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Evokation
 
 
Index
 

 

 

 

 

 

 

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ADDED
18
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
3
ALL
25
7
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
5
MINUS
76
22
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
4
NONE
48
21
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
6
SHARED
55
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
2
BY
27
9
9
-
-
-
-
-
-
-
-
-
9
E
=
5
-
10
EVERYTHING
133
61
7
-
-
-
-
-
-
-
7
-
-
M
=
4
-
10
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
58
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+8
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
13
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+3
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
4
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
9
-
-
-
-
5
6
-
-
-
1
-
-
-
-
6
-
8
+
=
43
4+3
=
7
=
7
=
7
-
-
-
-
-
-
-
-
8
9
-
-
-
-
14
15
-
-
-
19
-
-
-
-
24
-
26
+
=
115
1+1+5
=
7
=
7
=
7
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
-
-
1
2
3
4
-
-
7
8
9
-
2
3
4
5
-
7
-
+
=
83
8+3
=
11
1+1
2
=
2
-
1
2
3
4
5
6
7
-
-
10
11
12
13
-
-
16
17
18
-
20
21
22
23
-
25
-
+
=
236
2+3+6
=
11
1+1
2
=
2
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
+
=
351
3+5+1
=
9
=
9
=
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
+
=
126
1+2+6
=
9
=
9
=
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
-
1
-
-
-
-
-
-
-
+
=
1
occurs
x
3
=
3
=
3
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
-
-
2
-
-
-
-
-
-
+
=
2
occurs
x
3
=
6
=
6
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
-
-
-
3
-
-
-
-
-
+
=
3
occurs
x
3
=
9
=
9
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
-
-
-
-
4
-
-
-
-
+
=
4
occurs
x
3
=
12
1+2
3
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
-
-
-
-
-
5
-
-
-
+
=
5
occurs
x
3
=
15
1+5
6
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
-
-
-
-
-
-
6
-
-
+
=
6
occurs
x
3
=
18
1+8
9
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
-
-
-
-
-
-
-
7
-
+
=
7
occurs
x
3
=
21
2+1
3
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
-
8
+
=
8
occurs
x
3
=
24
2+4
6
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
+
=
9
occurs
x
2
=
18
1+8
9
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
45
-
-
26
-
126
-
54
-
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
9
-
-
-
-
-
-
-
-
-
-
4+5
-
-
2+6
-
1+2+6
-
5+4
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9
-
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
-
-
-
-
-
-
-
-
-
-
26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
-
-
9
-
-
8
-
9
-
9

 

 

6
OSIRIS
89
35
8
4
ISIS
56
20
2
3
SET
44
8
8
13
Add to Reduce
189
63
18
1+3
Reduce to Deduce
1+8
6+3
1+8
4
Essence of Number
9
9
9
5
HORUS
81
27
9
4
GODS
45
18
9
8
CREATORS
99
36
9

 

--

 

RE GODS NAME GODS

RE AS IN THREE IS IS THREE AS IN RE

 

 

I

ATUM 1234 ATUM

I

 

-
KABALAH
-
-
-
5
K+A+B+A+L
27
9
9
2
A+H
9
9
9
7
KABALAH
36
18
18
-
-
3+6
1+8
1+8
7
KABALAH
9
9
9

 

 

-
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
-
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
2
1
2
1
3
1
-
+
=
10
1+0
=
1
=
1
-
-
11
1
2
1
12
1
-
+
=
28
2+8
=
10
1+0
1
-
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
11
1
2
1
12
1
8
+
=
36
3+6
=
9
=
9
-
-
2
1
2
1
3
1
8
+
=
18
1+8
=
9
=
9
-
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
1
occurs
x
3
=
3
-
-
2
-
2
-
-
-
-
-
-
2
occurs
x
2
=
4
-
-
-
-
-
-
3
-
-
-
-
3
occurs
x
1
=
3
4
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
9
-
-
-
-
-
-
-
-
-
-
9
-
8
-
-
-
31
7
K
A
B
A
L
A
H
-
-
14
-
-
7
-
18
3+1
-
-
-
-
-
-
-
-
-
-
1+4
-
-
-
-
1+8
4
7
K
A
B
A
L
A
H
-
-
5
-
-
7
-
9
-
-
2
1
2
1
3
1
8
-
-
-
-
-
-
-
-
4
7
K
A
B
A
L
A
H
-
-
5
-
-
7
-
9

 

 

7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
2
1
2
1
3
1
-
+
=
10
1+0
=
1
=
1
-
11
1
2
1
12
1
-
+
=
28
2+8
=
10
1+0
1
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
11
1
2
1
12
1
8
+
=
36
3+6
=
9
=
9
-
2
1
2
1
3
1
8
+
=
18
1+8
=
9
=
9
7
K
A
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
-
1
occurs
x
3
=
3
-
2
-
2
-
-
-
-
-
-
2
occurs
x
2
=
4
-
-
-
-
-
3
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
-
-
-
-
-
-
-
-
-
-
9
-
8
-
-
-
7
K
A
B
A
L
A
H
-
-
14
-
-
7
-
18
-
-
-
-
-
-
-
-
-
-
1+4
-
-
-
-
1+8
7
K
A
B
A
L
A
H
-
-
5
-
-
7
-
9
-
2
1
2
1
3
1
8
-
-
-
-
-
-
-
-
7
K
A
B
A
L
A
H
-
-
5
-
-
7
-
9

 

 

en.wikipedia.org/wiki/Karbala

Karbala (Arabic: كربلاء‎; BGN: Al-Karbalā'; also referred to as Karbalā' al-Muqaddasah) is a city in Iraq, located about 100 km (62 mi) southwest of Baghdad.

