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THE
MAGIC
MOUNTAIN
Thomas
Mann 1875 1955
Page
496
"There
is both rhyme and reason in what I say, I have made a dream poem of humanity.
I will cling to it. I will be good. I will let death have no mastery over
my thoughts. For therein lies goodness and love of humankind, and in nothing
else.”
Page
496 / 497
"Love
stands opposed to death. It is love, not reason, that is stronger than
death . Only love, not reason, gives sweet thoughts. And from love and
sweetness alone can form come: form and civilization, friendly and enlightened
, beautiful human intercourse-always in silent recognition of the blood
- sacrifice. Ah, yes, it is it is well and truly dreamed. I have taken
stock I will keep faith with death in my heart, yet well remember that
faith with death and the dead is evil, is hostile to mankind, so soon
as we give it power over thought and action.For
the sake of goodness and love,
man shall let death have no sovereignty over his thoughts. - And with
this - I awake. For I have dreamed it out to the end , I have come to
my goal."
After a short meeting with their good and trusted friend
Thomas. Alizzed and the scribe thanked
him most genuinely for the benefit of his wisdom, in the matter of their
quest. said their good byes, wished
the other well, a not unusual seven times, and of course, promised,
not to leave it quite so long
in the future.
THE
BULL OF MINOS
Leonard Cottrell
THE
QUEST CONTINUES
Page
90
" Out in the dark blue sea there lies a land called
Crete a rich and lovely land washed by the waves on every
side, densely peopled and boasting ninety
cities..
One
of the ninety towns is a great
city called Knossos, and there, for nine
years , King Minos ruled and en-joyed the friendship of almighty Zeus.”
SECRET CHAMBERS
Robert Bauval
1
999
The Prophecy of Monte Libyco
THE CORPUS HERMETICUM
Page 17
"Although we have reserved a full chapter for the Hermetic writings
and their influence on modern esoteric thinking, a brief treatment on
the problems they have raised is, I think, necessary at this stage.
There is much debate amongst academics on the actual origins and age of
the Hermetic writings and thus, by extension, the Hermetic prophecy related
to Giza or Monte Libyco. Most scholars agree that the Hermetic texts (also
known as the Corpus Hermeticum or Hermetica, for short) were finally written
down in their present form by unknown 'Hellenised' Egyptians or, as the
case may be, 'Egyptianised' Hellens (Greeks) in the ancient city of Alexandria
sometime between the last century BC and the second century AD. There
are two groups of texts, one known as the 'philosophical' texts and the
other known as the 'technical' or 'alchemical' texts.l? It is the 'philosophical'
texts which concern us most in our investigation. Most were written in
Greek but some, probably older texts, are in the ancient Egyptian Coptic
language. These were found in 1945 at Nag Hammadi in Upper Egypt.IS
The Hermetica contains some twenty-one books; there are eighteen
so-called Libelli that form part of the main corpus, as well as three
so-called Latin Asclepius. There is also a collection of short 'excerpts'
and 'fragments' which are generally considered part of the Hermetica.19
It is not clear how many authors contributed to the Hermetica,
as all the books are ascribed to Hermes Trismegistus (Hermes the Thrice
Great). Hermes, as we have seen, was equated by the Greeks with the Egyptian
wisdom god Thoth (Tehuti in Egyptian). It is important to realise, however,
that in the Hellenistic world (and later in Renaissance Europe), Hermes
Trismegistus was not quite the same figure as his Egyptian prototype,
whom we shall discuss in greater detail shortly. Hermes Trismegistus,
in actual fact, is an Egyptian Hermes, a syncretism or coalition,
as it were, between Thoth and the Greek Hermes but also with a pedigree
not unlike the biblical Enoch or the Arabian Idris, a legendary figure
recording the wisdom and knowledge of the pre-Flood era and preserving
it for the benefit and future of mankind. As for his epithet 'The Thrice
Great', it probably does come, however, from the ancient Egyptians who,
as early as the third century BC, often referred to Thoth as 'Great-Great',
'Very Great' or 'Thrice Great,.20 The motive for attributing their works
to this semi-divine, mythical character, according to the scholar Walter
Scott, 'must have been similar to that which made a Jew write a Book of
Daniel, or a Book of Enoch, instead of a book of his own,21 In those times
there was a tendency, says Scott, 'to lean on the / Page 18 / support
of authority and tradition'; the god Thoth of the Egyptians had, for thousands
of years before, been attributed divine knowledge and wisdom from the
gods which he then imparted to humans in his famous 'Books'. According
to ancient Egyptian tradition, there were some forty- two books belonging
to Thoth. In his study of the Egyptian gods, Egyptologist George Hart
provides a series of titles for Thoth that defines the paramount role
of this god as the protector of 'Truth' and as the emissary of the sacred
wisdom of the gods.22 These titles or epithets are 'mightiest of the gods';
'lord of the sacred words'; 'Thoth the Great, the Great, the Great', i.e.
Hermes- Thoth the Thrice Great. Thoth, writes Hart, as the 'lord of the
sacred words',
gave to the Egyptians
the knowledge of how to write by picture symbols, hence hieroglyphs could
always possess a magical force. Scribes regarded themselves as 'followers
of Thoth'. Thoth represented to the Egyptians the embodiment of all /
Page 19 / scientific and literary attainments, being in command
of all 'the sacred books in the House of Life'. The 'House of Life' (Per
Ankh) was a revered resource centre accessible only to scribes, containing
a wealth of knowledge. . . all under the protection of Thoth . . .23
This 'knowledge' and
'wisdom', Hart says, was deemed too secret for profane eyes, and was only
accessible to a few initiates. Indeed, a knowledge that was so powerful
was harboured in the sanctuary-library or House of Life of Thoth and,
according to one ancient papyrus dated to the Pyramid Age, it was 'not
even possessed by the pharaoh himself' .24 Lucie Lamie, the daughter of
the famous Egyptologist and symbolist R. A. Schwaller de Lubicz, gave
a vivid description of this mysterious 'House of Life' allocated to Thoth
and his wisdom-books:
Is the 'House of the Seat of Life' mentioned on one of the vases of the
First Dynasty Serpent King, the prototype of the 'House of Life', the
'University' of the late dynastic period? It was in the 'House of Life'
that the young scribes learned the meaning of the hieroglyphs, mathematics,
geometry, astronomy,
medicine and all that concerned the ritual and maintenance of the temples
- in short everything necessary for life on earth and in the other world.
The stone vases of the first two dynasties, heaped in the galleries under
the stepped pyramid of Zoser, along with ivory tablets and clay seals,
reveal an elaborate system of administration. Writing was by this time
completely constituted. This implies a long previous development; yet
this development, as well as the origins of the written language, remains
mysterious.25
Author and historian Peter Tompkins offers some tantalising glimpses on
what the 'mysterious' quality of the hieroglyphs might be in the foreword
he wrote to John Anthony West's book Serpent in the Sky:
(Schwaller) de Lubicz was well versed in Hermetic wisdom. . . [and]
soon found the same wisdom built into the glyphs, statues and temples
of Egypt. By interpreting the ancient Egyptian Hieroglyphs as symbolic
carriers or a Hermetic message, de Lubicz discovered in Egypt the earliest
known source of Sacred Science which forms the basis of what has become
known as the Perennial Philosophy, fragments of which have been kept alive
among Gnostics, Sufis, Cabalists, Rosicrucians, and Masons, but primarily
by a series of enlightened and clairvoyant masters!6
It is very clear, therefore, that by attributing the Hermetic writings
to Hermes the Thrice Great, i.e. Thoth, the ancient writers - or more
likely the compilers - of these texts grafted upon them the highest possible
pedigree: that of being directly linked to the divine and supreme wisdom
/ Page 20 / and 'Word' of God. Now for a long time the Hermetic writings
were lost to history. From about the fourth century AD till the late fifteenth
century AD little was heard of them in Western Europe, and they were assumed
lost for ever .27 However in 1460, by one of those propitious
and strange synchronicities of history, an almost intact copy of the
full Hermetica was found and delivered to Cosimo di Medici, the Doge of
Florence and 'Father of the Italian Renaissance'.28 The first of the Libelli,
known under the mysterious title of Poimandres, was soon translated
by Cosimo's protege, the scholar and linguist Marsilio Ficino. So powerful
was the effect of the Hermetica on the scholars of that epoch that many
modern students of the Renaissance, notably the late Dame Frances Yates
of the Warburg Institute, became convinced that these texts, with the
philosophy and 'magic' that they extolled, gave a new impetus to the Renaissance
whose reverberations were still strongly felt in the Enlightenment of
the seventeenth century,29
Page 21
By
the late fifteenth century Hermes Trismegistus's popularity as a teacher
of divine wisdom30 was, among the intellectuals, the merchants,
the bankers and even the clergy, beginning to rival that of Jesus. Indeed,
were it not for fear of persecution by the Papal Inquisition, some scholars
have conjectured that the Hermetica's fame would have surpassed
that of the New Testament..31 The authority and driving force that buttressed
the Hermetica was that divine revelations, akin to those received
by Moses on Mount Sinai, had been handed to Ht:rmes Trismegistus. Cyril
of Alexandria quotes a fine example to illustrate this approach from a
Hermetic text that he says was written in Athens. In it the author presents
'our Hermes as seen through the eyes of an Egyptian priest'. In this tract
the anonymous Athenian Hermetist depicts Hermes in the same unmistakably
Egyptian terms as those in which Artapanus had
envisaged Moses (Cyril of Alexandria - Contra Julianum i548ac).
