2
=
18
1+8
9
15
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
27
-
-
15
-
72
-
27
1+5
-
9
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
2+7
-
-
1+5
-
7+2
-
2+7
6
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
9
-
-
6
-
9
-
9
-
3
9
5
4
6
-
9
5
-
3
5
3
4
-
4
5
3
4
-
-
-
-
-
-
-
-
-
-
6
C
R
E
D
O
-
I
N
-
U
N
U
M
-
D
E
U
M
-
-
9
-
-
6
-
9
-
9

 

 

C RE ATUM ATUM RE C

SEE ATUM RE ATUM RE SEE

C RE ATUM ATUM RE C

CREATION SEE REACTION

CREATORS SEE CREATORS

CREATIVE SEE REACTIVE SEE CREATIVE

CREATUM 3951234 CREATUM

CREATUM

3951234

CREATUM

 

 

OSIRIS ISISIS OSIRIS

ISISIS

OSIRIS ISISISISISIS SOIRIS

IRIS OSIRIS ISIS

SO IRIS ISIS SO

OSIRIS ISISIS SO IR IS OSIRIS ISISIS

SO IR IS 99 IS IR SO

?

 

 

From album "Strip" (2000)

I Must have died a thousand times
I Must have died a thousand times
I Must have died a thousand times
Feeling less than human
I surmise
I'm less than human in God's eyes

Time is on my side she said
Time is on my side she said
He may be on your side I said,
But it makes no difference in the end
He's coming after you my friend

I Must have cried a thousand times
I Must have cried a thousand times
I Must have cried a thousand times
Feeling less than human
I surmise
I'm less than human in God's eyes

How time flies
But time is on my side, She said

Oh no no no no, oh no no no no

 

 

JUST SIX NUMBERS

Martin Rees

1
999

OUR COSMIC HABITAT

PLANETS STARS AND LIFE

Page 24

A

proton

is

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

would have the same connotations to any 'intelligence'

 

 

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

 

 

EVOLVE LOVE LOVE EVOLVE

 

-
EVOLVE LOVE LOVE EVOLVE
-
-
-
-
EVOLVE
-
-
-
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
-
EVOLVE
-
-
-
-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
-
LOVE
-
-
-
-
LOVE
-
-
-
2
L+O
27
9
9
2
V+E
27
9
9
-
LOVE
-
-
-
-
EVOLVE
-
-
-
2
E+V
27
9
9
2
O+L
27
9
9
2
V+E
27
9
9
-
EVOLVE
-
-
-
20
EVOLVE LOVE LOVE EVOLVE
270
90
45
2+0
-
2+7+0
9+0
4+5
2
EVOLVE LOVE LOVE EVOLVE
9
9
9
-
-
-
-
-
2
EVOLVE LOVE LOVE EVOLVE
9
9
9

 

REVOLVER EVOLVER LOVER

 

-
-
-
-
-
REVOLVER
-
-
-
-
-
-
-
1
R
18
9
9
-
-
-
-
2
E+V
27
9
9
-
-
-
-
2
O+L
27
9
9
-
-
-
-
2
V+E
27
9
9
-
-
-
-
1
R
18
9
9
R
=
9
-
8
REVOLVER
117
45
45
-
-
-
-
-
EVOLVER
-
-
-
-
-
-
-
2
E+V
27
9
9
-
-
-
-
2
O+L
27
9
9
-
-
-
-
2
V+E
27
9
9
-
-
-
-
1
R
18
9
9
E
=
5
-
7
EVOLVER
99
36
36
-
-
-
-
-
LOVER
-
-
-
-
5
-
-
2
L+O
27
9
9
-
1
-
-
2
V+E
27
9
9
-
1
-
-
1
R
18
9
9
L
=
3
-
5
LOVER
72
27
27
-
-
-
-
-
-
-
-
-
-
-
17
-
20
288
108
108
-
-
1+7
-
2+0
-
2+7+0
1+0+8
1+0+8
-
-
8
-
2
9
9
9

 

REVOLVER EVOLVER LOVER

 

 

T
=
1
-
2
TO
35
8
8
B
=
2
-
2
BE
7
7
7
O
=
6
-
2
OR
33
15
6
N
=
1
-
3
NOT
49
13
4
T
=
1
-
2
TO
35
8
8
B
=
2
-
2
BE
7
7
7
T
=
2
-
4
THAT
49
13
4
I
=
9
-
2
IS
28
10
1
T
=
3
-
3
THE
33
15
6
Q
=
8
-
8
QUESTION
120
39
3
-
-
36
-
30
-
396
135
54
-
-
3+6
-
3+0
-
3+9+6
1+3+5
5+4
Q
-
9
Q
3
Q
18
9
9
-
-
-
-
-
-
1+8
-
-
-
-
9
-
3
-
9
9
9

