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Evokation
  
 
Index
  

 

 

 

 

 

 

 

-
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
-
8
-
-
-
-
-
-
26
-
-
+
=
34
3+4
=
7
=
7
=
7
-
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
-
1
-
3
9
1
-
4
1
-
4
1
+
=
24
2+4
=
6
=
6
=
6
-
-
1
-
21
18
1
-
13
1
-
4
1
+
=
60
6+0
=
6
=
6
=
6
-
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
-
1
8
21
18
1
-
13
1
26
4
1
+
=
94
9+4
=
13
1+3
4
=
4
-
-
1
8
3
9
1
-
4
1
8
4
1
+
=
40
4+0
=
4
=
4
=
4
-
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
1
-
-
1
-
-
1
occurs
x
4
=
4
=
4
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
2
=
8
=
8
5
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
20
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
25
-
-
10
-
40
-
31
2+0
1+0
-
-
-
9
-
-
-
-
-
-
-
-
-
2+5
-
-
1+0
-
4+0
-
3+1
2
1
A
H
U
R
A
-
M
A
Z
D
A
-
-
7
-
-
1
-
4
-
4

 

 

10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
8
-
-
+
=
16
1+6
=
7
=
7
=
7
-
-
8
-
-
-
-
-
-
26
-
-
+
=
34
3+4
=
7
=
7
=
7
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
1
-
3
9
1
-
4
1
-
4
1
+
=
24
2+4
=
6
=
6
=
6
-
1
-
21
18
1
-
13
1
-
4
1
+
=
60
6+0
=
6
=
6
=
6
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
1
8
21
18
1
-
13
1
26
4
1
+
=
94
9+4
=
13
1+3
4
=
4
-
1
8
3
9
1
-
4
1
8
4
1
+
=
40
4+0
=
4
=
4
=
4
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
1
-
-
1
-
-
1
-
-
1
occurs
x
4
=
4
=
4
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
-
-
-
-
-
-
4
-
-
4
-
-
-
4
occurs
x
2
=
8
=
8
-
-
8
-
-
-
-
-
-
8
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
-
9
-
-
-
-
-
-
-
-
-
9
occurs
x
1
=
9
=
9
10
A
H
U
R
A
-
M
A
Z
D
A
-
-
25
-
-
10
-
40
-
31
1+0
-
-
-
9
-
-
-
-
-
-
-
-
-
2+5
-
-
1+0
-
4+0
-
3+1
1
A
H
U
R
A
-
M
A
Z
D
A
-
-
7
-
-
1
-
4
-
4

 

 

-
7
A
H
R
I
M
A
N
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
9
-
-
5
+
=
22
2+2
=
4
=
4
=
4
-
-
-
8
-
9
-
-
14
+
=
31
3+4
=
4
=
4
=
4
-
7
A
H
R
I
M
A
N
-
-
-
-
-
-
-
-
-
-
-
-
1
-
9
-
4
1
-
+
=
15
1+5
=
6
=
6
=
6
-
-
1
-
18
-
13
1
-
+
=
33
3+3
=
6
=
6
=
6
-
7
A
H
R
I
M
A
N
-
-
-
-
-
-
-
-
-
-
-
-
1
8
18
9
13
1
14
+
=
64
6+4
=
10
1+0
1
=
1
-
-
1
8
9
9
4
1
5
+
=
37
3+7
=
10
1+0
1
=
1
-
7
A
H
R
I
M
A
N
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
1
-
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
-
-
-
-
-
5
-
-
5
occurs
x
1
=
5
=
5
6
-
-
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
8
occurs
x
1
=
8
1+6
8
-
-
-
-
9
9
-
-
-
-
-
9
occurs
x
2
=
18
1+8
9
18
7
A
H
R
I
M
A
N
-
-
27
-
-
7
-
37
-
28
1+8
-
-
-
9
9
-
-
-
-
-
2+7
-
-
-
-
3+7
-
2+8
9
7
A
H
R
I
M
A
N
-
-
9
-
-
7
-
10
-
10
1+8
-
1
8
9
9
4
1
5
-
-
-
-
-
-
-
1+0
-
1+0
9
7
A
H
R
I
M
A
N
-
-
9
-
-
7
-
1
-
1

 

 

A
=
1
-
7
AHRIMAN
64
37
1
A
=
1
-
10
AHURA MAZDA
94
40
4
-
-
2
-
17
-
158
77
5
-
-
-
-
 1+7
-
1+5+8
7+7
-
-
-
2
-
8
-
14
14
5
-
-
-
-
-
-
1+4
1+4
-
-
-
2
-
8
-
5
5
5

 

 

I

ZERO

ONE TWO THREE FOUR

FIVE

SIX SEVEN EIGHT NINE

 

 

4
THUS
68
14
5
5
SPOKE
66
21
3
11
ZARATHUSTRA
153
45
9
20
First Total
287
80
17
2+0
Add to Reduce
2+8+7
8+0
1+7
2
Second Total
17
8
8
-
Reduce to Deduce
1+7
-
-
2
Essence of Number
8
8
8

 

 

4
THUS
68
14
5
5
SPAKE
52
16
7
11
ZARATHUSTRA
153
45
9
20
First Total
273
75
21
2+0
Add to Reduce
2+7+3
7+5
2+1
2
Second Total
12
12
3
-
Reduce to Deduce
1+2
1+2
-
2
Essence of Number
3
3
3

 

 

--
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
--
-
8
-
-
-
-
8
-
1
-
-
-
+
=
17
1+7
=
8
=
8
=
8
--
`-
26
-
-
-
-
8
-
19
-
-
-
+
=
53
5+3
=
8
=
8
=
8
--
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
-
-
-
1
9
1
2
-
3
-
2
9
1
+
=
28
2+8
=
10
1+0
1
=
1
-
-
-
1
18
1
20
-
21
-
20
18
1
+
=
100
1+0+0
=
1
=
1
=
1
--
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
-
`-
26
1
18
1
20
8
21
19
20
18
1
+
=
153
1+5+3
=
9
=
9
=
9
-
-
8
1
9
1
2
8
3
1
2
9
1
+
=
45
4+5
=
9
=
9
=
9
-
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
-
-
1
-
-
1
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
-
2
-
-
-
2
-
-
-
-
2
occurs
x
2
=
4
=
4
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
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
22
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
23
-
-
11
-
45
-
27
2+2
-
-
-
9
-
-
-
-
-
-
9
-
-
-
2+3
-
-
1+1
-
4+5
-
2+7
4
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
5
-
-
2
-
9
-
9

 

 

11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
8
-
1
-
-
-
+
=
17
1+7
=
8
=
8
=
8
`-
26
-
-
-
-
8
-
19
-
-
-
+
=
53
5+3
=
8
=
8
=
8
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
-
-
1
9
1
2
-
3
-
2
9
1
+
=
28
2+8
=
10
1+0
1
=
1
-
-
1
18
1
20
-
21
-
20
18
1
+
=
100
1+0+0
=
1
=
1
=
1
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
`-
26
1
18
1
20
8
21
19
20
18
1
+
=
153
1+5+3
=
9
=
9
=
9
-
8
1
9
1
2
8
3
1
2
9
1
+
=
45
4+5
=
9
=
9
=
9
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
-
-
1
-
-
1
-
-
1
occurs
x
4
=
4
=
4
-
-
-
-
-
2
-
-
-
2
-
-
-
-
2
occurs
x
2
=
4
=
4
-
-
-
-
-
-
-
3
-
-
-
-
-
-
3
occurs
x
1
=
3
=
3
-
8
-
-
-
-
8
-
-
-
-
-
-
-
8
occurs
x
2
=
16
1+6
7
-
-
-
9
-
-
-
-
-
-
9
-
-
-
9
occurs
x
2
=
18
1+8
9
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
23
-
-
11
-
45
-
27
-
-
-
9
-
-
-
-
-
-
9
-
-
-
2+3
-
-
1+1
-
4+5
-
2+7
11
Z
A
R
A
T
H
U
S
T
R
A
-
-
5
-
-
2
-
9
-
9

 

 

11
ZARATHUSTRA
153
45
9
9
ZOROASTER
137
47
2

 

 

--
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
-
8
6
-
6
-
1
-
-
-
+
=
21
2+1
=
3
-
3
-
3
-
`-
26
15
-
15
-
19
-
-
-
+
=
75
7+5
=
12
1+2
3
-
3
--
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
1
-
2
5
9
+
=
26
2+6
=
8
-
8
-
8
-
-
-
-
18
-
1
-
20
5
18
+
=
62
6+02
=
8
-
8
-
8
--
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
`-
26
15
18
15
1
19
20
5
18
+
=
137
1+3+7
=
11
1+1
2
=
2
-
-
8
6
9
6
1
1
2
5
9
+
=
47
4+7
=
11
=
2
=
2
-
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
3
-
-
-
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
6
-
6
-
-
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
7
-
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
9
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
14
9
Z
O
R
O
A
S
T
E
R
-
-
31
-
-
11
-
47
-
29
1+4
-
-
-
9
-
-
-
-
-
9
-
-
3+1
-
-
1+1
-
4+7
-
2+9
4
9
Z
O
R
O
A
S
T
E
R
-
-
4
-
-
2
-
11
-
2
-
-
8
6
9
6
1
1
2
5
9
-
-
-
-
-
-
-
1+1
-
-
4
9
Z
O
R
O
A
S
T
E
R
-
-
4
-
-
2
-
2
-
2

 

 

--
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
-
8
6
-
6
-
1
-
-
-
+
=
21
2+1
=
3
-
3
-
3
-
`-
26
15
-
15
-
19
-
-
-
+
=
75
7+5
=
12
1+2
3
-
3
--
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
1
-
2
5
9
+
=
26
2+6
=
8
-
8
-
8
-
-
-
-
18
-
1
-
20
5
18
+
=
62
6+02
=
8
-
8
-
8
--
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
`-
26
15
18
15
1
19
20
5
18
+
=
137
1+3+7
=
11
1+1
2
=
2
-
-
8
6
9
6
1
1
2
5
9
+
=
47
4+7
=
11
=
2
=
2
-
9
Z
O
R
O
A
S
T
E
R
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
1
-
-
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
-
-
-
-
2
-
-
-
-
2
occurs
x
1
=
2
=
2
-
-
-
-
-
-
-
-
-
5
-
-
-
5
occurs
x
1
=
5
=
5
-
-
-
6
-
6
-
-
-
-
-
-
-
6
occurs
x
2
=
12
1+2
3
-
-
8
-
-
-
-
-
-
-
-
-
-
8
occurs
x
1
=
8
-
8
-
-
-
-
9
-
-
-
-
-
9
-
-
9
occurs
x
2
=
18
1+8
9
14
9
Z
O
R
O
A
S
T
E
R
-
-
31
-
-
11
-
47
-
29
1+4
-
-
-
9
-
-
-
-
-
9
-
-
3+1
-
-
1+1
-
4+7
-
2+9
4
9
Z
O
R
O
A
S
T
E
R
-
-
4
-
-
2
-
11
-
2
-
-
8
6
9
6
1
1
2
5
9
-
-
-
-
-
-
-
1+1
-
-
4
9
Z
O
R
O
A
S
T
E
R
-
-
4
-
-
2
-
2
-
2

 

 

-
TISHTRYA
-
-
-
1
T
20
2
2
1
I
9
9
9
2
SH
27
9
9
3
TRY
63
45
9
1
A
1
1
1
8
TISHTRYA
120
39
21
-
-
1+2+0
7+5
3+0
8
TISHTRYA
3
3
3

 

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

 

 

 

-
-
-
-
-
HUMANITY
-
-
-
-
1
2
3
4
5
6
7
8
9
H
=
8
1
1
H
8
8
8
-
-
-
-
-
-
6
-
8
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
6
-
-
-
M
=
5
3
1
M
13
4
4
-
-
-
-
4
-
6
-
-
-
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
6
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
6
-
-
-
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
6
-
-
9
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
6
-
-
-
Y
=
7
8
1
Y
25
7
7
-
-
-
-
-
-
6
7
-
-
-
-
39
-
8
HUMANITY
111
39
39
-
1
2
3
4
5
6
7
8
9
-
-
3+9
-
-
-
1+1+1
3+9
3+9
-
-
-
-
-
-
-
-
-
-
-
-
12
-
8
HUMANITY
3
12
12
-
1
2
3
4
5
6
7
8
9
-
-
1+2
-
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
8
HUMANITY
3
3
3
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
HUMANITY
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
4
1
A
1
1
1
-
1
-
-
-
-
6
-
-
-
T
=
2
7
1
T
20
2
2
-
-
2
-
-
-
6
-
-
-
U
=
3
2
1
U
21
3
3
-
-
-
3
-
-
6
-
-
-
M
=
5
3
1
M
13
4
4
-
-
-
-
4
-
6
-
-
-
N
=
5
5
1
N
14
5
5
-
-
-
-
-
5
6
-
-
-
Y
=
7
8
1
Y
25
7
7
-
-
-
-
-
-
6
7
-
-
H
=
8
1
1
H
8
8
8
-
-
-
-
-
-
6
-
8
-
I
=
9
6
1
I
9
9
9
-
-
-
-
-
-
6
-
-
9
-
-
39
-
8
HUMANITY
111
39
39
-
1
2
3
4
5
6
7
8
9
-
-
3+9
-
-
-
1+1+1
3+9
3+9
-
-
-
-
-
-
-
-
-
-
-
-
12
-
8
HUMANITY
3
12
12
-
1
2
3
4
5
6
7
8
9
-
-
1+2
-
-
-
-
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
3
-
8
HUMANITY
3
3
3
-
1
2
3
4
5
6
7
8
9

 

 

THE LETTERS AND NUMBERS BEGATS A SECOND READING

 

 

HOLY BIBLE

Scofield References

Page 1117 A.D. 30.