So
convinced were the Renaissance scholars of this that some went as far
as to petition the Pope that the Hermetica should be canonised and be
made part of the Christian teachings of the Church. One such erudite scholar
was Francyois Foix de Candalle, better known as Flussas. .In 1574 he published
a Latin version of the Poimandres and dedicated it to the Holy
Roman Emperor Maximilian II. In his dedication Flussas wrote that 'Hermes
Trismegistus attained to a knowledge of divine things surpassing that
which was revealed to the Hebrew Prophets, and equalling that of the Apostles
and Evangelists'32:
What more is made known to us by those who were instructed by our Saviour
Himself? And yet this man (Hermes) was anterior in time, not only to the
disciples of our Lord, but also to all the prophets and teachers of our
Law and, as the ancients say, to Moses himself.33
Another who risked the papal dungeons for his outward support of the Hermetica
was the Italian scholar Francesco Patrizi, who published the Libelli of
the Corpus Hermetica with a preface addressed to Pope Gregory XIV. After
extolling the virtues of the Hermetica and the supreme wisdom and
'philosophy' of Hermes Trismegistus, Patrizi then makes this extraordinary
request to the Pope:
I would have you, then, Holy Father, and all future Popes, give order
that some of the books which I have named (prominent among these was the
Hennetica) shall be continually taught everywhere, as I have taught
them for the last fourteen years at Ferrara. . .34
Listen to that inner ME all 9 R
singing the same song.
THE BRINGING BACK OF THE
I
I ISISIS 9 9 ISISIS I
SECRET CHAMBERS
Robert Bauval
1
999
Page82
THE EYE AND THE
IRON THRONE OF OSIRIS
"There is a great
deal of debate and confusion concerning the etymology of the name Osiris
and the mysterious symbols attached to it. It may , surprise the reader
to learn that the name is not Egyptian but Greek. The true and original
name of the god in its most ancient form was As-Ar or Ausar, composed
by two hieroglyphic signs of the 'throne' and the 'eye'.
Page 83
It is only much later,
around 500 BC or so, that the Greeks gave it its classical pronounciation.
The 'throne' almost certainly symbolises the 'throne of Osiris' or, more
generally, the 'throne of divine kingship' -and in its other-worldly connotation,
it may also stand for the 'throne of Osiris in the Duat'. Such a conclusion
conforms with the role and function of Osiris as 'Lord of the Duat' and,
at any rate, is confirmed by the many depictions in funerary art showing
Osiris sitting on a throne in the so-called 'Judgement scene' where the
god dispatches his verdict on the souls of the dead. There is an interesting
variation of this depiction, however, in which Osiris is seen sitting
on his throne placed on the summit of a pyramid or mound (see Fig. 13).107
Concerning this last, Rundle Clark had this to say:
In this version (depiction) the central object
is a I!lound which is approached by steps. Inside is either the recumbent
figure of Osiris or a figure which represents him illumined by
the night sun during its underworld journey. The stepped hill is, of course,
the Primeval Mound, but this time it is given directions. The goddesses
of North and South, and sometimes signs for East and West, decorate the
outside of the steps. . . .Above the mound Osiris sits enthroned, protected
sometimes by a goddess, and approached by Horus and Thoth and a peculiar
being carrying two stiff serpents arranged in an X. The first god (Horus)
to approach Osiris presents him with the Horus Eye - the old motif of
the recovery of Osiris which is as old as the Pyramid Texts. .. The figure
with the crossed serpents is probably the Divine Word. . .108
One of the most potent symbols of ancient Egypt is the
Udjet sign, which is depicted by an 'eye'. So ingrained
was this symbol that it has survived to this day, generally used as a
talisman to ward off evil and danger .109 Although the term Udjet is
of the feminine gender, the 'eye' is that of a falcon and is clearly
associated with primitive falcon gods such as Horus and Sokar110
In his detailed study of the Udjet symbol, R.T. Rundle Clark shows
that the 'eye' was also associated with the sun and the moon that
represented the two eyes of the cosmic falcon. 111 Since one of
these 'eyes', the moon, wanes and waxes in a cycle of one month,
the ancients used numerical fractions of the value one to design the Udjet
symbol; the act of 'putting together' the Udjet-eye symbolised
the return of the full moon which, according to Clark, signalled the idea
'that all is well' and that 'Maat', the cosmic order, is undisturbedl12:
I am seeking the Eye of Horus,
that I might bring it back and count it. . . I am
Thoth who brings back Maat . . . I am he who returns
the Udjet Eye, I am he
who abolishes its dimness, when its brightness was damaged. . . in the
House of the Moon. . . 113
"I am
seeking the Eye of Horus, that I might bring it back
and count it."
THAT
I
ISISIS
9
Page 84
"Egyptian literature is full of references to the
'bringing back of the Eye'. This strange motif, for example,
is repeated no less than four hundred times in the spells
and incantations of the Pyramid Texts and many scores more throughout
the whole corpusof these ancient texts. The thematic myth associated with
the 'eye of Horus' revolves around an epic battle that supposedly
took place between Horus and his uncle Seth, with these two deities quarrelling
over the throne of Osiris. After a raging fight that went on for several
years, Horus lost his left eye and Seth lost his testicles.114
The battle finally ends when Thoth intervenes and persuades the contenders
to put their case for arbitration before the council of
the gods, known sometimes as The Great Ennead115 The outcome is in favour
of Horus, who is crowned as the first legitimate divine king of the Osirian
Kingdom. As soon as his coronation is over, Horus journeys into the realm
of the Underworld-Duat in search of the 'body' of his father, Osiris.
He then presents to the listless body of Osiris the 'Eye',
whence Osiris is immediately revived:
O Osiris the king, I bring to
you the Eye of Horus . . .O Osiris
the king, Horus has put his Eye on your
brow in its name of Great-of-Magic . . . Live, O my father
Osiris the king, for I set for you
the Eye of Horus on you116
O Horus who is (also) this
Osiris the king, take the uninjured Eye of Horus.
O Horus who is this Osiris the king, I paint it
on your face for you, for Horus painted his
uninjured Eye. O king, I attach your eyes
to your face for you intact, so that you may see with them.
. .117
O my father the king, the doors of the
sky are opened for you. . . stand up and see this, stand
up and hear this which your son Horus has
done for you: he smites him (Seth) who smote
you. . .118. . . may you remove yourself to the
sky upon your iron throne... 119
Stand up for me, O my Father; stand up for
me, O Osiris the king, for I am indeed your
son, I am Horus. . . I have installed you,
of my father Osiris the king, upon the throne,
, .120"
TABLE OF LETTER I, EYES, ME, EYE, YOU, YOUR,
Page 86
"This word is
formed by three signs, an 'eye-shaped' symbol, an 'owl' and a 'standard
or post', all forming the phonetic word 'M(e)r'. Edwards showed
that the determinative for the word 'r', which means 'to ascend',
is, in fact, the sign to denote a stepped pyramid or Primeval Mound.124
He then pointed out that the 'm' sign, which means 'place', has led him
to conclude that the word 'Mer', therefore, could mean 'the place
of Ascension'."
MER
TRANSPOSED VIA THE MAGIKALALPHABET
M = 13 1+3 = 4
E = 5
R = 18 1+8 = 9
First transposition. Total 13+5+18 = 36 and
3+6 establishes a numerical root value for the word MER of 9
Second transposition. Total 4+5+9 = 18 and
1+8 = 9
THINK THE 99 NAMES OF GOD
I = ME, R. AND MER = 9 AND 9 = ME AND ME = I
AND I = 9 AND 9 IS THE I
OF
THAT I THAT
ISISIS
THINK ME THINK
MASS ENERGY
THE PRIMEVAL MOUND KNOWN AS THE
OMPHALOS
Page 88
"In these passages from the Pyramid Texts we are thus
provided with a potent link between the 'Eye' and 'Throne'
symbols, both now merging with the resurrection or reawakening
of Osiris in his tomb. Let us hold this strange imagery in our
mind while we return to the depictions in Fig. 10 (fig omitted)
showing the Primeval Mound and the House of Sokar. In this
depic-tion it is obvious that the throne is intended to represent
the 'Benben' symbol, for it was the latter that was deposited
by the Bennu-Phoenix on the summit of the original Primeval
Mound whe)'1 the new age was / Page 85 /announced.