 

 

GODS DIVINE EVERLASTINGNESSEVERLASTINGNESS DIVINE GODS

 

--

 

10
LOVE EVOLVE
-
-
-
-
LOVE
-
-
-
-
L+O
27
9
9
-
V+E
27
9
9
-
EVOLVE
-
-
-
-
E+V
27
9
9
-
O+L
27
9
9
-
V+E
27
9
9
-
EVOLVE LOVE
-
-
-
-
-
-
-
-
-
-
-
-
-
10
LOVE EVOLVE
135
45
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

 

 

 

 

-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
9
5
-
-
-
-
5
9
5
-
-
5
-
-
-
1
-
6
-
-
-
6
-
+
=
64
6+0
=
10
1+0
1
=
1
-
-
-
8
-
-
14
9
14
-
-
-
-
14
9
14
-
-
14
-
-
-
19
-
15
-
-
-
15
-
+
=
145
1+4+5
=
10
1+0
1
=
1
-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
-
-
-
5
2
7
-
-
-
-
5
-
-
1
4
5
-
-
-
6
-
7
-
4
+
=
53
5+3
=
8
=
8
=
8
-
-
20
-
5
-
-
-
-
5
20
25
-
-
-
-
5
-
-
1
13
5
-
-
-
6
-
7
-
4
+
=
116
1+1+6
=
8
=
8
=
8
-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
14
9
14
5
20
25
-
14
9
14
5
-
14
1
13
5
19
-
15
6
-
7
15
4
+
=
261
2+6+1
=
9
=
9
=
9
-
-
2
8
5
-
5
9
5
5
2
7
-
5
9
5
5
-
5
1
4
5
1
-
6
6
-
7
6
4
+
=
117
1+1+7
=
9
=
9
=
9
-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
2
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
5
-
5
-
5
5
-
-
-
5
-
5
5
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
9
=
45
4+5
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
6
-
-
6
-
-
-
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
 1+4
5
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
3
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
42
-
-
23
-
117
-
54
-
2+3
-
-
5
-
5
-
5
5
-
-
-
5
-
5
5
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
4+2
-
-
2+3
-
1+1+7
-
5+4
3
5
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
9
-
-
5
-
9
-
9
-
-
2
8
5
-
5
9
5
5
2
7
-
5
9
5
5
-
5
1
4
5
1
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
3
5
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
9
-
-
5
-
9
-
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+4
-
1+7+1
8+1
1+8
5
NINENINETYNINE
9
9
9

 

 

14
NINENINETYNINE
171
81
9
2
NI
23
14
5
1
N
14
5
5
1
E
5
5
5
2
NI
23
14
5
1
N
14
5
5
1
E
5
5
5
3
TYN
23
5
5
2
IN
23
14
5
1
E
5
5
5
14
NINENINETYNINE
171
81
18
1+4
-
1+7+1
8+1
1+8
5
NINENINETYNINE
9
9
9

 

 

-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
-
-
5
9
5
-
+
=
57
5+7
=
12
-
3
=
3
-
-
14
9
14
-
-
14
9
14
-
-
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
2
7
-
-
-
-
5
+
=
24
2+4
=
6
=
6
=
6
-
-
-
-
-
5
-
-
-
-
5
20
25
-
-
-
-
5
+
=
60
6+0
=
6
=
6
=
6
-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
20
25
-
14
9
14
5
+
=
171
1+7+1
=
9
=
9
=
9
-
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
+
=
81
8+1
=
9
=
9
=
9
-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
5
5
-
5
-
5
5
-
-
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
22
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
23
-
-
14
-
81
-
27
2+2
1+4
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
2+3
-
-
1+4
-
8+1
-
2+7
4
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9
-
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
4
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9

 

 

14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
-
-
5
9
5
-
+
=
57
5+7
=
12
-
3
=
3
-
14
9
14
-
-
14
9
14
-
-
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
2
7
-
-
-
-
5
+
=
24
2+4
=
6
=
6
=
6
-
-
-
-
5
-
-
-
-
5
20
25
-
-
-
-
5
+
=
60
6+0
=
6
=
6
=
6
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
20
25
-
14
9
14
5
+
=
171
1+7+1
=
9
=
9
=
9
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
+
=
81
8+1
=
9
=
9
=
9
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
5
-
5
5
-
5
-
5
5
-
-
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
23
-
-
14
-
81
-
27
1+4
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
2+3
-
-
1+4
-
8+1
-
2+7
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9