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.
St John Chapter 3 verse 3
3 + 3 3 x 3
6 x 9
54
5 + 4
9

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878- 1947

Page 217

" 'A man may be born, but in order to be born he must first die, and in order to die he must first awake.' "
" 'When a man awakes he can die; when he dies he can be born' "

 

 

Daily Mail, Wednesday, May 11, 2016

Page 51

ANSWERS TO CORRESPONDENTS

Compiled by Charles Legge

The trail of Christ's Grail

QUESTION What is the origin of the Holy Grail story?
What is a 'grail'?

ACCORDING to Grail legend, the Holy Grail was the cup (or platter, cauldron or stone) from which Jesus drank at the Last Supper and which Joseph of Arimathea later used to collect drops of Jesus's blood at the crucifixion. Legend has it that Joseph then brought the cup to Britain, where it was lost. The Holy Grail then became part of Arthurian legend.

It was believed to be kept in a mysterious castle in a wasteland, guarded by a custodian called the Fisher King, who suffered from a wound that would not heal. His recovery and the renewal of the blighted lands depended on the successful completion of the quest to find the Grail. The magical properties attributed to the Holy Grail have been plausibly traced to the 'horn of plenty' of Celtic myth that satisfied the tastes and needs of all who ate and drank from it.

The Holy Grail first appeared in a written text in Chretien de Troyes's Old French verse romance, Perceval, le Conte du Graal from about 1180. De Troyes claimed he received knowledge of the tale from a book from his patron Philip, Count of Flanders.

His prologue specifically implies this was his source, ending 'it is the story of the Grail of which the count gave him the book'. But there is speculation as to whether this book existed: 12th-century writers were sensitive to the charge they invented stories for which they had no `authority'.

During the next half-century, several works, both in verse and prose, were written about the quest for the Grail although the story, and the principal character, vary from one work to another.

The word graal, as it was historically spelled, comes from Old French graal or great, cognate with Old Provençal grazal and Old Catalan gresal, meaning a cup or bowl of earthenware, wood or metal.

The most commonly accepted etymology derives it from Latin gradalis or gradale via an earlier form, cratalis, a derivative of crater or cratus, borrowed from the Greek krater, a large wine-mixing vessel. The Grail myth was revived in the lath century by romantic authors Scott and Tennyson, Pre-Raphaelite artists, and composers, notably Richard Wagner.

The story has persisted in novels by Charles Williams, C. S. Lewis, John Cowper Powys, in Dan Brown's The Da Vinci Code and the Indiana Jones movies.
Eric Lowndes, Leamington Spa, Warwickshire.

 

THE

HOLY GRAIL

A

HOLY GIRL

IS

 

A
=
1
-
1
A
1
1
1
H
=
8
-
4
HOLY
60
24
6
G
=
7
-
4
GIRL
46
28
1
I
=
9
-
2
IS
28
10
1
-
-
25
-
11
Add to Reduce
135
63
9
-
-
2+5
-
1+1
Reduce to Deduce
1+3+5
6+3
-
-
-
7
-
2
Essence of Number
9
9
9

 

 

T
=
2
Q
3
THE
33
15
6
H
=
8
-
4
HOLY
60
24
6
G
=
7
Q
5
GRAIL
47
29
2
A
=
1
Q
1
A
1
1
1
H
=
8
-
4
HOLY
60
24
6
G
=
7
Q
4
GIRL
46
28
1
I
=
9
-
2
IS
28
10
1
-
-
42
-
23
First Total
275
140
23
-
-
4+2
-
2+3
Add to Reduce
2+7+5
1+4+0
2+3
Q
-
6
Q
5
Second Total
14
5
5
-
-
-
-
-
Reduce to Deduce
1+4
-
-
-
-
6
-
5
Essence of Number
5
5
5

 

 

H
=
8
-
4
HOLY
60
24
6
W
=
5
-
6
WOMANS
85
22
4
W
=
5
-
4
WOMB
53
17
8
-
-
18
-
14
First Total
198
63
18
-
-
1+8
-
1+4
Add to Reduce
1+9+8
6+3
1+8
-
-
9
-
5
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
9
-
5
Essence of Number
9
9
9

 

A

HOLY WOMANS WOMB

IS

 

 

THE

HOLY GRAIL

A

HOLY GIRL

IS

 

T
=
2
Q
3
THE
33
15
6
H
=
8
-
4
HOLY
60
24
6
G
=
7
Q
5
GRAIL
47
29
2
-
-
42
-
12
First Total
140
68
14
-
-
4+2
-
1+2
Add to Reduce
1+4+0
6+8
1+4
Q
-
6
Q
3
Second Total
5
14
5
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
6
-
3
Essence of Number
5
5
5

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
H
=
8
-
4
HOLY
60
24
6
-
-
-
-
-
-
-
-
-
-
G
=
7
-
5
GRAIL
47
29
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
140
68
14
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
17
-
3
-
33
15
15
-
-
-
-
-
-
-
-
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
5
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
L
=
3
6
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
Y
=
7
7
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
-
-
24
-
4
-
60
24
24
-
-
-
-
-
-
-
-
-
-
G
=
7
8
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
A
=
1
10
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
I
=
9
11
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
12
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
-
-
29
-
5
-
47
29
29
-
1
2
6
4
5
6
14
16
18
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
1+4
1+6
1+8
H
=
8
-
4
HOLY
60
24
6
-
1
2
6
4
5
6
5
7
9
G
=
7
-
5
GRAIL
47
29
2
-
-
-
-
-
-
-
-
-
-
-
-
14
-
12
First Total
140
68
14
-
1
2
6
4
5
6
5
7
9
-
-
1+4
-
1+2
Add to Reduce
1+4+0
6+8
1+4
-
-
-
-
-
-
-
-
-
-
-
-
5
-
3
Second Total
5
14
5
-
1
2
6
4
5
6
5
7
9
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
3
Essence of Number
5
5
5
-
1
2
6
4
5
6
5
7
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
H
=
8
-
4
HOLY
60
24
6
-
-
-
-
-
-
-
-
-
-
G
=
7
-
5
GRAIL
47
29
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
140
68
14
-
1
2
3
4
5
6
7
8
9
T
=
2
1
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
E
=
5
3
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
H
=
8
4
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
5
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
L
=
3
6
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
Y
=
7
7
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
G
=
7
8
1
G
7
7
7
-
-
-
-
-
-
-
7
-
-
R
=
9
9
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
A
=
1
10
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
I
=
9
11
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
12
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
6
4
5
6
14
16
18
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
1+4
1+6
1+8
H
=
8
-
4
HOLY
60
24
6
-
1
2
6
4
5
6
5
7
9
G
=
7
-
5
GRAIL
47
29
2
-
-
-
-
-
-
-
-
-
-
-
-
14
-
12
First Total
140
68
14
-
1
2
6
4
5
6
5
7
9
-
-
1+4
-
1+2
Add to Reduce
1+4+0
6+8
1+4
-
-
-
-
-
-
-
-
-
-
-
-
5
-
3
Second Total
5
14
5
-
1
2
6
4
5
6
5
7
9
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
3
Essence of Number
5
5
5
-
1
2
6
4
5
6
5
7
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
-
-
-
H
=
8
-
4
HOLY
60
24
6
-
-
-
-
-
-
-
-
-
-
G
=
7
-
5
GRAIL
47
29
2
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
140
68
14
-
1
2
3
4
5
6
7
8
9
A
=
1
10
1
A
1
1
1
-
1
-
-
4
-
-
-
-
-
T
=
2
1
1
T
20
2
2
-
-
2
-
4
-
-
-
-
-
L
=
3
6
1
L
12
3
3
-
-
-
3
4
-
-
-
-
-
L
=
3
12
1
L
12
3
3
-
-
-
3
4
-
-
-
-
-
E
=
5
3
1
E
5
5
5
-
-
-
-
4
5
-
-
-
-
O
=
6
5
1
O
15
6
6
-
-
-
-
4
-
6
-
-
-
Y
=
7
7
1
Y
25
7
7
-
-
-
-
4
-
-
7
-
-
G
=
7
8
1
G
7
7
7
-
-
-
-
4
-
-
7
-
-
H
=
8
2
1
H
8
8
8
-
-
-
-
4
-
-
-
8
-
H
=
8
4
1
H
8
8
8
-
-
-
-
4
-
-
-
8
-
R
=
9
9
1
R
18
9
9
-
-
-
-
4
-
-
-
-
9
I
=
9
11
1
I
9
9
9
-
-
-
-
4
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
1
2
6
4
5
6
14
16
18
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
-
1+4
1+6
1+8
H
=
8
-
4
HOLY
60
24
6
-
1
2
6
4
5
6
5
7
9
G
=
7
-
5
GRAIL
47
29
2
-
-
-
-
-
-
-
-
-
-
-
-
14
-
12
First Total
140
68
14
-
1
2
6
4
5
6
5
7
9
-
-
1+4
-
1+2
Add to Reduce
1+4+0
6+8
1+4
-
-
-
-
-
-
-
-
-
-
-
-
5
-
3
Second Total
5
14
5
-
1
2
6
4
5
6
5
7
9
-
-
-
-
-
Reduce to Deduce
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
3
Essence of Number
5
5
5
-
1
2
6
4
5
6
5
7
9

 

 

RE THE HOLY FAMILY
REMEMBER THE HOLY SEVEN
THE ROOT NUMBER OF THE 6 LETTERED JOSEPH = 1 (6+1) = 7
THE ROOT NUMBER OF THE 5 LETTERED JESUS = 2 (2+5) = 7
THE ROOT NUMBER OF THE 4 LETTERED MARY = 3 (4+3) = 7

 

 

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
-
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

 

 

-
-
-
-
-
JOSEPH JESUS MARY
-
-
-
-3
1
2
3
4
5
6
7
8
9
-
-
-
-
-
J
10
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
O
15
6
6
-
-
2
-
-
-
6
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
2
-
-
5
-
-
-
-
-
-
-
-
-
P
16
7
7
-
-
2
-
-
-
-
7
-
-
-
-
-
-
-
H
8
8
8
-
-
2
-
-
-
-
-
8
-
J
=
1
-
6
JOSEPH
73
37
28
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
JESUS
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
J
10
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
2
-
-
5
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
U
21
3
3
-
-
2
3
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
J
=
1
-
5
JESUS
74
29
11
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
MARY
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
M
13
4
4
-
-
2
-
4
-
-
-
-
-
-
-
-
-
-
A
1
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
R
18
9
9
-
-
2
-
-
-
-
-
-
9
-
-
-
-
-
Y
25
7
7
-
-
2
-
-
-
-
7
-
-
M
=
4
-
4
MARY
57
21
21
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
4
15
JOSEPH JESUS MARY
204
87
60
-
6
2
3
4
10
6
14
8
9
-
-
-
1
1+5
-
2+0+4
8+7
6+0
-
-
-
-
-
1+0
-
1+4
-
-
-
-
6
6
6
JOSEPH JESUS MARY
6
15
6
-
6
2
3
4
1
6
5
8
9
-
-
-
1
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
6
JOSEPH JESUS MARY
6
6
6
-
6
2
3
4
1
6
5
8
9

 

JOSEPH JESUS MARY

 

-
-
-
-
-
JOSEPH JESUS MARY
-
-
-
-3
1
2
3
4
5
6
7
8
9
-
-
-
-
-
J
10
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
O
15
6
6
-
-
2
-
-
-
6
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
2
-
-
5
-
-
-
-
-
-
-
-
-
P
16
7
7
-
-
2
-
-
-
-
7
-
-
-
-
-
-
-
H
8
8
8
-
-
2
-
-
-
-
-
8
-
-
-
-
-
-
J
10
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
2
-
-
5
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
U
21
3
3
-
-
2
3
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
M
13
4
4
-
-
2
-
4
-
-
-
-
-
-
-
-
-
-
A
1
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
R
18
9
9
-
-
2
-
-
-
-
-
-
9
-
-
-
-
-
Y
25
7
7
-
-
2
-
-
-
-
7
-
-
-
-
6
4
15
JOSEPH JESUS MARY
204
87
60
-
6
2
3
4
10
6
14
8
9
-
-
-
1
1+5
-
2+0+4
8+7
6+0
-
-
-
-
-
1+0
-
1+4
-
-
-
-
6
6
6
JOSEPH JESUS MARY
6
15
6
-
6
2
3
4
1
6
5
8
9
-
-
-
1
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
6
JOSEPH JESUS MARY
6
6
6
-
6
2
3
4
1
6
5
8
9

 

 

-
-
-
-
-
JOSEPH JESUS MARY
-
-
-
-3
1
2
3
4
5
6
7
8
9
-
-
-
-
-
J
10
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
J
10
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
A
1
1
1
-
1
2
-
-
-
-
-
-
-
-
-
-
-
-
U
21
3
3
-
-
2
3
-
-
-
-
-
-
-
-
-
-
-
M
13
4
4
-
-
2
-
4
-
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
2
-
-
5
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
2
-
-
5
-
-
-
-
-
-
-
-
-
O
15
6
6
-
-
2
-
-
-
6
-
-
-
-
-
-
-
-
P
16
7
7
-
-
2
-
-
-
-
7
-
-
-
-
-
-
-
Y
25
7
7
-
-
2
-
-
-
-
7
-
-
-
-
-
-
-
H
8
8
8
-
-
2
-
-
-
-
-
8
-
-
-
-
-
-
R
18
9
9
-
-
2
-
-
-
-
-
-
9
-
-
6
4
15
JOSEPH JESUS MARY
204
87
60
-
6
2
3
4
10
6
14
8
9
-
-
-
1
1+5
-
2+0+4
8+7
6+0
-
-
-
-
-
1+0
-
1+4
-
-
-
-
6
6
6
JOSEPH JESUS MARY
6
15
6
-
6
2
3
4
1
6
5
8
9
-
-
-
1
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
-
6
-
6
JOSEPH JESUS MARY
6
6
6
-
6
2
3
4
1
6
5
8
9

