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A

MAZE

IN

ZAZAZA ENTERS AZAZAZ

AZAZAZAZAZAZAZZAZAZAZAZAZAZA

ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ

THE

MAGICALALPHABET

ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA

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26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
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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

 

 

H
=
8
-
-
HANNAH
-
-
-
-
-
-
-
3
H+A
9
9
9
-
Q
-
-
1
N
14
5
5
-
-
-
-
1
N
14
5
5
Q
-
-
-
2
A+H
9
9
9
H
=
8
4
9
HANNAH
46
28
28
-
-
-
-
-
-
4+6
2+8
2+8
H
=
8
-
9
HANNAH
10
10
10
-
-
-
-
-
-
1+0
1+0
1+0
H
=
8
4
9
HANNAH
1
1
1

 

 

q-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
8
-
5
5
-
8
+
=
26
2+6
=
8
=
8
=
8
-
-
8
-
14
14
-
8
+
=
44
4+4
=
8
=
8
=
8
q-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
+
=
2
-
=
2
=
2
=
2
-
-
-
1
-
-
1
-
+
=
2
-
=
2
=
2
=
2
q-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
8
1
14
14
1
8
+
=
46
4+6
=
10
1+0
1
=
1
-
-
8
1
5
5
1
8
+
=
28
2+8
=
10
1+0
1
=
1
-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
1
occurs
x
2
=
2
=
2
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
4
-
-
-
-
-
-
-
-
-
4
FOUR
4
-
-
-
-
-
-
-
-
-
5
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
8
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
9
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
31
6
H
A
N
N
A
H
-
-
14
-
-
6
-
28
-
10
1+4
-
-
-
-
-
-
-
-
-
1+4
-
-
-
-
2+8
-
1+0
4
6
H
A
N
N
A
H
-
-
5
-
-
6
9
10
9
1
-
-
8
1
5
5
1
8
-
-
-
-
-
-
-
1+0
-
-
4
6
H
A
N
N
A
H
-
-
5
-
-
6
9
1
9
1

 

 

q-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
8
-
5
5
-
8
+
=
26
2+6
=
8
=
8
=
8
-
-
8
-
14
14
-
8
+
=
44
4+4
=
8
=
8
=
8
q-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
+
=
2
-
=
2
=
2
=
2
-
-
-
1
-
-
1
-
+
=
2
-
=
2
=
2
=
2
q-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
8
1
14
14
1
8
+
=
46
4+6
=
10
1+0
1
=
1
-
-
8
1
5
5
1
8
+
=
28
2+8
=
10
1+0
1
=
1
-
6
H
A
N
N
A
H
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
1
-
-
-
1
occurs
x
2
=
2
=
2
-
-
-
-
5
5
-
-
-
-
5
occurs
x
2
=
10
1+0
1
-
-
8
-
-
-
-
8
-
-
8
occurs
x
2
=
16
1+6
7
31
6
H
A
N
N
A
H
-
-
14
-
-
6
-
28
-
10
1+4
-
-
-
-
-
-
-
-
-
1+4
-
-
-
-
2+8
-
1+0
4
6
H
A
N
N
A
H
-
-
5
-
-
6
9
10
9
1
-
-
8
1
5
5
1
8
-
-
-
-
-
-
-
1+0
-
-
4
6
H
A
N
N
A
H
-
-
5
-
-
6
9
1
9
1

 

 

BEYOND THE VEIL ANOTHER VEIL ANOTHER VEIL BEYOND

 

 

A

HISTORY OF GOD

Karen Armstrong 1993

The God of the Mystics

Page 250

"Perhaps the most famous of the early Jewish mystical texts is the fifth century Sefer Yezirah (The Book of Creation). There is no attempt to describe the creative process realistically; the account is unashamedly symbolic and shows God creating the world by means of language as though he were writing a book. But language has been entirely transformed and the message of creation is no longer clear. Each letter of the Hebrew alphabet is given a numerical value; by combining the letters with the sacred numbers, rearranging them in endless configurations, the mystic weaned his mind away from the normal connotations of words."

