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THE EGYPTIAN BOOK OF THE DEAD
E. A. Wallace Budge
1899
OF LIVING NIGH UNTO RA
Page
397
Or,
"The Chapter of making the way into heaven nigh unto
Ra "
Chap. cxxxi. 5]
[From the Papyrus of Nu (Brit. Mus. No. 10,477, sheets 17 and 18).)
Vignette: This Chapter is without vignette, both in the Papyrus of Nu
and in the Saite Recension (see Lepsius, OF. cit., Bl. 54).
Text: (1)
THE CHAPTER OF HAVING EXISTENCE NIGH UNTO RA.
1 The overseer of the house of the overseer of the seal,
Nu, triumphant, saith :-
"I am that god Ra who shineth in the night. Every "(2)
being who followeth in his train shall have life in " the following
of the god Thoth, and he shall give "unto him the risings of Horus
in the darkness. The " heart of Osiris Nu, the overseer of the
house of the overseer of the seal, triumphant, is glad (3)
because "he is one of those beings, and his enemies have been
"destroyed by the divine princes. I am a follower of "Ra, and
[I have] received his iron weapon. (4) I "have- come unto
thee, O my father Ra, and I have " advanced to the god Shu. I have
cried unto the "mighty goddess, I have equipped the god Hu (5) and
"I alone have removed the Nebt god from the path of "' Ra. I
am a Khu, and I have come to the divine "' prince at the bounds of
the horizon. I have met / Page 398 / [Chap. cxxxi. 6 " (6) and
I have received the mighty goddess. I have "raised up thy soul in
the following of thy strength, "and my soul [liveth] through thy
victory and thy "mighty power; it is I who give commands (7)
in "speech to Ra in heaven. Homage to thee, O great " god in
the east of heaven, let me embark in thy boat, " O Ra, let me open
myself out in the form of a divine "hawk, (8) let me give my
commands in words, let me " do battle in my Sekhem (?), let me be
master under "my vine. Let me embark in thy boat O Ra, in
"peace, (9) and let me sail in peace to the beautiful "
Amentet. Let the god Tem speak unto me, [saying], " 'Wouldst [thou]
enter therein?' The lady, the "goddess Mehen, is a million of
years, yea, two million "years in (10) duration, and
dwelleth in the house of "Urt and Nif-urt [and in} the Lake of a
million years; "the whole company. of the gods move about among
"those who are at the side of him who is the lord of
"divisions of places (?). And I say, 'On every road " and
among (11) these millions of years is Ra the lord, "and his
path is in the fire; and they go round about "behind him, and they
go round about behind him.' "
THE MORNING OF THE MAGICIANS
Lois Pauwels and Jacques Bergier
1963
Page 226
"...dreams can foretell even distant future events,* and two German
research workers, Moufang and Stevens, in a work entitled The Mystery of
Dreams have cited a number of cases, which have been carefully checked,
in which dreams revealed future events and led to important scientific
discoveries.
The celebrated atomic scientist, Niels Bohr, when he was a student, had
a strange dream. He saw himself on a Sun consisting of burning gas.
Planets whizzed by, whistling as they passed. They were attached to the
Sun by thin filaments, and revolved round it. Suddenly the gas
solidified and the Sun and planets crumbled away. Niels Bohr then woke
up and realized that he had just dis- covered the model of the atom, so
long sought after. The 'Sun' was the fixed centre round which the
electrons revolve. The whole of modem atomic physics and its
applications have come out of this dream."
He saw himself on a Sun consisting of burning gas.
Planets whizzed by, whistling as they passed
THE MORNING OF THE MAGICIANS
Lois Pauwels and Jacques Bergier
1963
Page 226
"The celebrated atomic scientist, Niels Bohr, when he was a
student, had a strange dream. He saw himself on a Sun consisting of
burning gas. Planets whizzed by, whistling as they passed. They were
attached to the Sun by thin filaments, and revolved round it. Suddenly
the gas solidified and the Sun and planets crumbled away. Niels Bohr
then woke up and realized that he had just dis- covered the model of the
atom, so long sought after. The 'Sun' was the fixed centre round
which the electrons revolve. The whole of modem atomic physics and
its applications have come out of this dream."