 

 

-
-
-
-
-
JOSEPH JESUS MARY
-
-
-
-3
1
3
4
5
6
7
8
9
-
-
-
-
-
J
10
1
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
J
10
1
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
A
1
1
1
-
1
-
-
-
-
-
-
-
-
-
-
-
-
U
21
3
3
-
-
3
-
-
-
-
-
-
-
-
-
-
-
M
13
4
4
-
-
-
4
-
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
5
-
-
-
-
-
-
-
-
-
E
5
5
5
-
-
-
-
5
-
-
-
-
-
-
-
-
-
O
15
6
6
-
-
-
-
-
6
-
-
-
-
-
-
-
-
P
16
7
7
-
-
-
-
-
-
7
-
-
-
-
-
-
-
Y
25
7
7
-
-
-
-
-
-
7
-
-
-
-
-
-
-
H
8
8
8
-
-
-
-
-
-
-
8
-
-
-
-
-
-
R
18
9
9
-
-
-
-
-
-
-
-
9
-
-
6
4
15
JOSEPH JESUS MARY
204
87
60
-
6
3
4
10
6
14
8
9
-
-
-
1
1+5
-
2+0+4
8+7
6+0
-
-
-
-
1+0
-
1+4
-
-
-
-
6
6
6
JOSEPH JESUS MARY
6
15
6
-
6
3
4
1
6
5
8
9
-
-
-
1
-
-
-
1+5
-
-
-
-
-
-
-
-
-
-
-
-
6
-
6
JOSEPH JESUS MARY
6
6
6
-
6
3
4
1
6
5
8
9

 

 

J
=
1
6
JOSEPH
73
37
1
J
=
1
5
JESUS
74
29
2
M
=
4
4
MARY
57
21
3

 

 

6
JOSEPH
73
37
1
11
JESUS CHRIST
151
70
7
4
MARY
57
21
3
21
-
281
128
11
1+1
-
2+8+1
1+2+8
1+1
3
-
11
11
2
-
-
1+1
1+1
-
3
-
2
2
2

 

J
=
1
-
6
JOSEPH
73
28
1
C
=
3
-
6
CHRIST
77
41
5
M
=
4
-
4
MARY
57
21
3
-
-
8
-
16
-
207
90
9
-
-
-
-
1+6
-
2+0+7
9+0
-
-
-
-
-
7
-
9
9
9

 

 

J
=
1
-
6
JOSEPH
73
28
1
J
=
1
-
5
JESUS
74
11
2
M
=
4
-
4
MARY
57
21
3
-
-
6
-
15
-
204
60
6
-
-
-
-
1+5
-
2+0+4
6+0
-
-
-
6
-
6
-
6
6
6
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
6
JOSEPH
1
6+1
7
-
-
-
-
5
JESUS
2
5+2
7
-
-
-
-
4
MARY
3
4+3
7

 

SEVENS EVENS SEVEN

 

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

 

 

https://en.wikipedia.org/wiki/Oedipus

Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus accidentally fulfilled a prophecy that he would end up killing his father ...
Oedipus complex · Oedipus Rex · ?Oedipus (Euripides) · Oedipus at Colonus

 

https://en.wikipedia.org/wiki/Oedipus_Rex

Oedipus Rex, also known by its Greek title, Oedipus Tyrannus or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC.

Written by: Sophocles
Series: Theban Plays
Original language: ?Classical Greek
Date premiered?: c. 429 BC

 

Oedipus - Wikipedia
Oedipus definition and meaning | Collins English Dictionary
https://www.collinsdictionary.com/dictionary/english/oedipus

Oedipus definition: the son of Laius and Jocasta , the king and queen of Thebes , who killed his father ,...
Oedipus was the son of Laius and Jocasta, king and queen of Thebes. ... Little Oedipus/Oidipous was named after the swelling from the injuries to his feet and ankles ("swollen foot"). The word "oedema" (British English) or "edema" (American English) is from this same Greek word for swelling: ??d?µa, or oedema.

 

Oedipus complex definition and meaning | Collins English Dictionary https://www.collinsdictionary.com/dictionary/english/oedipus-complex
Oedipus complex definition: If a boy or man has an Oedipus complex , he feels sexual desire for his mother and has... | Meaning, pronunciation, translations and ...

 

https://dictionary.cambridge.org/dictionary/english/oedipus-complex

Oedipus complex definition: in psychology (= the study of the human mind), a child's sexual desire for their parent of the opposite sex, especially that of a boy for ...

 

-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
6
-
-
9
-
-
1
+
=
16
1+6
=
7
=
7
-
-``
15
-
-
9
-
-
19
+
=
43
4+3
=
7
=
7
-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
-
5
4
-
7
3
-
+
=
19
1+9
=
10
1+0
1
-
-
-
5
4
-
16
21
-
+
=
46
4+6
=
10
1+0
1
-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
15
5
4
9
16
21
19
+
=
89
8+9
=
17
1+7
8
-
-
6
5
4
9
7
3
1
+
=
35
3+5
=
8
=
8
-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
2
-
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
--
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
--
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
8
-
-
-
-
-
-
-
-
-
-
8
EIGHT
8
-
-
-
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
10
7
O
E
D
I
P
U
S
-
-
35
-
-
7
-
35
1+0
-
-
-
-
-
-
-
-
-
-
3+5
-
-
-
-
3+5
1
7
O
E
D
I
P
U
S
-
-
8
-
-
7
-
8

 

 

-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
6
-
-
9
-
-
1
+
=
16
1+6
=
7
=
7
-
-``
15
-
-
9
-
-
19
+
=
43
4+3
=
7
=
7
-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
-
5
4
-
7
3
-
+
=
19
1+9
=
10
1+0
1
-
-
-
5
4
-
16
21
-
+
=
46
4+6
=
10
1+0
1
-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
15
5
4
9
16
21
19
+
=
89
8+9
=
17
1+7
8
-
-
6
5
4
9
7
3
1
+
=
35
3+5
=
8
=
8
-
7
O
E
D
I
P
U
S
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
occurs
x
1
=
1
-
--
-
-
-
-
-
3
-
-
-
3
occurs
x
1
=
3
-
--
-
-
4
-
-
-
-
-
-
4
occurs
x
1
=
4
-
-
-
5
-
-
-
-
-
-
-
5
occurs
x
1
=
5
-
-
6
-
-
-
-
-
-
-
-
6
occurs
x
1
=
6
-
-
-
-
-
-
7
-
-
-
-
7
occurs
x
1
=
7
-
-
-
-
-
9
-
-
-
-
-
9
occurs
x
1
=
9
10
7
O
E
D
I
P
U
S
-
-
35
-
-
7
-
35
1+0
-
6
5
4
9
7
3
1
-
-
3+5
-
-
-
-
3+5
1
7
O
E
D
I
P
U
S
-
-
8
-
-
7
-
8

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
OEDIPUS
-
-
-
-
-
-
-
-
-
-
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
D
=
4
-
1
D
4
4
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
-
7
-
-
U
=
3
-
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
-
-
35
-
7
OEDIPUS
89
44
35
-
1
2
3
9
5
6
9
8
9
-
-
3+5
-
-
8+9
4+4
3+5
-
-
-
-
-
-
-
-
-
-
-
8
-
7
OEDIPUS
17
8
8
-
1
2
3
9
5
6
9
8
9
-
-
-
-
-
-
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
OEDIPUS
8
8
8
-
1
2
3
9
5
6
9
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
OEDIPUS
-
-
-
-
-
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
2
-
-
-
-
-
8
-
U
=
3
-
1
U
21
3
3
-
-
2
3
-
-
-
-
8
-
D
=
4
-
1
D
4
4
4
-
-
2
-
4
-
-
-
8
-
E
=
5
-
1
E
5
5
5
-
-
2
-
-
5
-
-
8
-
O
=
6
-
1
O
15
6
6
-
-
2
-
-
-
6
-
8
-
P
=
7
-
1
P
16
7
7
-
-
2
-
-
-
-
7
8
-
I
=
9
-
1
I
9
9
9
-
-
2
-
-
-
-
-
8
9
-
-
35
-
7
OEDIPUS
89
44
35
-
1
2
3
9
5
6
9
8
9
-
-
3+5
-
-
8+9
4+4
3+5
-
-
-
-
-
-
-
-
-
-
-
8
-
7
OEDIPUS
17
8
8
-
1
2
3
9
5
6
9
8
9
-
-
-
-
-
-
1+7
-
-
-
-
-
-
-
-
-
-
-
-
-
8
-
7
OEDIPUS
8
8
8
-
1
2
3
9
5
6
9
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
3
4
5
6
7
9
-
-
-
-
-
OEDIPUS
-
-
-
-
-
-
-
-
-
-
-
S
=
1
-
1
S
19
10
1
-
1
-
-
-
-
-
-
U
=
3
-
1
U
21
3
3
-
-
3
-
-
-
-
-
D
=
4
-
1
D
4
4
4
-
-
-
4
-
-
-
-
E
=
5
-
1
E
5
5
5
-
-
-
-
5
-
-
-
O
=
6
-
1
O
15
6
6
-
-
-
-
-
6
-
-
P
=
7
-
1
P
16
7
7
-
-
-
-
-
-
7
-
I
=
9
-
1
I
9
9
9
-
-
-
-
-
-
-
9
-
-
35
-
7
OEDIPUS
89
44
35
-
1
3
9
5
6
9
9
-
-
3+5
-
-
8+9
4+4
3+5
-
-
-
-
-
-
-
-
-
8
-
7
OEDIPUS
17
8
8
-
1
3
9
5
6
9
9
-
-
-
-
-
-
1+7
-
-
-
-
-
-
-
-
-
-
-
8
-
7
OEDIPUS
8
8
8
-
1
3
9
5
6
9
9

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

Mnemosyne, in Greek mythology, the goddess of memory. A Titaness, she was the daughter of Uranus (Heaven) and Gaea (Earth), and, according to Hesiod, the mother (by Zeus) of the nine Muses. She gave birth to the Muses after Zeus went to Pieria and stayed with her nine consecutive nights.

Mnemosyne - Wikipedia
https://en.wikipedia.org/wiki/Mnemosyne

Mythology - A Titanide, or Titaness, Mnemosyne was the daughter of the Titans Uranus and Gaia. Mnemosyne was the mother of the nine Muses, fathered by her nephew, Zeus: Calliope (epic poetry) Clio (history)

Parents?: ?Uranus? and ?Gaia
Consorts?: Zeus

Roman equivalent Moneta

Offspring?: ?The Muses?: Calliope?; Clio?; Erato?; Eu...

Mnemosyne (/n?'m?z?ni, n?'m?s?ni/; Greek: pronounced [mn??mosý?n??]) is the goddess of memory in Greek mythology. "Mnemosyne" is derived from the same source as the word mnemonic, that being the Greek word mneme, which means "remembrance, memory".[1][

In Hesiod’s Theogony, kings and poets receive their powers of authoritative speech from their possession of Mnemosyne and their special relationship with the Muses.

Zeus and Mnemosyne slept together for nine consecutive nights, thus conceiving the nine Muses. Mnemosyne also presided over a pool[2] in Hades, counterpart to the river Lethe, according to a series of 4th century BC Greek funerary inscriptions in dactylic hexameter. Dead souls drank from Lethe so they would not remember their past lives when reincarnated. In Orphism, the initiated were taught to instead drink from the Mnemosyne, the river of memory, which would stop the transmigration of the soul.[3]
Appearance in oral literature[edit]

Jupiter, disguised as a shepherd, tempts Mnemosyne, goddess of memory by Jacob de Wit (1727)
Although she was categorized as one of the Titans in the Theogony, Mnemosyne didn’t quite fit that distinction.[4] Titans were hardly worshiped in Ancient Greece, and were thought of as so archaic as to belong to the ancient past.[4] They resembled historical figures more than anything else. Mnemosyne, on the other hand, traditionally appeared in the first few lines of many oral epic poems?[5]—she appears in both the Iliad and the Odyssey, among others—as the speaker called upon her aid in accurately remembering and performing the poem he was about to recite. Mnemosyne is thought to have been given the distinction of “Titan” because memory was so important and basic to the oral culture of the Greeks that they deemed her one of the essential building blocks of civilization in their creation myth.[5]

Later, once written literature overtook the oral recitation of epics, Plato made reference in his Euthydemus to the older tradition of invoking Mnemosyne. The character Socrates prepares to recount a story and says “?st? ????e, ?a??pe? ?? (275d) p???ta?, d??µa? ????µe??? t?? d????se?? ???sa? te ?a? ???µ?s???? ?p??a?e?s?a?.” which translates to “Consequently, like the poets, I must needs begin my narrative with an invocation of the Muses and Memory” (emphasis added).[6] Aristophanes also harked back to the tradition in his play Lysistrata when a drunken Spartan ambassador invokes her name while prancing around pretending to be a bard from times of yore.[7]

Cult of Asclepius[edit]

Mnemosyne was one of the deities worshiped in the cult of Asclepius that formed in Ancient Greece around the 5th century BC.[8] Asclepius, a Greek hero and god of medicine, was said to have been able to cure maladies, and the cult incorporated a multitude of other Greek heroes and gods in its process of healing.[8] The exact order of the offerings and prayers varied by location,[9] and the supplicant often made an offering to Mnemosyne.[8] After making an offering to Asclepius himself, in some locations, one last prayer was said to Mnemosyne as the supplicant moved to the holiest portion of the asclepeion to incubate.[8] The hope was that a prayer to Mnemosyne would help the supplicant remember any visions had while sleeping there.[9]

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

Mnemosyne : Greek Goddess of Memory and Mother of the Muses
www.goddessgift.com/goddess-myths/g-mnemosyne.htm

Mnemosyne, Greek goddess of memory, was considered one of the most powerful goddesses of her time. After all, it is memory, some believe, that is a gift that ...