 

 

-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
5
9
5
-
+
=
57
5+7
=
12
1+2
3
=
3
-
-
14
9
14
-
-
14
9
14
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
-
-
-
-
5
+
=
15
1+5
=
6
=
6
=
6
-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
-
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
+
=
72
7+2
=
9
=
9
=
9
-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
5
5
-
5
-
5
5
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
31
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
14
-
-
12
-
72
-
18
3+1
1+2
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
1+4
-
-
1+2
-
7+2
-
1+8
4
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9
-
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
4
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9

 

 

12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
5
9
5
-
+
=
57
5+7
=
12
1+2
3
=
3
-
14
9
14
-
-
14
9
14
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
-
-
-
-
5
+
=
15
1+5
=
6
=
6
=
6
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
-
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
+
=
72
7+2
=
9
=
9
=
9
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
-
5
5
-
5
-
5
5
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
-
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
14
-
-
12
-
72
-
18
1+2
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
1+4
-
-
1+2
-
7+2
-
1+8
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9

 

--

 

-
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
6
-
-
6
-
-
-
8
-
-
-
9
-
9
5
-
+
=
51
5+1
=
6
=
6
=
6
-
-
-
8
-
-
-
-
-
-
-
15
-
-
15
-
-
-
8
-
-
-
9
-
9
14
-
+
=
78
7+8
=
15
1+5
6
=
6
-
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
6
9
5
5
4
-
4
-
-
6
-
2
-
5
-
4
-
4
-
-
5
+
=
66
6+6
=
12
1+2
3
=
3
-
-
20
-
5
-
6
18
5
5
4
-
13
-
-
6
-
20
-
5
-
4
-
22
-
-
5
+
=
138
1+3+8
=
12
1+2
3
=
3
-
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
6
18
5
5
4
15
13
-
15
6
-
20
8
5
-
4
9
22
9
14
5
+
=
216
2+1+6
=
9
=
9
=
9
-
-
2
8
5
-
6
9
5
5
4
6
4
-
6
6
-
2
8
5
-
4
9
4
9
5
5
+
=
117
1+1+7
=
9
=
9
=
9
-
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
4
occurs
x
4
=
16
1+6
7
-
-
-
-
5
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
5
5
-
-
5
occurs
x
6
=
30
3+0
3
-
-
-
-
-
-
6
-
-
-
-
6
-
-
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
4
=
24
2+4
6
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
11
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
34
-
-
21
-
117
-
36
1+1
2+1
-
-
5
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
5
5
-
-
3+4
-
-
2+1
-
1+1+7
-
3+6
2
3
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
7
-
-
3
-
9
-
9
-
-
2
8
5
-
6
9
5
5
4
6
4
-
6
6
-
2
8
5
-
4
9
4
9
5
5
-
-
-
-
-
-
-
-
-
-
2
3
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
7
-
-
3
-
9
-
9

 

 

21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
6
-
-
6
-
-
-
8
-
-
-
9
-
9
5
-
+
=
51
5+1
=
6
=
6
=
6
-
-
8
-
-
-
-
-
-
-
15
-
-
15
-
-
-
8
-
-
-
9
-
9
14
-
+
=
78
7+8
=
15
1+5
6
=
6
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
6
9
5
5
4
-
4
-
-
6
-
2
-
5
-
4
-
4
-
-
5
+
=
66
6+6
=
12
1+2
3
=
3
-
20
-
5
-
6
18
5
5
4
-
13
-
-
6
-
20
-
5
-
4
-
22
-
-
5
+
=
138
1+3+8
=
12
1+2
3
=
3
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
6
18
5
5
4
15
13
-
15
6
-
20
8
5
-
4
9
22
9
14
5
+
=
216
2+1+6
=
9
=
9
=
9
-
2
8
5
-
6
9
5
5
4
6
4
-
6
6
-
2
8
5
-
4
9
4
9
5
5
+
=
117
1+1+7
=
9
=
9
=
9
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
-
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
4
occurs
x
4
=
16
1+6
7
-
-
-
5
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
5
5
-
-
5
occurs
x
6
=
30
3+0
3
-
-
-
-
-
6
-
-
-
-
6
-
-
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
6
occurs
x
4
=
24
2+4
6
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
21
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
34
-
-
21
-
117
-
36
2+1
-
-
5
-
-
-
5
5
-
-
-
-
-
-
-
-
-
5
-
-
-
-
-
5
5
-
-
3+4
-
-
2+1
-
1+1+7
-
3+6
3
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
7
-
-
3
-
9
-
9
-
2
8
5
-
6
9
5
5
4
6
4
-
6
6
-
2
8
5
-
4
9
4
9
5
5
-
-
-
-
-
-
-
-
-
-
3
T
H
E
-
F
R
E
E
D
O
M
-
O
F
-
T
H
E
-
D
I
V
I
N
E
-
-
7
-
-
3
-
9
-
9