"Niels Bohr then woke up and realized that he had just dis-overed
the model of the atom, so long sought after. The 'Sun' was the fixed
centre round which the electrons revolve"
"The 'Sun' was the fixed centre round which the
electrons revolve"
"Niels Bohr then woke up and realized that he had just
dis-overed the model of the atom, so long sought after. The 'Sun' was
the fixed centre round which the electrons revolve"
"The 'Sun' was the fixed centre round which the electrons
revolve"
THE EGYPTIAN BOOK OF THE DEAD
E. A. Wallace Budge
1899
OF LIVING NIGH UNTO RA
Page
397
"And I say, 'On every road " and among (11) these millions
of years is Ra the lord, "and his path is in the fire; and they go
round about "behind him, and they go round about behind him.'
"
"and his path is in the fire; and they go round about "behind
him, and they go round about behind him.' "
In 1913 Bohr perfected the Rutherford theory of the atom by an
early use of quantum theory. An electron moving in a circle around the
nucleus can be held in orbit by a balance between the electrostatic
force of attraction to the nuclei and the centrifugal force due to its
motion.
THE MORNING OF THE MAGICIANS
Lois Pauwels and Jacques Bergier
1963
Page 226
The 'Sun' was the fixed centre round which the electrons
revolve"
THE EGYPTIAN BOOK OF THE DEAD
E. A. Wallace 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.' "
A
HISTORY OF GOD
Karen Armstrong1993
UNITY THE GOD OF ISLAM
"As they converge on the Kaba,
clad in the traditional pilgrim dress that obliterates all distinctions
of race or class, they feel that they have been liberated / Page 183 /
from the egotistic preoccupations of their daily lives and been caught
up into a community that has one focus and orientation. They cry in
unison; 'Here I am at your service, O al-Lah' before they begin the
circumambulations around the shrine. The essential meaning of this rite
is brought out well by the late Iranian philosopher All Shariati:
As you circumambulate and move closer to the Kabah, you feel like a
small stream merging with a big river. Carried by a wave you lose touch
with the ground. Suddenly, you are floating, carried on by the flood. As
you approach the centre, the pressure of the crowd squeezes you so hard
that you are given a new life. You are now part of the People; you are
now a Man, alive and eternal. . .
The Kabah is the world's sun whose
face attracts you into its orbit. You have become part of this universal
system. Circumambulating around Al-lah, you will soon forget yourself. .
. You have been transformed into a particle that is gradually melting
and disappearing. This is absolute love at its peak.".
THEN SINGS MY SOUL MY SAVIOR GOD TO THEE
HOW GREAT THOU ART HOW GREAT THOU ART
THE MAGIC MOUNTAIN
Thomas Mann
1875-1955
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
The RA Expeditions
Thor Heyerdal 1970
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
sun
energy
energy
energy
energy
energy
energy
energy
energy
energy
energy
rrrraaaaaaaahhhhhhhhhhhhhhhh!
I
AM ME
I
AM FREE
David Icke 1996
Page 33
The Global Dictatorship
"I'm sorry, would you just excuse me once more?
Aaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhhhhhh!!!"
OF
TIME AND STARS
Arthur C. Clarke 1972
THE NINE BILLION NAMES OF GOD
Page15 (number omitted)
" ' This is a slightly unusual request,' said Dr Wagner, with
what he hoped was commendable restraint. 'As far as I
know, it's the first time anyone's been asked to supply a Tibetan
monastery with an Automatic Sequence Computer. I don't
wish to be inquisitive, but I should hardly have
thought that your - ah - establishment had much use for
such a ma-chine. Could you explain just what you intend to do with it?'
'Gladly,' replied the lama, readjusting his silk robes and carefully
putting away the slide rule he had been Using for currency conversions.