The word "mnemonic" is derived from the Ancient Greek word (mnemonikos), meaning "of memory, or relating to memory" and is related to Mnemosyne ("rem

 

Mnemonic - Wikipediahttps://en.wikipedia.org/wiki/Mnemonic
The word "mnemonic" is derived from the Ancient Greek word (mnemonikos), meaning "of memory, or relating to memory" and is related to Mnemosyne ("remembrance"), the name of the goddess of memory in Greek mythology. Both of these words are derived from µ??µ? (mneme),

Not to be confused with a memory device in the computer hardware sense.

Knuckle mnemonic for the number of days in each month of the Gregorian Calendar. Each knuckle represents a 31-day month.
A mnemonic (/n?'m?n?k/,[1] the first "m" is silent) device, or memory device, is any learning technique that aids information retention or retrieval (remembering) in the human memory. Mnemonics make use of elaborative encoding, retrieval cues, and imagery as specific tools to encode any given information in a way that allows for efficient storage and retrieval. Mnemonics aid original information in becoming associated with something more accessible or meaningful—which, in turn, provides better retention of the information. Commonly encountered mnemonics are often used for lists and in auditory form, such as short poems, acronyms, or memorable phrases, but mnemonics can also be used for other types of information and in visual or kinesthetic forms. Their use is based on the observation that the human mind more easily remembers spatial, personal, surprising, physical, sexual, humorous, or otherwise "relatable" information, rather than more abstract or impersonal forms of information.

The word "mnemonic" is derived from the Ancient Greek word µ??µ?????? (mnemonikos), meaning "of memory, or relating to memory"[2] and is related to Mnemosyne ("remembrance"), the name of the goddess of memory in Greek mythology. Both of these words are derived from µ??µ? (mneme), "remembrance, memory".[3] Mnemonics in antiquity were most often considered in the context of what is today known as the art of memory.

Ancient Greeks and Romans distinguished between two types of memory: the "natural" memory and the "artificial" memory. The former is inborn, and is the one that everyone uses instinctively. The latter in contrast has to be trained and developed through the learning and practice of a variety of mnemonic techniques.

Mnemonic systems are techniques or strategies consciously used to improve memory. They help use information already stored in long-term memory to make memorisation an easier task.[4]

History[edit]

The general name of mnemonics, or memoria technica, was the name applied to devices for aiding the memory, to enable the mind to reproduce a relatively unfamiliar idea, and especially a series of dissociated ideas, by connecting it, or them, in some artificial whole, the parts of which are mutually suggestive.[5] Mnemonic devices were much cultivated by Greek sophists and philosophers and are frequently referred to by Plato and Aristotle. In later times the poet Simonides was credited for development of these techniques, perhaps for no reason other than that the power of his memory was famous. Cicero, who attaches considerable importance to the art, but more to the principle of order as the best help to memory, speaks of Carneades (perhaps Charmades) of Athens and Metrodorus of Scepsis as distinguished examples of people who used well-ordered images to aid the memory. The Romans valued such helps in order to support facility in public speaking.[6]

The Greek and the Roman system of mnemonics was founded on the use of mental places and signs or pictures, known as "topical" mnemonics. The most usual method was to choose a large house, of which the apartments, walls, windows, statues, furniture, etc., were each associated with certain names, phrases, events or ideas, by means of symbolic pictures. To recall these, an individual had only to search over the apartments of the house until discovering the places where images had been placed by the imagination.[citation needed]

Detail of Giordano Bruno's statue in Rome. Bruno was famous for his mnemonics, some of which he included in his treatises De umbris idearum and Ars Memoriae.
In accordance with said system, if it were desired to fix a historic date in memory, it was localised in an imaginary town divided into a certain number of districts, each of with ten houses, each house with ten rooms, and each room with a hundred quadrates or memory-places, partly on the floor, partly on the four walls, partly on the roof. Therefore, if it were desired to fix in the memory the date of the invention of printing (1436), an imaginary book, or some other symbol of printing, would be placed in the thirty-sixth quadrate or memory-place of the fourth room of the first house of the historic district of the town.[citation needed] Except that the rules of mnemonics are referred to by Martianus Capella, nothing further is known regarding the practice until the 13th century.[5]

Among the voluminous writings of Roger Bacon is a tractate De arte memorativa. Ramon Llull devoted special attention to mnemonics in connection with his ars generalis. The first important modification of the method of the Romans was that invented by the German poet Konrad Celtes, who, in his Epitoma in utramque Ciceronis rhetoricam cum arte memorativa nova (1492), used letters of the alphabet for associations, rather than places. About the end of the 15th century, Petrus de Ravenna (b. 1448) provoked such astonishment in Italy by his mnemonic feats that he was believed by many to be a necromancer. His Phoenix artis memoriae (Venice, 1491, 4 vols.) went through as many as nine editions, the seventh being published at Cologne in 1608.

About the end of the 16th century, Lambert Schenkel (Gazophylacium, 1610), who taught mnemonics in France, Italy and Germany, similarly surprised people with his memory. He was denounced as a sorcerer by the University of Louvain, but in 1593 he published his tractate De memoria at Douai with the sanction of that celebrated theological faculty. The most complete account of his system is given in two works by his pupil Martin Sommer, published in Venice in 1619. In 1618 John Willis (d. 1628?) published Mnemonica; sive ars reminiscendi,[7] containing a clear statement of the principles of topical or local mnemonics. Giordano Bruno included a memoria technica in his treatise De umbris idearum, as part of his study of the ars generalis of Llull. Other writers of this period are the Florentine Publicius (1482); Johannes Romberch (1533); Hieronimo Morafiot, Ars memoriae (1602);and B. Porta, Ars reminiscendi (1602).[5]

In 1648 Stanislaus Mink von Wennsshein revealed what he called the "most fertile secret" in mnemonics — using consonants for figures, thus expressing numbers by words (vowels being added as required), in order to create associations more readily remembered. The philosopher Gottfried Wilhelm Leibniz adopted an alphabet very similar to that of Wennsshein for his scheme of a form of writing common to all languages.

Wennsshein's method was adopted with slight changes afterward by the majority of subsequent "original" systems. It was modified and supplemented by Richard Grey (1694-1771), a priest who published a Memoria technica in 1730. The principal part of Grey's method is briefly this:

To remember anything in history, chronology, geography, etc., a word is formed, the beginning whereof, being the first syllable or syllables of the thing sought, does, by frequent repetition, of course draw after it the latter part, which is so contrived as to give the answer. Thus, in history, the Deluge happened in the year before Christ two thousand three hundred forty-eight; this is signified by the word Del-etok, Del standing for Deluge and etok for 2348.[5]

(His method is comparable to the Hebrew system by which letters also stand for numerals, and therefore words for dates.)

To assist in retaining the mnemonical words in the memory, they were formed into memorial lines. Such strange words in difficult hexameter scansion, are by no means easy to memorise. The vowel or consonant, which Grey connected with a particular figure, was chosen arbitrarily.

A later modification was made in 1806 Gregor von Feinaigle, a German monk from Salem near Constance. While living and working in Paris, he expounded a system of mnemonics in which (as in Wennsshein) the numerical figures are represented by letters chosen due to some similarity to the figure or an accidental connection with it. This alphabet was supplemented by a complicated system of localities and signs. Feinaigle, who apparently did not publish any written documentation of this method, travelled to England in 1811. The following year one of his pupils published The New Art of Memory (1812), giving Feinaigle's system. In addition, it contains valuable historical material about previous systems.

Other mnemonists later published simplified forms, as the more complicated menemonics were generally abandoned. Methods founded chiefly on the so-called laws of association (cf. Mental association) were taught with some success in Germany.[8]

 

 

9
MNEMOSYNE
-
-
-
-
M+N
27
9
9
-
E+M
18
9
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M+N+E+M
45
18
9
-
O
15
6
6
-
S+Y+N+E
63
18
9
9
MNEMOSYNE
123
42
33
-
-
1+2+3
4+2
3+3
9
MNEMOSYNE
6
6
6

 

 

9
MNEMOSYNE
-
-
-
-
M
13
4
4
-
N
14
5
5
-
E
5
5
5
-
M
13
4
4
-
O
15
6
6
-
S
19
10
1
-
Y
25
7
7
-
N
14
5
5
-
E
5
5
5
9
MNEMOSYNE
123
51
42
-
-
1+2+3
5+1
4+2
9
MNEMOSYNE
6
6
6

 

 

5
LETHE
-
-
-
-
L+E+T+H
45
18
9
-
E
5
5
5
5
LETHE
50
23
14
-
-
1+2+3
2+3
1+4
5
LETHE
5
5
5

 

 

5
LETHE
-
-
-
-
L
12
3
3
-
E
5
5
5
-
T
20
2
2
-
H
8
8
8
-
E
5
5
5
5
LETHE
50
23
14
-
-
1+2+3
2+3
1+4
5
LETHE
5
5
5

 

 

merrymaking
noun
noun: merry-making
fun; festivity.
"I'd had my fill of merrymaking and decided to stay put till my headache eased"

 

 

-
-
-
-
-
MERRYMAKING
-
-
-
M
=
4
-
5
MERRY
79
34
7
M
=
4
-
6
MAKING
55
28
1
-
-
8
-
11
MERRYMAKING
134
62
8
-
-
-
-
1+1
-
1+3+4
6+2
1+8
-
-
8
-
2
MERRYMAKING
8
8
8
-
-
-
-
-
-
-
-
-
-
-
8
-
2
MERRYMAKING
8
8
8

 

 

occasion : festivity.
Merrymaking Synonyms, Merrymaking Antonyms | Thesaurus.com

https://www.thesaurus.com/browse/merrymaking

Synonyms for merrymaking at Thesaurus.com with free online thesaurus, ... Find descriptive alternatives for merrymaking. ... see definition of merrymaking.

 

 

Merry-making definition and meaning | Collins English Dictionary
https://www.collinsdictionary.com/dictionary/english/merry-making

merry-making. uncountable noun.

Merry-making is the activities of people who are enjoying themselves together in a lively way, for example by eating, drinking, or dancing.

 

 

Merrymaking | Define Merrymaking at Dictionary.com
www.dictionary.com/browse/merrymaking

noun. the act of taking part gaily or enthusiastically in some festive or merry celebration. a merry festivity; revel.

 

 

Merrymaking definition and meaning | Collins English Dictionary

https://www.collinsdictionary.com/dictionary/english/merrymaking

a making merry, laughing, and having fun; conviviality; festivity. a joyous festival or entertainment. 3. taking part in merrymaking.

 

 

MERRIMENT

-
-
-
-
-
MERRIMENT
-
-
-
M
=
4
-
5
MERRI
63
36
9
M
=
4
-
4
MENT
52
16
7
-
-
8
-
9
MERRIMENT
115
52
16
-
-
-
-
-
-
1+1+5
5+2
1+6
-
-
8
-
9
MERRIMENT
7
7
7

 

 

Merriment | Definition of Merriment by Merriam-Webster
https://www.merriam-webster.com/dictionary/merriment

Definition of merriment. 1 : lighthearted gaiety or fun-making : hilarity. 2 : a lively celebration or party : festivity. See merriment defined for English-language learners.

 

merriment Meaning in the Cambridge English Dictionary
https://dictionary.cambridge.org/dictionary/english/merriment

merriment noun [ U ] uk ? /'mer.i.m?nt/ us ? /'mer.i.m?nt/ an occasion when people laugh or have an enjoyable time together: Sounds of merriment came from the kitchen. His unusual name has long been a source of merriment among his friends.

 

Merriment - definition of merriment by The Free Dictionary
https://www.thefreedictionary.com/merriment

Define merriment. merriment synonyms, merriment pronunciation, merriment translation, English dictionary definition of merriment. n. High-spirited fun and ...

 

merriment (noun) definition and synonyms | Macmillan Dictionary

https://www.macmillandictionary.com/dictionary/british/merriment

... (noun) and get synonyms. What is merriment (noun)? merriment (noun) meaning, pronunciation and more by Macmillan Dictionary. ... noun [uncountable] mainly literary merriment pronunciation in British English /'merim?nt/. laughter and ...