Battle of Karbala - Wahhabi sack of Karbala - Category:Karbala - Karbala Province

 

 

-
KABBALAH
-
-
-
5
KABBA
17
8
8
1
L
12
3
3
2
A+H
9
9
9
8
KABBALAH
38
20
20
=
-
3+8
2+0
2+0
8
KABBALAH
11
2
2
=
-
1+1
-
-
8
KABBALAH
2
2
2

 

 

-
KABBALAH
-
-
-
2
KA
12
3
3
1
B
2
2
2
2
B+A
3
3
3
1
L
12
3
3
2
A+H
9
9
9
8
KABBALAH
38
20
20
=
-
3+8
2+0
2+0
8
KABBALAH
11
2
2
=
-
1+1
-
-
8
KABBALAH
2
2
2

 

 

-
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
-
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
-
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
2
1
2
2
1
3
1
-
+
=
12
1+2
=
3
=
3
-
-
11
1
2
2
1
12
1
-
+
=
30
3+0
=
3
=
3
-
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
11
1
2
2
1
12
1
8
+
=
38
3+8
=
11
1+1
2
-
-
2
1
2
2
1
3
1
8
+
=
20
2+0
=
2
=
2
-
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
1
-
-
-
1
occurs
x
3
=
3
-
-
2
-
2
2
-
-
-
-
-
-
2
occurs
x
3
=
6
-
-
-
-
-
-
-
3
-
-
-
-
3
occurs
x
1
=
3
4
-
-
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
9
-
-
-
-
-
-
-
-
-
-
-
9
-
8
-
-
-
31
8
K
A
B
B
A
L
A
H
-
-
14
-
-
8
-
20
3+1
-
2
1
2
2
1
3
1
8
-
-
1+4
-
-
-
-
2+0
31
8
K
A
B
B
A
L
A
H
-
-
14
-
-
8
-
20
3+1
-
2
1
2
2
1
3
1
8
-
-
-
-
-
-
-
-
4
8
K
A
B
B
A
L
A
H
-
-
5
-
-
8
-
2

 

 

8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
-
-
-
-
-
-
-
-
8
+
=
8
-
=
8
=
8
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
2
1
2
2
1
3
1
-
+
=
12
1+2
=
3
=
3
-
11
1
2
2
1
12
1
-
+
=
30
3+0
=
3
=
3
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
11
1
2
2
1
12
1
8
+
=
38
3+8
=
11
1+1
2
-
2
1
2
2
1
3
1
8
+
=
20
2+0
=
2
=
2
8
K
A
B
B
A
L
A
H
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
1
-
-
-
1
occurs
x
3
=
3
-
2
-
2
2
-
-
-
-
-
-
2
occurs
x
3
=
6
-
-
-
-
-
-
3
-
-
-
-
3
occurs
x
1
=
3
-
-
-
-
-
-
-
-
8
-
-
8
occurs
x
1
=
8
8
K
A
B
B
A
L
A
H
-
-
14
-
-
8
-
20
-
2
1
2
2
1
3
1
8
-
-
1+4
-
-
-
-
2+0
8
K
A
B
B
A
L
A
H
-
-
14
-
-
8
-
20
-
2
1
2
2
1
3
1
8
-
-
-
-
-
-
-
-
8
K
A
B
B
A
L
A
H
-
-
5
-
-
8
-
2

 

 

C
3
-
9
CHRISTIAN
101
47
2
C
3
-
-
CABALA
-
-
-
-
-
-
1
C
3
3
3
-
-
-
2
A+B
3
3
3
-
-
-
1
A
1
1
1
-
-
-
1
L
12
3
3
-
-
-
1
A
1
1
1
-
-
-
6
CABALA
20
11
11
-
-
-
=
-
2+0
1+1
1+1
-
-
-
6
CABALA
2
2
2

 

 

-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
1
occurs
x
3
=
3
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
-
-
3
-
-
-
3
-
-
-
3
occurs
x
2
=
6
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
6
-
-
-
-
-
-
-
-
-
8
EIGHT
9
-
-
-
9
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
31
6
C
A
B
A
L
A
-
-
6
-
-
6
-
11
3+1
-
-
1
-
1
-
1
-
-
-
-
-
-
-
1+1
4
6
C
A
B
A
L
A
-
-
6
-
-
6
-
2
-
-
3
1
2
1
3
1
-
-
-
-
-
-
-
-
4
6
C
A
B
A
L
A
-
-
6
-
-
6
-
2

 

 

-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
1
occurs
x
3
=
3
-
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
-
-
3
-
-
-
3
-
-
-
3
occurs
x
2
=
6
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
5
-
-
-
-
-
-
-
-
-
5
FIVE
5
-
-
-
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
6
-
-
-
-
-
-
-
-
-
8
EIGHT
9
-
-
-
9
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
31
6
C
A
B
A
L
A
-
-
6
-
-
6
-
11
3+1
-
-
1
-
1
-
1
-
-
-
-
-
-
-
1+1
4
6
C
A
B
A
L
A
-
-
6
-
-
6
-
2
-
-
3
1
2
1
3
1
-
-
-
-
-
-
-
-
4
6
C
A
B
A
L
A
-
-
6
-
-
6
-
2

 

 

6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
3
1
2
1
12
1
+
=
20
2+0
=
2
=
2
-
3
1
2
1
3
1
+
=
11
1+1
=
2
=
2
6
C
A
B
A
L
A
-
-
-
-
-
-
-
-
-
-
1
-
1
-
1
-
-
1
occurs
x
3
=
3
-
-
-
2
-
-
-
-
-
2
occurs
x
1
=
2
-
3
-
-
-
3
-
-
-
3
occurs
x
2
=
6
6
C
A
B
A
L
A
-
-
6
-
-
6
-
11
-
-
1
-
1
-
1
-
-
-
-
-
-
-
1+1
6
C
A
B
A
L
A
-
-
6
-
-
6
-
2
-
3
1
2
1
3
1
-
-
-
-
-
-
-
-
6
C
A
B
A
L
A
-
-
6
-
-
6
-
2

 

 

