THE JOURNEY MAN

1977

 

 

 

THE PYRAMID TEXTS

34

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

HIGHLY QUESTIONABLE

Page 659

" It was learned, funher,. that from her childhood up Ellen had had visions, though at widely separated intervals of time; visions, visible and invisible. What sort of thing were they, now - in­visible visions? Well, for example: when she was a girl of sixteen, she had been sitting one day alone in the living-room of her par­ents' house, sewing at a round table, with her father's dog Freia lying near her on the carpet..The table was covered with a Turk­ish shawl, of the kind old women wear three-cornered across their shoulders. It covered the table diagonally, with the corners some­what hanging over. Suddenly Ellen had seen the corner nearest her roll slowly up. Soundlessly, carefully, and evenly it turned itself up, a good distance toward the centre of the table, so that the resultant roll was rather long; and while this was happening, the dog Freia started up wildly, bracing her forefeet, the hair rising on her body. She had stood on her hind legs, then run howliog into the next room and taken refuge under a sofa. For a whole year thereafter she could not be persuaded to set foot in the living-room.
Was it Holger, Friiulein Kleefeld asked, who had rolled up the cloth? Little Brand did not know. And what had she thought about the affair? But since it was absolutely impossible to think anything about it, little Elly had thought nothing at all. Had she told her parents? No. That was odd. Though so sure she had thought nothing about it, Elly had had a distinct impression, in this and similar cases, that she must keep it to herself, make a profound and shamefaced secret of it. Had she taken it much to heart? No, not particularly. What was there about the roiling up of a cloth to take to hean? But other things she had - for ex­ample, the following:
A year before, in her parent's house at Odense, she had risen, as was her custom, in the cool of the early morning and left her room on the ground-floor, to go up to the breakfast-room, in order to brew the moming coffee before her parents rose. She had almost reached the landing, where the stairs turned, when she saw standing there close by the steps her elder sister Sophie, who had married and gone to Amenca to live. There she was, her physical presence, in a white gown, with, curiously enough, a garland of moist water-lilies on her head, her hands folded against one shoulder, and nodded to her sister. Ellen, rooted to the spot, half joyful, half terrified, cried out: "Oh, Sophie, is that you? " Sophie had nodded once again, and dissolved. She became gradually transparent, soon she was only visible as an ascending current of warm air, then not visible at all. so that Ellen's / Page 660 / path was clear. Later, it transpired that Sister Sophie had died of heat trouble in New Jersey, at that very hour.
Hans Castorp, when Fraulein Kleefeld related this to him, ex­pressed the view that there was some sort of sense in it: the appari­tion here, the death there - after all, they did hang together. And he consented to be present at a spiritualistic sitting, a table-tipping, glass-moving game which they had determined to undertake with Ellen Brand, behind Dr. Krokowski's back, and in defiance of his jealous prohibition.
A small and select group assembled for the purpose, their theatre being Fraulein Kleefeld's room. Besides the hostess, Fraulein Brand, and Hans Castorp, there were only Frau Stohr, Fraulein Levi, Herr Albin, the Czech Wenzel, and Dr. Ting-Fu. In the evening, on the stroke of ten, they gathered privily, and in whispers mustered the appartus Hermine had provided, consisting of a medium­sized round table without a cloth, placed in the centre of the room, with a wineglass upside-down upon it, the foot in the air. Round the edge of the table, at regular intervals, were placed twenty-six little bone counters, each with a letter of the alphabet written on it in pen and ink. Friiulein Kleefeld served tea, which was gracefully received, as Frau Stohr and Fraulein Levi, despite the harmlessness of the undertaking, complained of c..old feet and palpitations. Cheered by the tea, they took their places about the table, in the rosy twilight dispensed by the pink-shaded table­lamp, as Friiulein Kleefeld, in concession to the mood of the gath­ering, had put out the ceiling light; and each of them laid a finger of his right hand lightly on the foot of the wineglass. This was the prescribed technique. They waited for the glass to move.
That should happen with ease. The top of the table was smooth, the rim of the grass well ground, the pressure of the tremulous fingers, howe!ver lightly laid on, certainly unequal, some of it being exerted vertically, some rather sidewise, and probably in sufficient strength to cause the glass finally to move from its position in the centre of the table. On the periphery of its field it would come in contact with the marked counters; and if the letters on these, when put together, made words that conveyed any sort of sense, the resultant phenomenon would be complex and contaminate, a mixed product of conscious, half -conscious, and unconscious elements; the actual desire and pressure of some, to whom the wish was father to the act, whether or not they were aware of what they did; and the secret acquiescence of some dark stratum in the soul of the generality, a common if subterranean effort toward seemingly strange experiences, in which the sup / Page 661 / pressed self of the individual was more or less involved, most strongly, of course, that of little Elly. This they all knew be­forehand - Hans Castorp even blurted out something of the sort, after his fashion, as they sat and waited. The ladies' palpitation and cold extremities, the forced hilarity of the men, arose from their knowledge that they were come together in the night to embark on an unclean traffic with their own natures, a fearsome prying into unfamiliar regions of themselves, and that they were awaiting the appearance of those illuso.ry or half-realities which we call magic. It was almost entirely for form's sake, and came about quite conventionally, that they asked the sp irits of the departed to speak to them through the movement 0 the glass. Herr Albin offered to be spokesman and deal with such spirits as manifested themselves - he had already had a little experience at seances.
Twenty minutes or more went by. The whisperings had run dry, the first tension relaxed. They supported their right arms at the elbow with their left hands. The Czech Wenzel was al­most dropping off. Ellen Brand rested her finger lightly on the glass and directed her pure, childlike gaze away into the rosy light from the table-lamp.
Suddenly the glass tipped, knocked, and ran away from under their hands. They had difficulty in keeping their fingers on it. It pushed over to the very edge of the table, ran along it for a space, then slanted back nearly to the middle; tapped again, and remained quiet.
They were all Startled; favourably, yet with some alarm. Frau Stohr whimpered that she would like to stop, but they told her she should have thought of that before, she must just keep quiet now. Things seemed in train. They stipulated that, in order to answer yes or 00, the glass need not ron to the letters, but might give one or two knocks instead.
" Is there an Intelligence present? " Herr Albin asked, severely directing his gaze over their heads into vacancy. Ater some hesitation, the glass tipped and said yes.
" What is your name? " Herr Albin asked, almost gruffly, and emphasized his energetic speech by shaking his head.
The glass pushed off. It ran with resolution from one point te another, executing a zigzag by returning each time a little dis­tance toward the centre of the table. It visited H, O, and L, then seemed exhausted; but pulled itself together again and sought out the G, and E, and the R. Just as they thought. It was Holger in person, the spirit Holger, who understood such matters as the / Page 661 / pinch of salt and that, but knew better than to mix into lessons at school. He was there, floating in the air, above the heads of the little circle. What should they do with him? A certain diffidence possessed them; they took counsel behind their hands, what they were to ask him. Herr Albin decided to question him about his position and occupation in life, and did so, as before, severely, with frowning brows; as though he were a cross-examining counsel.
The glass was silent awhile. Then it staggered over to the P, zigzagged and returned to O. Great suspense. Dr. Ting-Fu giggled and said Holger must be a poet. Frnu Stohr began to laugh hysterically; which the glass appeared to resent, for after indi­cating the E it stuck and went no further. However, it seemed fairly clear that Dr. Ting-Fu was right.
What the deuce, so Holger was a poet? The glass revived, and superfluously, in apparent pridefulness, rapped yes. A lyric poet, Fraulein Kleefeld asked? She said ly-ric, as Hans Castorp involuntarily noted. Holger was disinclined to specify. He gave no new answer, merely spelled out again, this time quickly and unhesitatingly, the word poet, adding the T he had left off before.
Good, then, a poet. The constraint increased. It was a con­straint that in realIty had to do with manifestations on the part of uncharted regions of their own inner, their subjective selves, but which, because of the illusory, half-actual conditions of these manifestations, referred itself to the objective and external. Did Holger feel at home, and content, in his present state? Dreamily, the glass spelled out the word tranquil. Ah, tranquil It was not a word one would have hit upon oneself, but after the glass spelled it out, they found it well chosen and probable. And how long had Holger been in ,this tranquil state? The answer to this was again something one would never have thought of, and dreamily answered; it was "A hastening while." Very good. As a piece of ventriloquistic poesy from the Beyond, Hans Castorp, in particular, found it capital. A " hastening while" was the time-element Holger lived in: and of course he had to answer as it were in parables, having very likely forgotten how to use earthly terminofogy and standards of exact measurement. Fraulein Levi confessed her curiosity to know how he looked, or had looked, more or less. Had he been a handsome youth? Here Albin said she might ask him herself, he found the request beneath his dignity. So she asked if the spirit had fair hair.
"Beautiful, brown, brown curls," the glass responded, deliberately spelling out the word brown twice. There was much merri­ / Page 663 / ment over this. The ladies said they were in love with him. They kissed their hands at the ceiling. Dr. Ting-Fu, giggling, said Mister Holger must be rather vain.
Ah, what a fury the glass fell into! It ran like mad about the table, quite at random, rocked with rage, fell over and rolled into Frau Stohr's lap, who stretched out her anns and looked down at it pallid with fear. They apologetically conveyed it back to its station, and rebuked the Chinaman. How had he dared to say such a thing - did he see what his indiscretion had led to? Suppose Holger was up and off in his wrath, and refused to say another word!
They addressed themselves to the glass with the extreme of courtesy. WouId Holger not make up some poetry for them? He had said he was a poet, before he went to hover in the hastening while. Ab, how they all yearned to hear him versify! They would love it so!
And 10, the good glass yielded and said yes! Truly there was something placable and good-humoured about the way it tapped. And then Holger the spirit began to poetize, and kept it up, copi­ously, circumstantially, without pausing for thought, for dear knows how long. It seemed impossible to stop him. And what a surprising poem it was, this ventriloquistic effort, delivered to the admiration of the circle - stuff of magic, and shoreless as the sea of which it largely dealt. Sea-wrack in heaps and bands along the narrow strand of the broad-flung bay; an islanded coast, girt by steep, cllify dunes. Ab, see the dim green distance faint and die into eternity, while beneath broad veils of mist in dull cannine and milky radiance the sununer sun delays to sink! No word can utter how and when the watery mirror turned from silver into untold changeful colour-play, to bright or pale, to spreading, opaline and moonstone gleams - or how, mysteriously as it came, the voice­less magic died away. The sea slumbered. Yet the last traces of the sunset linger above and beyond. Until deep in the night it has not
grown dark: a ghostly twilight reigns in the pine forests on the downs, bleaching the sand until it looks like snow- A simulated winter forest all in silence, save where an owl wings rustling flight. Let us stray here at this hour - so soft the sand beneath our tread, so sublime, so mild the night! Far beneath us the sea respires slowly, and murmurs a long whispering in its dream. Does it crave thee to see it again? Step forth to the sallow, glacierlike cliffs of the dunes, and climb quite up into the softness, that runs coolly into thy shoes. The land falls harsh and bushy steeply down to the pebbly shore, and still the last {>arting remnants of the day haunt the edge of the vanishing sky. LIe down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty little mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour-glass, that solemn, fragile toy that adorns the hermit's hut. An open book, a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn, mysterious essence. . . .
Thus Holger the spirit and his lyric improvisation, ranging with weird flights of thought from the familiar sea-shore to the cell of a hermit and the tools of his mystic contemplation. And there waf more; more, human and divine, involved in daring and dreamlike terminology - over which the members of the little circle puzzled endlessly as they spelled it out; scarcely finding time for hurried though raptUrous applause, so swiftly did the glass zigzag back and forth, so swiftly the words roll on and on. There was no distant prospect of a period, even at the end of an hour. The glass improvised inexhaustibly of the pangs of birth and the first kiss of lovers; the crown of sorrows, the fatherly goodness of God; plunged into the mysteries of creation, lost itself in other times and lands, in interstellar space; even mentioned the Chaldeans and the zodiac; and would "most, certainly have gone on all night, if the conspirators had not finally taken their fingers from the glass, and expressing their gratitude to Holger, told him that must suffice them for the time, it had been wonderful beyond their wildest dreams, it was an everlasting pity there had been no one at hand to take it down, for now it must inevitably be forgotten, yes, alas, they had already forgotten most of it, thanks to its quality, which made it hard to retain, as dreams are. Next time they must appoint an amanuensis to take it down, and see how it would look m black and white, and read connectedly. For the moment, however, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?
The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy-story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was so difficult to choose. At length, as no one else seemed able to settle, Hans Castorp, with his finger on the glass, supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.
Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer, which none of them succeeded In fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room. The whole seemed to be a direction to go slanting through Hans Castorp's room, that was to say, through number thirty-four. What was the sense of that? As they sat puzzling and shaking their heads, suddenly there came the heavy thump of a fist on the door."