 

 

-
-
-
-
-
MERRIMENT
-
-
-
-3
1
2
3
4
5
6
7
8
9
M
=
4
1
-
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
-
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
-
-
R
18
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
-
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
-
I
9
9
9
-
-
-
-
-
-
-
-
-
9
M
=
4
-
-
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
-
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
-
N
14
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
-
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
52
-
9
MERRIMENT
115
52
52
-
1
2
3
8
15
6
7
8
27
-
-
5+2
-
-
-
1+1+5
5+2
5+2
-
-
-
-
-
1+5
-
-
-
2+7
-
-
7
4
9
MERRIMENT
7
7
7
-
1
2
3
8
6
6
7
8
9

 

 

-
-
-
-
-
MERRIMENT
-
-
-
-3
1
2
3
4
5
6
7
8
9
T
=
2
-
-
T
20
2
2
-
-
2
-
-
-
-
-
-
-
M
=
4
-
-
M
13
4
4
-
-
-
-
4
-
-
-
-
-
M
=
4
1
-
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
-
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
-
-
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
-
N
14
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
-
-
R
18
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
-
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
-
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
52
-
9
MERRIMENT
115
52
52
-
1
2
3
8
15
6
7
8
27
-
-
5+2
-
-
-
1+1+5
5+2
5+2
-
-
-
-
-
1+5
-
-
-
2+7
-
-
7
4
9
MERRIMENT
7
7
7
-
1
2
3
8
6
6
7
8
9

 

 

-
-
-
-
-
MERRIMENT
-
-
-
-3
1
2
3
4
5
6
7
8
9
T
=
2
-
-
T
20
2
2
-
1
2
3
-
-
6
7
8
-
M
=
4
-
-
M
13
4
4
-
1
-
3
4
-
6
7
8
-
M
=
4
1
-
M
13
4
4
-
1
-
3
4
-
6
7
8
-
E
=
5
-
-
E
5
5
5
-
1
-
3
-
5
6
7
8
-
E
=
5
-
-
E
5
5
5
-
1
-
3
-
5
6
7
8
-
N
=
5
-
-
N
14
5
5
-
1
-
3
-
5
6
7
8
-
R
=
9
-
-
R
18
9
9
-
1
-
3
-
-
6
7
8
9
R
=
9
-
-
R
18
9
9
-
1
-
3
-
-
6
7
8
9
I
=
9
-
-
I
9
9
9
-
1
-
3
-
-
6
7
8
9
-
-
52
-
9
MERRIMENT
115
52
52
-
1
2
3
8
15
6
7
8
27
-
-
5+2
-
-
-
1+1+5
5+2
5+2
-
-
-
-
-
1+5
-
-
-
2+7
-
-
7
4
9
MERRIMENT
7
7
7
-
1
2
3
8
6
6
7
8
9

 

 

-
-
-
-
-
MERRIMENT
-
-
-
-3
2
4
5
9
T
=
2
-
-
T
20
2
2
-
2
-
-
-
M
=
4
-
-
M
13
4
4
-
-
4
-
-
M
=
4
1
-
M
13
4
4
-
-
4
-
-
E
=
5
-
-
E
5
5
5
-
-
-
5
-
E
=
5
-
-
E
5
5
5
-
-
-
5
-
N
=
5
-
-
N
14
5
5
-
-
-
5
-
R
=
9
-
-
R
18
9
9
-
-
-
-
9
R
=
9
-
-
R
18
9
9
-
-
-
-
9
I
=
9
-
-
I
9
9
9
-
-
-
-
9
-
-
52
-
9
MERRIMENT
115
52
52
-
2
8
15
27
-
-
5+2
-
-
-
1+1+5
5+2
5+2
-
-
-
1+5
2+7
-
-
7
4
9
MERRIMENT
7
7
7
-
2
8
6
9

 

 

M
=
4
-
-
MERRIMENT
-
-
-
-
-
-
-
-
-
M+E
18
9
9
9
-
-
-
-
-
R
18
9
9
9
-
-
-
-
-
R
18
9
9
9
-
-
-
-
-
I
9
9
9
9
-
-
-
-
-
M+E
18
9
9
9
-
-
-
-
-
N+T
34
7
7
-
M
=
4
-
9
MERRIMENT
131
52
52
45
-
-
-
-
-
-
1+1+5
5+2
5+2
4+5
M
=
4
4
9
MERRIMENT
7
7
7
9

 

 

MERRYMENT


What does merryment mean - Definition of merryment - Word finder
https://findwords.info/term/merryment

Usage examples of "merryment". It was so different from the coarse laughter of a moment before and so full of merryment that it transported her back to a ...

 

-
-
-
-
9
MERRYMENT
-
-
-
-3
1
2
3
4
5
6
7
8
9
M
=
4
-
-
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
-
E
5
5
5
-
-
-
-
-
5
-
-
-
-
R
=
9
-
-
R
18
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
-
-
R
18
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
-
-
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
-
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
-
-
E
5
5
5
-
-
-
-
-
5
-
-
-
-
N
=
5
-
-
N
14
5
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
-
T
20
2
2
-
-
2
-
-
-
-
-
-
-
-
-
52
-
9
MERRYMENT
131
50
50
-
1
2
3
8
15
6
7
8
18
-
-
5+2
-
-
-
1+3+1
5+0
5+0
-
-
-
-
-
1+5
-
-
-
1+8
-
-
7
4
9
MERRYMENT
5
5
5
-
1
2
3
8
6
6
7
8
9

 

 

M
=
4
-
9
MERRYMENT
-
-
-
-
-
-
-
-
-
M+E
18
9
9
9
-
-
-
-
-
R
18
9
9
9
-
-
-
-
-
R
9
9
9
9
-
-
-
-
-
Y+T
27
9
9
9
-
-
-
-
-
M+E
18
9
9
9
-
-
-
-
-
N
14
5
5
5
M
=
4
-
9
MERRIMENT
131
50
50
18
-
-
-
-
-
-
1+3+1
5+0
5+0
1+8
M
=
4
4
9
MERRIMENT
5
5
5
9

 

MERRYMAN

Merryman | Definition of Merryman by Merriam-Webster

https://www.merriam-webster.com/dictionary/merryman

Merryman definition is - buffoon, jester. ... plural merrymen ... You must — there are over 200,000 words in our free online dictionary, but you are looking for one ...

 

MERRYMEN

 

 

THE LOST LANGUAGE OF SYMBOLISM

Harold Bayley 1912

Page 278

""According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH, was Egyptian for Light-Light."

 

6
ISH-ISH
72
36
9
4
ISHI
45
36
9

 

Page 278

"ONE-EYE, TWO-EYES, THREE-EYES"

"According to the authors of The Perfect Way, the words IS and ISH originally meant Light, and the name ISIS, once ISH-ISH,

 

THE HOLY BIBLE

Scofield References

Hosea Chapter 2

Page 922/923

16

And it shall be at that day, saith the LORD, that thou shalt call me Ishi; and shalt call me no more Baali.

 

AND IT SHALL BE AT THAT DAY SAITH THE LORD THAT THOU SHALT CALL ME

ISHI

 

 

BHAGAVAD GITA

ARUJNA KRISHNA VISHNU SHIVA BRAHMA

 

 

LISTEN WITH ALL YOUR EYES SAID A MYSTERIOUS VOICE IN THE NIGHT

 

 

Shakespeare Quotes - Such Stuff as Dreams Are Made on.
www.enotes.com/shakespeare-quotes/we-such-stuff-dreams-made

The Tempest Act 4, scene 1, William Shakespeare

Prospero:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.

 

 

2
WE
28
10
1
3
ARE
24
15
6
4
SUCH
51
15
6
5
STUFF
72
18
9
2
AS
20
2
2
6
DREAMS
60
24
6
3
ARE
24
15
6
4
MADE
23
14
5
2
ON
29
11
2
3
AND
19
10
1
3
OUR
54
18
9
4
LITTLE
78
24
6
4
LIFE
32
23
5
2
IS
28
10
1
7
ROUNDED
81
36
9
4
WITH
60
24
6
1
A
1
1
1
5
SLEEP
57
21
3
66
First Total
741
291
84
6+6
Add to Reduce
7+4+1
2+9+1
8+4
12
Second Total
12
12
12
1+2
Reduce to Deduce
1+2
1+2
1+2
3
Essence of Number
3
3
3

 

I
=
9
-
4
IDEA
19
19
1
I
=
9
-
5
IDEAS
38
20
2
-
-
-
-
-
-
-
-
-
-
-
-
-
1
I
-
-
-
-
-
-
-
2
DIE
18
18
9
-
-
-
-
2
AS
20
2
2
M
=
4
-
5
IDEAS
38
20
11
-
-
-
-
-
-
3+8
2+0
1+1
M
=
4
-
5
IDEAS
11
2
2
-
-
-
-
-
-
1+1
-
-
M
=
4
-
5
IDEAS
2
2
2

 

 

I
=
9
-
5
IDEAS
38
20
2
M
=
4
-
3
DIE
18
18
9
M
=
4
-
2
AS
20
11
2
M
=
4
-
2
AN
15
6
6
I
=
9
-
1
I
9
9
9
M
=
4
-
13
First Total
100
64
28
-
-
-
-
1+3
Add to Reduce
1+0+0
6+4
2+8
M
=
4
-
4
Second Total
1
10
10
-
-
-
-
-
Reduce to Deduce
-
1+0
1+0
M
=
4
-
4
Essence of Number
1
1
1

 

 

A
=
1
-
2
AS
20
11
2
I
=
9
-
2
IF
15
15
6
B
=
2
-
2
BY
27
9
9
M
=
4
-
5
MAGIC
33
24
6
W
=
5
-
4
WILL
56
11
2
I
=
9
-
8
INTENDED
75
39
3
-
-
30
-
23
First Total
226
109
19
-
-
3+0
-
2+3
Add to Reduce
2+2+6
1+0+9
1+9
-
-
3
-
5
Second Total
10
10
10
-
-
-
-
-
Reduce to Deduce
1+0
1+0
1+0
-
-
3
-
5
Essence of Number
1
1
1

 

 

DO NOT GO GENTLE INTO THAT GOOD NIGHT

Dylan Thomas

(27 October 1914 – 9 November 1953)

Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.

Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.

And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light

 

 

-
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

 

 

I

ME

I SAY ISIS SAY I

I SAY OSIRIS SAY I

I SAY CHRIST SAY I

I SAY KRISHNA SAY I

I SAY RISHI ISHI ISHI RISHI SAY I

I SAY VISHNU SHIVA SHIVA VISHNU SAY I

ARISES THAT SUN SETS THAT SUN SETS THAT SUN ARISES THAT SUN

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

BELOVED ISIS QUEEN OF THE NIGHT COME WEAVE THY WEB WITH RAPID LIGHT

 

 

1234556789 PROMETHEUS 1234556789

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
5
LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

In Greek mythology, Prometheus 1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and ...
‎Prometheus (2012 film) - ‎Prometheus - ‎Theft of fire - ‎Culture hero

Prometheus

From Wikipedia, the free encyclopedia

In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods and gives fire to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2]

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back to be eaten again the next day. (In ancient Greece, the liver was thought to be the seat of human emotions.)[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules).

In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4]

In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).

1 Myths and legends 1.1 The oldest legends of Prometheus among the Ancients
1.1.1 Hesiod and the Theogony
1.1.2 Homer, the Iliad, and the Homeric Hymns
1.1.3 Pindar and the Nemean Odes
1.1.4 Pythagoras and the Pythagorean Doctrine

1.2 The Athenian Tradition of Prometheus: Aeschylus and Plato 1.2.1 Aeschylus and the Ancient Literary Aesthetics of Prometheus
1.2.2 Plato and the Philosophical Interpretation of Prometheus
1.2.3 The Athenian tradition of religious dedication and observance
1.2.4 The Aesthetic tradition of Prometheus in Athenian art

1.3 Other authors

2 Religious symbolism in late Roman antiquity
3 The allegorical tradition of the Middle Ages
4 Prometheus in the Renaissance
5 The Post-Renaissance tradition 5.1 The literary Post-Renaissance tradition 5.1.1 Goethe and the Prometheus-Ganymede poems
5.1.2 Percy Bysshe Shelley and Prometheus Unbound
5.1.3 Mary Shelley and Frankenstein: The Modern Prometheus
5.1.4 Prometheus in the Twentieth Century

5.2 The aesthetic Post-Renaissance tradition 5.2.1 Classical music, opera, and ballet
5.2.2 In film

The oldest legends of Prometheus among the Ancients[edit]

The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachia, or the cosmological climactic struggle between the Greek gods and their parents, the Titans.[5] Prometheus himself was a titan who managed to avoid being in the direct confrontational cosmic battle between Zeus and his followers against Cronus, Uranus and their followers.[6] Prometheus therefore survived the struggle in which the offending titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.

Hesiod and the Theogony[edit]

The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. In the Theogony, Hesiod introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.[7] In the trick at Mekone, a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus (545–557). He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.[7]

Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[8] Prometheus, however, stole back fire in a giant fennel-stalk and restored it to humanity. This further enraged Zeus, who sent Pandora, the first woman, to live with humanity.[7] Pandora was fashioned by Hephaestus out of clay and brought to life by the four winds, with all the goddesses of Olympus assembled to adorn her. "From her is the race of women and female kind," Hesiod writes; "of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth."[7]

Prometheus Brings Fire by Heinrich Friedrich Füger. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone.
Prometheus, in eternal punishment, is chained to a rock in the Caucasus, Kazbek Mountain, where his liver is eaten daily by an eagle,[9] only to be regenerated by night, due to his immortality. The eagle is a symbol of Zeus Himself. Years later, the Greek hero Heracles (Hercules) slays the eagle and frees Prometheus from his chains.[10]

Hesiod revisits the story of Prometheus in the Works and Days (lines 42–105). Here, the poet expands upon Zeus's reaction to the theft of fire. Not only does Zeus withhold fire from humanity, but "the means of life," as well (42). Had Prometheus not provoked Zeus's wrath (44–47), "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste." Hesiod also expands upon the Theogony's story of the first woman, now explicitly called Pandora ("all gifts"). After Prometheus' theft of fire, Zeus sent Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepted this "gift" from the gods. Pandora carried a jar with her, from which were released (91–92) "evils, harsh pain and troublesome diseases which give men death".[11] Pandora shut the lid of the jar too late to contain all the evil plights that escaped, but foresight remained in the jar, giving humanity hope.

Angelo Casanova,[12] Professor of Greek Literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish; as an opponent of Zeus he was an analogue of the Titans, and like them was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[13] is interpreted by Casanova as a post-Hesiodic interpolation.[14]

Homer, the Iliad, and the Homeric Hymns[edit]

The banishment of the warring titans by the Olympians to the chthonic depths of Tartoros was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633-34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the "titans" as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert), and, titis (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] It should be noted in studying material concerning Prometheus that Prometheus was not directly among the warring Titans with Zeus though Prometheus's association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and with the Olympian gods.

Pindar and the Nemean Odes[edit]

The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered aurora collett us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality in strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans.

Pythagoras and the Pythagorean Doctrine[edit]

In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons --not evil spirits but beings intermediate between God and man -- occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22]

The Athenian Tradition of Prometheus: Aeschylus and Plato[edit]

The two major authors to have a distinctive influence on the development of the myths and legends surrounding the titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime.