 

Page 250

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT

IS UNASHAMEDLY SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS

THOUGH HE WERE WRITING A BOOK. BUT LANGUAGE HAS BEEN ENTIRELY TRANSFORMED AND THE

MESSAGE OF CREATION IS NO LONGER CLEAR EACH LETTER OF THE HEBREW ALPHABET IS GIVEN

A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING

THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL

CONNOTATIONS OF WORDS

 

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

....

 

A
B
C
D
E
F
G
H
I
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
J
K
L
M
N
O
P
Q
R
10
11
12
13
14
15
16
17
18
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
S
T
U
V
W
X
Y
Z
I
19
20
21
22
23
24
25
26
9
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
ME
1
2
3
4
5
6
7
8
9
 =
 =
 =
 =
 =
 =
 =
 =
=
 =
 =
 =
 =
 =
 =
 =
 =
=
I
ME
I
ME
I
ME
I
ME
I
9
18
9
18
9
18
9
18
9
=
1+8
=
1+8
=
1+8
=
1+8
=
=
9
=
9
=
9
=
9
=
I
ME
I
ME
I
ME
I
ME
1
9
9
9
9
9
9
9
9
9
I
ME
I
ME
I
ME
I
ME
1

 

 

 

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
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
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
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
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
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
1
2
3
4
5
6
7
8
9
1
2
3
4
5
6
7
8
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

 

 

 

LIGHT AND LIFE

Lars Olof Bjorn 1976

Page 197

"By writing the 26 letters of the alphabet in a certain order one may put down almost any message (this book 'is written with the same letters' as the Encyclopaedia Britannica and Winnie the Pooh, only the order of the letters differs). In the same way Nature is able to convey with her language how a cell and a whole organism is to be constructed and how it is to function. Nature has succeeded better than we humans; for the genetic code there is only one universal language which is the same in a man, a bean plant and a bacterium."

"BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER

ONE MAY PUT DOWN ALMOST ANY MESSAGE"

 

 

"FOR THE GENETIC CODE THERE IS ONLY ONE UNIVERSAL LANGUAGE"

 

DNA AND DNA DNA AND DNA DNA AND DNA

DNA AND DNA DNA AND DNA DNA AND DNA

 

 

 

 

A QUEST FOR THE BEGINNING AND THE END

Graham Hancock 1995

Chapter 32

Speaking to the Unborn

Page 285

"It is understandable that a huge range of myths from all over the ancient world should describe geological catastrophes in graphic detail. Mankind survived the horror of the last Ice Age, and the most plausible source for our enduring traditions of flooding and freezing, massive volcanism and devastating earthquakes is in the tumultuous upheavals unleashed during the great meltdown of 15,000 to 8000 BC. The final retreat of the ice sheets, and the consequent 300-400 foot rise in global sea levels, took place only a few thousand years before the beginning of the historical period. It is therefore not surprising that all our early civilizations should have retained vivid memories of the vast cataclysms that had terrified their forefathers.
Much harder to explain is the peculiar but distinctive way the myths of cataclysm seem to bear the intelligent imprint of a guiding hand.l Indeed the degree of convergence between such ancient stories is frequently remarkable enough to raise the suspicion that they must all have been 'written' by the same 'author'.
Could that author have had anything to do with the wondrous deity, or superhuman, spoken of in so many of the myths we have reviewed, who appears immediately after the world has been shattered by a horrifying geological catastrophe and brings comfort and the gifts of civilization to the shocked and demoralized survivors?
White and bearded, Osiris is the Egyptian manifestation of this / Page 286 / universal figure, and it may not be an accident that one of the first acts he is remembered for in myth is the abolition of cannibalism among the primitive inhabitants of the Nile Valley.2 Viracocha, in South America, was said to have begun his civilizing mission immediately after a great flood; Quetzalcoatl, the discoverer of maize, brought the benefits of crops, mathematics, astronomy and a refined culture to Mexico after the Fourth Sun had been overwhelmed by a destroying deluge.
Could these strange myths contain a record of encounters between scattered palaeolithic tribes which survived the last Ice Age and an as yet unidentified high civilization which passed through the same epoch?
And could the myths be attempts to communicate?