 

 

	THIRTYFOUR
6	THIRTY	100	37	1
4	FOUR	60	24	6
10	THIRTYFOUR	160	61	9
1+0	-	1+6+0	6+1	-
1	THIRTYFOUR	7	7	7

 

 

	THIRTYFOUR
2	TH	28	10	1
1	I	9	9	9
1	R	18	9	9
2	TY	45	9	9
1	F	6	6	6
2	OU	36	24	6
1	R	18	9	9
10	THIRTY FOUR	160	61	43
1+0	-	1+6+0	6+1	4+3
1	THIRTY FOUR	7	7	7

 

 

	THIRTYFOUR
2	TH	28	10	1
1	IR	27	18	9
2	TY	45	9	9
1	F	6	6	6
2	OUR	54	18	9
10	THIRTY FOUR	160	61	34
1+0	-	1+6+0	6+1	3+4
1	THIRTY FOUR	7	7	7

 

 

	THIRTYFOUR
2	TH	28	10	1
1	IR	27	18	9
2	TY	45	9	9
1	F	6	6	6
2	OUR	54	18	9
10	THIRTY FOUR	160	61	34
1+0	-	1+6+0	6+1	3+4
1	THIRTY FOUR	7	7	7

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1824-1955

Page 10

Number 34

"ON their right as they entered, between the main door and the inner one, was the porter's lodge. An official of the French type, in the grey livery of the man at the station, was sitting at the tele­phone, reading the newspaper. He came out and led them through the well-lighted halls, on the left of which lay the reception-rooms. Hans Castorp peered in as he passed, but they were empty. Where, then, were the guests, he asked, and his cousin answered: " In the rest-cure. I had leave tonight to go out and meet you. Otherwise I am always up in my balcony, after supper."
Hans Castorp came near bursting out again. " What! You lie out on your balcony at night, in the damp? " he asked, his voice shak­ing.
" Yes, that is the rule. From eight to ten. But come and see your room now, and get a wash."
They entered the lift - it was an electric one, worked by the Frenchman. As they went up, Hans Castorp wiped. his eyes.
" I'm perfectly worn out with laughing, he said, and breathed through his mouth. cc You've told me such a lot of crazy stuff ­ that about the psycho-analysis was the last straw. I suppose I am a bit relaxed from the journey. And my feet are cold - are yours? But my face bums so, it is really unpleasant. Do we eat now? I feel hungry. Is the food decent up here?"
They went noiselessly along the coco matting of the narrow corridor, which was lighted by electric lights in white glass shades set in the ceiling. The walls gleamed with hard white eriamel paint.
They had a glimpse of a nursing sister in a white cap, and eye­glasses on a cord that ran behind her ear. She had the look of a Protestant sister - that is to say, one working without a real vo­cation and burdened with restlessness and ennui. As they went along the corridor, Hans Castorp saw, beside two of the white­enamelled, numbered doors, cenain curious, swollen-looking, bal­loon-shaped vessels with short necks. He did not think, at the moment, to ask what they were.
" Here you are," said Joachim. " I am next you on the right. The other side you have a Russian couple, rather loud and offensive, but it couldn't be helped. Well, how do you like it? "
There were two doors, an outer and an inner, with clothes­hooks in the space between. Joachim had turned on the ceiling light, and jn its vibrating brilliance the room looked restful and cheery, with practical wliite furniture, whte washable walls, clean / Page 11 / linoleum, and white linen curtains gaily embroidered in modem taste. The door stood open; one saw the lights of the valley and heard distant dance-music. The good Joachim had put a vase of flowers on the chest of drawers - a few bluebells and some yarrow, which he had found himself among the second crop of grass on the slopes.
" Awfully decent of you, "said Hans Castorp. "What a nice room! I can spend a couple of weeks here with pleasure."

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Chapter 1

"Number 34"

"But come and see your room now"

"What a nice room! I can spend a couple of weeks here with pleasure."

Page 663

"Lie down here in the sand! How cool as death it is, / Page 664 / how soft as silk, as flour! It flows in a colourless, thin stream from thy hand and makes a dainty mound beside thee. Dost thou recognize it, this tiny flowing? It is the soundless, tiny stream through the hour glass, that solemn, fragile toy that adorns the hermit's hut. An open book a skull, and in its slender frame the double glass, holding a little sand, taken from eternity, to prolong here, as time, its troubling, solemn mysterious essence. . ."

"For the moment, how-ever, and before Holger withdrew to the tranquillity of his hastening while, it would be better, and certainly most amiable of him, if he would consent to answer a few practical questions. They scarcely as yet knew what, but would he at least be in principle inclined to do so, in his great amiability?

The answer was yes. But now they discovered a great perplexity - what should they ask? It was as in the fairy story, when the fairy or elf grants one question, and there is danger of letting the precious advantage slip through the fingers. There was much in the world, much of the future, that seemed worth knowing, yet it was difficult to choose. At length, as no one else seemed able to sttle, Hans Castorp, with his finger on the glass supporting his cheek on his fist, said he would like to know what was to be / Page 665 / the actual length of his stay up here, instead of the three weeks originally fixed.

Very well, since they thought of nothing better, let the spirit out of the fullness of his knowledge answer this chance query. The glass hesitated, then pushed off. It spelled out something very queer which none of them succeeded in fathoming, it made the word, or the syllable Go, and then the word Slanting and then something about Hans Castorp's room, that was to say, through number thirty-four.What was the sense of that."

NUMBER THIRTY- FOUR

"WHAT WAS THE SENSE OF THAT"

?

We shall tell it at length; thoroughly, in detail- for when did a narrative seem too long or too short by reason of the actual time
or space it took up? We do not fear being called meticulous, inclinmg as we do to the view that only the exhaustive can be truly interesting.
Not all in a minute, then, will the narrator be finished with the story of our Hans. The seven days of a week will not suffice, no, nor seven months either. Best not too soon make too plain how much mortal time must pass over his head while he sits spun round in his spell. Heaven forbid it should be seven years!"

 

 

IDEAS PLEASE I ME I ME I PLEASE IDEAS

PLACET EXPERIRI EXPERIRI PLACET

 

1

are echoes here of Hans Castorp’s Mountain motto, ‘placet experiri’, which. states a positive commitment to experience and experiment. The same idea ... assets.cambridge.org/97805216/53107/sample/9780521653107ws

2

 

Placet experiri. Latin phrase meaning "It pleases to experiment", Ch. 4. “Beer, tobacco, and music,” he went on.. “Behold the Fatherland.” ... en.wikiquote.org/wiki/Thomas_Mann

3

Mann Quote: Placet experiri. ... Famous Quotes |Placet experiri. Printable Version · Cite this Page.Placet experiri. - Thomas Mann ... www.enotes.com/famous-quotes/placet-experiri

4

Diesen Ausgang verdankt Hans Castorp dem ,Placet experiri, der Erfahrung, ... Re:Placet experiri... dominikus franke schrieb am 24.07.2007 um 01:43 Uhr: ... www.albertmartin.de/latein/forum

5

Placet experiri. Wie schön, daß damals, auf dem Höhepunkt der Thomas-Mann-Begeisterung, das Krankenhaus, in dem ich lag, sich so leicht zum „Berghof“ (aus ... www.werner-radtke.de/1995/03/224-placet-experiri.html

 

 

PLACET EXPERIRI THAT I AM ME I ME AM I THAT EXPERIRI PLACET

 

-	PLACET EXPERIRI	-	-	-
2	P+L	28	10	1
3	A+C+E	9	9	9
1	T	20	2	2
4	E+X+P+E	50	23	5
1	R	18	9	9
1	I	9	9	9
1	R	18	9	9
1	I	9	9	9
14	PLACET EXPERIRI	161	80	53
1+4	-	1+6+1	9+0	5+3
5	-PLACET EXPERIRI	18	9	8
-	-	1+8	-	-
5	PLACET EXPERIRI	9	9	8

 

 