And this imagery, of course, takes us to the monumental pyramids themselves,
for as we have noted for many researchers including Dr I.E.S. Edwards
the stepped pyramids of the third Dynasty were almost certainly representative
of the Primeval Mound.121 Indeed, the hieroglyphic sign of
a stepped pyramid was often used to denote the Primeval Mound.122
It is also known that the true, smooth-faced pyramids of the Fourth
Dynasty, which include the Giza group, incor-porated within their structural
core a stepped pyramid, a fact that is very suggestive that they, too,
were to be regarded as symbolic of the Primeval Mound.123 In
Fig. 13 (figure omitted) showing the Primeval Mound on which Osiris
is seated on the throne, the Mound itself is fixed along the four astronomical
directions, again a strong clue that it is meant to represent a classical
pyramid monument whose four sides were always aligned towards the four
astronomical (or cardinal) directions. This notion is / Page 86 / further
strengthened by the analysis made by Dr Edwards for the word 'Mr',
which stood for 'pyramid'. This word is formed by three signs, an 'eye-shaped'
symbol, an 'owl' and a 'standard or post', all forming the phonetic word
'M(e)r'. Edwards showed that the determinative for the word 'r',
which means 'to ascend', is, in fact, the sign to denote a stepped pyramid
or Primeval Mound.124 He then pointed out that the 'm' sign,
which means 'place', has led him to conclude that the word 'Mer',
therefore, could mean 'the place of Ascension'.125
THINK
99 NAMES OF GOD THAT GOD OF NAMES 99
I = ME + R. AND M+E+R = 9 AND 9 = ME AND ME =
I AND I = 9 AND 9 IS THE I
THINK
MOTHER
The good brother Robert continues his story.
"Now it is unquestioned
that the only physical objects that could literally be said to have 'ascended'
to the summit of monumental pyramids were, of course, the Benben
pyramidions, the symbols of the astral 'soul' of the transfigured Osiris-king.
Thus in Fig. 13 we have the symbols of Osiris (or his 'soul'), the 'eye'
and the 'throne', all meeting together at the summit of the Primeval Mound
or pyramid - which should now make it clear to us that, on the one hand,
the symbol of a Benben Stone with the Eye, especially when placed
on the top of the 'Primeval Mound' or Pyramid, is fully interchangeable
with, on the other hand, the symbol of 'the throne with the eye' - the
latter forming the name of Osiris. Algebraically then, Benben with
Eye = Throne with Eye = Osiris.
The reader is now asked to recall how, in the Pyramid Texts, the original
Benben Stone was said to be made of iron ('star' matter, i.e.
meteoritic iron). It is, therefore, very significant to note that in the
Pyramid Texts the 'throne' of Osiris is frequently said to be made of
'iron', the same cosmic stuff from which the 'bones' of the astral souls
were also made:
I [the Osiris-king] ascend to the sky. . . I sit on this iron throne
of mine. . .126
May you [the Osiris-king] remove yourself to the sky upon your iron throne.
. .127
You will ascend to the sky. . . you being
seated upon your iron throne. . . you have traversed the Winding Waterway
in the north of the sky as a star. . . the
Duat has grasped your hand at the place
where Orion is . . . (the celestial 'Giza '?)128
Now here is the consequence of all this: the idea
of the returning phoenix coming to 'the place where Orion is' (i.e. the
celestial Gizal29) in order to announce a new messianic age is symbolised
by the act of placing a capstone on top of a monumental pyramid. An idea,
of course, that is also applicable to the return of a messianic figure
at the opening of a new age which, in Christian lore, suggests similarities
with the 'Second Coming' of Christ. Page 87 / Fig. J S. Pyramid texts.
Note 'throne and eye' name of Osiris compounded
with the name of the pharaoh Unas (in the cartouche).
The reader will notice, however, that in Fig. 13
there is within the Pyramid/Mound itself another figure, that of a hawk-headed
mummified man lying on its back. Rundle Clark described this mysterious
entity as the 'recumbent figure of Osiris or a symbol which represents
him'. But what symbol could that be? A clue is given by Wallis Budge in
his description of the combined god Osiris-Sokar 'in which he appears
as a hawk-headed mummy'.130 There is, too, an almost identical recumbent
hawk-headed figure depicted on the wall of the temple of Denderah in Upper
Egypt which is also referred to as Sokar-Osiris of Busiris131 (see Fig.
8) . Here we see Sokar-Osiris lying on a catafalque or bed the base of
which is shaped like the Aker lion; on one side of the bed stands the
goddess Isis, and on the other side Nephtys.132 It is clear that by equating
this imagery to the statement made in the Shabaka Stone quoted on page
66 we get, in fact, the very same imagery in words.
Bearing all this in mind, let us now compare Fig. 1
showing the Fifth Division and the House of Sokar with Fig. 10 showing
the stepped pyramid/Mound and Osiris on his throne. In Fig. 13 we see
the god Sokar holding the plumes of the giant serpent in the House of
Sokar surmounted by a Pyramid/Mound, and in Fig. 13 we see the same entity
lying within or under a stepped-pyramid/Mound. The 'Mound' in Fig. 13
is, as Rundle Clark pointed out, a representation of the 'Creation Mound'.
But what of the 'Mound' in Fig. 10? Let us examine this / Page
87/ 88 / Let us examine this / 'Mound'
more closely. At the top of the Mound in Fig. 10 are two symbols, one
a human head and the other a bell-shaped object (identified, as we have
seen earlier, as an omphalos or sacred geodetic marker)"
8 |
O |
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15 |
13 |
16 |
8 |
1 |
12 |
15 |
19 |
+ |
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99 |
9+9 |
= |
18 |
1+8 |
= |
9 |
NINE |
9 |
|
6 |
4 |
7 |
8 |
1 |
3 |
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36 |
3+6 |
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|
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9 |
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EIGHT |
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3+0 |
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THREE |
3 |
|
1+5 |
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1+5 |
1+9 |
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5+7 |
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99 |
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= |
18 |
1+8 |
= |
9 |
NINE |
9
|
|
1+5 |
1+3 |
1+6 |
|
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1+2 |
1+5 |
1+9 |
|
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4 |
7 |
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36
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=
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|
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NINE |
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Brother Robert, having paused to take breath continued
onwards, ever onwards, ever upwards, always and forever keeping
HIS ISISIS I OF EYES
REACHING TOWARDS THE SUMMIT
OF
THE
MAGIC
MOUNTAIN
Page 87/ 88 / Let
us examine this / 'Mound'
more closely. At the top of the Mound in Fig. 10 are two symbols, one
a human head and the other a bell-shaped object (identified, as we have
seen earlier, as an omphalos or sacred geodetic marker)")
which is flanked by two kites.133 The two kites, according to Egyptologist
George Hart, symbolise the goddesses Isis and Nephtys134 - again a pictorial
depiction of what is in the Shabaka text. Rundle Clark explains further
by saying that the omphalos-shaped object is yet another hieroglyphic
sign to denote the Primeval Mound.I35 As for the human head that crowns
the Pyramid/Mound, the hieroglyphic texts that accompany it state that
this is 'the flesh of Isis who is above the sand of the land of Sokar,.I36
Now the name of Isis, like that of Osiris, is a Grecian derivative.
The true name of the goddess in the ancient Egyptian language is Ast,
which in its oldest form was written with two signs, one of which was
a 'throne'. We can now see that the 'throne' of Isis, the omphalos-shaped
object and the 'throne' and 'eye' of Osiris all merge in the complex
symbolism of the Primeval Mound and, by extension, also of the original
Benben/Pyramidion capstone. The star sirius, as we shall see
later, is also representative of Isis, and could also be interchanged
with these symbols at the top of the 'Mound'. But there is more. according
to George Hart again, the Pyramid/Mound is representative of the desert
'tomb of Osiris', i.e. the 'burial place of Osiris' in the 'House of
Sokar' in Rostau (i.e. Giza).137 it thus follows that the stepped- pyramid/Mound
in which lies the recumbent hawk-headed figure is representative of
the 'tomb of Osiris-Sokar' at giza. As for the huge recumbent sphinx
called Aker which protects this 'tomb', we have already seen how many
agree that it represents the Great Sphinx of Giza (i.e. Rostau). The
overall conclusion is thus inevitable: the Egyptians, from the earliest
of times, believed that somewhere underneath the bed- rock of Giza,
and more specifically somewhere underneath the area where the Great
Sphinx stands, was to be found the 'tomb of Osiris'.
Intriguingly, however, all these depictions and interchanging symbols
are also extremely suggestive that this tomb is in the form of a pyramidal
structure or 'Mound'. Could it not be that the various connections between
the 'throne of Isis', the idea of a 'star' and the symbol of the Benben
may, in themselves, also point to another secret chamber concealed
within the core of the Great Pyramid or Simon Cox's 'Mound'? We shall
review the evidence which leads to such an exciting conclusion for the
Great Pyramid later on. Meanwhile the reader should also bear in mind
that we shall also later see how [1] the goddess Isis was herself identified
with the star Sirius whose hieroglyphic name, 'Sept', is composed of
the signs denoting a Benben and a 'five-pointed star'; [2] / Page 89
/ how the Benben and the five-pointed star meet up in the 'missing'
capstone of the Great Pyramid of Giza; and [3] how the southern shaft
of the Queen's Chamber in the Pyramid was not only directed to Sirius
but that at its end, two hundred feet deep into the heart of the Pyramid,
lies a small 'door' which many believe could lead to a secret chamber.