'Your Mark V Computer can carry out any routine mathtiilatical operation
involving up to ten digits. However, for our work we are interested in letters,
not numbers. As we wish you to modify the output circuits, the machine
will be printing words, not columns of figures.'
'I don't quite understand. . .'
'This is a project on which we have been working for the last three
centuries - since the lamasery was founded, in fact. It is somewhat
alien to your way of thought, so I hope you will listen
with an open mind while I explain it.'
'Naturally.'
'It is really quite simple. We have been compiling a list which shall
contain all the possible names of God.'
'I beg your pardon?'
Page 16
The Nine Billion Names of God
'We have reason to believe,.' continued the lama imper-turbably,
'that all such names can be written with not more than nine letters in
an alphabet we have devised.'
'And you have been doing this for three centuries?'
'Yes: we expected it would take us about fifteen thousand years to
complete the task.'
'Oh,' Dr Wagner looked a little dazed. 'Now I see
why you wanted to hire one of our machines. But what exactly is the purpose
of this project?'
The lama hesitated for a fraction of a second, and Wagner wondered if
he had offended him. If so, there was no trace of annoyance in the
reply.
'Call it ritual, if you like, but it's a fundamental part of
our belief. All the many names of the Supreme Being - God, Jehova,
Allah, and so on - they are only man-made labels. There is a
philosophical problem of some difficulty here, which I do not propose to
discuss, but somewhere among all the possible combinations of letters
that can occur are what one may call the real names of God. By
systematic per-mutation of letters, we have been trying to list them all.'
"I see. You've been starting at A A A A
A A A . . . and work- ing up to Z Z Z Z Z Z Z Z
. . .'
'Exactly - though we use a special alphabet of our own. Modifying the
electromatic typewriters to deal with this is, of course, trivial. A
rather more interesting problem is that of devising suitable circuits to
eliminate ridiculous com- binations. For example, no letter must occur
more than times in succession.'
' Three? Surely you mean two.'
'Three is correct: I am afraid it would take too
long to explain why, even if you understood our language.'
Page 17
The Nine Billion Names of God
'I'm sure it would,' said Wagner hastily. 'Go on.'
'Luckily, it will be a simple matter to adapt your Automatic Sequence
Computer for this work, since once it has been programmed properly it
will permute each letter in turn and print the result. What would have
taken us fifteen thousand years it 'will be able to do in a hundred
days.'
Dr Wagner was scarcely conscious of the faint sounds from the
Manhattan streets far below. He was in a different world, a world of
natural, not man-made, mountains. High up in their remote aeries these
monks had been patiently at work, generation after generation, compiling
their lists of meaningless words. Was there any limit to the follies of
man- kind? Still, he must give no hint of his inner thoughts. The
customer was always right. . .
'There's no doubt.replied the doctor, 'that we can modify the Mark V
to print lists of this nature."
Page20
' Well they believe that when they have listed all his names -
and they reckon that there are about nine billion of
them - Gods purpose will be achieved. "
Page 16
"I see. You've been starting at A
A A A A A A . . . and work-ing up to Z Z Z Z Z Z Z Z
. . .'
THE NEW ELIZEBETHAN REFERENCE DICTIONARY
Fourth Edition
Editor Peter Finch
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."
13 |
INCANDESCENCE |
|
|
|
|
I |
9 |
9 |
9 |
|
NCA |
18 |
9 |
9 |
|
ND |
18 |
9 |
9 |
|
ESC |
27 |
9 |
9 |
|
ENCE |
27 |
18 |
9 |
13 |
INCANDESCENCE |
99 |
54 |
9 |
9 |
WHITE HEAT |
99 |
45 |
9 |
9 |
MASS FORCE |
99 |
36 |
9 |
10 |
NAMES OF GOD |
99 |
45 |
9 |
|
|
|
|
|
|
|
|
|
|
4 |
INCA |
27 |
18 |
9 |
|
I |
|
|
|
|
NCA |
18 |
9 |
9 |
4 |
INCA |
27 |
18 |
9 |
13 |
INCANDESCENCE |
99 |
54 |
9 |
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."