-	14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	1	-	-	-	-	-	-	-	-	-	-
-	`-	-	-	--	-	-	-	-	-	--	-	-	18	9	18	9	+	=	54	5+4	=	9	-	9	-	9
-	-	-	-	--	-	-	-	-	-	--	-	-	9	9	9	9	+	=	36	3+6	=	9	-	9	-	9
-	`-	-	-	--	-	-	-	-	-	--	-	-	18	9	18	9	+	=	54	5+4	=	9	-	9	-	9
-	14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	1	-	-	-	-	-	-	-	-	-	-
-	-	7	3	1	3	5	2	-	5	6	7	5	-	--	-	--	+	=	44	4+4	=	8	-	8	-	8
-	`-	16	12	1	3	5	20	-	5	24	16	5	-	--	-	--	+	=	107	1+0+7	=	8	-	8	-	8
-	14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	1	-	-	-	-	-	-	-	-	-	-
-	`-	16	12	1	3	5	20	-	5	24	16	5	18	9	18	9	+	=	161	1+6+1	=	8	-	8	-	8
-	-	7	3	1	3	5	2	-	5	6	7	5	9	9	9	9	+	=	80	8+0	=	8	-	8	-	8
-	14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	-	-	-	-	-	-	-	-
-	-	-	-	1	-	-	-	-	-	-	-	-	-	-	-	-	-	-	1	occurs	x	1	=	1	=	1
-	-	-	-	-	-	-	2	-	-	-	-	-	-	-	-	-	-	-	2	occurs	x	1	=	2	=	2
-	-	-	3	-	3	-	-	-	-	-	-	-	-	-	-	-	-	-	3	occurs	x	1	=	3	=	3
4	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	4	-	-	-	-	-	-	-
-	-	-	-	-	-	5	-	-	5	-	-	5	-	-	-	-	-	-	5	occurs	x	3	=	15	1+5	6
-	-	-	-	-	-	-	-	-	-	6	-	-	-	-	-	-	-	-	6	occurs	x	1	=	6	=	6
-	-	7	-	-	-	-	-	-	-	-	7	-	-	-	-	-	-	-	7	occurs	x	2	=	14	1+4	5
8	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	8	-	-	-	-	-	-	-
-	-	-	-	-	-	-	-	-	-	-	-	-	9	9	9	9	-	-	9	occurs	x	4	=	36	3+6	9
12	14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	33	-	-	14	-	80	-	35
1+2	1+4	-	-	-	-	-	-	-	-	-	-	-	9	9	9	9	-	-	3+3	-	-	1+4	-	8+0	-	3+5
3	5	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	6	-	-	5	-	8	-	8
--	--	7	3	1	3	5	2	-	5	6	7	5	9	9	9	9	-	-	-	-	-	--	--	-	-	-
3	5	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	6	-	-	5	-	8	-	8

 

 

	P	L	A	C	E	T	-	E	X	P	E	R	I	R	1	-	-	-	-	-	-	-	-	-	-
`-	-	-	--	-	-	-	-	-	--	-	-	18	9	18	9	+	=	54	5+4	=	9	-	9	-	9
-	-	-	--	-	-	-	-	-	--	-	-	9	9	9	9	+	=	36	3+6	=	9	-	9	-	9
`-	-	-	--	-	-	-	-	-	--	-	-	18	9	18	9	+	=	54	5+4	=	9	-	9	-	9
14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	1	-	-	-	-	-	-	-	-	-	-
-	7	3	1	3	5	2	-	5	6	7	5	-	--	-	--	+	=	44	4+4	=	8	-	8	-	8
`-	16	12	1	3	5	20	-	5	24	16	5	-	--	-	--	+	=	107	1+0+7	=	8	-	8	-	8
14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	1	-	-	-	-	-	-	-	-	-	-
`-	16	12	1	3	5	20	-	5	24	16	5	18	9	18	9	+	=	161	1+6+1	=	8	-	8	-	8
-	7	3	1	3	5	2	-	5	6	7	5	9	9	9	9	+	=	80	8+0	=	8	-	8	-	8
14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	-	-	-	-	-	-	-	-
-	-	-	1	-	-	-	-	-	-	-	-	-	-	-	-	-	-	1	occurs	x	1	=	1	=	1
-	-	-	-	-	-	2	-	-	-	-	-	-	-	-	-	-	-	2	occurs	x	1	=	2	=	2
-	-	3	-	3	-	-	-	-	-	-	-	-	-	-	-	-	-	3	occurs	x	1	=	3	=	3
-	-	-	-	-	5	-	-	5	-	-	5	-	-	-	-	-	-	5	occurs	x	3	=	15	1+5	6
-	-	-	-	-	-	-	-	-	6	-	-	-	-	-	-	-	-	6	occurs	x	1	=	6	=	6
-	7	-	-	-	-	-	-	-	-	7	-	-	-	-	-	-	-	7	occurs	x	2	=	14	1+4	5
-	-	-	-	-	-	-	-	-	-	-	-	9	9	9	9	-	-	9	occurs	x	4	=	36	3+6	9
14	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	33	-	-	14	-	80	-	35
1+4	-	-	-	-	-	-	-	-	-	-	-	9	9	9	9	-	-	3+3	-	-	1+4	-	8+0	-	3+5
5	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	6	-	-	5	-	8	-	8
--	7	3	1	3	5	2	-	5	6	7	5	9	9	9	9	-	-	-	-	-	--	--	-	-	-
5	P	L	A	C	E	T	-	E	X	P	E	R	I	R	I	-	-	6	-	-	5	-	8	-	8

 

 

7	IT	29	11	2
4	PLEASES	77	23	5
6	TO	35	8	8
4	EXPERIMENT	129	57	3
17	First Total	270	99	18
1+7	Add to Reduce	2+7+0	9+9	1+8
8	Second Total	9	18	9
-	Reduce to Deduce	-	1+8	-
8	Essence of Number	9	9	9

 

 

Placet experiri. Latin phrase meaning "It pleases to experimnent", Ch. 4. “Beer, tobacco, and music,” he went on. “Behold the Fatherland.” ... en.wikiquote.org/wiki/Thomas_Mann

Paul Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and mid-length stories, noted for their insight into the psychology of the artist and the intellectual.

Contents [hide]
1 Sourced
1.1 Tristan (1902)
1.2 Tonio Kröger (1903)
1.3 Death in Venice (1912)
1.4 The Magic Mountain (1924)
1.5 Suffering and Greatness of Richard Wagner (1933)
1.6 Freud and the Future (1937)
1.7 The Beloved Returns (1939)
1.8 Doctor Faustus (1947)
1.9 Confessions of Felix Krull, Confidence Man (1954)
2 Unsourced
3 External links

[edit] Sourced
I think of my suffering, of the problem of my suffering. What am I suffering from? From knowledge — is it going to destroy me? What am I 
suffering from? From sexuality — is it going to destroy me? How I hate it, this knowledge which forces even art to join it! How I hate it, this sensuality, which claims everything fine and good is its consequence and effect. Alas, it is the poison that lurks in everything fine and good! — How am I to free myself of knowledge? By religion? How am I to free myself of sexuality? By eating rice?
Letter from Naples, Italy to Otto Grautoff (1896); as quoted in A Gorgon's Mask: The Mother in Thomas Mann's Fiction (2005) by Lewis A. Lawson, p. 34
Here and there, among a thousand other peddlers, are slyly hissing dealers who urge you to come along with them to allegedly "very beautiful" girls, and not only to girls. They keep at it, walk alongside, praising there wares until you answer roughly. They don't know that you have resolved to eat nothing but rice just to escape from sexuality!
Letter from Naples, Italy to Otto Grautoff (1896); as quoted in A Gorgon's Mask: The Mother in Thomas Mann's Fiction (2005) by Lewis A. Lawson, p. 35
We are most likely to get angry and excited in our opposition to some idea when we ourselves are not quite certain of our own position, and are inwardly tempted to take the other side.
Buddenbrooks [Buddenbrooks: Verfall einer Familie, Roman] (1901). Pt 8, Ch. 2
Beauty can pierce one like pain.
Buddenbrooks [Buddenbrooks: Verfall einer Familie, Roman], Pt 11, Ch. 2
That daily the night falls; that over stresses and torments, cares and sorrows the blessing of sleep unfolds, stilling and quenching them; that every anew this draught of refreshment and lethe is offered to our parching lips, ever after the battle this mildness laves our shaking limbs, that from it, purified from sweat and dust and blood, strengthened, renewed, rejuvenated, almost innocent once more, almost with pristine courage and zeal we may go forth again — these I hold to be the benignest, the most moving of all the great facts of life.
"Sleep, Sweet Sleep" ["Süßer Schlaf] first published in Neue Freie Presse [Vienna] (30 May 1909), as translated by Helen T. Knopf in Past Masters and Other Papers (1933), p. 269
The important thing for me, then, is not the "work," but my life. Life is not the means for the achievement of an esthetic ideal of perfection; on the contrary, the work is an ethical symbol of life.
Reflections of a Non-Political Man [Betrachtungen eines Unpolitischen (1918)]
Extraordinary creature! So close a friend, and yet so remote.
Herr und Hund (A Man and his Dog) (1918)
The meeting in the open of two dogs, strangers to each other, is one of the most painful, thrilling, and pregnant of all conceivable encounters; it is surrounded by an atmosphere of the last canniness, presided over by a constraint for which I have no preciser name; they simply cannot pass each other, their mutual embarrassment is frightful to behold.
Herr und Hund (A Man and his Dog)
I have an epic, not a dramatic nature. My disposition and my desires call for peace to spin my thread, for a steady rhythm in life and art.
Nobel Banquet Speech (10 December 1929)
This fantastic state of mind, of a humanity that has outrun its ideas, is matched by a political scene in the grotesque style, with Salvation Army methods, hallelujahs and bell-ringing and dervishlike repetition of monotonous catchwords, until everybody foams at the mouth. Fanaticism turns into a means of salvation, enthusiasm into epileptic ecstasy, politics becomes an opiate for the masses, a proletarian eschatology; and reason veils her face.
On German fascism, in "An Appeal to Reason" ["Deutsche Ansprache. Ein Appell an die Vernunft"] in Berliner Tageblatt (18 October 1930); as translated by Helen T. Lowe-Porter in Order of the Day, Political Essays and Speeches of Two Decades (1942), p. 57
In the Word is involved the unity of humanity, the wholeness of the human problem, which permits nobody to separate the intellectual and artistic from the political and social, and to isolate himself within the ivory tower of the "cultural" proper.
Letter to the dean of the Philosophical Faculty, Bonn University (January 1937)
Democracy is timelessly human, and timelessness always implies a certain amount of potential youthfulness.
The Coming Victory of Democracy (1938), p. 14, translated by Agnes E. Meyer, Knopf (1938)
In certain respects, particularly economically, National-Socialism is nothing but bolshevism. These two are hostile brothers of whom the younger has learned everything from the older, the Russian excepting only morality.
The Coming Victory of Democracy (1938), p. 14, translated by Agnes E. Meyer, Knopf (1938)
This was love at first sight, love everlasting: a feeling unknown, unhoped for, unexpected — in so far as it could be a matter of conscious awareness; it took entire possession of him, and he understood, with joyous amazement, that this was for life.
"Early Sorrow in Tellers of Tales: 100 Short Stories from the United States, England, France, Russia and Germany edited by William Somerset Maugham (1939), p. 884
The Freudian theory is one of the most important foundation stones for an edifice to be built by future generations, the dwelling of a freer and wiser humanity.
As quoted in The New York Times (21 June 1939)
Unhappy German nation, how do you like the Messianic rôle allotted to you, not by God, nor by destiny, but by a handful of perverted and bloody-minded men.
"This War" (1939); also in Order of the Day (1942)
It is a strange fact that freedom and equality, the two basic ideas of democracy, are to some extent contradictory. Logically considered, freedom and equality are mutually exclusive, just as society and the individual are mutually exclusive.
Speech, "The War and the Future" (1940); published in Order of the Day (1942)
What we call National-Socialism is the poisonous perversion of ideas which have a long history in German intellectual life.
Speech, "The War and the Future" (1940); published in Order of the Day (1942)
An art whose medium is language will always show a high degree of critical creativeness, for speech is itself a critique of life: it names, it characterizes, it passes judgment, in that it creates.
Speech at the Prussian Academy of Art in Berlin (22 January 1929); also in Essays of Three Decades (1942)
A writer is somebody for whom writing is more difficult than it is for other people.
Essays of Three Decades (1942)
Politics has been called the “art of the possible,” and it actually is a realm akin to art insofar as, like art, it occupies a creatively mediating position between spirit and life, the idea and reality.
Speech at the US Library of Congress (29 May 1945); published as "Germany and the Germans" ["Deutschland und die Deutschen"] in Die Neue Rundschau [Stockholm] (October 1945), p. 58, as translated by Helen T. Lowe-Porter
Reduced to a miserable mass level, the level of a Hitler, German Romanticism broke out into hysterical barbarism.
Speech at the US Library of Congress (29 May 1945); published as "Germany and the Germans" ["Deutschland und die Deutschen"] in Die Neue Rundschau [Stockholm] (October 1945), p. 58, as translated by Helen T. Lowe-Porter
Every reasonable human being should be a moderate Socialist.
As quoted in The New York Times (18 June 1950); also in Thomas Mann: A Critical Study (1971) by R. J. Hollingdale, Ch. 2
It is not good when people no longer believe in war. Pretty soon they no longer believe in many other things which they absolutely must believe in if they are to be decent men.
Quoted in Survey of Contemporary Literature (1977) by Frank Northen Magill, p. 4263