 

 

T
=
2
-
3
THE
33
15
6
K
=
2
-
7
KINGDOM
73
37
1
O
=
6
-
2
OF
21
12
3
G
=
7
-
3
GOD
26
17
8
15
17
-
15
Add to Reduce
153
81
18
1+5
1+7
-
1+5
Reduce to Deduce
1+5+3
8+1
1+8
6
8
-
6
Essence of Number
9
9
9

 

 

-
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
5
-
-
6
-
-
6
-
-
-
6
-
+
=
40
4+0
=
4
=
4
=
4
-
-
-
8
-
-
-
9
14
-
-
15
-
-
15
-
-
-
15
-
+
=
76
7+6
=
13
1+3
4
=
4
-
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
2
-
-
7
4
-
4
-
-
6
-
7
-
4
+
=
41
4+1
=
41
4+1
5
=
5
-
-
20
-
5
-
11
-
-
7
4
-
13
-
-
6
-
7
-
4
+
=
77
7+7
=
14
1+4
5
=
5
-
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
11
9
14
7
4
15
13
-
15
6
-
7
15
4
+
=
153
1+5+3
=
9
=
9
=
9
-
-
2
8
5
-
2
9
5
7
4
6
4
-
6
6
-
7
6
4
+
=
81
8+1
=
9
=
9
=
9
-
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
4
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
-
5
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
-
-
-
-
6
-
-
6
6
-
-
6
-
-
-
6
occurs
x
4
=
24
2+4
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
4
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
41
-
-
15
-
81
-
36
-
1+5
-
-
-
-
-
-
-
-
6
-
-
6
6
-
-
6
-
-
-
3+6
-
-
1+5
-
8+1
-
3+6
4
6
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
9
-
-
6
-
9
-
9
-
-
2
8
5
-
2
9
5
7
4
6
4
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
4
6
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
9
-
-
6
-
9
-
9

 

 

15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
9
5
-
-
6
-
-
6
-
-
-
6
-
+
=
40
4+0
=
4
=
4
=
4
-
-
8
-
-
-
9
14
-
-
15
-
-
15
-
-
-
15
-
+
=
76
7+6
=
13
1+3
4
=
4
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
2
-
-
7
4
-
4
-
-
6
-
7
-
4
+
=
41
4+1
=
41
4+1
5
=
5
-
20
-
5
-
11
-
-
7
4
-
13
-
-
6
-
7
-
4
+
=
77
7+7
=
14
1+4
5
=
5
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
11
9
14
7
4
15
13
-
15
6
-
7
15
4
+
=
153
1+5+3
=
9
=
9
=
9
-
2
8
5
-
2
9
5
7
4
6
4
-
6
6
-
7
6
4
+
=
81
8+1
=
9
=
9
=
9
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
``-
2
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
-
-
-
-
-
-
-
-
4
-
4
-
-
-
-
-
-
4
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
5
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
-
-
6
-
-
6
6
-
-
6
-
-
-
6
occurs
x
4
=
24
2+4
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
15
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
41
-
-
15
-
81
-
36
1+5
-
-
-
-
-
-
-
-
6
-
-
6
6
-
-
6
-
-
-
3+6
-
-
1+5
-
8+1
-
3+6
6
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
9
-
-
6
-
9
-
9
-
2
8
5
-
2
9
5
7
4
6
4
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
6
T
H
E
-
K
I
N
G
D
O
M
-
O
F
-
G
O
D
-
-
9
-
-
6
-
9
-
9

 

 