"a
point of incandescence"
"incandescence"
"Thought
is born"
THOUGHT
DIVINE THOUGHT
OBJECTIVE REALITY
Poems and Essays
by
Lloyd C. Daniel 1985
Page 32
sun
energy
energy
energy
energy
energy
energy
energy
energy
energy
energy
rrrraaaaaaaahhhhhhhhhhhhhhhh!!!
I
AM ME
I
AM FREE
David Icke 1996
Page 33
The Global Dictatorship
"I'm sorry, would you just excuse me once more?
Aaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhhhhhhhhhhh!!!"
OF
TIME AND STARS
Arthur C. Clarke 1972
THE NINE BILLION NAMES OF GOD
Page 16
"I see. You've been starting at A
A A A A A A . . . and work- ing up to Z Z Z Z Z Z Z Z
. . .'
A HISTORY OF GOD
Karen Armstrong 1993
Page 278
"All I can say remembering you', the prayer
concluded, 'is ayyyy and ahhhhhhhh"
THE NINE FREEDOMS
George King, D. D.1963
Enlightenment
Page173
CHAPTER
9
"THE NINTH FREEDOM WILL BE
SOLAR EXISTENCE"
THE
COSMIC SERPENT
Jeremy
Narby
1
999
Page
53
"In
reading the literature on Amazonian shamanism, I had no�ticed that the personal
experience of anthropologists with indige�nous hallucinogens was a gray zone. I
knew the problem well for having skirted around it myself in my own writings.
One of the categories in my reading notes was called "Anthropologists and
Ayahuasca." I consulted the card corresponding to this category, which I
had filled out over the course of my investigation, and noted that the first
subjective description of an ayahuasca experi�ence by an anthropologist was
published in 1968-whereas sev�eral botanists had written up similar experiences
a hundred years
previously.
10
The
anthropologist in question was Michael Harner. He had devoted ten lines to his
own experience in the middle of an aca�demic article: "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. I
enlisted
the services of other spirit helpers in attempting to fly through the far
reaches of the Galaxy. Transported into a trance where the supernatural seemed
natural, I realized that anthropol�ogists, including myself, had profoundly
underestimated the im�portance
of the drug in affecting native ideology."11"
At
first Michael Hamer pursued an enviable career, teaching in reputable
universities and editing a book on shamanism for Ox�ford University Press.
Later, however, he alienated a good portion of his colleagues by publishing a
popular manual on a series of shamanic techniques based on visualization and the
use of drums.
Page
54
Hamer
explains that in the early 1960s, he went to the Peru�vian Amazon to study the
culture of the Conibo Indians. After a year or so he had made little headway in
understanding their reli�gious system when the Conibo told him that if he really
wanted to leam, he had to drink ayahuasca. Hamer accepted not without fear,
because the people had wamed him that the experience was
terrifying. The following evening, under the strict
supervision of his indigenous friends, he drank the equivalent of a third of a
bot�tlee. 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: "First
they showed me the planet Earth as it was eons ago, before there was any life on
it. I saw an ocean, barren land, and a bright blue sky. Then black specks
dropped from the sky by the hundreds and landed in front of me on the barren
landscape. I could see the 'specks' were actually large, shiny, black creatures
with stubby pterodactyl-like wings and huge whale-like bodies. . . . They explained to me in
a kind of thought language that they were fleeing from something out in space.
They had come to the planet Earth to escape their enemy. The creatures then
showed me how they had created life on the planet in order to hide within the
multitudinous forms and thus disguise their presence. Before me, the
magnificence of plant and animal creation and speciation-hundreds of millions
of years of activity-took place on a scale and with a vividness impossible to
describe. I learned that the dragon-like creatures were thus in�side all forms
of life, including man."
I
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").
Pablo's Warning:
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.
One needs a teacher that shows the correct procedures, and how to defend
oneself against supernatural attack. But after some time, one needs to
continue alone, because even one's teacher might become jealous of one's
progress and could take away all one has learned. *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.'