[edit] Tristan (1902)
It often happens that an old family, with traditions that are entirely practical, sober and bourgeois, undergoes in its declining days a kind of artistic transfiguration.
Ch. 7
They sang their mysterious duo, sang of their nameless hope, their death-in-love, their union unending, lost forever in the embrace of night’s magic kingdom. O sweet night, everlasting night of love! Land of blessedness whose frontiers are infinite!
Ch. 8
It had been a moving, tranquil apotheosis, immersed in the transfiguring sunset glow of decline and decay and extinction. An old family, already grown too weary and too noble for life and action, had reached the end of its history, and its last utterances were sounds of music: a few violin notes, full of the sad insight which is ripeness for death.
Ch. 10

[edit] Tonio Kröger (1903)
If you are possessed by an idea, you find it expressed everywhere, you even smell it.
Variant translation: It is strange. If an idea gains control of you, you will find it expressed everywhere, you will actually smell it in the wind.
As translated by Bayard Quincy Morgan
What they, in their innocence, cannot comprehend is that a properly constituted, healthy, decent man never writes, acts, or composes.
"Tonio Kröger" on general opinions about artists.
This longing for the bliss of the commonplace.
Ch. 4, and also in Ch. 9, as translated by David Luke
He remembered the dissolute adventures in which his senses, his nervous system and his mind had indulged; he saw himself corroded by irony and intellect, laid waste and paralyzed by insight, almost exhausted by the fevers and chills of creation, helplessly and contritely tossed to and fro between gross extremes, between saintly austerity and lust — oversophisticated and impoverished, worn out by cold, rare artificial ecstasies, lost, ravaged, racked and sick — and he sobbed with remorse and nostalgia.
Ch. 8, as translated by David Luke
I stand between two worlds, am at home in neither, and in consequence have rather a hard time of it. You artists call me a commoner, and commoners feel tempted to arrest me ... I do not know which wounds me more bitterly. Commoners are stupid; but you worshippers of beauty who call me phlegmatic and without yearning, ought to reflect that there is an artistry so deep, so primordial and elemental, that no yearning seems to it sweeter and more worthy of tasting than that for the raptures of common-placeness.
Ch. 9, as translated by Bayard Quincy Morgan
I admire the proud and cold who go adventuring on the paths of great and demoniac beauty, and scorn "man" — but I do not envy them. For if anything is capable of making a poet out of a man of letters, it is this plebeian love of mine for the human, living, and commonplace. All warmth, all goodness, all humor is born of it, and it almost seems to me as if it were that love itself, of which it is written that a man might speak with the tongues of men and of angels, and yet without it be no more than sounding brass or a tinkling cymbal.
Ch. 9, as translated by Bayard Quincy Morgan
What I have done is nothing, not much — as good as nothing. I shall do better things, Lisaveta — this is a promise. While I am writing, the sea's roar is coming up to me, and I close my eyes. I am looking into an unborn and shapeless world that longs to be called to life and order, I am looking into a throng of phantoms of human forms which beckon me to conjure them and set them free: some of them tragic, some of them ridiculous, and some that are both at once — and to these I am very devoted. But my deepest and most secret love belongs to the blond and blue-eyed, the bright-spirited living ones, the happy, amiable, and commonplace.
Do not speak lightly of this love, Lisaveta; it is good and fruitful. There is longing in it and melancholy envy, and a tiny bit of contempt, and an unalloyed chaste blissfulness.
Ch. 9, as translated by Bayard Quincy Morgan
Variant translation: But my deepest and most secret love belongs to the fair-haired and the blue-eyed, the bright children of life, the happy, the charming and the ordinary.
Ch. 9, as translated by David Luke

[edit] Death in Venice (1912)
Der Tod in Venedig, originally published in Die Neue Rundschau 23 (Oct-Nov 1912)

The figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.But he would “stay the course” — it was his favorite motto.
The disposition of the main character "Gustav Aschenbach", Ch. 2, as translated by David Luke
Hidden away amongst Aschenbach’s writing was a passage directly asserting that nearly all the great things that exist owe their existence to a defiant despite: it is despite grief and anguish, despite poverty, loneliness, bodily weakness, vice and passion and a thousand inhibitions, that they have come into being at all. But this was more than an observation, it was an experience, it was positively the formula of his life and his fame, the key to his work.
Ch. 2, as translated by David Luke
The new hero-type favored by Aschenbach, and recurring in his books in a multiplicity of individual variants, had already been remarked upon at an early stage by a shrewd commentator, who had described his conception as that of “an intellectual and boyish manly virtue, that of a youth who clenches his teeth in proud shame and stands calmly on as the swords and spears pass through his body ... the figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.
Ch. 2, as translated by David Luke
Gustav Aschenbach was the writer who spoke for all those who work on the brink of exhaustion, who labor and are heavy-laden, who are worn out already but still stand upright, all those moralists of achievement who are slight of stature and scanty of resources, but who yet, by some ecstasy of the will and by wise husbandry, manage at least for a time to force their work into a semblance of greatness.
Ch. 2, as translated by David Luke
Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
Ch. 2, as translated by David Luke
How else is the famous short story ‘A study in Abjection’ to be understood but as an outbreak of disgust against an age indecently undermined by psychology.
On a short story of the character, "Gustav Aschenbach". Ch. 2, as translated by David Luke
How strange a vehicle it is, coming down unchanged from times of old romance, and so characteristically black, the way no other thing is black except a coffin — a vehicle evoking lawless adventures in the plashing stillness of night, and still more strongly evoking death itself, the bier, the dark obsequies, the last silent journey!
Ch. 3, as translated by David Luke
With astonishment Aschenbach noticed that the boy was entirely beautiful. His countenance, pale and gracefully reserved, was surrounded by ringlets of honey-colored hair, and with its straight nose, its enchanting mouth, its expression of sweet and divine gravity, it recalled Greek sculpture of the noblest period.
Ch. 3, as translated by David Luke

I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.There were profound reasons for his attachment to the sea: he loved it because as a hard-working artist he needed rest, needed to escape from the demanding complexity of phenomena and lie hidden on the bosom of the simple and tremendous; because of a forbidden longing deep within him that ran quite contrary to his life’s task and was for that very reason seductive, a longing for the unarticulated and immeasurable, for eternity, for nothingness. To rest in the arms of perfection is the desire of any man intent upon creating excellence; and is not nothingness a form of perfection?
Ch. 3, as translated by David Luke
The writer’s joy is the thought that can become emotion, the emotion that can wholly become a thought.
Ch. 4, as translated by David Luke
Never had he felt the joy of the word more sweetly, never had he known so clearly that Eros dwells in language.
Ch. 4, as translated by David Luke
This was Venice, the flattering and suspect beauty — this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.
Ch. 5, as translated by David Luke
I must tell you that we artists cannot tread the path of Beauty without Eros keeping company with us and appointing himself as our guide.
Ch. 5, as translated by David Luke

[edit] The Magic Mountain (1924)
Der Zauberberg (1929), using quotes primarily from the translation of Helen T. Lowe-Porter (1955)

Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.Space, like time, engenders forgetfulness; but it does so by setting us bodily free from our surroundings and giving us back our primitive, unattached state. Yes, it can even, in the twinkling of an eye, make something like a vagabond of the pedant and Philistine. Time, we say, is Lethe; but change of air is a similar draught, and, if it works less thoroughly, does so more quickly.
Ch. 1
Psycho-analyses — how disgusting.
"Hans Castorp" in Ch. 1
I, for one, have never in my life come across a perfectly healthy human being.
The psychoanalyst "Dr. Krokowski" in Ch. 1
A man lives not only his personal life, as an individual, but also, consciously or unconsciously, the life of his epoch and his contemporaries.
Ch. 2, “At Tienappels’,” (1924), trans. by H.T. Lowe-Porter (1928).
Hans Castorp loved music from his heart; it worked upon him much the same way as did his breakfast porter, with deeply soothing, narcotic effect, tempting him to doze.
Ch. 3
I never can understand how anyone can not smoke — it deprives a man of the best part of life ... with a good cigar in his mouth a man is perfectly safe, nothing can touch him — literally.
Ch. 3
In effect it seemed to him that, though honor might possess certain advantages, yet shame had others, and not inferior: advantages, even, that were well-nigh boundless in their scope.
Ch. 3
One always has the idea of a stupid man as perfectly healthy and ordinary, and of illness as making one refined and clever and unusual.
Ch. 4
Placet experiri
Latin phrase meaning "It pleases to experiment", Ch. 4
“Beer, tobacco, and music,” he went on. “Behold the Fatherland.”
"Herr Settembrini" commenting on Germany, in Ch. 4
There is something suspicious about music, gentlemen. I insist that she is, by her nature, equivocal. I shall not be going too far in saying at once that she is politically suspect.
Ch. 4
My aversion from music rests on political grounds.
Ch. 4
I love and reverence the Word, the bearer of the spirit, the tool and gleaming ploughshare of progress.
Settembrini's view of literature, Ch. 4

This triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge — if in a form so altered as to be unrecognizable."Love as a force contributory to disease."
The title of "Dr. Krokowski" lectures. Ch. 4
This conflict between the powers of love and chastity ... it ended apparently in the triumph of chastity. Love was suppressed, held in darkness and chains, by fear, conventionality, aversion, or a tremulous yearning to be pure.... But this triumph of chastity was only an apparent, a pyrrhic victory. It would break through the ban of chastity, it would emerge — if in a form so altered as to be unrecognizable.
Ch. 4
It seemed that at the end of the lecture Dr. Krokowski was making propaganda for psycho-analysis; with open arms he summoned all and sundry to come unto him. "Come unto me," he was saying, though not in those words, " come unto me, all ye who are weary and heavy-laden." And he left no doubt of his conviction that all those present were weary and heavy-laden. He spoke of secret suffering, of shame and sorrow, of the redeeming power of the analytic. He advocated the bringing of light into the unconscious mind and explained how the abnormality was metamorphosed into the conscious emotion; he urged them to have confidence; he promised relief.
Ch. 4

All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics...Two principles, according to the Settembrinian cosmogony, were in perpetual conflict for possession of the world: force and justice, tyranny and freedom, superstition and knowledge; the law of permanence and the law of change, of ceaseless fermentation issuing in progress.
Ch. 4
The beautiful word begets the beautiful deed.
Ch. 4
Writing well was almost the same as thinking well, and thinking well was the next thing to acting well. All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics. Yes, they were all one, one and the same force, one and the same idea, and all of them could be comprehended in one single word... The word was — civilization!
Ch. 4
Frau Stöhr ... began to talk about how fascinating it was to cough.... Sneezing was much the same thing. You kept on wanting to sneeze until you simply couldn’t stand it any longer; you looked as if you were tipsy; you drew a couple of breaths, then out it came, and you forgot everything else in the bliss of the sensation. Sometimes the explosion repeated itself two or three times. That was the sort of pleasure life gave you free of charge.
Ch. 4
Disease makes men more physical, it leaves them nothing but body.
Ch. 4
Our air up here is good for the disease — I mean good against the disease,... but it is also good for the disease.
Ch. 4
A black pall, you know, with a silver cross on it, or R.I.P. — requiescat in pace — you know. That seems to me the most beautiful expression — I like it much better than ‘He is a jolly good fellow,’ which is simply rowdy.
Ch. 5
Six months at most after they get here, these young people — and they are mostly young who come — have lost every idea they had, except flirtation and temperature.
Settembrini on the Magic Mountain Society, in Ch. 5
It is a cruel atmosphere down there, cruel and ruthless.
Hans Castorp on the world outside the sanatorium, in Ch. 5

The ancients adorned their sarcophagi with the emblems of life and procreation...The only religious way to think of death is as part and parcel of life; to regard it, with the understanding and the emotions, as the the inviolable condition of life.
Ch. 5
The ancients adorned their sarcophagi with the emblems of life and procreation, and even with obscene symbols; in the religions of antiquity the sacred and the obscene often lay very close together. These men knew how to pay homage to death. For death is worthy of homage as the cradle of life, as the womb of palingenesis.
Ch. 5

Analysis can be a very unappetizing affair, as much so as death...Irony, forsooth! Guard yourself, Engineer, from the sort of irony that thrives up here; guard yourself altogether from taking on their mental attitude! Where irony is not a direct and classic device of oratory, not for a moment equivocal to a healthy mind, it makes for depravity, it becomes a drawback to civilization, an unclean traffic with the forces of reaction, vice and materialism.
Ch. 5
Paradox is the poisonous flower of quietism, the iridescent surface of the rotting mind, the greatest depravity of all.
Ch. 5
Analysis as an instrument of enlightenment and civilization is good, in so far as it shatters absurd convictions, acts as a solvent upon natural prejudices, and undermines authority; good, in other words, in that it sets free, refines, humanizes, makes slaves ripe for freedom. But it is bad, very bad, in so far as it stands in the way of action, cannot shape the vital forces, maims life at its roots. Analysis can be a very unappetizing affair, as much so as death.
Ch. 5
Time has no divisions to mark its passage, there is never a thunderstorm or blare of trumpets to announce the beginning of a new month or year. Even when a new century begins it is only we mortals who ring bells and fire off pistols.
Ch. 5
Order and simplification are the first steps toward the mastery of a subject — the actual enemy is the unknown.
Ch. 5
Asien verschlingt uns. Wohin man blickt: tatarische Gesichter.
Asia surrounds us — wherever one’s glance rests, a Tartar physiognomy.
Variant translation: Asia devours us. Wherever one looks: Tartar faces.
Settembrini in Ch. 5

What was life?'What was life? It was warmth, the warmth generated by a form-preserving instability, a fever of matter, which accompanied the process of ceaseless decay and repair of protein molecules that were too impossibly ingenious in structure.
Ch. 5
Disease was a perverse, a dissolute form of life.
Ch. 5
Le corps, l'amour, la mort, ces trois ne font qu'un. Car le corps, c'est la maladie et la volupté, et c'est lui qui fait la mort, oui, ils sont charnels tous deux, l'amour et la mort, et voilà leur terreur et leur grande magie!
Rough translation of this passage written in French: The body, love, death, these three only. For the body, this is the disease and exquisite delight, and this that does die, yes, they are carnal both of them, love and death, and thus their terror and their great magic!
Hans Castorp to Chauchat, in French, Ch. 5
L’amour pour lui, pour le corps humain, c’est de même un intérêt extrêmement humanitaire et une puissance plus éducative que toute la pédagogie du monde!
Love for him, for the human body, was extremely humanitarian an interest and had more educational power than the whole teaching skills of the world!
Ch. 5
Human reason needs only to will more strongly than fate, and she is fate.
Ch. 6
Opinions cannot survive if one has no chance to fight for them.
Ch. 6
All interest in disease and death is only another expression of interest in life.
Ch. 6
The invention of printing and the Reformation are and remain the two outstanding services of central Europe to the cause of humanity.
Ch. 6
There is both rhyme and reason in what I say, I have made a dream poem of humanity. I will cling to it. I will be good. I will let death have no mastery over my thoughts. For therein lies goodness and love of humankind, and in nothing else.
Ch. 6; variant translation: I will let death have no mastery over my thoughts! For therein, and in nothing else, lies goodness and love of humankind.
Love stands opposed to death. It is love, not reason, that is stronger than death. Only love, not reason, gives kind thoughts.
Ch. 6; variant translation: It is love, not reason, that is stronger than death. Only love, not reason, gives 
sweet thoughts. And from love and sweetness alone can form come: form and civilization.
For the sake of goodness and love, man shall let death have no sovereignty over his thoughts. And with that, I wake up.
Ch. 6
Everything is politics.
Ch. 6
Speech is civilization itself. The word, even the most contradictory word, preserves contact — it is silence which isolates.

Ch. 6
A man’s dying is more the survivors’ affair than his own.
Ch. 6
What we call mourning for our dead is perhaps not so much grief at not being able to call them back as it is grief at not being able to want to do so.
Ch. 7
Time cools, time clarifies, no mood can be maintained quite unaltered through the course of hours.
Ch. 7
The purifying, healing influence of literature, the dissipating of passions by knowledge and the written word, literature as the path to understanding, forgiveness and love, the redeeming might of the word, the literary spirit as the noblest manifestation of the spirit of man, the writer as perfected type, as saint.
Ch. 7
Absolutely everything beloved and cherished of the bourgeoisie, the conservative, the cowardly, and the impotent — the State, family life, secular art and science — was consciously or unconsciously hostile to the religious idea, to the Church, whose innate tendency and permanent aim was the dissolution of all existing worldly orders, and the reconstitution of society after the model of the ideal, the communistic City of God.
Naphta in Ch. 7
We, when we sow the seeds of doubt deeper than the most up-to-date and modish free-thought has ever dreamed of doing, we well know what we are about. Only out of radical skepsis, out of moral chaos, can the Absolute spring, the anointed Terror of which the time has need.
Ch. 7
Passionate — that means to live for the sake of living. But one knows that you all live for the sake of experience. Passion, that is self-forgetfulness. But what you all want is self-enrichment. C'est ça. You don't realize what revolting egoism it is, and that one day it will make you the enemies of the human race.


[edit] Suffering and Greatness of Richard Wagner (1933)
"Leiden und Größe Richard Wagners" in Die Neue Rundschau, Jahrgang 44, Heft 4 (April 1933), as translated by Helen T. Lowe-Porter in Essays by Thomas Mann (1957), p. 199
He was all for catharsis and purification, he dreamed of an aesthetic consecration that should cleanse society of luxury, the greed of gold and all unloveliness.
It is a pregnant complex, gleaming up from the unconscious, of mother-fixation, sexual desire, and fear.
What was it that drove these thousands into the arms of his art — what but the blissfully sensuous, searing, sense-consuming, intoxicating, hypnotically caressing, heavily upholstered — in a word, the luxurious quality of his music?
Wagner’s art is the most sensational self-portrayal and self- critique of German nature that it is possible to conceive.

[edit] Freud and the Future (1937)
"Freud und die Zukunft" in Imago, vol. 22 (1936); as translate by Helen T. Lowe-Porter in Essays by Thomas Mann (1957) p. 307

While in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.When it had long since outgrown his purely medical implications and become a world movement which penetrated into every field of science and every domain of the intellect: literature, the history of art, religion and prehistory; mythology, folklore, pedagogy, and what not.
Has the world ever been changed by anything save the thought and its magic vehicle the Word?
The myth is the foundation of life; it is the timeless schema, the pious formula into which life flows when it reproduces its traits out of the unconscious. Certainly when a writer has acquired the habit of regarding life as mythical and typical there comes a curious heightening of his artistic temper, a new refreshment to his perceiving and shaping powers, which otherwise occurs much later in life; for while in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.
I hold that we shall one day recognize in Freud’s life-work the cornerstone for the building of a new anthropology and therewith of a new structure, to which many stones are being brought up today, which shall be the future dwelling of a wiser and freer humanity.
As a science of the unconscious it is a therapeutic method, in the grand style, a method overarching the individual case. Call this, if you choose, a poet’s utopia.