GOOD EVIL BLACK WHITE LIGHT DARK NEGATIVE POSITIVE NEGATIVE POSITIVE DARK LIGHTWHITE BLACK EVIL GOOD

 

 

THINKS WATER THINKS WATER THINKS

THINKS I SEE THAT SEE I SEE THAT SEE I THINKS

THAT I KNOW I KNOW THAT

--

I

THAT

AM AT MAAT AT AM

ISISIS MAAT ISISIS

REAL REALITY REVEALED AM I AM REVEALED REALITY REAL

THINKS ALWAYS DIVINE THOUGHT PLASMAS GODS PLASMAS THOUGHT DIVINE ALWAYS THINKS

 

 

I

ME

THE

SWORD OF WORDS

 

 

DECODE CODE CODE DECODE CODE CODE DECODE

453645 3645 3645 453645 3645 3645 453645

DECODE CODE CODE DECODE CODE CODE DECODE

 

 

RIVER RIVER

9999 9999

RIVER RIVER

 

 

RIVER RIVER ISIS IS ISIS RIVER RIVER

99459 99459 9191 91 9191 99459 99459

RIVER RIVER ISIS IS ISIS RIVER RIVER

 

 

ART AT R AT ART

AT MAAT AT AM I AM AT MAAT AM

I THAT AM AT ART AT AM AT ART AT AM THAT I

 

 

Greek language - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Greek_language

Jump to Greek alphabet‎: Its writing system has been the Greek alphabet for the majority of its history; other ... The later Greek alphabet is derived from the Phoenician alphabet (abjad); ...

 

 

Attic Greek - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Attic_Greek

The first form of written Greek was not the Greek alphabet as it later became known, .... followed by a long vowel: ēō → eō; when followed by u and s: ēus → eus ...

 

 

Mycenaean Greek - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Mycenaean_Greek

(see also: Greek alphabet) .... The use of -eus to produce agent nouns; The third person singular ending -ei; The infinitive ending -ein (contracted from -e-en) ...

 

enargea.org | Transliteration and Accentuation of Greek ...

enargea.org/homyth/translit.html

The majuscule (uncial, capital, or upper-case) letters of the ancient Greek .... Greek case-endings, Latin equivalent, Greek, Latin. -os, -us, Aiakos, Aeacus ...

 

 

THE WHITE GODDESS

Robrert Graves circa 1960

"eus"

 

 

EUS 531 EUS

EUS 9 EUS

EUS 531 EUS

 

 

EUS USE EUS

531 315 531

EUS USE USE EUS

 

 

ZEUS Z EUS Z ZEUS

EUS 531 IS 9 IS 531 EUS

ZEUS Z EUS Z ZEUS

 

 

HERA HEAR HERA

HEAR HERA 5 HERA HEAR

HERA HEAR HERA

 

 

ZEUS Z EUS Z ZEUS

EUS 531 IS 9 IS 531 EUS

ZEUS Z EUS Z ZEUS

 

 

ZE US HEAR US HEAR ZE US

 

 

THESESUS

THESEUS THES EUS THES THESEUS

THESESUS

 

 

THESESUS

THESEUS THES 531 THES THESEUS

THESESUS

 

 

PERSEUS

PERSEUS EUS PERSEUS

PERSEUS

 

 

PERSEUS

PERSEUS 531 PERSEUS

PERSEUS

 

 

PERSEUS

PERSEUS SEU PERSEUS

PERSEUS

 

 

PERSEUS

PERSEUS 135 PERSEUS

PERSEUS

 

 

PERSEUS PURSUES PERSEPHONE PURSUES PERSEUS

HADES SHADE HADES

SHADE HADES SHADE

PERSEUS PURSUES PERSEPHONE PURSUES PERSEUS

 

 

JESUS J ESU S JESUS

JESUS J 531 S JESUS

JESUS J ESU S JESUS

 

 

CHRIST

CHRIST C RISH T CHRIST

CHRIST

 

 

CHRIST

CHRIST C 999 T CHRIST

CHRIST

 

 

CHRISTOS SO CHRIST SO CHRISTOS

CHRISTOS SO 39992 SO CHRISTOS

CHRISTOS SO CHRIST SO CHRISTOS

 

 

CHRISTOS SO CHRIST SO CHRISTOS

CHRISTOS SO C999T SO CHRISTOS

CHRISTOS SO CHRIST SO CHRISTOS

 

 

OSIRIS SOIRIS OSIRIS

OSIRIS SO999S OSIRIS

OSIRIS SOIRIS OSIRIS

 

 

OSIRIS ISIS OSIRIS

OS999S 9S9S OS999S

OSIRIS ISIS OSIRIS

 

 

OSIRIS ISIS SIRIUS ISIS OSIRIS

OS999S 9S9S S999US 9S9S OS999S

OSIRIS ISIS SIRIUS ISIS OSIRIS

 

 

OSIRIS ISIS IRIS SIRIUS ISIS OSIRIS

619991 9191 9991 199931 9191 619991

OSIRIS ISIS IRIS ISIS OSIRIS

 

 

OSIRIS ISIS IRIS ISIS OSIRIS

OS999S 9S9S 999S 9S9S OS999S

OSIRIS ISIS IRIS ISIS OSIRIS

 

 

ISIS IRIS ISIS

9S9S 999S 9S9S

SIS IRIS ISIS

 

 

IRIS ISIS IRIS

999S 9S9S 999S

IRIS ISIS IRIS

 

 

OSIRIS ISIS SIRIUS ISIS OSIRIS

OS999S 9S9S S999US 9S9S OS999S

OSIRIS ISIS SIRIUS ISIS OSIRIS

 

 

OSIRIS ISIS SIRIUS ISIS OSIRIS

619991 9191 199931 9191 619991

OSIRIS ISIS SIRIUS ISIS OSIRIS

 

 

SAPTARSHI A PAST RISH PAST A RISH SAPTARSHI

SAPTARSHI A PAST 999 PAST A RISH SAPTARSHI

SAPTARSHI A PAST RISH PAST A RISH SAPTARSHI

 

 

SAPTARSHI A STARSHIP SAPTARSHI

 

 

 

 

MNEMONICS 455465931 MNEMONICS

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

ESOTERIC 51625993 ESOTERIC

O SECRET I

6 SECRET 9

O SECRET I

ESOTERIC 51625993 ESOTERIC

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

3THREES3 IS 3 IS 3THREES3

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1966

THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY

Page 175

CHAPTER 8

LULLISM AS AN ART OF MEMORY

THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull.

Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lull was like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art.

Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.

 

Page 282

"By THE LADDER OF MINERVA we rise from the first to the last..."

 

 

B
=
2
-
2
BY
27
9
9
T
=
2
-
3
THE
33
15
6
L
=
3
-
6
LADDER
44
26
8
O
=
6
-
2
OF
21
12
3
M
=
4
-
7
MINERVA
82
37
1
W
=
5
-
2
WE
28
10
1
R
=
9
-
4
RISE
51
24
6
F
=
6
-
4
FROM
52
25
7
T
=
2
-
3
THE
33
15
6
F
=
6
-
5
FIRST
72
27
9
T
=
2
-
2
TO
35
8
8
T
=
2
-
3
THE
33
15
6
L
=
3
-
4
LAST
52
7
7
-
-
52
-
47
-
563
230
77
-
-
5+2
-
4+7
-
5+6+3
2+3+0
7+7
-
-
7
-
11
-
14
5
14
-
-
-
-
1+1
-
1+4
-
1+4
-
-
7
-
2
-
5
5
5

 

 

ART AT R AT ART

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art.

hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it.

The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews.

An extraordinary feature of Lullism is that it assigns a letter­ notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements.

The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala.

It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism.

Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking.

The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations.

Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures.

Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity.

The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10

As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy.

Page 17

The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking.

And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity.

The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'.

Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa.

The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a starting­point. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris­ megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino.

Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola.

It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.

 

 

TRIANGLE 5 TRIANGLE

CIRCLE 5 CIRCLE

SQUARE 9 SQUARE

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

Page 13

An extraordinary feature of Lullism is that it assigns a letter­ notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

Page 13

On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

Page 13

On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

ABCD 1234 ABCD

BCDEFGHIK 234567892 BCDEFGHIK

 

 

THREES 3 THREES

 

LULL 3333 LULL

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 136

Page 135 (number omitted)

"No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line."

"Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)"

"Page 139

He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned.

Awaiting damnation he calls on Christ, and there comes the famous line

" See see where Christs bloud streames in the firmament.11"

 

 

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

155 155 58595 3899121 23634 12951451 95 285 699414552

IS 9 IS

9

IS 9 IS

155 155 58595 3899121 23634 12951451 95 285 699414552

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

 

 

S
=
1
-
3
SEE
29
11
2
S
=
1
-
3
SEE
29
11
2
W
=
5
-
5
WHERE
59
32
5
C
=
3
-
7
CHRISTS
96
33
6
B
=
2
-
5
BLOUD
54
18
9
S
=
1
-
8
STREAMES
100
28
1
I
=
9
-
2
IN
23
14
5
T
=
2
-
3
THE
33
15
6
F
=
6
-
9
FIRMAMENT
99
45
9
-
-
33
-
45
-
522
207
45
-
-
3+3
-
4+5
-
5+2+2
2+0+7
4+5
-
-
6
-
9
-
9
9
9

 

 

ZOHAR 5 ZOHAR

5

ZOHAR 5 ZOHAR

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER NAME OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER CIRCLE OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

SEPHIROTH 1 SEPHIROTH

PHI OTHERS 789 OTHERS PHI

SEPHIROTH 1 SEPHIROTH

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
P
=
7
-
10
PHOENICIAN
94
49
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
10
-
21
First Total
192
93
12
-
1
2
3
4
5
6
7
8
9
-
-
1+0
-
2+1
Add to Reduce
1+9+2
9+3
1+2
-
-
-
-
-
-
-
-
-
-
-
-
1
Q
3
Second Total
12
12
3
Q
1
2
3
4
5
6
7
8
9
-
-
-
-
-
Reduce to Deduce
1+2
1+2
-
-
-
-
-
-
-
-
-
-
-
-
-
1
Q
3
Essence of Number
3
3
3
Q
1
2
3
4
5
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
Z
=
8
-
5
ZAYIN
75
30
3
-
-
-
3
-
-
-
-
-
-
W
=
5
-
3
WAW
47
11
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
2
HE
13
4
4
-
-
-
-
4
-
-
-
-
-
D
=
4
-
6
DALETH
50
23
5
-
-
-
-
-
5
-
-
-
-
G
=
7
-
5
GIMEL
46
28
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
4
BETH
35
17
8
-
-
-
-
-
-
-
-
8
-
A
=
1
-
5
ALEPH
42
24
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
3
NUN
49
13
4
-
-
-
-
4
-
-
-
-
-
M
=
4
-
3
MEM
31
13
4
-
-
-
-
4
-
-
-
-
-
L
=
3
-
6
LAMEDH
43
25
7
-
-
-
-
-
-
-
7
-
-
K
=
2
-
4
KAPH
36
18
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
-
4
YODH
52
25
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
4
TETH
53
17
8
-
-
-
-
-
-
-
-
8
-
H
=
8
-
4
HETH
41
23
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
TAW
44
8
8
-
-
-
-
-
-
-
-
8
-
S
=
1
-
4
SHIN
50
23
5
-
-
-
-
-
5
-
-
-
-
R
=
9
-
4
RESH
50
23
5
-
-
-
-
-
5
-
-
-
-
Q
=
8
-
4
QOPF
56
29
2
-
-
2
-
-
-
-
-
-
-
S
=
1
-
5
SADHE
37
19
1
-
1
-
-
-
-
-
-
-
-
P
=
7
-
3
PEH
29
20
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
4
AYIN
49
22
4
-
-
-
-
4
-
-
-
-
-
S
=
1
-
6
SAMEKH
57
21
3
-
-
-
3
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
96
-
91
-
985
436
103
-
2
6
6
16
20
6
14
24
9
-
-
9+6
-
9+1
-
9+8+5
4+3+6
1+0+3
-
-
-
-
1+6
2+0
-
1+4
2+4
-
Q
-
15
Q
10
Q
22
13
4
Q
2
6
6
7
2
6
5
6
9
-
-
1+5
-
1+0
-
2+2
1+3
-
-
-
-
-
-
-
-
-
-
-
-
-
6
Q
1
Q
4
4
4
Q
2
6
6
7
2
6
5
6
9