CITY OF REVELATION
John Michell 1972
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"
8 |
ALBRECHT |
69 |
33 |
6 |
5 |
DURER |
66 |
30 |
3 |
13 |
|
135 |
63 |
9 |
1+3 |
|
1+3+5 |
6+3 |
|
4 |
|
9 |
9 |
9 |
|
|
|
|
|
|
|
|
|
|
11 |
MELANCHOLIA |
93 |
48 |
3 |
10 |
MELANCOLIA |
85 |
40 |
4 |
|
|
|
|
|
9 |
ALBRECHTS |
88 |
34 |
7 |
5 |
MAGIC |
33 |
24 |
6 |
6 |
SQUARE |
81 |
27 |
9 |
|
|
|
|
|
|
|
|
|
|
6 |
THIRTY |
100 |
37 |
1 |
4 |
FOUR |
60 |
24 |
6 |
10 |
|
160 |
61 |
7 |
1+0 |
|
1+6+0 |
6+1 |
|
1 |
|
7 |
7 |
7 |
|
|
|
|
|
3 |
ONE |
34 |
16 |
7 |
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
16 |
3 |
2 |
13 |
5 |
10 |
11 |
8 |
9 |
6 |
7 |
12 |
4 |
15 |
14 |
1 |
7 |
|
|
|
|
7 |
7 |
7 |
7 |
|
|
|
|
7 |
|
3+4 |
|
|
|
3+4 |
3+4 |
3+4 |
3+4 |
|
|
|
3+4 |
|
|
|
34 |
|
|
34 |
34 |
34 |
34 |
|
|
34 |
|
|
|
|
|
= |
|
= |
= |
= |
= |
|
= |
|
|
|
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
7 |
3+4 |
34 |
= |
+ |
16 |
3 |
2 |
13 |
+ |
= |
34 |
3+4 |
7 |
7 |
3+4 |
34 |
= |
+ |
5 |
10 |
11 |
8 |
+ |
= |
34 |
3+4 |
7 |
7 |
3+4 |
34 |
= |
+ |
9 |
6 |
7 |
12 |
+ |
= |
34 |
3+4 |
7 |
7 |
3+4 |
34 |
= |
+ |
4 |
15 |
14 |
1 |
+ |
= |
34 |
3+4 |
7 |
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
|
|
|
= |
|
= |
= |
= |
= |
|
= |
|
|
|
|
|
34 |
|
|
34 |
34 |
34 |
34 |
|
|
34 |
|
|
|
3+4 |
|
|
|
3+4 |
3+4 |
3+4 |
3+4 |
|
|
|
3+4 |
|
7 |
|
|
|
|
7 |
7 |
7 |
7 |
|
|
|
|
7 |
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
6 |
|
|
|
|
6 |
6 |
6 |
|
|
|
|
6 |
|
1+5 |
|
|
|
1+5 |
1+5 |
1+5 |
|
|
|
1+5 |
|
|
|
15 |
|
|
15 |
15 |
15 |
|
|
15 |
|
|
|
|
|
= |
|
= |
= |
= |
|
= |
|
|
|
|
|
|
|
+ |
+ |
+ |
+ |
+ |
|
|
|
|
6 |
1+5 |
15 |
= |
+ |
4 |
9 |
2 |
+ |
= |
15 |
1+5 |
6 |
6 |
1+5 |
15 |
= |
+ |
3 |
5 |
7 |
+ |
= |
15 |
1+5 |
6 |
6 |
1+5 |
15 |
= |
+ |
8 |
1 |
6 |
+ |
= |
15 |
1+5 |
6 |
|
|
|
|
+ |
+ |
+ |
+ |
+ |
|
|
|
|
|
|
|
= |
|
= |
= |
= |
|
= |
|
|
|
|
|
15 |
|
|
15 |
15 |
15 |
|
|
15 |
|
|
|
1+5 |
|
|
|
1+5 |
1+5 |
1+5 |
|
|
|
1+5 |
|
6 |
|
|
|
|
6 |
6 |
6 |
|
|
|
|
6 |
MARS
11 |
24 |
7 |
20 |
3 |
4 |
12 |
25 |
8 |
16 |
17 |