15
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
9
5
-
-
6
-
6
-
-
6
-
+
=
40
4+0
=
4
=
4
=
4
-
-
8
-
-
9
14
-
-
15
-
15
-
-
15
-
+
=
76
7+6
=
13
1+3
4
=
4
15
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
-
-
-
-
-
-
-
-
-
2
-
5
2
-
-
7
4
-
4
-
6
7
-
4
+
=
41
4+1
=
41
4+1
5
=
5
-
20
-
5
11
-
-
7
4
-
13
-
6
7
-
4
+
=
77
7+7
=
14
1+4
5
=
5
15
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
-
-
-
-
-
-
-
-
-
20
8
5
11
9
14
7
4
15
13
15
6
7
15
4
+
=
153
1+5+3
=
9
=
9
=
9
-
2
8
5
2
9
5
7
4
6
4
6
6
7
6
4
+
=
81
8+1
=
9
=
9
=
9
15
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
-
-
-
-
-
-
-
-
``-
2
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
-
-
-
-
-
-
-
4
-
4
-
-
-
-
4
-
-
4
occurs
x
3
=
12
1+2
3
-
-
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
-
6
-
6
6
-
6
-
-
-
6
occurs
x
4
=
24
2+4
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
15
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
41
-
-
15
-
81
-
36
1+5
-
-
-
-
-
-
-
6
-
6
6
-
6
-
-
-
3+6
-
-
1+5
-
8+1
-
3+6
6
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
9
-
-
6
-
9
-
9
-
2
8
5
2
9
5
7
4
6
4
6
6
7
6
4
-
-
-
-
-
-
-
-
-
-
6
T
H
E
K
I
N
G
D
O
M
O
F
G
O
D
-
-
9
-
-
6
-
9
-
9

 

 

-
-
-
-
NAMES OF GOD
-
-
-
N
=
5
5
NAMES
52
16
7
O
=
6
2
OF
21
12
3
G
=
7
3
GOD
26
17
8
-
-
18
10
NAMES OF GOD
99
45
18
-
-
1+8
1+0
-
9+9
4+5
1+8
-
-
9
1
NAMES OF GOD
18
9
9
-
-
-
-
-
1+8
-
-
-
-
9
1
NAMES OF GOD
9
9
9

 

 

-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
1
-
6
-
-
-
6
-
+
=
18
1+8
=
9
=
9
=
9
-
-
14
-
-
-
19
-
15
-
-
-
15
-
+
=
63
6+3
=
9
=
9
=
9
-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
1
4
5
-
-
-
6
-
7
-
4
+
=
27
2+7
=
9
=
9
=
9
-
-
-
1
13
5
-
-
-
6
-
7
-
4
+
=
36
3+6
=
9
=
9
=
9
-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
14
1
13
5
19
-
15
6
-
7
15
4
+
=
99
9+9
=
18
1+8
9
=
9
-
-
5
1
4
5
1
-
6
6
-
7
6
4
+
=
45
4+5
=
9
=
9
=
9
-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
-
6
6
-
-
6
-
-
-
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
NINE
-
-
-
-
-
-
22
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
23
-
-
10
-
45
-
27
2+2
1+0
-
-
-
-
-
-
6
6
-
-
6
-
-
-
2+3
-
-
1+0
-
4+5
-
2+7
4
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9
-
-
5
1
4
5
1
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
4
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9

 

 

10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
1
-
6
-
-
-
6
-
+
=
18
1+8
=
9
=
9
=
9
-
14
-
-
-
19
-
15
-
-
-
15
-
+
=
63
6+3
=
9
=
9
=
9
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
1
4
5
-
-
-
6
-
7
-
4
+
=
27
2+7
=
9
=
9
=
9
-
-
1
13
5
-
-
-
6
-
7
-
4
+
=
36
3+6
=
9
=
9
=
9
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
14
1
13
5
19
-
15
6
-
7
15
4
+
=
99
9+9
=
18
1+8
9
=
9
-
5
1
4
5
1
-
6
6
-
7
6
4
+
=
45
4+5
=
9
=
9
=
9
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
6
6
-
-
6
-
-
-
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
=
7
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
23
-
-
10
-
45
-
27
1+0
-
-
-
-
-
-
6
6
-
-
6
-
-
-
2+3
-
-
1+0
-
4+5
-
2+7
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9
-
5
1
4
5
1
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9

 

 

10
LOVE EVOLVE
-
-
-
-
LOVE
-
-
-
-
L+O
27
9
9
-
V+E
27
9
9
-
EVOLVE
-
-
-
-
E+V
27
9
9
-
O+L
27
9
9
-
V+E
27
9
9
-
EVOLVE LOVE
-
-
-
-
-
-
-
-
-
-
-
-
-
10
LOVE EVOLVE
135
45
9

 

 

-
-
-
-
NAMES OF GOD
-
-
-
N
=
5
5
NAMES
52
16
7
O
=
6
2
OF
21
12
3
G
=
7
3
GOD
26
17
8
-
-
18
10
NAMES OF GOD
99
45
18
-
-
1+8
1+0
-
9+9
4+5
1+8
-
-
9
1
NAMES OF GOD
18
9
9
-
-
-
-
-
1+8
-
-
-
-
9
1
NAMES OF GOD
9
9
9

 

 