 

Hebrew alphabet - Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Hebrew_alphabet

The Hebrew alphabet (Hebrew: אָלֶף־בֵּית עִבְרִי‎‎, Alephbet 'Ivri), known variously by scholars as the Jewish script, square script, block script, or more ...

Paleo-Hebrew alphabet - History of the Hebrew alphabet

 

THE

ALPHABET OF BIBLICAL

HEBREW

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
A
=
1
-
8
ALPHABET
65
29
2
-
-
2
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
B
=
2
-
8
BIBLICAL
50
32
5
-
-
-
-
-
5
-
-
-
-
H
=
8
-
6
HEBREW
61
34
7
-
-
-
-
-
-
-
7
-
-
-
-
19
-
27
First Total
230
122
23
-
1
2
3
4
5
6
7
8
9
-
-
1+9
-
2+7
Add to Reduce
2+3+0
1+2+2
2+3
-
-
-
-
-
-
-
-
-
-
-
-
10
Q
9
Second Total
5
5
5
Q
1
2
3
4
5
6
7
8
9
-
-
1+0
-
-
Reduce to Deduce
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
Q
9
Essence of Number
5
5
5
Q
1
2
3
4
5
3
7
8
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
5
ALEPH
42
24
6
-
-
-
-
-
-
6
-
-
-
B
=
2
-
4
BETH
35
17
8
-
-
-
-
-
-
-
-
8
-
G
=
7
-
5
GIMEL
46
28
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
5
DALET
42
15
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
3
HEY
38
20
2
-
-
2
-
-
-
-
-
-
-
W
=
5
-
3
WAW
47
11
2
-
-
2
-
-
-
-
-
-
-
Z
=
8
-
5
ZAYIN
75
30
3
-
-
-
3
-
-
-
-
-
-
H
=
8
-
3
HET
33
15
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
3
TET
45
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
-
3
YOD
44
17
8
-
-
-
-
-
-
-
-
8
-
K
=
2
-
3
KAF
18
9
9
-
-
-
-
-
-
-
-
-
9
L
=
3
-
5
LAMED
35
17
8
-
-
-
-
-
-
-
-
8
-
M
=
4
-
3
MEM
31
13
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
3
NUN
49
13
4
-
-
-
-
4
-
-
-
-
-
S
=
1
-
6
SAMECH
49
22
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
4
AYIN
49
22
4
-
-
-
-
4
-
-
-
-
-
P
=
7
-
3
PEH
29
20
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
5
TSADE
49
13
4
-
-
-
-
4
-
-
-
-
-
Q
=
8
-
3
QOF
38
20
2
-
-
2
-
-
-
-
-
-
-
R
=
9
-
4
RESH
50
23
5
-
-
-
-
-
5
-
-
-
-
S
=
1
-
4
SHIN
50
23
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
TAV
43
7
7
-
-
-
-
-
-
-
7
-
-
-
-
97
-
85
-
937
397
118
-
1
8
3
20
10
18
7
24
18
-
-
9+7
-
8+5
-
9+3+7
3+9+7
1+1+8
-
-
-
-
2+0
1+0
1+8
-
2+4
1+8
Q
-
16
Q
13
Q
19
19
10
Q
1
8
3
2
1
9
7
6
9
-
-
1+6
-
1+3
-
1+9
1+9
1+0
-
-
-
-
-
-
-
-
-
-
-
-
7
Q
4
Q
10
10
1
Q
1
8
3
2
1
9
7
6
9
-
-
-
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
7
Q
4
1
1
1
Q
1
8
3
2
1
9
7
6
9

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
5
ALEPH
42
24
6
-
-
-
-
-
-
6
-
-
-
B
=
2
-
4
BETH
35
17
8
-
-
-
-
-
-
-
-
8
-
G
=
7
-
5
GIMEL
46
28
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
5
DALET
42
15
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
3
HEY
38
20
2
-
-
2
-
-
-
-
-
-
-
W
=
5
-
3
WAW
47
11
2
-
-
2
-
-
-
-
-
-
-
Z
=
8
-
5
ZAYIN
75
30
3
-
-
-
3
-
-
-
-
-
-
H
=
8
-
3
HET
33
15
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
3
TET
45
9
9
-
-
-
-
-
-
-
-
-
9
Y
=
7
-
3
YOD
44
17
8
-
-
-
-
-
-
-
-
8
-
K
=
2
-
3
KAF
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
54
-
42
-
465
195
60
-
1
4
3
4
5
18
7
16
18
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
L
=
3
-
5
LAMED
35
17
8
-
-
-
-
-
-
-
-
8
-
M
=
4
-
3
MEM
31
13
4
-
-
-
-
4
-
-
-
-
-
N
=
5
-
3
NUN
49
13
4
-
-
-
-
4
-
-
-
-
-
S
=
1
-
6
SAMECH
49
22
4
-
-
-
-
4
-
-
-
-
-
A
=
1
-
4
AYIN
49
22
4
-
-
-
-
4
-
-
-
-
-
P
=
7
-
3
PEH
29
20
2
-
-
2
-
-
-
-
-
-
-
T
=
2
-
5
TSADE
49
13
4
-
-
-
-
4
-
-
-
-
-
Q
=
8
-
3
QOF
38
20
2
-
-
2
-
-
-
-
-
-
-
R
=
9
-
4
RESH
50
23
5
-
-
-
-
-
5
-
-
-
-
S
=
1
-
4
SHIN
50
23
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
TAV
43
7
7
-
-
-
-
-
-
-
7
-
-
-
-
43
-
43
-
472
202
58
-
1
4
3
20
10
6
7
8
9
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
97
-
85
-
937
397
118
-
1
8
3
20
10
18
7
24
18
-
-
9+7
-
8+5
-
9+3+7
3+9+7
1+1+8
-
-
-
-
2+0
1+0
1+8
-
2+4
1+8
Q
-
16
Q
13
Q
19
19
10
Q
1
8
3
2
1
9
7
6
9
-
-
1+6
-
1+3
-
1+9
1+9
1+0
-
-
-
-
-
-
-
-
-
-
-
-
7
Q
4
Q
10
10
1
Q
1
8
3
2
1
9
7
6
9
-
-
-
-
-
-
1+0
1+0
-
-
-
-
-
-
-
-
-
-
-
-
-
7
Q
4
1
1
1
Q
1
8
3
2
1
9
7
6
9