A message in the bottle of time

'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

If the 'precessional message' identified by scholars like Santillana, von Dechend and Jane Sellers is indeed a deliberate attempt at communication by some lost civilization of antiquity, how come it wasn't just written down and left for us to find? Wouldn't that have been easier than encoding it in myths? Perhaps.
Nevertheless, suppose that whatever the message was written on got destroyed or worn away after many thousands of years? Or suppose that the language in which it was inscribed was later forgotten utterly (like the enigmatic Indus Valley script, which has been studied closely for more than half a century but has so far resisted all attempts at decoding)? It must be obvious that in such circumstances a written / Page 287 / legacy to the future would be of no value at all, because nobody would be able to make sense of it.
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.
Geodetic data, related to the exact positioning of fixed geographical points and to the shape and size of the earth, would also remain valid and recognizable for tens of thousands of years, and might be most conveniently expressed by means of cartography (or in the construction of giant geodetic monuments like the Great Pyramid of Egypt, as we shall see).
Another 'constant' in our solar system is the language of time: the great but regular intervals of time calibrated by the inch-worm creep of precessional motion. Now, or ten thousand years in the future, a message that prints out numbers like 72 or 2160 or 4320or 25,920 should be instantly intelligible to any civilization that has evolved a modest talent for mathematics and the ability to detect and measure the almost imperceptible reverse wobble that the sun appears to make along the ecliptic against the background of the fixed stars..."

"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"

"WRITTEN IN THE ETERNAL LANGUAGE OF MATHEMATICS"

 

A
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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
-
-
-
-
-
-
-
-
-
1+0
1+1
1+2
1+3
1+4
1+5
1+6
1+7
1+8
1+9
2+0
2+1
2+2
2+3
2+4
2+5
2+6
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
A
B
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D
E
F
G
H
I
J
K
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N
O
P
Q
R
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T
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X
Y
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-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
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U
V
W
X
Y
Z
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
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
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T
U
V
W
X
Y
Z

 

 

THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY

THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE

AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED

THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF

THE

ALPHABET

IS

GIVEN

A

NUMERICAL

VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS

REARRANGING THEM IN ENDLESS CONFIGURATIONS

THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS

 

....

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

 

 

26
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
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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
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E
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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
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N
O
P
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U
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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
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E
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-
-
9
-
-
8
-
9
-
9

 

 

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 = 351 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

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 = 126 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

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 = Z Y X W V U T S R Q P O N M L K J I H G F E D C B A

 

 

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 351 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 126 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

ABCDEFGH I JKLMNOPQ R STUVWXYZ = 9 = ZYXWVUTS R QPONMLKJ I HGFEDCBA

 

 

-
-
-
-
-
-
-
-
-
-
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
-
9
MULTIPLED
121
49
4
-
-
-
-
4
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
9
ABUNDANCE
65
29
2
-
-
2
-
-
-
-
-
-
-
-
-
35
-
57
First Total
995
266
59
-
1
2
3
8
5
6
14
8
18
-
-
3+5
-
5+7
Add to Reduce
9+9+5
2+6+6
5+9
-
-
-
-
-
-
-
1+4
-
1+8
-
-
8
-
12
Second Total
23
14
10
-
1
2
3
8
5
6
5
8
9
-
-
-
-
1+2
Reduce to Deduce
2+3
1+4
1+0
-
-
-
-
-
-
-
-
-
-
-
-
8
-
3
Essence of Number
5
5
5
-
1
2
3
8
5
6
5
8
9

 

 

EVOLVE LOVE EVOLVE

LOVE SOLVES LOVE

EVOLVE LOVE EVOLVE

 

 

.....

.....

.....

 

 

 

 

THE DEATH OF GODS IN ANCIENT EGYPT

Jane B. Sellars 1992

Page 204

"The overwhelming awe that accompanies the realization, of the measurable orderliness of the universe strikes modern man as well. Admiral Weiland E. Byrd, alone In the Antarctic for five months of polar darkness, wrote these phrases of intense feeling:

Here were the imponderable processes and forces of the cosmos, harmonious and soundless. Harmony, that was it! I could feel no doubt of oneness with the universe. The conviction came that the rhythm was too orderly, too harmonious, too perfect to be a product of blind chance - that, therefore there must be purpose in the whole and that man was part of that whole and not an accidental offshoot. It was a feeling that transcended reason; that went to the heart of man's despair and found it groundless. The universe was a cosmos, not a chaos; man was as rightfully a part of that cosmos as were the day and night.10

Returning to the account of the story of Osiris, son of Cronos god of' Measurable Time, Plutarch takes, pains to remind the reader of the original Egyptian year consisting of 360 days.