-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
1
-
6
-
-
-
6
-
+
=
18
1+8
=
9
=
9
=
9
-
-
14
-
-
-
19
-
15
-
-
-
15
-
+
=
63
6+3
=
9
=
9
=
9
-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
1
4
5
-
-
-
6
-
7
-
4
+
=
27
2+7
=
9
=
9
=
9
-
-
-
1
13
5
-
-
-
6
-
7
-
4
+
=
36
3+6
=
9
=
9
=
9
-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
14
1
13
5
19
-
15
6
-
7
15
4
+
=
99
9+9
=
18
1+8
9
=
9
-
-
5
1
4
5
1
-
6
6
-
7
6
4
+
=
45
4+5
=
9
=
9
=
9
-
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
-
6
6
-
-
6
-
-
-
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
NINE
-
-
-
-
-
-
22
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
23
-
-
10
-
45
-
27
2+2
1+0
-
-
-
-
-
-
6
6
-
-
6
-
-
-
2+3
-
-
1+0
-
4+5
-
2+7
4
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9
-
-
5
1
4
5
1
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
4
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9

 

 

10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
1
-
6
-
-
-
6
-
+
=
18
1+8
=
9
=
9
=
9
-
14
-
-
-
19
-
15
-
-
-
15
-
+
=
63
6+3
=
9
=
9
=
9
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
1
4
5
-
-
-
6
-
7
-
4
+
=
27
2+7
=
9
=
9
=
9
-
-
1
13
5
-
-
-
6
-
7
-
4
+
=
36
3+6
=
9
=
9
=
9
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
14
1
13
5
19
-
15
6
-
7
15
4
+
=
99
9+9
=
18
1+8
9
=
9
-
5
1
4
5
1
-
6
6
-
7
6
4
+
=
45
4+5
=
9
=
9
=
9
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
-
-
-
-
-
6
6
-
-
6
-
-
-
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
=
7
10
N
A
M
E
S
-
O
F
-
G
O
D
-
-
23
-
-
10
-
45
-
27
1+0
-
-
-
-
-
-
6
6
-
-
6
-
-
-
2+3
-
-
1+0
-
4+5
-
2+7
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9
-
5
1
4
5
1
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
1
N
A
M
E
S
-
O
F
-
G
O
D
-
-
5
-
-
1
-
9
-
9

 

 

10
LOVE EVOLVE
-
-
-
-
LOVE
-
-
-
-
L+O
27
9
9
-
V+E
27
9
9
-
EVOLVE
-
-
-
-
E+V
27
9
9
-
O+L
27
9
9
-
V+E
27
9
9
-
EVOLVE LOVE
-
-
-
-
-
-
-
-
-
-
-
-
-
10
LOVE EVOLVE
135
45
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

 

 

-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
5
9
5
-
-
-
-
5
9
5
-
-
5
-
-
-
1
-
6
-
-
-
6
-
+
=
64
6+0
=
10
1+0
1
=
1
-
-
-
8
-
-
14
9
14
-
-
-
-
14
9
14
-
-
14
-
-
-
19
-
15
-
-
-
15
-
+
=
145
1+4+5
=
10
1+0
1
=
1
-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
-
-
-
5
2
7
-
-
-
-
5
-
-
1
4
5
-
-
-
6
-
7
-
4
+
=
53
5+3
=
8
=
8
=
8
-
-
20
-
5
-
-
-
-
5
20
25
-
-
-
-
5
-
-
1
13
5
-
-
-
6
-
7
-
4
+
=
116
1+1+6
=
8
=
8
=
8
-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
14
9
14
5
20
25
-
14
9
14
5
-
14
1
13
5
19
-
15
6
-
7
15
4
+
=
261
2+6+1
=
9
=
9
=
9
-
-
2
8
5
-
5
9
5
5
2
7
-
5
9
5
5
-
5
1
4
5
1
-
6
6
-
7
6
4
+
=
117
1+1+7
=
9
=
9
=
9
-
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
-
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
2
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
2
=
4
=
4
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
4
occurs
x
2
=
8
=
8
-
-
-
-
5
-
5
-
5
5
-
-
-
5
-
5
5
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
5
occurs
x
9
=
45
4+5
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
6
-
-
6
-
-
-
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
2
=
14
 1+4
5
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
-
-
-
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
3
23
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
42
-
-
23
-
117
-
54
-
2+3
-
-
5
-
5
-
5
5
-
-
-
5
-
5
5
-
5
-
-
5
-
-
-
-
-
-
-
-
-
-
4+2
-
-
2+3
-
1+1+7
-
5+4
3
5
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
9
-
-
5
-
9
-
9
-
-
2
8
5
-
5
9
5
5
2
7
-
5
9
5
5
-
5
1
4
5
1
-
6
6
-
7
6
4
-
-
-
-
-
-
-
-
-
-
3
5
T
H
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
N
A
M
E
S
-
O
F
-
G
O
D
-
-
9
-
-
5
-
9
-
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+4
-
1+7+1
8+1
1+8
5
NINENINETYNINE
9
9
9