5 |
13 |
21 |
9 |
10 |
18 |
1 |
14 |
22 |
23 |
6 |
19 |
2 |
15 |
2 |
|
|
|
|
2 |
2 |
2 |
2 |
2 |
|
|
|
|
2 |
|
11 |
|
|
|
11 |
11 |
11 |
11 |
11 |
|
|
|
11 |
|
|
|
65 |
|
|
65 |
65 |
65 |
65 |
65 |
|
|
65 |
|
|
|
|
|
= |
|
= |
= |
= |
= |
= |
|
= |
|
|
|
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
2 |
11 |
65 |
= |
+ |
11 |
24 |
7 |
20 |
3 |
+ |
= |
65 |
11 |
2 |
2 |
11 |
65 |
= |
+ |
4 |
12 |
25 |
8 |
16 |
+ |
= |
65 |
11 |
2 |
2 |
11 |
65 |
= |
+ |
17 |
5 |
13 |
21 |
9 |
+ |
= |
65 |
11 |
2 |
2 |
11 |
65 |
= |
+ |
10 |
18 |
1 |
14 |
22 |
+ |
= |
65 |
11 |
2 |
2 |
11 |
65 |
= |
+ |
23 |
6 |
19 |
2 |
15 |
+ |
= |
65 |
11 |
2 |
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
|
|
|
= |
|
= |
= |
= |
= |
= |
|
= |
|
|
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|
65 |
|
|
65 |
65 |
65 |
65 |
|
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|
65 |
|
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|
11 |
|
|
|
11 |
11 |
11 |
11 |
|
|
|
|
11 |
|
2 |
|
|
|
|
|
|
|
|
|
|
|
|
|
2 |
THE SUN
VENUS
22 |
47 |
16 |
41 |
10 |
35 |
4 |
5 |
23 |
48 |
17 |
42 |
11 |
29 |
30 |
6 |
24 |
49 |
18 |
36 |
12 |
13 |
31 |
7 |
25 |
43 |
19 |
37 |
38 |
14 |
32 |
1 |
26 |
44 |
20 |
21 |
39 |
8 |
33 |
2 |
27 |
45 |
46 |
15 |
40 |
9 |
34 |
3 |
28 |
4 |
|
|
|
|
4 |
4 |
4 |
4 |
4 |
4 |
4 |
|
|
|
|
4 |
|
13 |
|
|
|
13 |
13 |
13 |
13 |
13 |
13 |
13 |
|
|
|
13 |
|
|
|
175 |
|
|
175 |
175 |
175 |
175 |
175 |
175 |
175 |
|
|
175 |
|
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|
|
= |
|
= |
= |
= |
= |
= |
= |
= |
|
= |
|
|
|
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
4 |
13 |
175 |
= |
+ |
22 |
47 |
16 |
41 |
10 |
35 |
4 |
+ |
= |
175 |
13 |
4 |
4 |
13 |
175 |
= |
+ |
5 |
23 |
48 |
17 |
42 |
11 |
29 |
+ |
= |
175 |
13 |
4 |
4 |
13 |
175 |
= |
+ |
30 |
6 |
24 |
49 |
18 |
36 |
12 |
+ |
= |
175 |
13 |
4 |
4 |
13 |
175 |
= |
+ |
13 |
31 |
7 |
25 |
43 |
19 |
37 |
+ |
= |
175 |
13 |
4 |
4 |
13 |
175 |
= |
+ |
38 |
14 |
32 |
1 |
26 |
44 |
20 |
+ |
= |
175 |
13 |
4 |
4 |
13 |
175 |
= |
+ |
21 |
39 |
8 |
33 |
2 |
27 |
45 |
+ |
= |