Aeschylus and the Ancient Literary Aesthetics of Prometheus[edit]

Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BC Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus; the playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24]

Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humankind fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humankind seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him.

Heracles freeing Prometheus from his torment by the eagle (Attic black-figure cup, c. 500 BC)
Moreover, Aeschylus anachronistically and artificially injects Io, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story. Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother Gaia of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphoros, a lost tragedy by Aeschylus.

Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are sadly lost to the passages of time into antiquity, are Prometheus Bound (Desmotes), Prometheus Delivered (Lyomens), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus).

The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26]

Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29]

According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two way of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30]

In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom with more than simple irony has quoted Freud as stating that, "Freud called Oedipus an 'immoral play,' since the gods ordained incest and paracide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods. I (states Bloom) sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31]

Plato and the Philosophical Interpretation of Prometheus[edit]

Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33] As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work, but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis). For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society -- and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek pro (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker". In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[36]

The Athenian tradition of religious dedication and observance[edit]

It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[37] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[38]

Heracles freeing Prometheus, relief from the Temple of Aphrodite at Aphrodisias
Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar. For the Panathenaic festival, arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos, the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.[39] The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the Acropolis to conclude the festival.[40] These footraces took the form of relays in which teams of runners passed off a flaming torch. According to Pausanias (2nd century AD), the torch relay, called lampadedromia or lampadephoria, was first instituted at Athens in honor of Prometheus.[41] By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena.[42] Prometheus' association with fire is the key to his religious significance[37] and to the alignment with Athena and Hephaestus that was specific to Athens and its "unique degree of cultic emphasis" on honoring technology.[43] The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.[44]

Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[36]

The Aesthetic tradition of Prometheus in Athenian art[edit]

Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BC. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BC. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BC.

The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BC. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[45] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus inspired manner of influence, again with an eagle and with Hercules approaching from the side.[46]

Other authors

Creation of humanity by Prometheus as Athena looks on (Roman-era relief, 3rd century AD)

Prometheus watches Athena endow his creation with reason (painting by Christian Griepenkerl, 1877)

Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[47] — was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.

Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father — Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[36] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[36]

Other minor details attached to the myth include: the duration of Prometheus' torment;[48][49] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[36]

Modern scientific linguistics suggests that the name derived from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[50]

Religious symbolism in late Roman antiquity[edit]

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world; see creation of man from clay, theft of fire, and references for eternal punishment. It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.

As stated by Olga Raggio,[51] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[52] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus.

The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[53] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[54] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[55]

In Georgian mythology, Amirani is a culture hero who challenged the chief god, and like Prometheus was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[56] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[57]

In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[58] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[58]

Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[59] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[58]

It remains a continuing debate among scholars of comparative religion and the literary reception[60] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[58]

Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[61] Anecdotally, the Roman fabulist Phaedrus (c.15BC - c.50AD) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[62]

The allegorical tradition of the Middle Ages[edit]

Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[63] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157-1217), the Scintillarium Poetarum, or Poetarius."[63] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[64] With this, Boccaccio shows himself moving from the mediaeval sources with a shift of accent towards the attitude of the Renaissance humanists.

Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476-77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[64] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas.

Prometheus in the Renaissance[edit]

After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[65] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and , on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae.

The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[66] In this drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing in the Morgan Library is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.

Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.

The Post-Renaissance tradition[edit]

Mythological narrative of Prometheus by Piero di Cosimo (1515)
See also: Prometheus in popular culture

The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition, and occasionally in works produced outside the West.

The literary Post-Renaissance tradition[edit]

For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[67] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.

Goethe and the Prometheus-Ganymede poems[edit]

"Prometheus" is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.

The poem has appeared in Volume II of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God, and who angrily defies him and asserts himself; Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition.

"Prometheus"

The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.

In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[68] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.

Percy Bysshe Shelley and Prometheus Unbound[edit]

Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus (described in the Section above) and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available.

The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'; the poem provides a complete statement of Shelley's vision."[69] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[70] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[71]

Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[72] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[73]

To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[74] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[75]

Mary Shelley and Frankenstein: The Modern Prometheus[edit]

The author of Frankenstein: The Modern Prometheus, Mary Shelley, wrote the famous version of her short novel in the 19th century. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to much later versions featuring Kenneth Branagh among others.

Prometheus in the Twentieth Century[edit]

Prometheus (1909) by Otto Greiner
Franz Kafka (d. 1924) wrote a short piece on Prometheus, outlining what he saw as his perspective on four aspects of his myth:

According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed.
According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it.
According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself.
According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.
There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.[76]

This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates, and it was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[77] Among contemporary poets, the British poet Ted Hughes wrote the a 1973 collection of poems titled Prometheus On His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस).

In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[78]

The artificial element Promethium was named with the myth in mind.

The aesthetic Post-Renaissance tradition[edit]

Classical music, opera, and ballet[edit]

Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[79] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[80] also for orchestra.[81] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[82] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[83] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[84]

An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[85] later transcribed for orchestra and voice.[86] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[87][88] using Aeschylus' Greek language Prometheia.[89]

In film[edit]

The recent 2012 science fiction fantasy film titled Prometheus by Ridley Scott has a resemblance to the myth largely through a coincidence of name.[90] Of the three principal mythological themes associated with the myth of the titan Prometheus, that is, the eternal punishment, the theft of fire, and the creation of man, it is with this latter theme that the film seems to be at least partially concerned. In the science fiction film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who he believes were responsible for the creation of man. His hope is that if he finds his 'creators,' they will be able somehow to extend his life. In this belief he is straightforwardly disappointed.

Benji Taylor writing in an extensive three-part essay on the science fiction film titled Prometheus, published between 22 June 2012 and 17 July 2012, identified the eight key themes in understanding the film as including: "Aliens Seeded Life On Earth," "Insignificance and Futility," "Interwoven Notions of Creation and Destruction," "Parental Issues," "The Nature of the Soul," "Existential Loss," and "Science and Religion."[91][92][93] Of these themes covered in the film, Taylor identifies that only the theme of "Parental Issues" appears to have a general reference point to the myth of Prometheus stating that in the "mythology between the titan Prometheus and the chief Olympian Zeus but on a more global level it's an echo of the tribulation embodied in the Titanomachy -- the archetypal war between parent and child which was the great 'War of the Titans and Olympians' that shook the Greek mythological world to its core."[94]

 


The Prometheus myth first appeared in the late 8th-century BC Greek epic poet Hesiod's Theogony (lines 507–616).
He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus.

 

PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

ORPHEUS MET PROMETHEUS MET ORPHEUS MET PROMETHEUS

 

-
PROMETHEUS
-
-
-
3
MET
38
11
2
7
ORPHEUS
102
48
3
10
PROMETHEUS
140
59
5
1+0
-
1+4+0
5+9
-
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

LIGHT DARK BALANCING TWILIGHT BALANCING DARK LIGHT

DARK LIGHT BALANCING TWILIGHT BALANCING LIGHT DARK

 

1
I
9
9
9
4
THAT
49
13
4
2
AM
14
14
5
3
THE
33
15
6
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LIGHT
56
29
2
7
BRINGER
73
46
1
22
Add to Reduce
234
126
27
2+2
Reduce to Deduce
2+3+4
1+2+6
2+7
4
Essence of Number
9
9
9

 

THE

BALANCING

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

I 2 3 4 FIVE 6 7 8 9 9 8 7 6 FIVE 4 3 2 1

I 2 3 4 5 6 7 8 9 9 8 7 6 5 4 3 2 1

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
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15
6
6
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8
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5
5
5
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U
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3
3
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19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
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-
1
PROMETHEUS
5
5
5

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
P
=
7
-
1
P
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7
7
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-
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=
9
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18
9
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6
-
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15
6
6
-
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4
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=
5
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5
5
5
-
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=
2
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1
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2
2
-
-
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H
=
8
-
1
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8
8
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-
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5
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5
5
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3
3
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-
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1
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19
10
1
-
1
-
-
-
-
-
-
-
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-
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50

-
10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
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1+4+0
5+9
5+0
-
-
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-
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5
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PROMETHEUS
5
14
5
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1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
-
-
-
-
PROMETHEUS
-
-
-
-
1
2
3
4
5
6
7
8
9
S
=
1
-
1
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19
10
1
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-
-
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-
-
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2
-
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20
2
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-
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2
-
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-
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U
21
3
3
-
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-
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4
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1
M
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4
4
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-
-
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4
-
-
-
-
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5
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1
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5
5
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-
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5
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5
5
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5
-
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6
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6
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-
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-
6
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7
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1
P
16
7
7
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-
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8
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1
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-
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18
9
9
-
-
-
-
-
-
-
-
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9
-
-
50

-
10
PROMETHEUS
140
59
50
-
1
2
3
4
10
6
7
8
9
-
-
5+0
-
1+0
-
1+4+0
5+9
5+0
-
-
-
-
-
1+0
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
14
5
-
1
2
3
4
1
6
7
8
9
-
-
-
-
-
-
-
1+4
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
1
PROMETHEUS
5
5
5
-
1
2
3
4
1
6
7
8
9

 

 

-
PROMETHEUS
-
-
-
1
P
16
7
7
1
R
18
9
9
1
O
15
6
6
1
M
13
4
4
1
E
5
5
5
1
T
20
2
2
1
H
8
8
8
1
E
5
5
5
1
U
21
3
3
1
S
19
10
1
10
PROMETHEUS
140
59
50
1+0
-
1+4+0
5+9
5+0
1
PROMETHEUS
5
14
5
-
-
-
1+4
-
1
PROMETHEUS
5
5
5

 

 

 

 

LIFE OUT THEIR

THE TRUTH OF - AND SEARCH FOR - EXTRATERRESTRIAL LIFE

Michael White 1998

Page 97

"The first venue for Phoenix was / Page 98 / Australia, where astronomers used the Parkes 64-metre antenna and the Mopra 22-metre antenna, both in New South Wales. Because Australia was the first site, a very high proportion of the stars in the targeted group were those seen only in the Southern Hemisphere, including 650 G-Dwarf stars. In 1996, the system was taken back to the National Radio Astronomy Observatory in West Virginia, where a 40-metre dish was used to follow through the next stage of the search. The project is currently established at the largest radio telescope in the world - the 305-metre Arcibo radio telescope in Puerto Rico.
At the time of going to press, the interstellar 'airwaves' remain silent, but no one involved in the Phoenix project thought there would be much chance of immediate success. And indeed, there are some astronomers who suggest that the official SETI teams are going about things the wrong way. They argue that radio tele­scopes should be turned towards the centre of the Milky Way, where the stars are far more densely packed and where, they say, there is a far greater chance of finding something interesting. But this has associated problems, not least of which is the fact that it would be very difficult to'separate the multitude of natural signals constantly emitted from so many stellar objects. As the British astronomer Michael Rowan-Robinson says: 'Looking along the plane of the galaxy, like looking at car headlights in a traffic jam, makes it very difficult to detect one source of radio emission from another. And, if such radio emissions would also fade away over distance, we would probably detect nothing.'
An alternative argument is that we should not be looking for radio signals at all. Some researchers suggest that an advanced alien race would have dispensed with radio long ago, and may be . sending information using lasers. Others assume that the majority of surviving civilisations in the Universe would be far in advance of us and might be located by searching for the heat they gener­ate as a by-product of their energy-production systems.
The eminent American physicist, and one-time associate of Albert Einstein, Freeman Dyson, who works at the Institute of Advanced Study in Princeton, has proposed a scheme by which a very advanced technology could produce an almost limitless fuel / Page 99 / supply. He speculates that a sufficiently developed civilisation could harness the total energy output of their home sun by build­ing a sphere of receivers and energy converters around it. These 'Dyson spheres', as they have become known, would of course provide tremendous amounts of energy but would also radiate commensurate amounts of heat, which could be detected light­years away in the infrared region of the spectrum. Others have taken this idea even further by suggesting that civilisations perhaps millions of years in advance of our own could utilise the energy output of an entire galaxy, or even a cluster of galaxies, and that some of the many types of energy source we see in distant parts of the Universe are the waste products from such processes." This has led those involved with SETI to categorise potential civilis a­tions into three distinct classes.
Type-I cultures (which include us) are those which have developed to the point where they can exploit the natural resources of a single, home world. A Type-II civilisation would be capable of building something like Dyson spheres and processing the entire energy output of their sun. This level of development would almost certainly be associated with the ability to travel interstellar distances. Such cultures may also have developed means by which they could circumnavigate the hurdles presented by the light-speed restriction. A culture that had reached this stage of development would be thousands or perhaps tens of thousands of years in advance of us.
A Type-III civilisation would be millions of years ahead of us, / Page 100 / and would have developed the technology to utilise the entire resources of their galaxy, an ability which to us appears God-like but is actually possible within the laws of physics. It is nothing more supernatural than a consequence of a life-form starting their evolutionary development a little before us in relative, universal terms. To us, such beings would demonstrate God-like powers, but they too would have originated in a slurry of single-celled organisms on some far-distant planet. They would simply have had a longer time in which to develop.
This classification was first postulated in the 1960s, quickly becoming an internationally accepted standard. This was also the most active period of Soviet work on the search for alien civilisations, and on one occasion scientists in the USSR actually thought for a while that they had encountered a Type-III civilisation.
It was 1965, the Russians were leading the world in efforts to detect messages from ETs, and their top researcher was a man named Nikolai Kardashev (who was also the first to discuss seri­ously the idea of super-civilisations and civilisation types). One morning at the Crimea Deep Space Station, Kardashev's team detected an incredibly strong signal that was certainly of extraterrestrial origin. The interesting thing about it was not simply its power, but the fact that the signal seemed to slowly change frequency over time, sweeping through a broad band. This type of signal was quite unprecedented, and to the Soviet team almost certainly the fingerprint of a civilisation attempting to make contact.
Against his better judgement, but bowing to pressure from his colleagues, Kardashev decided to announce the finding publicly, declaring to the world's press that the source was almost certainly an extraterrestrial civilisation. Sadly, it was not to be. Within hours, scientists at Caltech in the US contacted their Russian colleagues to inform them that what they had observed fitted exactly the description of an object they too had detected a few months earlier and had been studying ever since. They called the source a 'quasar', or quasi-stellar object, and it was definitely not a signal from an advanced civilisation of any description.
Quasars are still only partially understood. Scientists know that they are tremendously powerful sources of electromagnetic radi-/ Page 101 / ation and that they are moving away from us at high speeds. They are believed to be extremely turbulent galaxies - a seething mass of matter and energy very different from our own stable Milky Way. It is suspected that at the heart of each quasar lies a black hole which traps within its intense gravitational field anything that approaches it. As matter and energy are sucked in, but before they disappear behind what physicists call the 'event horizon' (from which there is no return), they collide with other forms of matter already trapped there and emit energy that may just escape the gravitational clutches of the nearby black hole.
Quasars are fascinating and exotic stellar objects, and their close study has provided new insights into the nature of the Universe; but they are not the only strange objects to be discovered by accident and mistaken for the hallmarks of extraterrestrial intelligence.
In 1967, a Ph.D. student at Cambridge University named Jocelyn Bell detected a strong, regular signal coming from deep space in the waterhole region of the spectrum. After reporting the findings to her supervisor, Anthony Hewish, they agreed they would not go public until they had investigated the signal fully. Gradually they eliminated all possible conventional sources until they realised that the signal was actually an emission from a strange object in deep space that was sending out an almost perfectly regular pulse. The object was then found to be a neutron star, or 'pulsar', the remains of a dead star that had collapsed under its own gravitational field so much that the electrons orbiting the nucleus of the atoms making up the star had been jammed into the nuclei and fused with protons to form neutrons. This super-dense matter emits pulses with such regularity that pulsars are thought to be'the most accurate clocks in th'e Universe.
Since Bell and Hewish's discovery, other regular signals have been detected which have not originated from pulsars or any ter­restrial source, but have appeared only once. A team led by Professor Michael Horowitz at Harvard University has reported thirty-seven such signals during the past ten years, all within twenty-five light-years of Earth, but because they have not been repeated they do not qualify as genuine candidates for signals from a race trying to contact us. They could, of course, be one-off / Page 102 / leakages from specific events, but we might never know, and for scientists to analyse a signal properly, they need a repeated, strong, regular pulse.
So far, the most important find was a signal detected at the Ohio State University 'Big Ear' radio telescope in August 1977. Known by SETI researchers and enthusiasts as the 'Wow' signal, after the monosyllabic exclamation written on the computer print-out by an astonished astronomer at the station, it lasted exactly thirty-seven seconds and appears to have come from the direction of Sagittarius. Although, most strikingly, the signal was a narrow-band signal precisely at the hydrogen frequency of 1420 MHz, it has not been detected even a second time, in Sagittarius or anywhere else.
So, what of the future? Is the continuing search for intelligent life in the Universe a total waste of money, as its opponents insist, or are we perhaps on the threshold of a great discovery?
In commercial terms, SETI is potentially the greatest scientific bargain ever. The cost of the project to the US government was a tenth of 1 per cent of NASA's annual budget and is now financed privately, so even the die-hard sceptics cannot claim that it is drain on the tax-payer. Furthermore, the potential gains from the success of the project would be unparalleled in human history. Quite simply, there is absolutely nothing to lose in trying.
More problematic will be maintaining the momentum of a pro­ject which, year after year, fails to deliver the goods. The argument against this is that both pulsars and quasars were dis­covered indirectly through the efforts of SETI researchers, and it is also true that improvements in techniques. and development of new types of equipment used in the search will filter down into other areas of research and then on to everyday use.
However, one difficulty for future researchers will be the growing level of terrestrial interference. Some enthusiasts argue that we are currently living through a window of opportunity in the search for extraterrestrial intelligence, and that the embryonic communications revolution will soon work against our chances of detecting a pure signal from another world."