 

 

14
NINENINETYNINE
171
81
9
2
NI
23
14
5
1
N
14
5
5
1
E
5
5
5
2
NI
23
14
5
1
N
14
5
5
1
E
5
5
5
3
TYN
23
5
5
2
IN
23
14
5
1
E
5
5
5
14
NINENINETYNINE
171
81
18
1+4
-
1+7+1
8+1
1+8
5
NINENINETYNINE
9
9
9

 

 

-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
-
-
5
9
5
-
+
=
57
5+7
=
12
-
3
=
3
-
-
14
9
14
-
-
14
9
14
-
-
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
2
7
-
-
-
-
5
+
=
24
2+4
=
6
=
6
=
6
-
-
-
-
-
5
-
-
-
-
5
20
25
-
-
-
-
5
+
=
60
6+0
=
6
=
6
=
6
-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
20
25
-
14
9
14
5
+
=
171
1+7+1
=
9
=
9
=
9
-
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
+
=
81
8+1
=
9
=
9
=
9
-
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
5
5
-
5
-
5
5
-
-
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
22
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
23
-
-
14
-
81
-
27
2+2
1+4
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
2+3
-
-
1+4
-
8+1
-
2+7
4
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9
-
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
4
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9

 

 

14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
-
-
5
9
5
-
+
=
57
5+7
=
12
-
3
=
3
-
14
9
14
-
-
14
9
14
-
-
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
2
7
-
-
-
-
5
+
=
24
2+4
=
6
=
6
=
6
-
-
-
-
5
-
-
-
-
5
20
25
-
-
-
-
5
+
=
60
6+0
=
6
=
6
=
6
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
20
25
-
14
9
14
5
+
=
171
1+7+1
=
9
=
9
=
9
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
+
=
81
8+1
=
9
=
9
=
9
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
5
-
5
5
-
5
-
5
5
-
-
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
-
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
14
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
23
-
-
14
-
81
-
27
1+4
-
9
-
-
-
-
9
-
-
-
-
-
-
9
-
-
-
-
2+3
-
-
1+4
-
8+1
-
2+7
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9
-
5
9
5
5
-
5
9
5
5
2
7
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
5
N
I
N
E
-
N
I
N
E
T
Y
-
N
I
N
E
-
-
5
-
-
5
-
9
-
9

 

 

-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
5
9
5
-
+
=
57
5+7
=
12
1+2
3
=
3
-
-
14
9
14
-
-
14
9
14
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
-
-
-
-
5
+
=
15
1+5
=
6
=
6
=
6
-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
-
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
+
=
72
7+2
=
9
=
9
=
9
-
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
ONE
1
-
-
-
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
5
-
5
5
-
5
-
5
5
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
31
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
14
-
-
12
-
72
-
18
3+1
1+2
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
1+4
-
-
1+2
-
7+2
-
1+8
4
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9
-
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
4
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9

 

 

12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
9
5
-
-
5
9
5
-
-
5
9
5
-
+
=
57
5+7
=
12
1+2
3
=
3
-
14
9
14
-
-
14
9
14
-
-
14
9
14
-
+
=
111
1+1+1
=
3
=
3
=
3
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
-
5
-
-
-
-
5
+
=
15
1+5
=
6
=
6
=
6
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
14
9
14
5
-
14
9
14
5
-
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
+
=
72
7+2
=
9
=
9
=
9
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
-
-
-
-
-
-
-
-
-
5
-
5
5
-
5
-
5
5
-
5
-
5
5
-
-
5
occurs
x
9
=
45
4+5
9
-
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
9
occurs
x
3
=
27
2+7
9
12
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
14
-
-
12
-
72
-
18
1+2
-
9
-
-
-
-
9
-
-
-
-
9
-
-
-
-
1+4
-
-
1+2
-
7+2
-
1+8
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9
-
5
9
5
5
-
5
9
5
5
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
3
N
I
N
E
-
N
I
N
E
-
N
I
N
E
-
-
5
-
-
3
-
9
-
9

 

 

www.answers.com/topic/king-of-kings

The 99 Attributes of Allah

I found many different versions of the 99 names. The above 99 are on a poster I have. Another list includes Al-Mu'tiy - The Bestower, The Giver and does not have Al- Ahad - The One. Another list did not have Al- Ahad -The Sustainer, The Provider but did have Al - Razzaaq The Noble, The One who is Majid.

