THEN SINGS MY SOUL MY SAVIOR GOD TO THEE

HOW GREAT THOU ART HOW GREAT THOU ART 

Page 888

"Now Isis, the Great One of the island, Eset, a millionfold fertile in guile, felt that her moment was come. Her wisdom embraced heaven and earth, like that of the old superannuated old Re himself. But there was one thing she did not know or command, and the lack of it  / Page 889  / hampered her: she did not know the last, most secret name of Re, his very final one, knowledge of which would give power over him. Re had very many names, each one more secret than the one before, yet not utterly hopeless to find out, save one, the very last and might-iest. That he still witheld; whoso could make him name it, he could compel him and outdistance him and put him under his feet.
     Therefore Eset conceived and devised a serpent, which should sting Re in his golden flesh."
"Then the intolerable pain of the sting, which only great Eset could cure who made the worm, would force Re to tell her his name. Now as she contrived it so was it fulfilled. The old Re was stung, and in torments was forced to come out with one of his secret names after another, always hoping that the goddess would be satisfied before they got to the last one. But she kept on to the uttermost, until he had named her the most secret of all, and the power of her knowledge over him was absolute. After that it cost her nothing to heal his wound; but he only got a little better, within the wretched limits in which so old a creature can; and soon thereafter he gave up and joined the great majority."

THE EGYPTIAN BOOK OF THE DEAD

Wallis Budge

1899
Page

397

"and his path is in the fire; and they go round about "behind him, and they go round about behind him.' "

SUN = 9 9 = SUN

Page 14  

"The largest reed boats in Peru were depicted as two deckers. Quantities of water jars and other cargo were painted in on the lower deck, as well as rows of little people, and on the upper deck usually stood the earthly representative of the sun-god the priest king, larger than all his companions, surrounded by bird-headed men who were often hauling on ropes to help the reed boat through the water. The tomb paint-ings in Egypt also portrayed the sun-god's earthly represen-tative, the priest-king known as the pharaoh, like an imposing giant on his reed boat, surrounded by minature people, while / Page 15  / the same mythical men with bird heads towed the reed boat through the water.
     Reed boats and bird-headed men seemed to go together, for some inexplicable reason. For we had found them far out in the Pacific Ocean too, on Easter Island, where the sun-god's mask, the reed boats with sails, and the men with bird heads formed an inseperable trio amomg the wall-paintings and reliefs in the ancient ceremonial village of Orongo, with its solar observ-atory. Easter Island, Peru, Egypt. These strange parrallels could hardly have been found further apart. Apparently they could hardly furnish better proof that men must have arrived inde-pendently at the same time in widely seperated places. Appar-ently. But what was even more strange was that the aboriginal people of Easter Island called the sun ra. Ra was the name for the sun on all the hundreds of Polynesian islands, so it could be no mere accident. Ra was also the name for the sun in ancient Egypt. No word was more important to the ancient Egyptian religion than Ra, the sun, the sun-god, ancestor of the phar-aohs. The one who sailed reed boats, with an entourage of bird headed men. Giant monolithic statues as high as houses had been erected in honour of the sun-god's earthly priest-kings on Easter Island, in Peru and in ancient Egypt. And in all three places, solid rock had been sliced up like cheese into blocks as big as railway trucks and fitted together in stepped pyramids designed on an astronomical basis according to the movements of the sun. All in honour of the common ancestor, the sun, Ra. Was there some connection, or was it just coincidence?"

THE COSMIC SERPENT

Jeremy Narby

1

999

Page 53

"For several hours after drinking the brew, I found myself, although awake, in a world literally beyond my wildest dreams. I met bird-headed people, as well as dragon-like creatures who explained that they were the true gods of this world.

Page 54

After several minutes he found himself falling into a world of true hallucinations. After arriving in a celestial cavern where "a supernatural carnival of demons" was in full swing, he saw two strange boats floating through the air that combined to form "a huge dragon-headed prow, not unlike that of a Viking ship." On the deck, he could make out "large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird�headed gods of ancient Egyptian tomb paintings."

After multiple episodes, which would be too long to describe here, Hamer became convinced that he was dying. He tried call� / Page 55 / ing out to his Conibo friends for an antidote without managing to pronounce a word. Then he saw that his visions emanated from "giant reptilian creatures" resting at the lowest depths of his brain. These creatures began projecting scenes in front of his eyes, while informing him that this information was reserved for the dying and the dead:

OBJECTIVE REALITY

Poems and Essays

by

Lloyd C. Daniel 1985

Page 32

Page 33

Page 16

incandesce (in kan des) [L. incandescere] (IN- (1), candescere, incept. of candere, to be white)], v.i. To glow with heat. v.t. To cause to glow with heat. incandescence, n incandescent, a Glowing with heat; in-tensely luminous with heat. incandescent lamp: An electric or other lamp in which a filament or mantle is made intensely luminous by heat."