 

 

T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
N
=
5
-
6
NUMBER
73
28
1
-
1
-
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
B
=
2
-
9
BEAST
47
11
2
-
-
2
-
-
-
-
-
-
-
-
-
17
-
23
Add to Reduce
207
81
18
-
1
2
3
4
5
12
7
8
9
-
-
1+7
-
2+3
Reduce to Deduce
2+0+7
8+1
1+8
-
-
-
-
-
-
1+2
-
-
-
-
-
8
Q
5
Essence of Number
9
9
9
Q
1
2
3
4
5
3
7
8
9

 

 

I
=
9
11
INSTINCTIVE
144
54
9
C
=
3
10
CONSCIENCE
90
45
9
-
-
12
21
First Total
234
99
18
-
-
1+2
2+1
Add to Reduce
2+3+4
9+9
1+8
-
-
3
3
Second Total
9
18
9
-
-
-
-
Reduce to Deduce
-
1+8
-
-
-
3
3
Essence of Number
9
9
9

 

 

4
LOVE
54
18
9
2
IS
28
10
1
1
A
1
1
1
4
MANY
53
17
8
11
SPLENDOURED
133
52
7
5
THING
58
31
4
27
First Total
327
129
30
2+7
Add to Reduce
3+2+7
1+2+9
3+0
9
Second Total
12
12
3
-
Reduce to Deduce
1+2
1+2
`-
9
Essence of Number
3
3
3

 

 

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

SOLOMON SOL MOON IS IS MOON SOL SOLOMON

MOON SOL SOLOMON IS IS SOLOMON SOL MOON

 

 

HEART EARTH TERAH THERA

THE

RA IS IS RA

THE

THERA TERAH EARTH HEART

EARTH THE R THE EARTH

HEART THE R THE HEART

TERAH THE R THE TERAH

THERA THE R THE THERA

THE

RA IS IS RA

THE

HEART EARTH TERAH THERA

 

 

ISRAEL IS RA EL EL IS RA ISRAEL

RA EL IS IS EL RA

IS REAL REAL IS

RA EL IS IS EL RA

ISRAEL IS RA EL EL IS RA ISRAEL

 

 

IS RA REAL IS IS REAL RA IS

 

 

WISE W IS E WISE

W IS E

WISE W IS E WISE

 

 

WISE W IS E WISE

5 IS 5

WISE W IS E WISE

 

 

LUCIFER L U C FIRE IS IS FIRE LUC LUCIFER

LUCFIRE IS IS LUCFIRE

GODS NAME RE IS IS RE NAME GODS

GODS NAME EL IS IS EL NAME GODS

SEE L FIRE IS IS FIRE EL SEE

U C L FIRE LUCIFER IS IS LUCIFER FIRE UCL

GODS NAME RE IS IS RE NAME GODS

GODS NAME 95 IS IS 95 NAME GODS

GODS NAME RE IS IS RE NAME GODS

GOD GAVE NOAH THE RAINBOW SIGN NO MORE WATER FIRE NEXT TIME

 

 

1234 5 6789

ONE TWO THREE FOUR 5FIVE5 SIX SEVEN EIGHT NINE

1234 5 6789

 

 

THAT THAT THAT

IS

THAT

SEE SAW SEE IS 5 IS SEE SAW SEE

 

 

 

C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C

SO C RISH 999 RISH C SO

C HERE IS THE CHRISTOS HERE IS THE CHRISTOS C

 

 

CREATION C RE ACTION RE C CREATION

REACTORS CREATORS REACTORS

 

 

ATUM 1234 ATUM

GOD IS GREAT IS GREAT IS GOD

 

 

The Death Of Forever

A New Future for Human Consciousness

Darryl Reanney (1995 Edition)

Page 219

(It was this indeterminate character of quantum mechanics that caused Einstein to complain that God 'did not play dice with the world'.)

 

 

QUANTUM ATUM QUANTUM

ATUM

QUANTUM ATUM QUANTUM

ATUM

QUANTUM ATUM QUANTUM

 

 

The Magic Mountain

Page 511 / 512

"The learner must be of dauntless courage and athirst for knowledge, to speak in the style of our theme. The grave, the sepulchre, has always been the emblem of initiation into the society. The neophyte coveting admission to the mysteries must always preserve undaunted courage in the face of their terrors; it is the purpose of the order that he should be tested in them ,led down into and made to linger among them,and later fetched up from them by the hand of an unknown Brother. Hence the winding passages, the dark vaults , through which the novice is made to wander; the black cloth with which the Hall of Strict Observance was hung , the cult of the sarcophagus , which played so important a role in the ceremonial of meetings and initia-tions. The path of mysteries and purification was encompassed by /dangers, it led through the pangs of death , through the kingdom of dissolution; and the learner, the neophyte, is youth itself, thirsting after the miracles of life, clamouring to be quickened to a demonic capacity of experience, and led by shrouded forms which are the shadowing forth of the mystery."