[edit] The Beloved Returns (1939)
Lotte in Weimar as translated by Helen T. Lowe-Porter, Knopf (1940); also titled as 'Lotte in Weimar: The Beloved Returns
Hold fast the time! Guard it, watch over it, every hour, every minute! Unregarded it slips away, like a lizard, smooth, slippery, faithless, a pixy wife. Hold every moment sacred. Give each clarity and meaning, each the weight of thine awareness, each its true and due fulfillment.
Ch. 7
Cruelty is one of the chief ingredients of love, and divided about equally between the sexes: cruelty of lust, ingratitude, callousness, maltreatment, domination. The same is true of the passive qualities, patience under suffering, even pleasure in ill usage.
Ch. 7
Profundity must smile.
Ch. 7

[edit] Doctor Faustus (1947)
This music of yours. A manifestation of the highest energy — not at all abstract, but without an object, energy in a void, in pure ether — where else in the universe does such a thing appear? We Germans have taken over from philosophy the expression ‘in itself,’ we use it every day without much idea of the metaphysical. But here you have it, such music is energy itself, yet not as idea, rather in its actuality. I call your attention to the fact that is almost the definition of God. Imitatio Dei — I am surprised it is not forbidden.
Ch. 9
Why does almost everything seem to me like its own parody? Why must I think that almost all, no, all the methods and conventions of art today are good for parody only?
Ch. 15

[edit] Confessions of Felix Krull, Confidence Man (1954)
Bekenntnisse des Hochstaplers Felix Krull (1954), as translated by Denver Lindley
What a glorious gift is imagination, and what satisfaction it affords!
Bk. 1, Ch. 1
Only he who desires is amiable and not he who is satiated.
Bk. 1, Ch. 8
The intellect longs for the delights of the non-intellect, that which is alive and beautiful dans sa stupidité.
Madame Houpflé, Bk. 2, Ch. 9
What a wonderful phenomenon it is, carefully considered, when the human eye, that jewel of organic structures, concentrates its moist brilliance on another human creature!
Bk. 2, Ch. 4
O scenes of the beautiful world! Never have you presented yourself to more appreciative eyes.
Bk. 2, Ch. 4

[edit] Unsourced
I have always been an admirer. I regard the gift of admiration as indispensable if one is to amount to something; I don’t know where I would be without it.
Letter, (1950); as quoted in Thomas Mann — The Birth of Criticism (1987) by Marcel Reich-Ranicki
The positive thing about the sceptic is that he considers everything possible!
Tolerance becomes a crime when applied to evil.
War is only a cowardly escape from the problems of peace.

[edit] External links
Wikipedia has an article about:
Thomas MannWikisource has original works written by or about:
Thomas MannThe Nobel Prize Bio on Mann
Brief biography
Works by Thomas Mann at Project Gutenberg
Bibliography
FBI File on Thomas Mann
Retrieved from "http://en.wikiquote.org/wiki/Thomas_Mann"

 

 

SHAMANIC WISDOM IN THE PYRAMID TEXTS

THE MYSTICAL TRADITION OF ANCIENT EGYPT

Jeremy Naydler 2005

The Sarcophagus Chamber Texts

Page 199

"Figure 7.11 shows a relief fragment from the pyramid temple of Unas depicting (in all probability) the king sitting in front of an offering table on which are arranged long slices of bread. In his left hand he holds the seshed cloth, which, as we have seen, was a symbol of the triumph of the human spirit over death.32"

 

 

THE SUN

Tuesday, December 27, 2005

FRONT PAGE

"IT WASN'T DEATH THAT WON THE DAY. . HUMANITY TRIUMPHED"

 

 

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

 

FOLLOW

THE

PATH OF PTAH

 

 

THE NATURE OF SHAMANISM

SUBSTANCE AND FUNCTIONS OF A RELIGIOUS METAPHOR

Michael Ripinsky Naxon

1993

Page 49

"In most cases the skin membrane is ornamented with designs, among which the number nine appearing sometimes in various aspects has an obvious symbolic significance, possibly as a product of three, three's.

In the Mongol cosmogony the number nine together with the planet Venus and the constellation of the Great Bear, particularly the star Polaris occupies central positions."

 

VE-NUS 9 9 SUN-EV

 

 

THE NATURE OF SHAMANISM

SUBSTANCE AND FUNCTIONS OF A RELIGIOUS METAPHOR

Michael Ripinsky Naxon

1993

Page 166

"According to a Chinese tradition of the first century RC., a raven carried this mushroom to resurrect a man who had been dead for three days. This familiar theme of resurrection from the sepulcher, involving the mystical number 3 (after three days), is to be found among many religious sects of that day."

Page 121

Nevertheless, a real correlation between the number of deities and that of the heavenly levels seems to be lacking, on the whole. Although in northern Eurasia we sometimes encounter nine heavens, with nine gods, and nine branches of the Cosmic Tree (9 = 3 x 3). The number three symbolizes, of course, the three cosmic worlds.

 

 

THE NATURE OF SHAMANISM

SUBSTANCE AND FUNCTIONS OF A RELIGIOUS METAPHOR

Michael Ripinsky Naxon

1993

Page 234

"13. G. M. Vasilevich, "Early Concepts about the Universe among the Evenks (Materials)!' (In): Henry N. Michael (ed.), Studies in Siberian Shamanism; p. 68 [see note 5].
The Norse tradition that recounts Odin's offering himself in sacrifice to himself loses, thus, much of its strangeness. It is not much else than a variant of the transculturally encountered myth of transformation. In this particular account, the god Odin, by his own hand, hangs for nine days and nine nights (the recurrent significance of the number 9, or 3 x 3) from the World Tree (Yggdrasil), which represents the junction to the Otherworlds. .- During this transformational process, very much in shamanistic order, he acquires nine magical chants."

 

Extract revised for OED Online

ninety, a. and n. Draft Revision Jan 2006

     5. ninety-nine Brit. (also 99 ),

http://www.oed.com/bbcwords/ninety.html

 

 

THE ELEMENTS OF THE GODDESS

Caitlin Matthews 1989

Page38

"This ennead of aspects is endlessly adaptable for it is made up of nine, the most adjustable and yet essentially unchanging number. However one chooses to add up multiples of nine, for example 54, 72, 108, they always add up to nine"

 

 

8	WEPWAWET	-	-	-
-	W	23	5	5
-	E	5	5	5
-	P	16	7	7
-	W	23	5	5
-	A	1	1	1
-	W	23	5	5
-	E	5	5	5
-	T	20	2	2
8	WEPWAWET	-	-	-

 

 

14

PHAROAH PYRAMID

153

81

9

 

 

8	POSITIVE	115	43	7
8	NEGATIVE	83	38	2
16	First Total	198	81	9
1+6	Add to Reduce	1+9+8	8+1	-
7	Second Total	18	9	9
-	Reduce to Deduce	1+8	-	-
7	Essence of Number	9	9	9

 

 

5	LIGHT	56	29	2
4	DARK	34	16	7
9	Add to Reduce	90	45	9
-	Reduce to Deduce	9+0	4+5	-
9	Essence of Number	9	9	9

 

 

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

 

 

4	BODY	46	19	1
5	BRAIN	44	26	8
9	Add to Reduce	90	45	9
-	Reduce to Deduce	9+0	4+5	-
9	Essence of Number	9	9	9

 

 

13	BOOK OF THE DEAD	111	57	3
12	PYRAMID TEXTS	174	57	3

 

 

6	ANUBIS	66	21	3
13	BOOK OF THE DEAD	111	57	3
12	PYRAMID TEXTS	174	57	3

 

 

3	THE	33	15	6
3	GOD	26	17	8
3	MIN	36	18	9
4	MINE	41	23	5
4	MIND	40	22	4

 

 

6	VERMIN
-	V+E+R	45	18	9
-	M+I+N	36	18	9
6	VERMIN	81	36	18
-	-	8+1	3+6	1+8
6	VERMIN	9	9	9

 

 

-	NURSE CANAL	-	-	-
5	NURSE	77	23	5
5	CANAL	31	13	4
10	NURSE CANAL	108	36	9
1+0	-	1+0+8	3+6	-
1	NURSE CANAL	9	9	9

 

 

3	MIN	36	18	9
4	MINE	41	23	5
4	MIND	40	22	4
11	Add to Reduce	117	63	18
1+1	Reduce to Deduce	1+1+7	6+3	1+8
2	Essence of Number	9	9	9

 

 

4	ISIS	56	20	2
8	NEPHTHYS	115	43	7
12	Add to Reduce	171	63	9
1+2	Reduce to Deduce	1+7+1	6+3	-
3	Essence of Number	9	9	9

 

 

7	H	O	R	I	Z	O	N	-	-	-	-	-	--	-	-	-	-
-	8	6	-	9	8	6	5	+	=	42	4+2	=	6	=	6	=	6
`-	8	15	-	9	26	15	14	+	=	87	8+7	=	15	1+5	6	=	6
7	H	O	R	I	Z	O	N	-	-	-	-	-	--	-	-	-	-
-	-	-	9	-	-	-	-	+	=	9	-	=	9	=	9	=	9
`-	-	-	18	-	-	-	-	+	=	18	1+8	=	9	=	9	=	9
7	H	O	R	I	Z	O	N	-	-	-	-	-	--	-	-	-	-
`-	8	15	18	9	26	15	14	+	=	105	1+0+5	=	6	=	6	=	6
-	8	6	9	9	8	6	5	+	=	51	5+1	=	6	=	6	=	6
7	H	O	R	I	Z	O	N	-	-	-	-	-	-	-	-	-	-
-	-	-	-	-	-	-	5	--	-	5	occurs	x	1	=	5	=	5
-	-	6	-	-	-	6	-	-	-	6	occurs	x	2	=	12	1+2	3
-	8	-	-	-	8	-	-	-	-	8	occurs	x	2	=	16	1+6	7
-	-	-	9	9	-	-	-	--	-	9	occurs	x	2	=	18	1+8	9
7	H	O	R	I	Z	O	N	-	-	28	-	-	7	-	51	-	24
-	-	-	9	9	-	-	-	-	-	10	-	-	-	-	5+1	-	2+4
7	H	O	R	I	Z	O	N	-	-	1	-	-	7	-	6	-	6

 

 

7	HORIZON	105	51	6
5	HORUS	81	27	9
6	OSIRIS	89	35	8
6	ORISON	90	36	9

 

 

2	OR	33	15	6
5	NOISE	62	26	8
7	First Total	95	41	14
-	Add to Reduce	9+5	4+1	1+4
7	Second Total	14	5	5
-	Reduce to Deduce	1+4	-	-
7	Essence of Number	5	5	5

 

 

5	HORUS	81	27	9
5	HOURS	81	27	9

 

 

4	KITH	48	21	3
3	KIN	34	16	7
7	First Total	82	37	10
-	Add to Reduce	8+2	3+7	1+0
7	Second Total	10	10	1
-	Reduce to Deduce	1+0	1+0	-
7	Essence of Number	1	1	1

 

 

4	KING	-	-	-
1	G	7	7	7
3	KIN	34	16	7
4	KING	41	23	5

 

 

-	ZH ZH BIRD	-	-	-
4	ZH ZH	68	32	5
4	BIRD	33	24	6
8	ZH ZH BIRD	101	56	11
-	-	1+0+1	5+6	1+1
8	ZH ZH BIRD	2	11	2
-	-	-	1+1	1+1
8	ZH ZH BIRD	2	2	2

 

 

5	BENNU	56	20	2
4	BIRD	33	24	6
9	-	89	44	8
-	-	-	-	-
-	-	-	-	-
4	BIRD	33	24	6

 

 

JOSEPH AND HIS BROTHERS

Thomas Mann 1875-1955

Page 935

"Come nearer, my friend," he said, as the bee studded curtain closed behind them, "pray come close to me, dear Khabiru from the Retenu, fear not, nor startle in your step, come quite close to me! This is the mother of god, Tiy, who lives a million years. And I am Pharaoh. But think no more of that, lest it make you fearful. Pharaoh is God and Man, but sets as much store by the second as the first, yes he rejoices, sometimes his rejoicing amounts to defiance and scorn that he is a man like all men, seen from one side; he rejoices to snap his fingers at those sour faces who would have him bear himself uniformly as God

"This is the mother of god, Tiy,"

3

TIY

54

9

9

 

 

SIMULATIONS OF GOD

THE SCIENCE OF BELIEF

John Lilly 1975

Page xi bottom line (30th)

"I am only an extraterrestrial who has come to the / Page xii / planet Earth to inhabit a human body, Everytime I leave this body and go back to my own civilization, I am expanded beyond all human imaginings, When I must return I am squeezed down into the limited vehicle."