MUSIC OF THE MIND

Darryl Reanney 1994

Page 140

"So only this 'moment' was right for us, or something like us, to evolve. It takes 104� units of time for the universe to create complex creatures with brains powerful enough to surge through the limitations of matter. As the Jesuit scientist Teilhard de Chardin said:

We already knew that everywhere the active lines of life gtow warm with consciousness towards the summit. But in one well-marked region at the heart of the mammals, where the most powerful brains ever made by nature are to be found, they become red hot, And right in the heart of that glow burns a point of incandescence.

We must not lose sight of that line, crimsoned by the dawn. After thousands of years rising below the horizon, a flame bursts forth at a stricrly localised point.

Thought is born.^l27"

  "And right in the heart of that glow burns a point of incandescence."

Page 32

Page 33

Page 278

"All I can say remembering you', the prayer  concluded, 'is ayyyy and ahhhhhhhh"

THE WASTE LAND

and other poems 

T. S. Elliot

The Love Song of J. Alfred Prufrock

"I AM LAZARUS COME FROM THE DEAD COME BACK TO TELL YOU ALL I SHALL TELL YOU ALL"

THE

NETERS NET THE INTERNET

DEOXY.ORG

"South American Ayahuasca Practice

This brew, commonly called yage, or yaje, in Colombia, ayahuasca (Inca 'vine of the dead'*) in Ecuador and Peru, and caapi in Brazil, is prepared from segments of a species of the vine Banisteriopsis, a genus belonging to the Malpighiaceae.-Michael Harner

*Inca "vine of the dead, vine of the souls," aya means in Quechua "spirit," "ancestor," "dead person," while huasca means "vine," "rope").

*Frightening ayahuasca experiences are quite frequent. It is common that people take ayahuasca only once, and are afraid to take it again."

From Ayahuasca Visions by Luna and Amaringo

"Ayahuasca is not something to play with. It may even kill, not because it is toxic in itself, but because the body may not be able to stand the spiritual realm, the vibrations from the spirit world. Pablo said he had several frightening experiences with ayahuasca. Three times he thought he was going to die.*One needs courage, a strong discipline, and to proceed by degrees. It is a long process that might take two or three years before one can venture into the higher realms."

"Frightening ayahuasca experiences are quite frequent. It is common that people take ayahuasca only once, and are afraid to take it again."

SUPER SCIENCE

Michael White

1

999

Page 98 / " The alchemists, Jung believed had been inadvertantly tap-ping into the collective unconscious. This led them to assume / Page 99 / they were following a spiritual path to enlightenment-when they were actuafly liberatiing their subconscious minds through the use of ritual. This is not far removed from other ritualistic events- those exploited by faith healers, the ecstasy experienced by ritualistic voodoo dancers, or charismatic Christian services. Jung said of alchemy: 'The alchemical stone symbolises some�thing that can never be lost or dissolved, something eternal that some alchemists 'Compared to the mystical experience of God within one's own soul.It tusually takes prolonged suffering to burn away all the superfluous psychic elements.concealing the stone. But some profound inner experience of the Self does occur to most people at least once in a lifetime. From the psychological standpoint, a genuinely religious atiitude consists of an effort to discover this unique. experience and;gradually to keep in tune wth it (it is,relevant that the stone is itself something permanent), so that the Self becomes an inner partner towards whom one's attention is continually turned.'⁵ To the alchemist, the most important factor in the practice was participation of the individual experimenter in .the process of transmutation. The genuine alchemist was convinced that the emotional and spiritual characteristics of the individual experimenter was involved intiimately wth the success or failure of the experiment. And, it is this concept, more than any other aspect of, alchemy, that distinguishes it from orthodox chemistry,- the scientific discipline that began to supersede it at the end of the seventeenth Century. The alchemist placed inordinate importance upon the spiritual element.of his work and for many sceptics it was this which.pushed the subject into the realms of magic and left it forever beyond the boundaries of 'science'."

SUPER SCIENCE

Michael White

1

999

Page

99

 'The alchemical stone symbolises some�thing that can never be lost or dissolved, something eternal that some alchemists 'Compared to the mystical experience of God within one's own soul.It usually takes prolonged suffering to burn away all the superfluous psychic elements.concealing the stone. But some profound inner experience of the Self does occur to most people at least once in a lifetime.'

 Page 160

"All who study the cabalistic science and the geo-metry and numbers of creation are attacked by melancholy, some-times fatally, the suicide rate among cabalists being notoriously high. The Point is clearly made in Durer's Melancholia. The garden of paradise, symbol of the ultimate perfection of human consciousness, has many delightful inhabitants which are at the same time dange-rous beasts to whoever fails to recognise their nature and function; and of these the most treachorous is the mercurial old serpent of wisdom, that leads men on in the search of the treasure of which it is in itself the the venomous custodian."