In the meantime I was faced with a web of tantalising and complex ideas
which although they were floating next to each other in my mind, nonetheless
lacked that catalyst I needed to bring them together. Yet at the same
time I could not shake off the strong feeling that here, in this strong
brew of symbols, was the rudiments of an arcane 'message' which, like
the proverbial X on a treasure map, seemed to mark the location of the
Fifth Division of the 'Duat', i.e. the House ofSokar, somewhere. in
the Giza necropolis. As strange as it seemed, it was as if I was being
'guided' by the star Sirius whose rays, as it were, illuminated the
deep and dormant recesses of my memory. But how could this be? Why did
such strange and 'far out' ideas trouble my mind? And why, too, was
I making an almost unconscious association of that star with the 'missing'
capstone of the Great Pyramid? It did not make any sense. Yet to another
side of my mind, a side that responded not with the limitation of the
rational process but rather with the intuitive and creative faculties,
it did seem to make 'sense'. Was I perhaps being made receptive, in
some strange and inexplicable way, to some powerful subliminal message
that was locked in the symbolic stellar lore of the ancient Pyramid
builders and their cuI tic images? A 'message' which was not primarily
intended for me or indeed for anyone else today, but had been long ago
aimed at primed initiates of the Heliopolitan cult? Was I the unsuspecting
victim - or beneficiary - of a devastatingly powerful Hermetic device?
It was at that point of impasse in my investigation that I suddenly
remembered the so-called 'wider plan' of the star correlation theory
presented in my first book, The Orion Mystery. In a section of
that book termed 'Signpost to the Benben Stone', I had shown how the
vast region which encompassed the Giza necropolis, the temple of Heliopolis
and a third site known as the Khem (the Letopolis of the Greeks)138
together defined over the landscape a huge 'Pythagorian' right-angled
triangle (see Figs 16 and 19).139 Let us note in passing that the name
Khem Is extremely reminiscent of the name 'Khemmis', the latter being
the place on the west bank of the Nile in the Delta region where, according
to Egyptian mythology, Isis gave birth to Horus. 140 I had also suggested
that the three corners of this 'Pythagorian' triangle were probably
specifically and deliberately marked by [1] the apex of the Great Pyramid;
[2] the apex of the Heliopolitan 'Mound' (the Benben); and [3] the apex
of a / (page 90 Figure16 0mitted) / Page 91/ tower that had apparently
once stood at Khem-Letopolis.141 Much in this curious geometrical arrangement
was suggestive that the link between these three sites provided a sort
of giant 'signpost' that led to the entrance of the Great Pyramid and,
ultimately, through the narrow shafts shooting skywards toward 'the
place where Orion is' which the Pyramid Texts tell us is where the 'gates
of the Duat', i.e. Rostau, could to be found142:
I shall not be turned back at the gates of the Duat. I ascend to the
sky with Orion
. . . I am one who collects for himself his efflux in front of
Rostau . . .143
You will ascend to the sky. . . you being seated upon your iron throne.
. . you have traversed the Winding Waterway in the north of the sky
as a star. . . the Duat has grasped your hand at the place where Orion
is. . .144
In this ground plan, furthermore, I had shown how the Great Pyramid
itself represented a star in Orion's belt, Zeta Orionis, and
how Khem- Letopolis probably represented the corresponding position
of the star Sirius near the west banks of the Milky Way.145 With these
thoughts in mind, I also recalled a statement made by the French Egyptologist
George Goyon in connection with the Great Pyramid which now, in the
light of what has just been said, took on a new and eerie significance.
'The monument,' Goyon had written, 'was placed under the stellar protection
of the god Horus. . .,146We shall see later how the 'star' of Horus
was, in actual fact, also the star Sirius. Suffice at this stage to
mention that in the ancient Pyramid Texts, as well as in all other religious
literature of ancient Egypt, the stellar Horus was said to have been
born from the 'womb of Sot his', the name given by the Greeks of Egypt
to Isis-Sirius. 147 In The Orion Mystery there is an appendix
entitled 'The Survival of the Star Religion' where I presented a detailed
analysis on how in ancient Egyptian texts - such as the Carsberg I Papyrus,
for example - the apparent nine-months (273 days) cycle of the
star Sirius measured from its meridian passage was likened to the gestation
cycle of the human foetus - which led me to conclude that the 'seeding
of the womb of the goddess Sirius-Isis' mentioned in the Pyramid Texts
was probably imagined to take place when Sirius was observed at the
south meridian at dawn.148 During the Pyramid Age this important event
occurred, incidentally, some twenty days before the autumn equinox when
the sun was right on top of the 'scales' of the zodiacal constellation
of Libra. 149 The zodiacal constellation of Libra was almost certainly
associated with the cosmic 'scales' often seen in funerary vignettes
depicting the so- called Judgement Scene of the 'weighing of the heart'
and where Osiris is /
Page 92 / shown seated upon his throne flanked by Isis and Nephtys.150
The alignment of Sirius with the meridian axis of the Great Pyramid
and also the southern shaft of the Queen's Chamber thus created a powerful
sky- ground ritualistic setting for the 'seeding of the womb of Isis'
with the embryo of the future Horus-king.151 I thus postulated that
this was a powerful king-making ritual which during the Pyramid Age
may well have been enacted inside the Queen's Chamber of the Great Pyramid
with an ithyphallic statue of the king (or perhaps even his mummy) placed
in front of the opening of the southern shaft.152 And it was this very
shaft, as we have said, that led to a 'door' deep within the core of
the Pyramid...
The probability for the existence of a secret chamber - or even a second
one - at Giza, under the Sphinx or inside the Great Pyramid, is very
high indeed. But assuming that secret chambers do exist at Giza, concealed
there by the original builders of that site, then what would be their
purpose? What cargo could be so precious, so obsessively important to
preserve, which could induce a people to undertake such a vast and mind-boggling
construction enterprise? What could possibly have been considered so
valuable, so meaningful, so vitally necessary to posterity, to have
it guarded by such a mighty memorial?
One word springs to mind: 'knowledge'. The knowledge of Thoth.
I According to the most conservative estimates, there are 4500 years
that separate us from the supposed construction of the Giza necropolis.
Could the system of knowledge of those ancients who planned Giza have
somehow survived through this immense period of time? And was it inscribed,
as all the ancient texts suggest, on tablets and slabs by the hand of
the god Thoth himself? Are these safely preserved in hermetically sealed
rooms? And, more importantly, is there tangible or scientific evidence
to verify such a hypothesis? Has anyone tried? Who? And what have they
found?
Yet before we tackle these provocative questions, we need to see how
a substantial portion of this legendary 'knowledge' might have been
transmitted across the ages through another route - one so well concealed
that it has hitherto escaped the attention of the Egyptologists and
historians altogether. Concealed, I will suggest, in a 'place' that
no one can reach with spade, scalpel or radar, but only through an initiatory
process that the 'knowledge' was designed for. Because not all knowledge,
as the ancient master initiates knew so well, is something that one
merely recorded in books and inscriptions; rather, true knowledge was
better 'deposited' in a much vaster crucible and far more sophisti-
cated device at their disposal: the memory of man. As
we shall now see, / Page 93 /such powerful ideas may, indeed, have been
preserved by inserting them, like some archaic intellectual microchip,
deep into the body of new belief systems and promising religious and
intellectual movements, in order for them to be carried forward through
periods of danger and tribulations. And when the 'time was right and
good', these ancient ideas could be reawakened from their millennial
slumber."
SECRET CHAMBER
THE QUEST FOR THE HALL OF RECORDS
Robert Bauval
1999
Page 346
A MASTER-PLAN FOR THE THREE PYRAMIDS OF GIZA
BASED ON THE CONFIGURATION OF THE THREE STARS OF THE BELT OF ORION
"The Pyramid Texts embody the remnants of a well-structured
star-cult, the main theme of which was the transfiguration of the dead
pharaohs into stars <1>. Examination of
the Pyramid Texts reveals that the dominant stars of this cult were
those of the constellation of Orion. The special attention given to
Orion can be understood in several ways: it is the most striking of
the constellations, in the archaic Period, it happened to rise in midsummer
at dawn (c.2600 BC), as though a celestial herald of the forthcoming
yearly nilotic flood. Consequently, the appearance of Orion after a
prolongued period of 'invisibility' was taken as the celestial event
preluding a new season of rejuvenation and growth of nature as a whole.
Mythologically, Orion was thus seen as the celestial representation
of Osiris, the god of rebirth/resurrection, and with whom all the dead
pharaohs, as star-gods, were identified <2>.
Thus the Pyramid Texts proclaim: 'Behold, he has come as Orion, behold
Osiris has come as Orion...O king, the sky conceives you with Orion,
the dawn-light bears you with Orion, you will regularly ascend with
Orion from the eastern region of the sky, you will regularly descend
with Orion into the western region of the sky...' (pyr.820-822). 'O
king, you are this great star, the companion of Orion, who traverses
the sky with Orion, who navigates the Netherworld with Osiris, you ascend
from the east of the sky, being renewed in your due season, and rejuvenated
in your due time.' (pyr.882). 'Live, be alive! Be young beside your
father, beside Orion in the sky...' (pyr. 2180).<3>.
The Egyptian knew Orion under the name of 'Sah'.
They imagined 'Sah' as a male anthropomorphic figure undoubtedly representing
Osiris. Several drawings of 'Sah' dating from the New Kingdom are known,
notably from the tomb of Senmut (south hall ceiling), where 'Sah' is
depicted as a man standing on a boat, holding the Ankh symbol in one
hand and a staff in the other, above his head are three large stars
in a row, the topmost star slightly deviated to the left (see plates)<4>.