 

 

The Magic Mountain

"The Making Of"

Page726 / 727

"…in the course of his experiences, overcomes his inborn attraction to death and arrives at an understanding of a humanity that does not, indeed, rationalistically ignore death , nor scorn the dark  mysterious side of life, but takes account of it, without letting it get control over his mind.
What he comes to understand is that one must go through the deep experience of sickness and death
To arrive at a higher sanity and health; in just the same way that one must have knowledge of sin in order to find redemption."
"There are"
"…two ways to life:one is the regular, direct and good way ; the other is bad , it leads through death, and that is the way of genius" It is this notion of disease and  death as a necessary route to knowledge, health, and life that makes The Magic Mountain a novel of initiation."

Page 727 "

"... The Quester legend "
 
"… Faust the eternal seeker  "

"...the eternal seeker, is a group of compositions generally known as the Sangraal or Holy Grail romances. Their hero be it Gawain or Galahad or Perceval, is the seeker, the quester, who ranges heaven and hell , makes terms with them, and strikes a pact with the unknown, with sickness and evil, with death and the other world, with the supernatural, the world that in the Magic Mountain is called 'questionable'.  He is forever searching for the grail - that is to say, the Highest: knowledge, wisdom, consecration, the philosophers' stone, the aurum potabile, the elixir of life."

Page 728

"The Quester of the Grail Legend, at the beginning of his wanderings, is often called a fool, a great fool, a guileless fool."

Page728

"The seeker of the Grail, before he arrives at the Sacred Castle, has to undergo various frightful and mysterious ordeals in a wayside chapel called the Atre Perilleux.  Probably these ordeals were originally rites of initiation, conditions of the permission to approach the esoteric mystery; the idea of knowledge, wisdom, is always bound up with the 'other world,' with night and death."  

Page 728

"In The Magic Mountain there is a great deal said of an alche-mistic, hermetic pedagogy, of
transubstantiatiation.   And I, myself a guiless fool,  was guided by a mysterious tradition for it is those very words that are always used in connection with the mysteries of the Grail."

Page728

"...-who voluntarily, all too voluntarily embraces disease and death, because its very first contact with them gives promise of extraordinary enlightenment and adventurous advancement, bound up, of course, with correspondingly great risks."

Page 728/9

"And perhaps you will find out what the Grail is; the knowledge and the wisdom, the consecration the highest reward, for which not only the foolish hero but the book itself is seeking."

Page 729

"It is the idea of the human being, the conception of a future humanity that has passed through and survived the profoundest knowledge of disease and death.  The Grail is a mystery, but humanity is a mystery too.  For man himself is a mystery, and all humanity rest upon reverence before the mystery that is man."

 

 

Thomas Wolfe  1900-1938

"The life of a book can be as mysterious and wonderful as the life of a man.  Its destiny, like that of man, is often 'touched by that dark miracle of chance which makes new magic in a dusty world."

 

 

The Concise Oxford Dictionary of Current English 1974 Edition.

'Exoteric Of doctrines modes of speech, of disciples not admitted to esoteric teaching; commonplace, ordinary, popular;...'
'Esoteric (Of philosophical doctrines etc.) meant only for the initiated; of disciples (initiated; private confidential within,

 

 

"The Making Of "

The Magic Mountain

Page711

"These were the moments when the "Seven Sleeper" not knowing what had happened was slowly stirring himself..."
"He saw himself released, freed from enchantment - not of his own motion he was fain to confess, but by the operation of exterior powers, of whose activities his own liberation was a minor incident indeed!"

Page713

"And we are shrinking shadows by the way side shamed by the security of our shadowdom,"

 

 

SRI KRISHNA RISHI KRISHNA SRI

KRSNA RISHI KRSNA

SHRI KRISHNA RISHI KRISHNA SHRI

 

 

LIGHT LOVE LIFE LOVE LIGHT

 

 

ADDED TO ALL MINUS NONE SHARED BY EVERYTHING MULTIPLIED IN ABUNDANCE

 

 

THE

SEE INNER SINNER INNER SEE

THE

SEE HEAR SEER HEAR SEE

GODS I ME I GODS

LOVE EVOLVE EVOLVE LOVE

 

I

I THAT AM PERFECT CREATIVITY PERFECT CREATIVITY AM I

I

THAT AM I AM THAT

I

NEGATIVE POSITIVE PERFECT BALANCING PERFECT POSITIVE NEGATIVE

CREATORS GOOD AND EVIL LIVE VEIL GODS VEIL LIVE EVIL AND GOOD CREATORS

ALL R THIS DIVINE THE THOUGHT GODS THOUGHT THE DIVINE THIS R ALL

 

 

DEVIL LIVED GODS GO DO GOOD GODS GODDESSES GODDESSES GODS GOOD DO GO GODS LIVED DEVIL

 

 

THERA TERAH EARTH HEART HEAT R R HEAT HEART EARTH TERAH THERA

 

 

I

ME

I THAT AM I AM THAT I

KNOW GODS REALITY GODS KNOW

REAL REALITY REVEALED IS GODS IS REVEALED REALITY REAL

 

 

The Death Of Forever

A New Future for Human Consciousness

Darryl Reanney (1995 Edition)

Page 33

"The laws of physics have no inbuilt time asymmetery.They work just as well in the future-to-past sense as the past-to-future sense. We see this clearly when we look at the quantum wave .The wave is a ripple of possibility, not a real thing It has neither past nor future; it can be described as travelling forwards in time and backward in time with equal validity. This is true not just of the quantum wave. Subatomic particles exhibit the same disregard for time. "

 

 

QUANTUM ATOM ATUM ATOM QUANTUM

I

HAVE COME HAVE COME HAVE

I

SO IRIS ISIS OSIRIS IS IS OSIRIS ISIS IRIS SO

SO THIS SIRIUS THIS SO

OR ION ORION ION OR

THE

HOURS OF HORUS THE HORUS OF HOURS

R ARRIVED ARRIVED R

 

 

 

GODS AND SPACEMEN IN THE ANCIENT EAST

W. Raymond Drake 1968

New evidence on the unexplained mysteries of civilization in the ancient East

Page 124

"it is said that in the ancient Egyptian language OS-IRIDE meant 'mouth of the iris'168 or 'the voice of the light..."