Allah (subhanahu wa ta' ala)s' There are a couple of evidences, one is the du`aa where one calls upon Allah by the names He (subhanahu wa ta`ala) has kept to Himself (obviously not taking these names since Allah has not revealed them to us); another is the fact that in the narrations of the famous ninety nine names hadith that do contain 99 names, the names are not consistent between narrations (for example, imam al-bayhaqi reports two versions of this hadith, with different 99 names in each). It is suggested by one commentator that the names were not explicitly stated by the rasul (sallallahu `alayhi wa sallam).

 

 

-
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
6
-
-
-
5
-
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
-
8
-
-
8
15
-
-
-
14
-
-
-
+
=
45
4+5
=
9
=
9
=
9
-
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
-
-
3
7
-
-
1
4
5
+
=
27
2+7
=
9
=
9
=
9
-
-
20
-
5
-
-
-
12
25
-
-
1
13
5
+
=
81
8+1
=
9
=
9
=
9
--
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
8
15
12
25
-
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
-
2
8
5
-
8
6
3
7
-
5
9
5
5
+
=
54
5+4
=
9
=
9
=
9
-
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
=
1
-
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
--
3
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
5
-
-
-
-
-
-
5
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
-
8
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
NINE
-
-
-
-
-
-
9
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
36
-
-
11
-
54
-
36
-
1+1
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
3+6
-
-
1+1
-
5+4
-
3+6
9
2
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
9
-
-
2
-
9
-
9
-
-
2
8
5
-
8
6
3
7
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
9
2
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
9
-
-
2
-
9
-
9

 

 

11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
6
-
-
-
5
-
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
8
-
-
8
15
-
-
-
14
-
-
-
+
=
45
4+5
=
9
=
9
=
9
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
-
-
3
7
-
-
1
4
5
+
=
27
2+7
=
9
=
9
=
9
-
20
-
5
-
-
-
12
25
-
-
1
13
5
+
=
81
8+1
=
9
=
9
=
9
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
20
8
5
-
8
15
12
25
-
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
2
8
5
-
8
6
3
7
-
5
9
5
5
+
=
54
5+4
=
9
=
9
=
9
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
=
1
-
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
--
3
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
-
-
-
-
-
5
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
8
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
11
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
36
-
-
11
-
54
-
36
1+1
-
-
-
-
-
-
-
-
-
-
9
-
-
-
-
3+6
-
-
1+1
-
5+4
-
3+6
2
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
9
-
-
2
-
9
-
9
-
2
8
5
-
8
6
3
7
-
5
9
5
5
-
-
-
-
-
-
-
-
-
-
2
T
H
E
-
H
O
L
Y
-
N
A
M
E
-
-
9
-
-
2
-
9
-
9

 

 

11
T
H
E
H
O
L
Y
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
8
-
8
6
-
-
5
-
-
-
+
=
27
2+7
=
9
=
9
=
9
-
-
8
-
8
15
-
-
14
-
-
-
+
=
45
4+5
=
9
=
9
=
9
11
T
H
E
H
O
L
Y
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
2
-
5
-
-
3
7
-
1
4
5
+
=
27
2+7
=
9
=
9
=
9
-
20
-
5
-
-
12
25
-
1
13
5
+
=
81
8+1
=
9
=
9
=
9
11
T
H
E
H
O
L
Y
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
20
8
5
8
15
12
25
14
9
14
5
+
=
126
1+2+6
=
9
=
9
=
9
-
2
8
5
8
6
3
7
5
9
5
5
+
=
54
5+4
=
9
=
9
=
9
11
T
H
E
H
O
L
Y
N
A
M
E
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
occurs
x
1
=
1
=
1
-
2
-
-
-
-
-
-
-
-
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
--
3
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
-
-
4
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
-
-
-
5
-
-
5
-
-
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
=
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
7
occurs
x
1
=
7
=
7
-
-
8
-
8
-
-
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
11
T
H
E
H
O
L
Y
N
A
M
E
-
-
36
-
-
11
-
54
-
36
1+1
-
-
-
-
-
-
-
-
9
-
-
-
-
3+6
-
-
1+1
-
5+4
-
3+6
2
T
H
E
H
O
L
Y
N
A
M
E
-
-
9
-
-
2
-
9
-
9
-
2
8
5
8
6
3
7
5
9
5
5
-
-
-
-
-
-
-
-
-
-
2
T
H
E
H
O
L
Y
N
A
M
E
-
-
9
-
-
2
-
9
-
9

 

 

 

 
 
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