There can be little doubt that these three stars are Zeta, Epsilon
and Delta Orionis -the Belt Of Orion- which form the same
characteristic pattern at the centre of the constellation <5>.
It is to be noted that this pattern has not perceptibly changed since
the time of the Pyramid Age (c.2700 BC-2150 BC). This is because these
three stars are well-over 1000 light-years away, and consequently no
proper motion is normally registered for them. In any case, any undetected
annual proper motion would probably be below the l/lOOOth of a second
level, thus far too small for the span of time considered to cause any
perceptible change in the pattern of the three stars <6>. In short,
the characteristic pattern formed by the three stars of the belt of
Orion appears the same to us as it did to the Egyptians who built the
Great Pyramid (c.2600 BC).
OXFORD DICTIONARY OF ASTRONOMY
Ian Redpath
1997
Page 52
"Betelgeuse
The star AlphaOrionis,
the tenth-brightest star in the sky. It is an M2 supergiant and a semiregular
variable, fluctuating between magnitudes 0.0 and 1.3 in a period of
several years, with an average magnitude of 0.5. Its distance and luminosity
are poorly determined. Some estimates place it around 400 l.y. away,
much closer than the stars in the Orion Association, with a luminosity
5000 times the Sun's. But if it is at the same distance as the Orion
Nebula, 1400 1.y., its true luminosity would be over 50000 times the
Sun's. Betelgeuse is an extremely large star, hundreds of times the
diameter of the Sun. Its variations in brightness occur as it swells
and contracts in size.
Page341
"Orion (abbr. Ori, gen. Orionis) A
magnificent constellation on the celestial equator, representing a great
hunter of Greek mythology. Orion is outlined by the prominent
stars *Betelgeuse (Alpha Orionis), *Rigel (Beta
Orionis, the / Page 342 / Orion
Arm 342
constellation's brightest star), *Bellatrix (GammaOrionis),
and *Saiph (Kappa Orionis). A line of three stars, * Alnilam
(Epsilon Orionis), * Alnitak (Zeta Orionis). and *Mintaka
(Delta Orionis), make up the Belt of Orion. The famous *Orion
Nebula, M42, contains the multiple star known as the *Trapezium.
On the southern edge of the Orion Nebula is the double star Iota Orionis,
magnitudes 2.8 and 6.9. North of the Orion Nebula is another bright
nebula, NGC 1977, and
further north again is the 5th-magnitude open cluster NGC 1981. 'Phis
complex of nebulosity and clusters forms the Sword of Orion, hanging
from Orion's belt.
Sigma Orionis is an impressive multiple star of magnitudes 3.8,
6.6, 6.7, and 8.8. Eta Orionis is a close double, magnitudes
3.8 and 4.8. The dark *Horsehead Nebula intrudes into a faint strip
of nebulosity, IC 434, which runs south of Alnitak. The *Orionid meteors
radiate from the constellation every October.
Orion Arm The local spiral arm of our Galaxy. The Sun lies near
its inner edge, that is, towards the galactic centre. All the main
naked eye stars are part of the Orion arm, including those of Orion
itself, The arm stretches towards Cygnus in one direction, and towards
Puppis andVela in the opposite direction. Features in the Orion Arm
include the *Gum Nebula, the *Orion Nebula, the *North America Nebula,
the *Cygnus Loop, and the *Great Rift. The Orion arm was once thought
to be a connecting link between larger structures in our Galaxy; hence
it is sometimes also known as the Orion Spur.
Orion Association A large association of very young stars
of spectral types O
and B, centred on the *Orion Nebula, 1500 l.y. away. It is about 400
l.y. across and contains all the main stars of Orion, except Betelgeuse.
The area is still partly shrouded in gas from which stars continue to
fo1'In.
Orionid meteors A meteor shower showing modefate activity between
October 15 and November 2. The activity pattern is complex, with sevefal
peaks and troughs, presumably reflecting the filamentary nature of the
meteor stream laid down over several perihelion returns by *Halley'sComet.
A broad maximum, with ZHR reaching 30, is seen fora couple ot'days around
October 21, from a radiant at RA 6h 24m, dec. +150 (between Betelgeuse
and Gamma Geminorum). Orionid meteors are very swift (geocentric velocity
66 km/s), and a high proportion leave persistent trains, but
most are faint.
Orion Molecular Clouds A group of large clouds of gas and dust
1500 l.y. away in the constellation Orion, the nearest examples of *
giant molecular clouds. Each cloud is over 100 l.y. across and contains
more than 100000 solar masses of gas, mostly in the form of hydrogen
molecules. The young stars of Orion formed from these clouds within
the last 10 million years. New stars aIle stin forming in dense
molecular cores within the clouds, hidden from sight by the dust,
but detectable as
sources of infrared and molecular radiation. The best-known molecular
cores are
designated OMC-l and OMC-2. \.
Orion Nebula A large and bright nebula, 1500l.y. away in the
constellation
Orion; also known as M42 or NGC 1976. The nebula covers more than 10
x 1. of
sky and is faintly visible to the naked eye as a fuzzy patch around
the multiple star
Theta 1 Orionis, also known as the *Trapezium, The ultraviolet light
from the
Trapezium stars ionizes the nebula. The Orion Nebula is over 20 l.y.
in diameter, and contains several hundred solar massesot' ionized gas.
It forms al hot blister on the near side of one of the massive *Orion
Molecular Clouds.
Orion Spur Alternative name for the *Orion Arm of our Galaxy,
given when it was thought to be a branch of the *Perseus Arm.
Page 98
It is not the purpose or task of this book to go into
the complex scholarship of Gnostic studies, but a brief overview is,
at this stage, imperative to our investigation. However, let us begin
by saying that the latest research shows that this early form of Christianity
was rooted in the ancient mystery and initiatory religions of Egypt,
Greece and the East, and that it was through Gnosticism that these ancient
systems were carried across the ages to finally discharge themselves,
albeit much mutated and distorted, in the modem mystery schools of Rosicrucianism
and Freemasonry. In his comprehensive and rather daring study entitled
The Gnosis or Ancient Wisdom in the Christian Scriptures, the
scholar William Kingsland argues thai
. . . the (Christian) scriptures are not always to be taken literally
as biographies of the life of Christ but that they also contain allegorical
and symbolical levels of meaning as well. The figure of Christ that
emerges is not much one of a suffering saviour, pouring out his life's
blood for the redemption of the world, but rather of a guide to the
essential 'gnosis' that the 'kingdom of heaven lies within' . . .11
The crux of Kingsland's thesis is that the teachings of Jesus have much
in common with other mystery religions associated with teachers such
as Hermes Trismegistus, Buddha and Zoroaster, and that they also form
part of a system of enlightenment involving initiation into the so-called
Mysteries, and that the rudimentary basis of these secret ceremonies
have survived today in the rituals of modem initiation societies such
as the Freemasons.12 In the author's own words:
The existence of the ancient Mysteries in Egypt, Greece, and elsewhere
is of course well-known as a matter of history; and many of the more
esoteric ceremonies in connection with these have survived to this day
in the rituals of Freemasonry and the Church itself. . . In all ages
of which we have any literary records we find the tradition of a recondite
knowledge which could not be disclosed to any save to those who had
undergone the severest tests as to their worthiness to receive it. This
knowledge was generally known under the term of the Mysteries, and it
was concerned with the deepest facts of Man's origin, nature, and connection
with super-sensual worlds of beings, as well as with the 'natural' laws
of the physical world. It was no mere speculation; it was real knowledge,
Gnosis, knowledge of 'the things that are', knowledge of Reality; a
knowledge that gave its possessor powers which at one time or other
have been regarded as pertaining only to the gods. . . The basis of
that knowledge, the fundamental principle on which all the teachings
rested, was the essential divine nature of man, and the consequent possibility
of becoming, by self-knowledge, a /Page 99 Figure 19
omitted / Page100 / god like being. The final goal, the final objective
of all the Mysteries, was the full realisation by the initiate of his
divine nature in its oneness with the Supreme Being . . . 13
THE HE AS IN SHE THAT IS THEE
SECRET CHAMBERS
Robert Bauval
1
999
MAGICAL RELIGION
Page 120
"A century
or so after the rediscovery of the Corpus Hermeticum, a strange regeneration
of , Egyptian' mysticism was taking place in Western culture. The Hermetica
was being circulated among scholars, the educated classes and even
royalty.19 A new breed of 'Hermetic' philo- sophers, cabalists, alchemists,
magicians, seers and wizards of all sorts began to emerge.20 In Chapter
2 we saw the bizarre involvement of the Papacy with Hermeticism and
how some misguided scholars attempted to convince the Church not only
that Hermes- Thoth was a prophet of Christianity, but also that his
'books' should be canonised and embraced as 'gospels' of the Roman Catholic
Church. Others, more radical in their demands, went as far as to preach
the return of the 'Egyptian' religion as the true religion of the world.
Among the most forceful and influential of these new Hermetic activists
was a mysterious Italian scholar from the Nolan region called Giordano
Bruno.