175 |
13 |
4 |
4 |
13 |
175 |
= |
+ |
46 |
15 |
40 |
9 |
34 |
3 |
28 |
+ |
= |
175 |
13 |
4 |
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
|
|
|
= |
|
= |
= |
= |
= |
= |
= |
= |
|
= |
|
|
|
|
|
175 |
|
|
175 |
175 |
175 |
175 |
175 |
175 |
175 |
|
|
175 |
|
|
|
13 |
|
|
|
13 |
13 |
13 |
13 |
13 |
13 |
13 |
|
|
|
13 |
|
4 |
|
|
|
|
4 |
4 |
4 |
4 |
4 |
4 |
4 |
|
|
|
|
4 |
MERCURY
8 |
58 |
59 |
5 |
4 |
62 |
63 |
1 |
49 |
15 |
14 |
52 |
53 |
11 |
10 |
56 |
41 |
23 |
22 |
44 |
45 |
19 |
18 |
48 |
32 |
34 |
35 |
29 |
28 |
38 |
39 |
25 |
40 |
26 |
27 |
37 |
36 |
30 |
31 |
33 |
17 |
47 |
46 |
20 |
21 |
43 |
42 |
24 |
9 |
55 |
54 |
12 |
13 |
51 |
50 |
16 |
64 |
2 |
3 |
61 |
60 |
6 |
7 |
5 |
8 |
|
|
|
8 |
8 |
8 |
8 |
8 |
8 |
8 |
8 |
|
|
|
8 |
|
260 |
|
|
260 |
260 |
260 |
260 |
260 |
260 |
260 |
260 |
|
|
260 |
|
|
|
= |
|
= |
= |
= |
= |
= |
= |
= |
= |
|
= |
|
|
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
8 |
260 |
= |
+ |
8 |
58 |
59 |
5 |
4 |
62 |
63 |
1 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
49 |
15 |
14 |
52 |
53 |
11 |
10 |
56 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
41 |
23 |
22 |
44 |
45 |
19 |
18 |
48 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
32 |
34 |
35 |
29 |
28 |
38 |
39 |
25 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
40 |
26 |
27 |
37 |
36 |
30 |
31 |
33 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
17 |
47 |
46 |
20 |
21 |
43 |
42 |
24 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
9 |
55 |
54 |
12 |
13 |
51 |
50 |
16 |
+ |
= |
260 |
8 |
8 |
260 |
= |
+ |
64 |
2 |
3 |
61 |
60 |
6 |
7 |
57 |
+ |
= |
260 |
8 |
|
|
|
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
+ |
|
|
|
|
|
= |
|
= |
= |
= |
= |
= |
= |
= |
= |
|
= |
|
|
|
260 |
|
|
260 |
260 |
260 |
260 |
260 |
260 |
260 |
260 |
|
|
260 |
|
8 |
|
|
|
8 |
8 |
8 |
8 |
8 |
8 |
8 |
8 |
|
|
|
8 |
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.
O
|
=
|
15
|
ONE
|
3
|
34
|
16
|
7
|
-
|
1
|
T
|
=
|
20
|
TWO
|
3
|
58
|
13
|
4
|
-
|
2
|
T
|
=
|
20
|
THREE
|
5
|
56
|
29
|
2
|
-
|
3
|
F
|
=
|
6
|
FOUR