 

-	THE UNIQUE ONE	-	-	-
3	THE	33	15	6
6	UNIQUE	87	33	6
3	ONE	34	16	7
12	THE UNIQUE ONE	154	64	19
1+2	-	1+5+4	6+4	1+9
3	THE UNIQUE ONE	10	10	10
-	-	1+0	1+0	1+0
3	THE UNIQUE ONE	1	1	1

 

 

9

UNIQUE ONE

121

49

4

 

 

-	I HAVE REAPED EMMER	-	-	-
1	I	9	9	9
4	HAVE	36	18	9
6	REAPED	49	31	4
5	EMMER	54	27	9
16	I HAVE REAPED EMMER	-	-	-

 

 

5	EMMER
-	E+M	18	9	9
-	M+E	18	9	9
-	R	18	9	9
5	EMMER	-	-	-

 

 

6	MAAT IS	63	18	9
5	MAATS	54	18	9
4	MAAT	35	8	8
5	MAATI	44	17	8
5	MAYET	64	19	1

 

 

4	ATUM	55	10	1
3	NUT	55	10	1
4	ISIS	56	20	2
8	NEPHTHYS	115	43	7
6	HATHOR	70	34	7

 

 

4	ATUM	55	10	1
-	-	-	-	-
-	-	-	-	-
3	NEB	21	12	3
2	ER	23	14	5
4	DJER	37	19	1
9	Add to Reduce	81	45	9
-	Reduce to Deduce	8+1	4+5	-
9	Essence of Number	9	9	9

 

 

5	POWER
-	P+O+W	54	18	9
-	E	5	5	5
-	R	18	9	9
5	POWER	77	32	23
1+0	-	7+7	3+2	2+3
5	POWER	14	5	5
-	-	1+4	-	-
5	POWER	5	5	5

 

 

9	FORGIVING	107	62	8
11	FORGIVENESS	139	58	4
7	FORGIVE	82	46	1
8	FORGIVES	101	47	2

 

 

3	THE	33	15	6
6	SOURCE	81	27	9
2	OF	21	12	3
7	REALITY	90	36	9
18	Add to Reduce	225	90	27
1+8	Reduce to Deduce	2+2+5	9+0	2+7
9	Essence of Number	9	9	9

 

 

2	DE	9	9	9
5	ISIDE	46	28	1
7	OSIRIDE	79	43	7
5	LIBER	46	28	1
19	Add to Reduce	180	108	18
10	Reduce to Deduce	1+8+0	1+0+8	1+8
1	Essence of Number	9	9	9

 

 

5	BYBLOS
-	B	2	2	2
-	Y+B	27	9	9
-	L+O	27	9	9
-	S	19	10	1
5	BYBLOS	75	30	21
1+0	-	7+5	3+0	2+1
5	BYBLOS	12	3	3
-	-	1+2	-	-
5	BYBLOS	3	3	3

 

 

3	DIVIDE	53	35	8
2	ET	25	7	7
6	IMPERA	62	35	8
14	First Total	140	77	23
1+4	Add to Reduce	1+4+0	7+7	2+3
5	Second Total	5	14	5
-	Reduce to Deduce	-	1+4	-
5	Essence of Number	5	5	5

 

 

3	THE	33	15	6
8	MAGNETIC	72	36	9
5	FIELD	36	27	9
2	OF	21	12	3
7	REALITY	90	36	9
6	CINEMA	45	27	9
7	IMAGERS	72	36	9
38	First Total	369	189	54
3+8	Add to Reduce	3+6+9	1+8+9	5+4
11	Second Total	18	18	9
1+1	Reduce to Deduce	1+8	1+8	-
2	Essence of Number	9	9	9

 

 

1	I	9	9	9
5	DANCE	27	18	9
3	THE	33	15	6
5	DANCE	27	18	9
3	AND	19	10	1
3	THE	33	15	6
5	DANCE	27	18	9
4	GOES	46	19	1
2	ON	29	20	2
31	Add to Reduce	250	142	52
3+1	Reduce to Deduce	2+5+0	1+4+2	5+2
4	Essence of Number	7	7	7

 

 

6	ISRAEL
-	I	9	9	9
-	S	19	10	1
-	R	18	9	9
-	A+E+L	18	9	9
6	ISRAEL	-	-	-

 

 

-	6	I	S	R	A	E	L	-	-	-	-	-	--	-	-	-	-
-	`-	-	-	18	1	5	12	+	=	36	3+6	=	9	=	9	=	9
-	-	-	-	9	1	5	3	+	=	18	1+8	=	9	=	9	=	9
-	6	I	S	R	A	E	L	-	-	-	-	-	--	-	-	-	-
-	``-	9	1	-	-	-	-	+	=	10	1+0	=	1	=	1	=	1
-	`-	9	19	-	-	-	-	+	=	28	2+8	=	10	1+0	1	=	1
-	6	I	S	R	A	E	L	-	-	-	-	-	--	-	-	-	-
-	`-	9	19	18	1	5	12	+	=	64	6+4	=	10	1+0	1	=	1
-	-	9	1	9	1	5	3	+	=	28	2+8	=	10	1+0	1	=	1
-	6	I	S	R	A	E	L	-	-	-	-	-	-	-	-	-	-
-	-	-	1	-	1	-	-	--	-	1	occurs	x	2	=	2	=	2
2	-	-	-	-	-	-	-	-	-	2	-	-	-	-	-	-	-
-	-	-	-	-	-	-	3	-	-	3	occurs	x	1	=	3	=	3
4	-	-	-	-	-	-	-	-	-	4	-	-	-	-	-	-	-
-	-	-	-	-	-	5	-	-	-	5	occurs	x	1	=	5	=	5
6	-	-	-	-	-	-	-	-	-	6	-	-	-	-	-	-	-
6	-	-	-	-	-	-	-	-	-	7	-	-	-	-	-	-	-
8	-	-	-	-	-	-	-	-	-	2	-	-	-	-	-	-	-
-	-	9	-	9	-	-	-	-	-	9	occurs	x	2	=	18	1+8	9
24	6	I	S	R	A	E	L	-	-	18	-	-	6	-	28	-	19
2+4	-	9	-	9	-	-	-	-	-	1+8	-	-	-	-	2+8	-	1+9
6	6	I	S	R	A	E	L	-	-	9	-	-	6	-	10	-	10
-	-	-	-	-	-	-	-	-	-	-	-	-	-	-	1+0	-	1+0
6	6	I	S	R	A	E	L	-	-	9	-	-	6	-	1	-	1

 

 

-	8	M	O	H	A	M	M	E	D	-	-	-	-	-	--	-	-	-	-
-	-	-	6	8	-	-	-	-	-	+	=	14	1+4	=	5	=	5	=	5
-	`-	-	15	8	-	-	-	-	-	+	=	23	2+3	=	5	=	5	=	5
-	8	M	O	H	A	M	M	E	D	-	-	-	-	-	--	-	-	-	-
-	-	4	-	-	1	4	4	5	4	+	=	22	2+2	=	4	=	4	=	4
-	`-	13	-	-	1	13	13	5	4	+	=	49	4+9	=	13	1+3	4	=	4
-	8	M	O	H	A	M	M	E	D	-	-	-	-	-	--	-	-	-	-
-	`-	13	15	8	1	13	13	5	4	+	=	72	7+2	=	9	=	9	=	9
-	-	4	6	8	1	4	4	5	4	+	=	36	3+6	=	9	=	9	=	9
-	8	M	O	H	A	M	M	E	D	-	-	-	-	-	-	-	-	-	-
-	-	-	-	-	1	-	-	-	-	--	-	1	occurs	x	1	=	1	=	1
2	-	-	-	-	-	-	-	-	-	-	-	2	-	-	-	-	-	-	-
3	-	-	-	-	-	-	-	-	-	-	-	3	-	-	-	-	-	-	-
-	-	4	-	-	-	4	4	-	4	-	-	4	occurs	x	4	=	16	1+6	7
-	-	-	-	-	-	-	-	5	-	-	-	5	occurs	x	1	=	5	=	5
-	-	-	6	-	-	-	-	-	-	--	-	6	occurs	x	1	=	6	=	6
7	-	-	-	-	-	-	-	-	-	-	-	7	-	-	-	-	-	-	-
-	-	-	-	8	-	-	-	-	-	-	-	8	occurs	x	1	=	8	=	8
9	-	-	-	-	-	-	-	-	-	-	-	9	-	-	-	-	-	-	-
21	8	M	O	H	A	M	M	E	D	-	-	24	-	-	8	-	36	-	27
2+1	-	-	-	-	-	-	-	-	-	-	-	2+4	-	-	-	-	3+6	-	2+7
3	8	M	O	H	A	M	M	E	D	-	-	6	-	-	8	-	9	-	9

 

 

7	JUDAISM
-	J+U+D+A+S	55	10	1
-	I	9	9	9
-	M	13	4	4
7	JUDAISM	77	23	14
1+0	-	7+7	2+3	1+4
7	JUDAISM	14	5	5
-	-	1+4	-	-
7	JUDAISM	5	5	5

 

 

-	I HAVE COME	-	-	-
1	I	9	9	9
4	HAVE	45	9	9
4	COME	36	18	9
9	I HAVE COME	90	36	27
-	-	9+0	3+6	2+7
9	I HAVE COME	9	9	9

 

 