Page 99 notes

• For more than twenty-five years, astronomers have been observing sudden bursts of energy from a variety of different locations in the cosmos. They detect these bursts, which are thought to be the result of the most powerful explosions ever witnessed, by following a left-over trace of gamma rays (a form of electromagnetic radiation) that reach the Earth. There are literally hundreds of theories that attempt to explain these bursts, including the notion that they could be the result of the activities of some super-civilisation. Recently, one such burst was carefully moni­tored and found to have come from an explosion so powerful that in ten minutes the source produced more energy than the total output of our Sun during its life­time. Astronomers are actively chasing the source and the cause of this phenomenon and hope to solve the mystery after one more sustained observation of the effect. The trouble is, no one knows when or where the next one will be.

 

 

MAGIC ISISIS THE VIEW FROM THE MAGI'S MAGIC MOUNTAIN

THE UPSIDE DOWN OF THE DOWNSIDE UP

 

 

JOURNEY = 108 36 9 36 108 = JOURNEY

 

 

JUST SIX NUMBERS

Martin Rees

1
999

OUR COSMIC HABITAT I

PLANETS STARS AND LIFE

Page 24

"A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "
Page 24 / 25
"A manifestly artificial signal- even if it were as boring as lists of prime numbers, or the digits of 'pi' - would imply that 'intelli- gence' wasn't unique to the Earth and had evolved elsewhere. The nearest potential sites are so far away that signals would take many years in transit. For this reason alone, transmission would be primarily one-way. There would be time to send a measured response, but no scope for quick repartee!
Any remote beings who could communicate with us would have some concepts of mathematics and logic that paralleled our own. And they would also share a knowledge of the basic particles and forces that govern our universe. Their habitat may be very different (and the biosphere even more different) from ours here on Earth; but they, and their planet, would be made of atoms just like those on Earth. For them, as for us, the most important particles would be protons and electrons: one electron orbiting a proton makes a hydrogen atom, and electric currents and radio transmitters involve streams of electrons. A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' able and motivated to transmit radio signals. All the basic forces and natural laws would be the same. Indeed, this uniformity - without which our universe would be a far more baffling place - seems to extend to the remotest galaxies that astronomers can study. (Later chapters in this book will, however, speculate about other 'universes', forever beyond range of our telescopes, where different laws may prevail.)
Clearly, alien beings wouldn't use metres, kilograms or seconds. But we could exchange information about the ratios of two masses (such as thc ratio of proton and electron masses) or of two lengths, which are 'pure numbers' that don't depend on what units are used: the statement that one rod is ten times as long as another is true (or false) whether we measure lengths / in feet or metres or some alien units"

 

 

"A proton is

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

would have the same connotations to any 'intelligence'"

 

 

E
=
5
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
7
4
17
First Total
225
99
9
-
-
-
-
1+7
Add to Reduce
2+2+5
9+9
-
Q
-
7
-
8
Second Total
9
18
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
Q
-
7
-
8
Essence of Number
9
9
9

 

 

JUST SIX NUMBERS

Martin Rees 1999

A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "

 

 

THE GREAT PYRAMID

ITS

DIVINE MESSAGE

AN ORIGINAL CO-ORDINATION OF HISTORICAL DOCUMENTS AND ARCHEOLOGICAL EVIDENCES

D. Davidson and H. Aldersmith 1925

Page 279

"The resulting length for the Grand Gallery roof is 1836 P an important Pyramid dimension dealt with later."

 

 

About 37,100 results (0.37 seconds) Search ResultsA proton has 1836 times the rest mass of an electron. At what ...
2 May 2008 ... Hi let mass of electron, m=9.31x10^-31 kg mass of proton, p=1836 x 9.31x10^-31 kg = 1836 x m Kg speed of proton, v=2.90×10^−2 m/s ...
answers.yahoo.com › Science & Mathematics › Physics - Cached - Similar

A proton has 1836 times the rest mass of an electron.?‎ - 13 Apr 2010
A proton and an electron have the same de Broglie wavelength what ...‎ - 1 Nov 2009
The mass of an electron relative to that of a proton is?‎ - 24 Sep 2008
What is the mass of protons, neutrons, and electrons?‎ - 16 Oct 2007

More results from answers.yahoo.com »
Electron - Wikipedia, the free encyclopedia
An electron has a mass that is approximately 1/1836 that of the proton. The intrinsic angular momentum (spin) of the electron is a half integer value in ...
en.wikipedia.org/wiki/Electron - Cached - Similar

WikiAnswers - How does the mass of an electron compare to that of ...
The mass of a proton is 1836 times the mass of an electron. ... The mass of an electron is 1/1836 that of the proton (ie the mass of 1836 electrons = mass ...
wiki.answers.com/.../How_does_the_mass_of_an_electron_compare_to_that_of_a_proton - Cached - Similar

WikiAnswers - Why have the electron and the proton the same charge ...
Physics question: Why have the electron and the proton the same charge whereas the proton is 1836 times heavier? The secret of electric charge Because the ...
wiki.answers.com/.../Why_have_the_electron_and_the_proton_the_same_charge_whereas_the_proton_is_1836_times_heavier - Cached - Similar

Show more results from wiki.answers.comPhysics Answers | A proton has 1836 times the - A proton has 1836 ...
21 Apr 2008 ... Physics Answers for A proton has 1836 times the, A proton has 1836 times the rest mass of an electron At.
www.cramster.com/.../a-proton-has-1836-times-the-a-proton-has-1836-times-the-rest-mass-of-an-electron-at_244839.aspx - CachedElectron & proton charges precisely equal
7 posts - 5 authors - Last post: 22 Apr 2006
Electron & proton charges precisely equal General Physics discussion. ... neutral and weighs ~ 1836 electron mass units and has non-intrinsic spin-a-half. ...
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[1002.4741] How large can the electron to proton mass ratio be in ...
by A Bret - 2010 - Related articles
25 Feb 2010 ... Title: How large can the electron to proton mass ratio be in Particle-In-Cell ... The ion mass is thus reduced below 1836 electron masses, ...
arxiv.org/abs/1002.4741 - Cacheda simple view of atomic structure
proton, 1, +1. neutron, 1, 0. electron, 1/1836, -1 ... This tells you the number of protons, and hence the number of electrons. ...
www.chemguide.co.uk/atoms/properties/gcse.html - Cached - Similar

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The ion mass is thus reduced below 1836 electron masses, ... In principle, the simulation box size that is necessary to model electron-proton plasmas ...
link.aip.org/link/PHPAEN/v17/i3/p032109/s1What makes up electrons, neutrons, and protons? | Answerbag
6 Mar 2007 ... The mass of the electron is approximately 1/1836 of the mass of the proton. The common electron symbol is e−. [1] ...
www.answerbag.com/q_view/154132 - Cached - Similar

 

ONE EIGHT THREE SIX

 

 

1
-
3
ONE
6
5
5
-
-
=
=
16
1+6
=
7
-
7
8
-
5
EIGHT
5
9
7
8
2
=
=
31
3+1
=
4
-
4
3
-
5
THREE
2
8
9
5
5
=
=
29
2+9
=
11
1+1
2
6
-
3
SIX
1
9
6
-
-
=
=
16
1+6
=
7
-
7
18
-
16
Add
14
31
27
13
7
-
-
92
-
-
29
-
20
1+8
-
1+6
-
1+4
3+1
2+7
1+3
1+2
-
-
9+2
-
-
2+9
-
2+0
9
-
7
Reduce
5
7
9
4
7
-
-
11
-
-
11
-
2
-
-
-
-
-
-
1+3
-
-
-
-
1+1
-
-
1+1
-
-
9
-
7
Deduce
5
7
4
4
7
-
-
2
-
-
2
-
9

 

 

1
-
O
=
6
-
3
ONE
34
16
7
8
-
E
=
5
-
5
EIGHT
49
31
4
3
-
T
=
2
-
5
THREE
56
29
2
6
-
S
=
1
-
3
SIX
52
16
7
18
-
-
-
14
-
16
Add
191
92
20
1+8
-
-
-
1+4
-
1+6
Reduce
1+9+1
9+2
2+0
9
-
-
-
5
4
7
Deduce
11
11
2
-
-
-
-
-
-
-
Produce
1+1
1+1
-
9
-
-
-
5
-
7
Essence
2
2
2

 

 

A
=
1
-
1
A
1
1
1
P
=
7
-
6
PROTON
98
35
8
H
=
8
-
3
HAS
28
10
1
-
-
-
-
-
1836
-
-
-
T
=
2
-
5
TIMES
66
21
3
T
=
2
-
3
THE
33
15
6
R
=
9
-
4
REST
62
17
8
M
=
4
-
4
MASS
52
7
7
O
=
6
-
2
OF
21
12
3
A
=
1
-
2
AN
15
6
6
E
=
5
-
8
ELECTRON
92
38
2
-
-
45
4
38
First Total
468
162
45
-
-
4+5
-
3+8
Add to Reduce
4+6+8
1+6+2
4+5
-
-
9
-
11
Second Total
18
9
9
-
-
-
-
1+1
Reduce to Deduce
1+8
-
-
-
-
9
-
2
Essence of Number
9
9
9

 

 

A
=
1
-
1
A
1
1
1
P
=
7
-
6
PROTON
98
35
8
H
=
8
-
3
HAS
28
10
1
-
-
-
-
4
1836
18
18
9
T
=
2
-
5
TIMES
66
21
3
T
=
2
-
3
THE
33
15
6
R
=
9
-
4
REST
62
17
8
M
=
4
-
4
MASS
52
7
7
O
=
6
-
2
OF
21
12
3
A
=
1
-
2
AN
15
6
6
E
=
5
-
8
ELECTRON
92
38
2
-
-
45
4
42
First Total
486
180
54
-
-
4+5
-
4+2
Add to Reduce
4+8+6
1+8+0
5+4
-
-
9
-
6
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
9
-
6
Essence of Number
9
9
9

 

 

A
=
1
-
1
A
1
1
1
P
=
7
-
6
PROTON
98
35
8
H
=
8
-
3
HAS
28
10
1
E
=
5
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
T
=
2
-
5
TIMES
66
21
3
T
=
2
-
3
THE
33
15
6
R
=
9
-
4
REST
62
17
8
M
=
4
-
4
MASS
52
7
7
O
=
6
-
2
OF
21
12
3
A
=
1
-
2
AN
15
6
6
E
=
5
-
8
ELECTRON
92
38
2
-
-
52
4
42
First Total
693
261
54
-
-
5+2
-
4+2
Add to Reduce
6+9+3
2+6+1
5+4
-
-
7
-
6
Second Total
18
9
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
7
-
6
Essence of Number
9
9
9

 

 

E
=
5
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
7
4
42
Add to Reduce
225
99
54
-
-
-
-
4+2
Second Total
2+2+5
9+9
5+4
-
-
7
-
6
Reduce to Deduce
9
18
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
-
-
7
-
6
Essence of Number
9
9
9

 

 

123456789 123456789 123456789 123456789

 

 

FRATERNAL GREETINGS OF PEACE LOVE AND LIGHT UNTO ALL SENTIENT BEINGS

 

 

On Nature (Peri Physeos)
by Parmenides of Elea (c. 475 B.C.)
On Nature (Peri Physeos) by Parmenides of Elea


On Nature by Parmenides of Elea. A highly readable translation of the classic by the Greek father of metaphysics. Edited by Allan F. Randall from translations by ...
Theurgy and Numbers: On Nature - Peri Physeos

On Nature (Peri Physeos) by Parmenides of Elea (c. 475 B.C.)