Before the late 1960s very few people indeed, except
within a tight academic circle, had even heard of Giordano Bruno.21
It was not until the British scholar Frances A. Yates took up the task
of understanding Bruno's role and motives in the Italian Renaissance
and, more impor- tantly, his strange contacts in the French and English
courts, that the true picture of Bruno's bizarre mission began to emerge.
In her turning- point work, Giordano Bruno and the Hermetic Tradition
(first published in 1962 in London), Yates performed a sort of intellectual
archaeological feat by discovering the rudiments of a powerful esoteric
tradition which had hitherto gone undetected. This tradition, as we
shall see, almost certainly caused the formation of speculative Freemasonic
and Rosi- crucIan movements and ultimately, as I shall also show, set
up the conditions that were to lead seekers to look for the fabled 'Hall
of Records' at Giza. To give a name to this mysterious 'tradition' Yates
was to coin the phrase 'the Hermetic Tradition'.22
Giordano Bruno's mission began in 1581, when he set himself the task
of persuading the monarchs of Europe to install, no less, the 'magical
religion of the Egyptians' as the new religion of the world. That year,
Bruno had arrived in the city of Paris after wandering out of Italy
and through Europe for several months. In Paris he gave public lectures
which eventually got him noticed by the French king, Henri III. Bruno,
/ Page 121 / by then, had developed an extremely high level of proficiency
in the classical art of memory called mnemonics and had already published
two books on the subject. Yates writes:
This classical art, usually regarded as purely mnemotechnical,
had a long history in the Middle Ages. .. In the Renaissance it became
fashionable among Neoplatonists and Hermetists. It was now understood
as a method of printing basic archetypal images on the memory. . . a
kind of inner way of knowing the universe. . . The Hermetic experience
of reflecting the universe in the mind is, I believe, at the root of
Renaissance magic memory, in which the classic mnemonic with places
and images is now understood, or applied, as a method of achieving this
experience by imprinting archetypal, or magically activated, images
on the memory. By using magical or talismanic images as memory- images,
the Magus (magician) hoped to acquire universal knowledge, and also
powers, obtained through the magical organisation of the imagination.-
a magical powerful personality, tuned in, as it were, to the power of
the cosmos. This amazing transformation, or adaptation, of the classical
art of memory in the Renaissance has a history before Bruno, but in
Bruno it reaches culmination. The De umbris idearum and the Cantus Circaeus
. . . are his two first works on magic memory. This reveals him as a
magician. . .23
The human memory has a natural system of selecting images, colours,
scents or sounds in order to store vast amounts of information, moods,
ideas, feelings and sensations. Imagine a day at the beach with friends
and family, full of activities, full of fun and full of wonderful sensations.
That day, however, something unusual happens. You are stung by a blue-
bottle jellyfish. Years later you are visiting an aquarium somewhere
else in the world, and in one of the displays floats a little blue-bottle
jellyfish. Suddenly that 'image' unleashes the memories of that day
on the beach. The blue-bottle is the 'icon' or 'archetypal image' in
which was stored all the memories of that special day. Your mind will
most certainly work out why the memory came to the surface by relating
the jellyfish to the events remembered. It could have happened in a
far more subtle way. You cou.Id have seen something totally unrelated,
say, a postage stamp, whose colour very closely resembled that of the
blue-bottle jellyfish. The unconscious mind makes the association, and
the memories of that day will again flash in your mind. Except this
time you may not be able to work out why this has happened, i.e. your
conscious mind may not have registered what exactly it was that triggered
the memory. This phenome- non is what the Hermetic scholars would have
called the 'silent language' and what the ancient Egyptians would have
called the 'language of the gods'.
Page122
The classical art
of mnemonics is to learn how to create such an icon yourself and store
it in the mind; then, at a later date, unleash it at will to bring back
the desired memory stored in it. A very simple example of this is when
you tie a string on your finger in order to remind you of something
later. on. This works so long as the item you wish to remember is simple
and straightforward. What if the subject matter involved remembering
a complex chain of events such as a Shakespeare play or a lecture on
atomic physics? A far more sophisticated method would be needed, and
that is where the art of mnemonics can be applied. One of the techniques
is to imagine a house that you are familiar with, and allocate in chronological
order the memory of each event to a room or item in this house. Later
you can visualise yourself walking around the house along a predetermined
route, entering the rooms and, as you encounter each item or 'icon',
the memory that it 'stores' begins to unfold. It takes many years of
practice to become a master of the art of memory, and those few who
have the ability and intellect to become adepts will develop tremendous
insight, which in turn can be converted into enormous power of influence
and manipulation. Vast memory that can be controlled, like that of a
powerful computer, translates into vast reservoirs of knowledge. Knowledge,
as we all know, is power. The greater the memory and the more refined
the means to store and control it, the greater the power of the magician.
Recognising such immense abilities in Giordano Bruno, Henri III appointed
him as a spy to the French court, a sort of Renaissance version of James
Bond, and dispatched him to the English court of Elizabeth I. The year
was 1583. Commenting on this mission, Frances Yates writes that
. . . Henri III, who, by sending Bruno into England on some mission.
. . changed the course of his life from a wandering magician into that
of a very strange kind of missionary indeed. . .24
The 'strange kind' of mission that Bruno set out for himself was the
extraordinary task of persuading the Elizabethan court, and through
it eventually the whole of Europe, to adopt the 'true religion of the
world'. That Bruno's intention was to attempt this is confirmed by a
letter written by the English ambassador in Paris, Sir Henry Cobham,
to Francis Walsingham in England to warn him of Bruno's hidden motives:
'Doctor Giordano Bruno Nolano, a professor in philosophy, intends to
pass into England, whose religion I cannot commend. '25 This is a wonderful
English understatement. For the religion that Cobham / Page123 / 'cannot
commend' and which Bruno is bringing to England, as we shall see, is
none other than the ancient Egyptian religion or, more precisely, that
magical religion that he, Bruno, has discovered in the Hermetic texts.26
Bruno, in this ambitious and daring mission, is trying single- handed
to seed the idea of a total general reformation of the world, a sort
of intellectual and spiritual 'Second Coming' which he believes can
be brought about by the revival of ancient Egypt's magical religion.
To do this, Bruno is applying his own magical powers, that is the 'words
of power' which are made the more devastating by linking them to talismans
and archetypal images.27 Making use of a mixture of alchemical a1}d
cabalistic techniques, Bruno's brand of magic using words and images
is clearly 'Egyptian' in style. This is made evident when he wrote:
. . . the sacred letters used among the Egyptians were called hieroglyphs.
. .
which were images. . . taken from things of nature, or their parts.
By using such writings and voices, the Egyptians used to capture with
marvellous skills the language of the gods (my italics). Afterwards
when letters of the kind which we use now were invented. . . they brought
about a great rift both in memory and in the divine and magical sciences.28
This statement alone demonstrates the amazing perceptive ability this
sixteenth-century magician had. For we must remember that Bruno was
writing these words more than three centuries before the Frenchman
Champollion deciphered hieroglyphics.29 From the time he began his visit
to England in 1583, Giordano Bruno went about proclaiming the imminent
return of the magical religion of Egypt. As Frances Yates pointed out:
The works in the form of dialogues written in
Italian which Bruno published in England are usually classified as moral
and philosophical. . . both Bruno's proposed reform and his philosophy
are related to his Hermetic religious mission . . . a mission [which]
. . . becomes expanded into a projected full restoration of the magical
religion of the pseudo-Egyptians of the Asclepius (a major tract on
the Hermetica) . . .30 .
Yet Bruno was no New Age ranter. In Bruno
we have the perfect example of how a powerful intuition can know what
scientific minds have trouble perceiving. It was Bruno, for example,
who introduced Copernicus's ideas of heliocentricity to the Oxford scholars
by using his own intuitive vision of the planets and the sun.31
It was also Bruno who was among the very first to imagine a cosmos populated
by innumerable / Page 124 / other worlds.32 We may thus wonder if his
unusual intuition will not one day prove correct when he spoke of a
revival of the 'magical Egyptian religion' in the Western world. In
his major work Spaccio della Bestia Trionfante, which was written
in England in 1584, Bruno's central theme is 'the glorification of the
magical religion of the Egyptians,.33 In this work Bruno correctly detected
in this ancient religious system that the worship of the Egyptians was
the worship of 'God in things' and that communication with the divine
could thus be achieved through all things in nature, by the application
of a special magic which the Egyptian priests were the masters of:
. . for as the divinity descends in a certain manner inasmuch as it
communicates itself to nature, so there is an ascent made to the divinity
through nature. Thus through the light which shines in natural things
one mounts up to the life which presides over them. . . And in truth
I see how the wise men (of Egypt) by these means had power to make familiar,
affable and domestic gods, which, through the voices which came out
of the statues, gave counsels, doctrines, divinations and superhuman
teachings. Whence with magical and divine rights they ascended to the
height of the divinity by the same scale of nature by which the divinity
descends to the smallest things by the communication of itself. . .