 

 

OS-IRIDE SO R I DE SO OS-IRIDE

 

 

OSIRIS SO IRIS ISIS IS ISIS IRIS SO OSIRIS

 

 

YEA

THOUGH I WALK THROUGH

THE

VALLEY OF THE SHADOW OF DEATH

I

WILL FEAR NO EVIL FOR THOU ART WITH

ME

 

 

THE

EASTER

FESTIVAL

GOOD FRIDAY 10TH OF THE 4TH 2009

SATURDAY 11TH OF THE 4TH 2008

SUNDAY 12TH OF THE 4TH 2009

MONDAY 13TH OF THE 4TH 2009

HALLELUJAH

 

 

JUST SIX NUMBERS

Martin Rees

1
999

OUR COSMIC HABITAT

PLANETS STARS AND LIFE

Page 24

A

proton

is

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

would have the same connotations to any 'intelligence'

 

 

The Abbe Sieyes author of the pamphlet What is the third estate? intrigued with Napoleon Bonaparte and became a Consul of the French Republic.
www.age-of-the-sage.org/historical/biography/abbe_sieyes.html

 

Qu'est-ce que le tiers état? ( What is the third estate? ).

The Abbé Sieyès "... it was in Paris that he spent his last days in 1836."

 

 

 

THAT THAT THAT

ISISISISIS

THAT THAT THAT

 

 

ISTHAT THAT THAT IS

OSIRIS SO IRIS IRIS SO OSIRIS

OSIRIS SO 9991 IS 9991 IS SO OSIRIS

OSIRIS SO IRIS IRIS SO OSIRIS

IS THAT THAT THAT IS

 

 

THAT THAT THAT

OSIRIS SO IR IS IR IS SO OSIRIS

OSIRIS SO 99 IS IS 99 SO OSIRIS

THAT THAT THAT

HORUS OF HOURS NOWIS ARRIVED NOWIS HOURS OF HORUS

AMEN GODS NAME I MEAN I MEAN I NAME GODS AMEN

HURRAH FOR RAH FOR RAH HURRAH

 

GODS DIVINE EVERLASTINGNESSGODSEVERLASTINGNESS DIVINE GODS

 

 

SIRIUS OSIRIS ISISISISIS OSIRIS SIRIUS

 

 

ISIS OSIRIS ISIS

OSIRIS ISIS OSIRIS

 

 

ISIS SET OSIRIS SET ISIS

SET ISIS OSIRIS ISIS SET

SET OSIRIS ISIS OSIRIS SET

OSIRIS ISIS SET ISIS OSIRIS

SO OSIRIS IRIS ISISIS IRIS OSIRIS SO

 

 

 

REAL REALITY REVEALED IS HOURS OF HORUS ISISISISISIS HORUS OF HOURS IS REVEALED REALITY REAL

 

 

 

 

MNEMONICS 455465931 MNEMONICS

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

ESOTERIC 51625993 ESOTERIC

O SECRET I

6 SECRET 9

O SECRET I

ESOTERIC 51625993 ESOTERIC

 

 

MNEMONICS 9 6 9 MNEMONICS

 

 

3THREES3 IS 3 IS 3THREES3

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 13

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews.

 

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art.

hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it.

The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews.

An extraordinary feature of Lullism is that it assigns a letter­ notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements.

The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala.

It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism.

Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking.

The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations.

Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures.

Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity.

The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10

As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy.

Page 17

The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking.

And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity.

The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'.

Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa.

The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a starting­point. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris­ megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino.

Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola.

It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.

 

 

TRIANGLE 5 TRIANGLE

CIRCLE 5 CIRCLE

SQUARE 9 SQUARE

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 11

MEDIEVAL CHRISTIAN CABALA:

THE ART OF RAMON LULL

Page 13

An extraordinary feature of Lullism is that it assigns a letter­ notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

Page 13

On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

Page 13

On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.

 

ABCD 1234 ABCD

BCDEFGHIK 234567892 BCDEFGHIK

 

 

THREES 3 THREES

 

 

LULL 3333 LULL

 

 

THE ART OF MEMORY

FRANCIS A. YATES 1979

THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE

Page 135 (number omitted)

"No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line."

"Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)"

"Page 139

He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned.

Awaiting damnation he calls on Christ, and there comes the famous line

" See see where Christs bloud streames in the firmament.11"

 

 

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

155 155 58595 3899121 23634 12951451 95 285 699414552

IS 9 IS

9

IS 9 IS

155 155 58595 3899121 23634 12951451 95 285 699414552

SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT

 

 

S
=
1
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5
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WHERE
59
32
5
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CHRISTS
96
33
6
B
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2
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BLOUD
54
18
9
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STREAMES
100
28
1
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FIRMAMENT
99
45
9
-
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207
45
-
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3+3
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4+5
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2+0+7
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9
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ZOHAR 5 ZOHAR

5

ZOHAR 5 ZOHAR

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER NAME OTHER PHI'S

SEPHIROTH 1 SEPHIROTH

 

 

SEPHIROTH 1 SEPHIROTH

PHI'S OTHER

CIRCLE

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SEPHIROTH 1 SEPHIROTH

 

 

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