-	I'VE COME	-	-	-
1	I	9	9	9
2	VE	27	9	9
4	COME	36	18	9
7	I'VE COME	72	36	27
-	-	7+2	3+6	2+7
7	I'VE COME	9	9	9

 

 

8	JEREMIAH
-	J+E	15	6	6
-	R	18	9	9
-	E+M	18	9	9
-	I	9	9	9
-	A+H	9	9	9
8	JEREMIAH	-	-	-

 

 

8	JEREMIAH
-	J+E	15	6	6
-	R	18	9	9
-	E+M	18	9	9
-	I	9	9	9
-	A+H	9	9	9
8	JEREMIAH	69	42	42
1+0	-	6+9	4+2	4+2
8	JEREMIAH	15	6	6
-	-	1+5	-	-
8	JEREMIAH	6	6	6

 

 

-	THE UNKNOWN GOD	-	-	-
3	THE	33	15	6
7	UNKNOWN	112	31	4
3	GOD	26	17	8
13	THE UNKNOWN GOD	171	63	18
1+3	-	1+7+1	6+3	1+8
4	THE UNKNOWN GOD	9	9	9

 

 

3	THE	33	15	6
10	PENTATEUCH	113	41	5
13	First Total	146	56	11
1+3	Add to Reduce	1+4+6	5+6	1+1
4	Second Total	11	11	2
-	Reduce to Deduce	1+1	1+1	-
4	Essence of Number	2	2	2

 

 

A	=	1	7	ABRAHAM	44	26	8
M	=	4	5	MOSES	71	17	8
A	=	1	5	AARON	49	22	4
Y	=	7	6	YAHWEH	70	34	7

 

 

7	SERPENT	97	34	7
-	-	-	-	-
-	-	-	-	-
5	SNAKE
-	S+N+A	34	16	7
-	K+E	16	7	7
5	SNAKE	50	23	14
-	-	5+0	2+3	1+4
5	SNAKE	5	5	5

 

 

6	YAHWEH
-	Y	25	7	7
-	A+H	9	9	9
-	W+E+H	36	18	9
6	YAHWEH	70	34	25
-	-	7+0	3+4	2+5
6	YAHWEH	7	7	7
-	-	-	-	-
-	-	-	-	-
6	EXODUS 34		-	-
6	EXODUS	88	34	7
-	-	-	-	-
-	-	-	-	-
9	AKHENATEN
-	A+K	12	3	3
-	H+E+N	27	18	9
-	A+T+E+N	40	13	4
9	ANKHEATON	79	34	16
-	-	7+9	3+4	1+6
9	AKHENATEN	16	7	7
-	-	1+6	-	-
9	AKHENATEN	7	7	7

 

 

6	AKEDAH	30	21	3
7	RELIGIO	75	48	3

 

 

S	=	1	7	SERPENT	97	34	7
P	=	7	7	PRESENT	97	34	7
G	=	7	6	GOLDEN	57	30	3
C	=	3	4	CALF	22	13	4
-	-	-	10	GOLDEN CALF	79	43	7

 

 

9	AKHENATEN	79	34	7
9	NERERTITI	106	52	7

 

 

6	Y	A	H	W	E	H	-	-	-	-	-	--	-	-	-	-
-	-	-	8	-	-	8	+	=	16	1+6	=	7	-	7	-	7
6	Y	A	H	W	E	H	-	-	-	-	-	--	-	-	-	-
-	7	1	-	5	5	-	+	=	18	1+8	=	9	-	9	-	9
`-	25	1	-	23	5	-	+	=	54	5+4	=	9	-	9	-	9
6	Y	A	H	W	E	H	-	-	-	-	-	--	-	-	-	-
`-	25	1	8	23	5	8	+	=	70	7+0	=	7	-	7	-	7
-	7	1	8	5	5	8	+	=	34	3+4	=	7	-	7	-	7
6	Y	A	H	W	E	H	-	-	-	-	-	-	-	-	-	-
-	-	1	-	-	-	-	-	-	1	occurs	x	1	=	1	=	1
-	-	-	-	5	5	-	-	-	5	occurs	x	2	=	10	1+0	1
-	7	-	-	-	-	-	-	-	7	occurs	x	1	=	7	=	7
-	-	-	8	-	-	8	-	-	8	occurs	x	2	=	16	1+6	7
6	Y	A	H	W	E	H	-	-	21	-	-	6	-	34	-	16
-	-	-	-	-	-	-	-	-	2+1	-	-	-	-	3+4	-	1+6
6	Y	A	H	W	E	H	-	-	3	-	-	6	-	7	-	7

 

 

A	=	1	9	AKHENATEN	79	34	7
Y	=	7	6	YAHWEH	70	34	7
N	=	5	9	NEFERTITI	106	52	7

 

 

Y	=	7	6	YAHWEH	70	34	7
E	=	5	6	EXODUS	88	34	7

 

 

5	SNAKE	50	23	5
5	SPAKE	52	16	7

 

 

9	AKHENATEN	79	34	7
9	NEFERTITI	106	52	7
11	TUTANKHAMUN	144	36	9

 

 

6	YAHWEH	70	34	7
-	-	-	-	-
-	-	-	-	-
7	JEHOVAH
-	J+E	15	6	6
-	H+O+V	45	18	9
-	A+H	9	9	9
7	JEHOVAH	69	33	24
-	-	6+9	3+3	2+4
7	JEHOVAH	15	6	6
-	-	1+5	-	-
7	JEHOVAH	6	6	6
-	-	-	-	-
-	-	-	-	-
6	YAHWEH	70	34	7
7	JEHOVAH	69	33	6

 

 

6	HEBREW
-	H+E+B	15	15	6
-	R	18	9	9
-	E+W	28	10	1
6	HEBREW	61	34	16
-	-	6+1	3+4	1+6
6	HEBREW	7	7	7

 

 

8	HEZEKIAH
-	H+E+Z+E+K	55	28	1
-	I	9	9	9
-	A+H	9	9	9
8	HEZEKIAH	73	46	19
-	-	7+3	4+6	1+9
8	HEZEKIAH	10	10	10
-	-	1+0	1+0	1+0
8	HEZEKIAH	1	1	1

 

 

6	SEMITE	71	26	8
6	HEBREW	61	34	7

 

 

6

HABIRU

59

32

5

 

 

-	RED SEA	-	-	-
3	RED	27	18	9
3	SEA	25	16	7
6	RED SEA	52	34	16
-	-	5+2	3+4	1+6
6	RED SEA	7	7	7

 

 

7	MESSIAH
-	M+E	18	9	9
-	S+S	38	20	2
-	I	9	9	9
-	A+H	9	9	9
7	MESSIAH	74	47	29
-	-	7+4	4+7	2+9
7	MESSIAH	11	11	11
-	-	1+1	1+1	1+1
7	MESSIAH	2	2	2

 

 

8	ZIPPORAH
-	Z+I+P+P+O	72	37	1
-	R	18	9	9
-	A+H	9	9	9
8	ZIPPORAH	109	55	19
-	-	1+0+9	5+5	1+9
8	ZIPPORAH	10	10	10
-	-	1+0	1+0	1+0
8	ZIPPORAH	1	1	1

 

 

5	MOSES	71	17	8
8	ZIPPORAH	109	55	1
13	Add to Reduce	180	72	9
1+3	Reduce to Deduce	1+8+0	7+2	-
4	Essence of Number	9	9	9

 

 

6	ELIJAH	45	27	9
-	9th CENTURY	-	-	-

 

 

1	I	9	9	9
2	AM	14	5	5
1	A	1	1	1
7	CITIZEN	86	41	5
2	OF	21	12	3
6	PLANET	68	23	5
5	EARTH	52	25	7
24	Add to Reduce	251	116	35
2+4	Reduce to Deduce	2+5+1	1+1+6	3+5
6	Essence of Number	8	8	8

 

 

-	REDEMPTIVE	-	-	-
1	R	18	9	9
2	E+D	9	9	9
2	E+M	18	9	9
2	P+T	36	9	9
1	I	9	9	9
2	V+E	27	9	9
10	REDEMPTIVE	117	54	54
1+0		1+1+7	5+4	5+4
1	REDEMPTIVE	9	9	9

 

 

-	THE DOG STAR	-	-	-
3	THE	33	15	6
3	DOG	26	17	8
4	STAR	58	13	4
10	THE DOG STAR	117	45	18
1+0	-	1+1+7	4+5	1+8
1	THE DOG STAR	9	9	9

 

 

-	THE GOD STAR	-	-	-
3	THE	33	15	6
3	GOD	26	17	8
4	STAR	58	13	4
10	THE GOD STAR	117	45	18
1+0	-	1+1+7	4+5	1+8
1	THE GOD STAR	9	9	9

 

 

-	THE STAR GOD	-	-	-
3	THE	33	15	6
4	STAR	58	13	4
3	GOD	26	17	8
10	THE STAR GOD	117	45	18
1+0	-	1+1+7	4+5	1+8
1	THE STAR GOD	9	9	9

 

 

A	T	U	M	-	R	A	-	A	R	-	M	U	T	A
1	20	21	13	-	18	1	-	1	18	-	13	21	20	1
1	2	3	4	-	9	1	-	1	9	-	4	3	2	1
A	T	U	M	-	R	A	-	A	R	-	M	U	T	A
1	-	-	-	-	-	1	-	1	-	-	-	-	-	1
-	2	-	-	-	-	-	-	-	-	-	-	-	2	-
-	-	3	-	-	-	-	-	-	-	-	-	3	-	-
-	-	-	4	-	-	-	-	-	-	-	4	-	-	-
-	-	-	-	-	9	-	-	-	9	-	-	-	-	-
A	T	U	M	-	R	A	-	A	R	-	M	U	T	A

 

 

4	Z	E	U	S	-	-	-	-	-	--	-	-
-	8	-	-	1	+	=	9	-	=	9	=	9
-	26	-	-	19	+	=	45	4+5	=	9	=	9
4	Z	E	U	S	-	-	-	-	-	--	-	-
-	-	5	3	-	+	=	8	-	=	8	=	8
-	-	5	21	-	+	=	26	2+6	=	8	=	8
4	Z	E	U	S	-	-	-	-	-	--	-	-
-	26	5	21	19	+	=	71	7+1	=	8	=	8
-	8	5	3	1	+	=	17	1+7	=	8	=	8
4	Z	E	U	S	-	-	-	-	-	-	-	-
-	-	-	-	1	-	-	1	occurs	x	1	=	1
-	-	-	3	-	-	-	3	occurs	x	1	=	3
-	-	5	-	-	-	-	5	occurs	x	1	=	5
-	8	-	-	-	-	-	8	occurs	x	1	=	8
4	Z	E	U	S	-	-	17	-	-	4	-	17
-	-	-	-	-	-	-	1+7	-	-	-	-	1+7
4	Z	E	U	S	-	-	8	-	-	4	-	8