ON NATURE 108-36-9

 

O
=
6
-
2
ON
29
11
2
N
=
5
-
6
NATURE
79
25
7
-
-
21
-
8
Add to Reduce
108
36
9
-
-
3+1
-
-
Reduce to Deduce
1+0+8
3+6
-
-
-
3
-
8
Essence of Number
9
9
9

 

 

B
=
2
4
BLUE
40
13
4
P
=
7
6
PLANET
68
23
5
``-
-
9
10
-
108
36
9
-
-
 -
1+0
-
1+0+8
3+6
-
-
-
9
1
-
9
9
9

 

Blue Planet : Complete BBC Series Special Edition 4 Disc ...

www.amazon.co.uk › DVD & Blu-ray › Television › Documentary

 

JUST SIX NUMBERS

Martin Rees 1999

A proton is 1,836 times heavier than an electron, and the number 1,836 would have the same connotations to any 'intelligence' "

 

 

THE GREAT PYRAMID

ITS

DIVINE MESSAGE

AN ORIGINAL CO-ORDINATION OF HISTORICAL DOCUMENTS AND ARCHEOLOGICAL EVIDENCES

D. Davidson and H. Aldersmith 1925

Page 279

"The resulting length for the Grand Gallery roof is 1836 P an important Pyramid dimension dealt with later."

 

 

HARMONIC 288

Bruce Cathie 1977

EIGHT

 THE MEASURE OF LIGHT : I

Page 95
"The search for this particular value was a lengthy one and the clue that led me finally to a possible solution was a study of the construction of the Grand Gallery. The height of the Gallery was the first indication that it was not just an elaborate access passage. Previous measurements made by scientific investigators pointed to some interesting possibilities. "
Page 95
"The value that I calculated for length was extremely close to that of the one published in Davidson and Aldersmith's book, their value being 1836 inches,"

Page 95/97                                                                                                                                                        
"A search of my physics books revealed that 1836 was the closest approximation the scientists have calculated to the mass / ratio of the positive hydrogen ion, i.e. the proton, to the electron."

 

 

 THE TUTANKHAMUN PROPHECIES

 Maurice Cotterell 1999

Page194

Anderson's Constitutions of the Freemasons (In3) comments:
", . . the Tillest structures of Tyre and Sidon could not be compared with the Eternal God's Temple at Jerusalem. , ,
  there were employed 3,600 Princes, or Master Masons', to conduct the work according to Solomon's directions,
 with 80000 hewers of stone in the mountains ('Fellow Craftsmen')and 70000 labourers in all 153600 besides       
the levy under Adoniram to work In the mountains of Lebanon by turns with the Sidonians, viz 30,000 being in all 183,600

Page 190

"The holy number of sun-worshippers is 9, the highest number that can be reached before becoming one (10) with the creator. This is why Tutankhamun was entombed in nine layers of coffin. This is why the pyramid skirts of the two statues, guarding the entrance to the Burial Chamber, were triangular (base 3), when the all-seeing eye-skirt of Mereruka contained a pyramid skirt with a base of four sides. The message concealed here is that the 3 should be squared, which equals 9. Freemasons" for reasons we shall see, are said to be 'on the square'."

 

 

THE BIOLOGY OF DEATH

Lyall Watson 1974

Page 49

"AS long ago as 1836, in a Manual of Medical Jurisprudence, this was said: Individuals who are apparently destroyed in a sudden manner, by certain wounds, diseases , or even decapitation are not really dead, but are only in conditions incompatible with the persistence life."

 

 

THE JUPITER EFFECT

John Gribbin and Stephen Plagemann 1977

Page 122

: "Seventeen 'major historical earthquakes' are referred to in the report all of which occurred since
1836

 

 

AUTOBIOGRAPHY OF A YOGI

Paramahansa Yogananda

1946

Book cover comments

"I am grateful to you for granting me some insight into this fascinating world." - Thomas Mann"

"As an eye witness recountal of the extraordinary lives and powers of modern Hindu saints, the book has importance both timely and timeless."

- W. Y. Evans-Wentz, Orientalist

Page 275

"In the gigantic concepts of Einstein, the velocity of light - 1863 miles per second - dominates the whole theory of relativity"

1863 - 1836

 

 

GODS OF THE DAWN

THE MESSAGE OF THE PYRAMIDS

AND

THE TRUE STARGATE MYSTERY

Peter Lemesurier 1997

Page 118

"With the entry into the Grand Gallery, all kinds of extraordinary things now start to happen"
                                         while the 1836P" long roof (-code equivalent: 153 x 12)

 

 

JUST SIX NUMBERS

Martin Rees 1999

OUR COSMIC HABITAT I PLANETS STARS AND LIFE

Page 24

"A proton is

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

would have the same connotations to any 'intelligence' "

 

 

E
=
5
-
8
EIGHTEEN
73
46
1
T
=
2
-
9
THIRTYSIX
152
53
8
-
-
7
4
42
Add to Reduce
225
99
54
-
-
-
-
4+2
Second Total
2+2+5
9+9
5+4
-
-
7
-
6
Reduce to Deduce
9
18
9
-
-
-
-
-
Reduce to Deduce
-
1+8
-
-
-
7
-
6
Essence of Number
9
9
9

 

 

 

 

 

 


ANCIENT EGYPT - THE LIGHT OF THE WORLD

Gerald Massey

Book 12

Page 898

"When Horus returns to his father with his work accomplished on earth and in Amenta he greets Osiris in a “discourse to his father”.

In forty addresses he enumerates what he has done for the support and assistance of Osiris in the earth of Seb.

Each line commences with the formula,

“Hail, Osiris, I am thy son Horus. I have come!”

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
H
=
8
1
4
HAIL
30
21
3
-
-
-
-
-
-
-
-
-
-
O
=
6
2
6
OSIRIS
89
53
8
-
-
-
-
-
-
-
-
-
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
4
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
T
=
2
5
3
THY
53
17
8
-
-
-
-
-
-
-
-
-
-
S
=
1
6
3
SON
48
21
3
-
-
-
-
-
-
-
-
-
-
H
=
8
7
5
HORUS
81
36
9
-
-
-
-
-
-
-
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
H
=
8
9
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
-
C
=
3
10
4
COME
36
18
9
-
-
-
-
-
-
-
-
-
-
-
-
55
-
33
First Total
405
207
72
-
1
2
3
4
5
6
7
8
9
-
-
5+5
-
3+3
Add to Reduce
4+0+5
2+0+7
7+2
-
-
-
-
-
-
-
-
-
-
-
-
10
-
6
Second Total
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
6
Essence of Number
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
H
=
8
1
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
2
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
4
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
O
=
6
5
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
S
=
1
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
7
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
8
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
9
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
S
=
1
10
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
11
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
A
=
1
12
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
T
=
2
14
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
H
=
8
15
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
Y
=
7
16
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
S
=
1
17
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
O
=
6
18
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
N
=
5
19
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
H
=
8
20
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
21
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
R
=
9
22
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
U
=
3
23
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
S
=
1
24
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
25
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
H
=
8
26
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
27
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
V
=
4
28
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
29
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
C
=
3
30
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
O
=
6
31
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
M
=
4
32
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
E
=
5
33
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
-
-
171
-
33
-
405
207
171
-
7
2
9
12
15
24
7
32
63
-
-
-
-
-
-
-
-
-
-
-
-
-
1+2
1+5
2+4
-
3+2
6+3
-
-
-
-
-
-
-
-
-
-
7
2
9
3
6
6
7
5
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
9
7
5
9
H
=
8
1
4
HAIL
30
21
3
-
-
-
-
-
-
-
-
-
-
O
=
6
2
6
OSIRIS
89
53
8
-
-
-
-
-
-
-
-
-
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
4
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
T
=
2
5
3
THY
53
17
8
-
-
-
-
-
-
-
-
-
-
S
=
1
6
3
SON
48
21
3
-
-
-
-
-
-
-
-
-
-
H
=
8
7
5
HORUS
81
36
9
-
-
-
-
-
-
-
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
H
=
8
9
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
-
C
=
3
10
4
COME
36
18
9
-
-
-
-
-
-
-
-
-
-
-
-
55
-
33
First Total
405
207
72
-
1
2
3
4
5
6
7
8
9
-
-
5+5
-
3+3
Add to Reduce
4+0+5
2+0+7
7+2
-
-
-
-
-
-
-
-
-
-
-
-
10
-
6
Second Total
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
6
Essence of Number
9
9
9
-
1
2
3
4
5
6
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
H
=
8
1
4
HAIL
30
21
3
-
-
-
-
-
-
-
-
-
-
O
=
6
2
6
OSIRIS
89
53
8
-
-
-
-
-
-
-
-
-
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
4
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
T
=
2
5
3
THY
53
17
8
-
-
-
-
-
-
-
-
-
-
S
=
1
6
3
SON
48
21
3
-
-
-
-
-
-
-
-
-
-
H
=
8
7
5
HORUS
81
36
9
-
-
-
-
-
-
-
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
H
=
8
9
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
-
C
=
3
10
4
COME
36
18
9
-
-
-
-
-
-
-
-
-
-
-
-
55
-
33
First Total
405
207
72
-
1
2
3
4
5
6
7
8
9
-
-
5+5
-
3+3
Add to Reduce
4+0+5
2+0+7
7+2
-
-
-
-
-
-
-
-
-
-
-
-
10
-
6
Second Total
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
6
Essence of Number
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
2
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
6
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
10
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
12
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
17
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
S
=
1
24
1
S
19
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
27
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
T
=
2
14
1
T
20
2
2
-
-
2
-
-
-
-
-
-
-
L
=
3
4
1
L
12
3
3
-
-
-
3
-
-
-
-
-
-
U
=
3
23
1
U
21
3
3
-
-
-
3
-
-
-
-
-
-
C
=
3
30
1
C
3
3
3
-
-
-
3
-
-
-
-
-
-
V
=
4
28
1
V
22
4
4
-
-
-
-
4
-
-
-
-
-
M
=
4
13
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
M
=
4
32
1
M
13
4
4
-
-
-
-
4
-
-
-
-
-
N
=
5
19
1
N
14
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
29
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
E
=
5
33
1
E
5
5
5
-
-
-
-
-
5
-
-
-
-
O
=
6
5
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
18
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
21
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
O
=
6
31
1
O
15
6
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
16
1
Y
25
7
7
-
-
-
-
-
-
-
7
-
-
H
=
8
1
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
H
=
8
15
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
H
=
8
20
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
H
=
8
26
1
H
8
8
8
-
-
-
-
-
-
-
-
8
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
7
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
8
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
9
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
11
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
R
=
9
22
1
R
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
25
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
-
-
171
-
33
-
405
207
171
-
7
2
9
12
15
24
7
32
63
-
-
-
-
-
-
-
-
-
-
-
-
-
1+2
1+5
2+4
-
3+2
6+3
-
-
-
-
-
-
-
-
-
-
7
2
9
3
6
6
7
5
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
9
7
5
9
H
=
8
1
4
HAIL
30
21
3
-
-
-
-
-
-
-
-
-
-
O
=
6
2
6
OSIRIS
89
53
8
-
-
-
-
-
-
-
-
-
-
I
=
9
3
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
A
=
1
4
2
AM
14
5
5
-
-
-
-
-
-
-
-
-
-
T
=
2
5
3
THY
53
17
8
-
-
-
-
-
-
-
-
-
-
S
=
1
6
3
SON
48
21
3
-
-
-
-
-
-
-
-
-
-
H
=
8
7
5
HORUS
81
36
9
-
-
-
-
-
-
-
-
-
-
I
=
9
8
1
I
9
9
9
-
-
-
-
-
-
-
-
-
-
H
=
8
9
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
-
C
=
3
10
4
COME
36
18
9
-
-
-
-
-
-
-
-
-
-
-
-
55
-
33
First Total
405
207
72
-
1
2
3
4
5
6
7
8
9
-
-
5+5
-
3+3
Add to Reduce
4+0+5
2+0+7
7+2
-
-
-
-
-
-
-
-
-
-
-
-
10
-
6
Second Total
9
9
9
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
6
Essence of Number
9
9
9
-
1
2
3
4
5
6
7
8
9

 

 

 

 

 
 
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