Those wise men, then, in order to obtain certain benefits and gifts
from gods, by means of profound magic, made use of certain natural things
in which the divinity was latent, and through which the divinity was
able and willing to communicate itself for certain effects. Whence those
ceremonies were not vain fancies, but living voices which reached to
the very ears of the gods. . .34
Bruno was living in a time of great expectation for some major religious
reformation. A sort of 'Second Coming' frenzy was about to take hold
of the European masses. Signs in the heavens were eagerly awaited. Rumours
ran wild that soon a messianic-like child would be born and would unite
Europe and the world under a fully reformed Christianity. Hermeticism,
according to many, was the ideal tool in an attempt to activate this
religious reform.35 As the Parisian scholar J. Dagens noted, 'the end
of the sixteenth century and the start of the seventeenth century have
been the golden age of the Religious Hermetism'.36 Using
complex mathematical calculations, some astrono- mers and religious
reformers worked out that the coming of such a messianic 'child' would
take place at the end of the sixteenth century,37 and this
would be made manifest with signs in the heavens. Amazingly, the heavens
were to oblige with the sudden appearance of a supernova star in 1604.38
This spectacular phenomenon took place in the constellation of
/ Page 125 / Cygnus."
THE COSMIC MIND BOGGLING BOOK
Neil McAleer 1982
"The crater Giordano Bruno is believed to
be one of the youngest craters on the moon..."
BENBEN = 255255
SAY I SAY ME SAY
SAY 9 SAY
9 9 9 9
SECRET CHAMBERS
Robert Bauval
1
999
Page 46
"The point that is being made here is that there
existed a sacred science in Egypt that could only be imparted to gifted
individuals with a strong predisposition for intuitive learning - the
type of learning that is done with the human apparatus of perception,
with the fine tuning of the five senses such that they functioned jointly
as super receivers and transmitters of messages. Thus the initiation
or training of natural magicians was to fine-tune the sensory perception.
Anyone can fine-tune his sense to 'read' the messages of nature. However,
to be a magician is to be able to reverse the process, i.e. to transmit
the messages to others by using the 'language of the gods'. This is
the arcana arcanorum, the ultimate secret of the magician. Thoth,
the inventor of this magic, was supreme in its application. Equipped
with such a cognition of Thoth, we can now examine the purpose of his
divine mission as 'messenger' of the gods."
INSTEAD OF USING THE TERMINOLOGY
I, ME, EGO, OUR, CONSCIENCE.
USE THE BLESSED AND
HOLY WHOLLY HOLY
NUMBER
9
AND YOU AS IN THE TRANSPOSED WORD YOU WITH NUMERICAL
ROOT VALUE
7
SO SURELY WILL 7 START TO HEAR
THE MUSIC OF THE SPHERES
THE
MAGIKAL ALCHEMY OF THE NINE
NINE IN ADDITION NINE IN CONTRACTION NINE IN DIVISION
THE A TO Z OF THE
THE
MAGIKALALPHABET
FINGERPRINTS OF THE GODS
G Hancock
1995
Page 287
"What one would look for, therefore, would be
a universal language, the kind of language that would be comprehensible
to any technologically advanced society in any epoch, even a thousand
or ten thousand years into the future. Such languages are few and far
between, but mathematics is one of them - and the city of Teotihuacan
may be the calling-card of a lost civilization written in the eternal
language of mathematics."
"Of all the other stupendous inventions,' Galileo
once remarked,
what sublimity of mind must have been his who conceived
how to communicate his most secret thoughts to any other person, though
very distant either in time or place, speaking with those who are in
the Indies, speaking to those who are not yet born, nor shall be this
thousand or ten thousand years? And with no greater difficulty than
the various arrangements of two dozen little signs on paper? Let this
be the seal of all the admirable inventions of men.3"
WHAT ONE WOULD LOOK FOR THEREFORE WOULD BE A UNIVERSAL
LANGUAGE THE KIND OF LANGUAGE COMPREHENSIBLE TO ANY TECHNOLOGICALLY
ADVANCED SOCIETY IN ANY EPOCH
SUCH LANGUAGES ARE FEW AND FAR BETWEEN BUT MATHEMATICS
IS ONE OF THEM
I
THE
NINTH
HIEROGLYPHIC
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NINE like all else, Gods symbol and special name. NINE
the sign of that intangible creative moment of change, the symbol NINE
It is that which indicates within the eternal continuum the death,
and rebirth of our creative fecund living consciousness. That which
in heralding the death knell of a life. does triumphantly proclaim its
immortality. It is the very essence of that from which which the fabric
of reality is spun.
It is the mystery of all such variations of numerical, alchemical
distillations, which, within the magic of Hermetic transubstantiation
conjure up that blessed moment of magic occaisioned as the majestic
Nine and another spark, It denotes eternal change, the twisting and
turning of the numerical kaleidoscope, searching for and casting the
combinations of numbers that transmute from out of patterned potential
the imperishable Gold of the sacred symbol that is the Nine.The magical
symbol that denotes the act of creation . The God Symbol.It is the moment
of equilibrium, the act of balance, the moment of transfer, it is that
that, that effects the transition betwixt and between Heaven and Earth.
It is the symbol of the upside down of the downside up and the downside
up of the upside down. Its fusion with a brother and sister number marks
the stirring and return of the God Osiris. It is the manifestation of
that metamorphosizing state of being of which all are. It is the very
symbol of the living energy that is indestructable. It proclaims that
Thou that issues forth from the very font of the fulcrum of energies
that constitute the fusion of mind and matter. It is thus, indicative
of that quintessential moment of time stood still It is the shewn signal.of
an indescribable magic It is the creative evocation of the birth that
arises az in both directions at one and the same time. It is the symbol
of Alpha and Omega the A to Z of the Magikalalphabet.
Revealing the true nature of the meaning of the Nine Seven And Three
is our sacred mission scribe said Aliz Zed the thou that is thee and
the thou that is me constitute the he as in she that is the Journeyman
.We have said no more than enough scribe Now it is time to move on.
The arithmetical subterfuge comment, insertions and
insinuations.
Are those of the Zed AlizZed as recorded by the far
yonder scribe
SCHOTTS ORIGINAL MISCELLANY
Pi
3.141592653589793238462643383279502884197169399375105
. .
. 8209749445923078164062862089986280348253421170679821. . . . 34808651328230664709384460955058223172535940812848111.
. .
74502841027019385211055596446229489549303819644288109756 65933446128475648233786783165271201909145648566923460348
61045432664821339360726024914127372458700660631558817488 15209209628292540917153643678925903600113305305488204665
21384146951941511609433057270365759591953092186117381932 61179310511854807446237996274956735188575272489122793818
30119491298336733624406566430860213949463952247371907021 79860943702770539217176293176752384674818467669405132000
56812714526356082778577134275778960917363717872146844090 12249534301465495853710507922796892589235420199561121290
21960864034418159813629774771309960518707211349999998372 97804995105973173281609631859502445945534690830264252230
82533446850352619311881710100031378387528865875332083814 20617177669147303598253490428755468731159562863882353787
59375195778185778053217122680661300192787661119590921642 01989380952572010654858632788659361533818279682303019520
35301852968995773622599413891249721775283479131515574857 24245415069595082953311686172785588907509838175463746493
93192550604009277016711390098488240128583616035637076601 047101819429555961989467678374494482553797747268471040
. .
In the first1000, decimal places of Pi there
are 6 consecutive number 9's
No other number appears consecutively more than 3 times
THE NUMERICAL ROOT VALUE OF THE LETTER P IS 7
AND THE ROOT VALUE OF THE LETTER i IS
9
INSTEAD OF USING THE TERMINOLOGY
I, ME, EGO, OUR, CONSCIENCE.
USE THE BLESSED AND
HOLY WHOLLY HOLY
NUMBER
9
AND THEN YOU, THAT YOU AS IN ROOT VALUE OF
7 WILL SOON START TO HEAR
THE MUSIC OF THE SPHERES
THE
MAGIKAL ALCHEMY OF THE NINE
NINE IN ADDITION NINE IN CONTRACTION NINE IN DIVISION
THE A TO Z OF THE
THE
MAGIKALALPHABET
SECRET CHAMBER
THE QUEST FOR THE HALL OF RECORDS
Robert Bauval
1999
Page 346
A MASTER-PLAN FOR THE THREE PYRAMIDS OF GIZA
BASED ON THE CONFIGURATION OF THE THREE STARS OF THE BELT OF ORION
"The Pyramid Texts embody the remnants of a well-structured
star-cult, the main theme of which was the transfiguration of the dead
pharaohs into stars <1>. Examination of
the Pyramid Texts reveals that the dominant stars of this cult were
those of the constellation of Orion. The special attention given to
Orion can be understood in several ways: it is the most striking of
the constellations, in the archaic Period, it happened to rise in midsummer
at dawn (c.2600 BC), as though a celestial herald of the forthcoming
yearly nilotic flood. Consequently, the appearance of Orion after a
prolongued period of 'invisibility' was taken as the celestial event
preluding a new season of rejuvenation and growth of nature as a whole.
Mythologically, Orion was thus seen as the celestial representation
of Osiris, the god of rebirth/resurrection, and with whom all the dead
pharaohs, as star-gods, were identified <2>.
Thus the Pyramid Texts proclaim: 'Behold, he has come as Orion, behold
Osiris has come as Orion...O king, the sky conceives you with Orion,
the dawn-light bears you with Orion, you will regularly ascend with
Orion from the eastern region of the sky, you will regularly descend
with Orion into the western region of the sky...' (pyr.820-822). 'O
king, you are this great star, the companion of Orion, who traverses
the sky with Orion, who navigates the Netherworld with Osiris, you ascend
from the east of the sky, being renewed in your due season, and rejuvenated
in your due time.' (pyr.882). 'Live, be alive! Be young beside your
father, beside Orion in the sky...' (pyr. 2180).<3>.