|
4
|
60
|
24
|
6
|
-
|
4
|
|
|
|
|
|
|
|
|
|
|
|
|
61
|
|
15
|
208
|
82
|
19
|
|
10
|
|
|
6+1
|
|
1+5
|
2+0+8
|
8+2
|
1+9
|
|
1+0
|
|
|
|
|
|
10
|
10
|
10
|
|
|
|
|
|
|
|
1+0
|
1+0
|
1+0
|
|
|
|
|
7
|
|
6
|
1
|
1
|
1
|
|
1
|
N
|
=
|
14
|
NINE
|
4
|
42
|
24
|
6
|
-
|
9
|
E
|
=
|
5
|
EIGHT
|
5
|
49
|
31
|
4
|
-
|
8
|
S
|
=
|
19
|
SEVEN
|
5
|
65
|
20
|
2
|
-
|
7
|
S
|
=
|
19
|
SIX
|
3
|
52
|
16
|
7
|
-
|
6
|
|
|
|
|
|
|
|
|
|
|
|
|
57
|
|
17
|
208
|
91
|
19
|
|
30
|
|
|
5+7
|
|
1+7
|
2+0+8
|
9+1
|
1+9
|
|
3+0
|
|
|
12
|
|
|
10
|
10
|
10
|
|
|
|
|
1+2
|
|
|
1+0
|
1+0
|
1+0
|
|
|
|
|
3
|
|
8
|
1
|
1
|
1
|
|
3
|
3
|
ONE
|
34
|
16
|
7
|
SIX
|
52
|
16
|
7
|
3
|
TWO
|
58
|
13
|
4
|
SEVEN
|
65
|
20
|
2
|
5 |
THREE
|
56
|
29
|
2
|
EIGHT
|
49
|
31
|
4
|
4
|
FOUR
|
60
|
24
|
6
|
NINE
|
42
|
24
|
6
|
|
|
|
|
|
|
|
|
|
15
|
|
208
|
82
|
19
|
|
208
|
91
|
19
|
1+5
|
|
2+0+8
|
8+2
|
1+9
|
|
2+0+8
|
9+1
|
1+9
|
|
|
10
|
10
|
10
|
|
10
|
10
|
10
|
|
|
1+0
|
1+0
|
1+0
|
|
1+0
|
1+0
|
1+0
|
6
|
|
1
|
1
|
1
|
|
1
|
1
|
1
|
1
|
3
|
ONE
|
34
|
16
|
7
|
2
|
3
|
TWO
|
58
|
13
|
4
|
3
|
5
|
THREE
|
56
|
29
|
2
|
4
|
4
|
FOUR
|
60
|
24
|
6
|
5
|
4
|
FIVE
|
42
|
24
|
6
|
6
|
3
|
SIX
|
52
|
16
|
7
|
7
|
5
|
SEVEN
|
65
|
20
|
2
|
8
|
5
|
EIGHT
|
49
|
31
|
4
|
9
|
4
|
NINE
|
42
|
24
|
6
|
|
|
|
|
|
|
45
|
36
|
|
458
|
197
|
44
|
4+5
|
3+6
|
|
4+5+8
|
1+9+7
|
4+4
|
|
|
|
17
|
17
|
|
|
|
|
1+7
|
1+7
|
|
9
|
9
|
|
8
|
8
|
8
|
1
|
ONE
|
34
|
16
|
7
|
2
|
TWO
|
58
|
13
|
4
|
3
|
THREE
|
56
|
29
|
2
|
4
|
FOUR
|
60
|
24
|
6
|
5
|
FIVE
|
42
|
24
|
6
|
6
|
SIX
|
52
|
16
|
7
|
7
|
SEVEN
|
65
|
20
|
2
|
8
|
EIGHT
|
49
|
31
|
4
|
9
|
NINE
|
42
|
24
|
6
|
|
|
|
|
|
45
|
|
|
|
|
4+5
|
|
|
|
|
9
|
|
|
|
|
0
|
|
ZERO
|
64
|
28
|
1
|
1
|
6
|
ONE
|
34
|
16
|
7
|
2
|
2
|
TWO
|
58
|
13
|
4
|
3
|
2
|
THREE
|
56
|
29
|
2
|
4
|
6
|
FOUR
|
60
|
24
|
6
|
5
|
6
|
FIVE
|
42
|
24
|
6
|
6
|
1
|
SIX
|
52
|
16
|
7
|
7
|
1
|
SEVEN
|
65
|
20
|
2
|
8
|
5
|
EIGHT
|
49
|
31
|
4
|
9
|
5
|
NINE
|
42
|
24
|
6
|
|
|
|
|
|
|
45
|
34
|
|
522
|
225
|
45
|
4+5
|
3+4
|
|
5+2+2
|
2+2+5
|
4+5
|
9
|
7
|
|
9
|
9
|
9
|
|