"The garden of paradise"

PARADE EYES IN THE GARDEN OF NEED

DOCTOR FAUSTUS

Thomas Mann 1947

Page 91

Chapter Twelve

"The room was not much more than adequate, with some slight indications of middle-class amenity in the shape of a red plush cover on the square in the front of the table, where his books lay / Page 92 / and he drank his morning coffee. He had supplemented the arrangements with a rented cottage piano always strewn with sheets of music, some written by himself. On the wall above the piano was an arithmet-ical diagram fastened withdrawing-pins, something he had found in in a second-hand shop: a so-called magic square, such,as also appears in Durer's Melancolia, along with the hour glass-glass, the circle,the scale, the polyhedron, and other symbols. Here as there, the figure was, divided into sixteen Arabic numbered fields, in such a way that number one was in the right-hand lower corner, sixteen in the upper left; and the magic or the oddity; simply consisted in the fact that the sum of these numerals, howevcer you added them, straight down, crosswise, or diagonally,always came to thirty-four. What the principle was upon which this magic uniformity rested I never made out, but by virtue of the prominent place Adrian, had given it over the piano, it always attracted the eye, and I believe I never visited his room without giving a quick glance slanting up, or straight down and testing once more the invariable, incredible result."

IMAGE

ALBRECHT DURER'S

"MELANCOLIA"

www.mathpuzzle.com/ Melancholia

Magic Squares

"Several palindromic magic squares can be found at The World of Numbers. The World of Palindromic numbers would be more appropriate".

"Here is the most famous magic square, from Albrecht Durer's Melancholia.  He did it in 1514."

JUPITER

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 10

Chapter 1

"Number 34"

"But come and see your room now"

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

Page 663

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

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

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

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

"WHAT WAS THE SENSE OF THAT"

?

THE MAGIC OF NUMBER

THE NEW VIEW OVER ATLANTIS

John Michell 1972

Page 124

seven orders of magic squares and their traditional planetary associations. The smallest consists of the numbers 1-9 and the largest of I-8I, so arranged that the sum of numbers in each row, column and diagonal is the same. Each square has its characteristic numbers which,in the Sun square, are HI (the sum of each line) and 666 (the sum of the numbers I-36 contained in it). The squares can also be given geometric expressions (see page I95).

SATURN

MARS

THE SUN

VENUS

MERCURY

THE

MOON

THE NEW VIEW OVER ATLANTIS

John Michell 1972

Page 121

"THE PURPOSE FOR WHICH the great stone monuments of the ancient world were so carefully planned and sited can only be understood in terms of the scientific ideals of their builders, which were very different from the ideals of modern science. They were not based, as today, on respect for inventiveness and the notion of progress, but arose from the traditional world-view of the earth as a living creature in a living universe, whose health and prosperity was bound up with that of its inhabitants.

Ancient science was based on number and measure, as is science today; but modern arithmetic, as it is now applied to the torture of schoolchildren, scarcely touches on the aspect of number which the ancients most particularly emphasized - its structure and symbolism. A common assertion in traditional creation myths is that the Maker of the World first laid down a pattern of number, from which all else proceeded. Number was thus regarded as the first archetype or paradigm of nature. This was found apparent from both reason and observation. In the first place, number itself outlasts all the phenomena which it numbers, and so presumably preceded them. Secondly, every natural form of growth and movement evidently conforms to certain cycles and patterns, which themselves relate to certain combinations of numerical types. With this in mind, the ancient philosophers were concerned above all to seek out the patterns in number which correspond to those in nature, and to set them up as models in the conduct of human affairs.

The most highly regarded studies in the ancient world were those which were considered most particularly numerical and thus closest to the essence of things. These were arithmetic, music, astronomy, geometry and stereometry (the study of geometric solids and the structure of the universe). To modern ways of thought it seems strange that the very same code or canon of number was applied to all these subjects in common; but such was the case. And the same numerical canon was further applied to activities which are now considered / Page 122 /

THE NEW VIEW OVER ATLANTIS

 John Michell 1972

Page 124 /expressing the notes of the traditional musical scales in terms of the smallest possible integers or whole numbers. Music in the ancient world was intimately related to measure, the lengths of strings and of wind instruments representing certain measuring units. These same units were used by architects, who also planned the proportions of their buildings by the ratios of canonical music. Why they should have insisted on this correspondence is not easy to understand. An aesthetic explanation was given by the Renaissance architect, Leon Battista Alberti, who wrote that 'the numbers by means of which the agree�ment of sounds affects our ears with delight, are the very same which please our eyes and our .minds'. In other words, proportions in architecture have the same pleasing effects as in music. Yet the matter is deeper than that. In the design of temples, to give human satisfaction was only one part of the architect's purpose. The chief object for which a temple was built was to attract the gods or forces in nature to which it was dedicated. This was done by use of the principle of sympathetic resonance or 'like attracts like'. Each temple was so framed as to include symbolic references to the appro�priate deity. It was orientated according to the season and the heavenly body corresponding to that deity, whose characteristic numbers were also expresseq in the dimensions of the building. Certain patterns of number, each with corresponding musical and geometric types, represented certain aspects of universal energy. Thus, according to the theory of ritual magic, they were effective in invoking that energy. Examples of number patterns, traditionally used for magical in vocation, occur in those curious figures known as 'magic squares', as illustrated here, in which are encodified certain numbers of reputed magical potency. Among them are the numbers found prominent in the plans of ancient / temples.