The Egyptian knew Orion under the name of 'Sah'.
They imagined 'Sah' as a male anthropomorphic figure undoubtedly representing
Osiris. Several drawings of 'Sah' dating from the New Kingdom are known,
notably from the tomb of Senmut (south hall ceiling), where 'Sah' is
depicted as a man standing on a boat, holding the Ankh symbol in one
hand and a staff in the other, above his head are three large stars
in a row, the topmost star slightly deviated to the left (see plates)<4>.
There can be little doubt that these three stars are Zeta, Epsilon
and Delta Orionis -the Belt Of Orion- which form the same
characteristic pattern at the centre of the constellation <5>.
It is to be noted that this pattern has not perceptibly changed since
the time of the Pyramid Age (c.2700 BC-2150 BC). This is because these
three stars are well-over 1000 light-years away, and consequently no
proper motion is normally registered for them. In any case, any undetected
annual proper motion would probably be below the l/lOOOth of a second
level, thus far too small for the span of time considered to cause any
perceptible change in the pattern of the three stars <6>. In short,
the characteristic pattern formed by the three stars of the belt of
Orion appears the same to us as it did to the Egyptians who built the
Great Pyramid (c.2600 BC).
OSIRIS
OR
IRON
ORION ISISIS OSIRIS
NUMEROLOGY
Gedes and Grossett 1999
Page 7
"All numbers greater than nine can be
reduced to a single digit by the process of fadic addition, for example:
12 is reduced to 3 by adding 1 and 2;
49 is reduced to 4 by adding 4 and 9 which equals
13 and subsequently adding 1 and 3 to make 4."
azazazazazazazAZAZAZAZAZAZAZAZAZazazazazazazaz
IT BEGAN TO RAIN
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RAMESSES
Egypt's Greatest Pharaoh
Joyce Tyldesley 2000
Page xxvi
"The Egyptians wrote their hieroglyphic texts without vowels,
using consonants not found in our modem alphabet. In consequence, although
we can read and understand the ancient writings we cannot be certain
of the correct pronunciation of any word or name. This explains why
different authors refer to the same individual by seemingly different
names. Ramesses II, for example, variously appears in print as
Ramesses, Ramses, Ramesse and Remeses while Queen Nefertari occasionally
occurs as Nofretari. Throughout this book the most simple and widely
accepted version of each proper name has been used with Ramesses
preferred to the increasingly popular Ramses as the former most accurately
represents the original Egyptian name. I follow current convention in
using the words king and pharaoh interchangeably".
Page 1
1
Introducing Ramesses
"Some of Egypt's
kings and queens have emerged from the obscurity of the tomb in sudden
and spectacular fashion. The decoding of hieroglyphics, a tantalizing
mystery until 1822, revealed the unexpected existence of the two aberrant
New Kingdom pharaohs Hatchepsut and Akhenaten. The 1912 recovery of
a magnificent portrait head from the ruined city of Amarna brought the
beautiful Queen Nefertiti back to life, Above all, the unparalleled
1922 discovery of a virtually intact royal tomb in the Valley of the
Kings allowed the hitherto insignificant boy-king Tutankha- men to triumph
over death. Ramesses II, however, has never been in need of such a renaissance.
Over the three millennia that have passed since his reign, his name
- albeit in a distorted form - has never been forgotten.
Sixty-six relatively peaceful years on the throne had allowed Ramesses
ample opportunity for self-promotion. By the time of his death in 1213
BC his monuments and image were to be found in every comer of his realm,
The name ofRamesses was known and respected throughout the varied but
inter-related kingdoms which made up what archaeologists now term the'
Ancient World' - a wide circle of states encompassing Northern Turkey,
Iran, Central Africa, Libya and the Balkans and extending as far west
as Italy and even Spain. Within Egypt the highly efficient royal propaganda
machine had elevated Ramesses to the status of living legend with divine
attributes. In Nubia, Ramesses had already become a fully fledged god.
A fortunate combination of circumstances - optimal Nile floods leading
to good harvests, international stability and, of course, the extraordinary
longevity which caused Ramesses to outlive not only his contemporaries
but many of his children and grandchildren - had allowed Egypt to enjoy
a continuity of government which was the envy of her neighbours. Whether
by good luck or good management, Egypt flourished under Ramesses, and
her people were grateful"
ORIENTAL MAGIC
Idries Shah 1956
Page 85 /6
I am
(Sufi poem of Mirza Khan, Ansari)
How shall I define what thing I am?
Wholly existent, and yet non-existent, through Him, I am.
Whatever becometh naught out of entity,
The signification of that nothingness am I.
Sometimes a mote on the disc of the sun;
At others, a ripple on the water's surface.
Now I fly about in the wind of association:
Now I am a bird of the incorporeal world.
By the name of ice I also style myself:
Congealed in the winter season am I.
I have enveloped myself in the four elements;
I am the cloud on the face of the sky.
From unity I have come into infinity:
Indeed, nothing existeth, that I am not.
My vitality is from life's source itself;
And I am the speech, every mouth within.
I am the hearing-sense with every ear;
And also the sight of every eye am I.
I am the potentiality of every thing:
I am the perception every one within.
My will and inclination are with all;
With mine own acts, also, satisfied am I.
Unto the sinful and vicious, I am evil;
But unto the good beneficent am I.
I THAT 9 AM
ORIENTAL MAGIC
Idries Shah 1956
Page 85 /6
9 am
(Sufi poem of Mirza Khan, Ansari)
How shall 9 define what thing 9 am?
Wholly existent, and yet non-existent, through Him, 9 am.
Whatever becometh naught out of entity,
The signification of that nothingness am 9.
Sometimes a mote on the disc of the sun;
At others, a ripple on the water's surface.
Now 9 fly about in the wind of association:
Now 9 am a bird of the incorporeal world.
By the name of ice 9 also style myself:
Congealed in the winter season am 9.
9 have enveloped myself in the four elements;
9 am the cloud on the face of the sky.
From unity 9 have come into infinity:
Indeed, nothing existeth, that 9 am not.
My vitality is from life's source itself;
And 9 am the speech, every mouth within.
9 am the hearing-sense with every ear;
And also the sight of every eye am 9.
9 am the potentiality of every thing:
9 am the perception every one within.
My will and inclination are with all;
With mine own acts, also, satisfied am 9.
Unto the sinful and vicious, 9 am evil;
But unto the good beneficent am 9.
Page 83
Dhikrs of the
Sufis
AIl recitations are performed in a state of ritual purity. The face,
arms, feet and mouth are washed. If the Seeker has slept since his last
dhikr, he must have a bath. Any other pollution must also be removed
by complete immersion.
Dhikrs are generally said during the hours of darkness. When a supernatural
result is desired, the dhikr must dwell upon some facet of the Divine
power allied to the effect to be accom- plished. Thus, when a Sufi wishes
to cure illness, he prepares himself by repeating a dhikr consisting
of the Name of God which denotes healing. By this means the Sufi intends
to collect in his mind a tremendous potential of mental force associated
with healing. This he projects towards the object of ltis atten- tions,
at the same time concentrating upon the desired result.
When a Sufi's aid is invoked to ensure, for example, success
in any venture, he will purify himself and spend three nights, culminating
on a Thursday, reciting the simple formula Ya Fatih (' O Victor ') -
one of the Attributes of the AIl-Powerful.
On Thursday (the 'powerful' night of the week) the full quota of power
will have been built up in his mind: this, at any event, is the theory.
He may also give the person a talisman or amulet with the dhikr written
on it, to wear on his arm. Even today, these dhikr amulets are widely
worn among all classes in the Moslem East. It is not uncommon for Sufis
to receive a visitation from some important member of the Order - perhaps
long dead - advising them as to the best course to take in any matter
upon which they are uncertain.
At the outset of his training the more esoteric aspects of Sufism are
of less concern to the Seeker than the attainment of progress through
implicit obedience to the formulae of the cult. The root of all such
progress is dhikr. Having either been given a set dhikr to repeat (if
he is under the direct guidance of a Sheikh), or having selected one
himself (if he is an Uwaysi working towards the goal alone), his task
is to repeat it with meticulous regard for the times and frequency of
its saying.
If the formula is said under the breath (dhikr khafi), a rosary with
ninety-nine beads is used, one bead being told after each repetition.
In the case of the dhikr jali (' loud repetition ') the / Page 84 /
the rosary is often not used."
"If the formula
is said under the breath (dhikr khafi), a rosary with ninety-nine
beads is used, one bead being told after each repetition.
Page 97
"Moslem tradition
tells a curious tale of the Prophet Mohammed being bewitched by a Jewish
sorcerer using this method.Nine knots were tied in a string,
each knot' binding' a curse, and the thread was then hidden in a well.
Only the archangel Gabriel's timely warning, we are informed,
disclosed the hiding- place of the Death Spell. Such spells are countered
by untying the knots, one by one: but in this case the chroniclers affirm
that they unravelled themselves at the Prophet's command."
Nine knots were tied in a string,
|