Phrases are used that prompt simple mental. calculations and an attention to numbers, for example, the 360-day year is described as being '12 months of 30 days each'. Then we are told that, Osiris leaves on a long journey, during which Seth, his evil brother, plots with 72 companions to slay Osiris: He also secretly obtained the measure of Osiris and made ready a chest in which to entrap him.

The, interesting thing about this part of the-account is that nowhere in the original texts of the Egyptians are we told that Seth, has 72 companions. We have already been encouraged to equate Osiris with the concept of measured time; his father being Cronos. It is also an observable fact that Cronos-Saturn has the longest sidereal period of the known planets at that time, an orbit. of 30 years. Saturn is absent from a specific constellation for that length of time.

A simple mathematical fact has been revealed to any that are even remotely sensitive to numbers: if you multiply 72 by 30, the years of Saturn's absence (and the mention of Osiris's absence prompts one to recall this other), the resulting product is 2,160: the number of years required, for one 30° shift, or a shift: through one complete sign of the zodiac. This number multplied by the / Page205 / 12 signs also gives 25,920. (And Plutarch has reminded us of 12)

If you multiply the unusual number 72 by 360, a number that Plutarch mentions several times, the product will be 25,920, again the number of years symbolizing the ultimate rebirth.

This 'Eternal Return' is the return of, say, Taurus to the position of marking the vernal equinox by 'riding in the solar bark with. Re' after having relinquished this honoured position to Aries, and subsequently to the to other zodiacal constellations.

Such a return after 25,920 years is indeed a revisit to a Golden Age, golden not only because of a remarkable symmetry In the heavens, but golden because it existed before the Egyptians experienced heaven's changeability.

But now to inform the reader of a fact he or she may already know. Hipparaus did: not really have the exact figures: he was a trifle off in his observations and calculations. In his published work, On the Displacement of the Solstitial and Equinoctial Signs, he gave figures of 45" to 46" a year, while the truer precessional lag along the ecliptic is about 50 seconds. The exact measurement for the lag, based on the correct annual lag of 50'274" is 1° in 71.6 years, or 36in 25,776 years, only 144 years less than the figure of 25,920.

With Hipparchus's incorrect figures a 'Great Year' takes from 28,173.9 to 28,800 years, incorrect by a difference of from 2,397.9 years to 3,024.

Since Nicholas Copernicus (AD 1473-1543) has always been credited with giving the correct numbers (although Arabic astronomer Nasir al-Din Tusi,11 born AD 1201, is known to have fixed the Precession at 50°), we may correctly ask, and with justifiable astonishment 'Just whose information was Plutarch transmitting'

AN IMPORTANT POSTSCRIPT

Of course, using our own notational system, all the important numbers have digits that reduce to that amazing number 9 a number that has always delighted budding mathematician.

Page 206

Somewhere along the way, according to Robert Graves, 9 became the number of lunar wisdom.12

This number is found often in the mythologies of the world. the Viking god Odin hung for nine days and nights on the World Tree in order to acquire the secret of the runes, those magic symbols out of which writing and numbers grew. Only a terrible sacrifice would give away this secret, which conveyed upon its owner power and dominion over all, so Odin hung from his neck those long 9 days and nights over the 'bottomless abyss'. In the tree were 9 worlds, and another god was said to have been born of 9 mothers.

Robert Graves, in his White Goddess, Is intrigued by the seemingly recurring quality of the number 72 in early myth and ritual. Graves tells his reader that 72 is always connected with the number 5, which reflects, among other things, the five Celtic dialects that he was investigating. Of course, 5 x 72= 360, 360 x 72= 25,920. Five is also the number of the planets known to the ancient world, that is, Saturn, Jupiter, Mars, Venus Mercury.

Graves suggests a religious mystery bound up with two ancient Celtic 'Tree Alphabets' or cipher alphabets, which as genuine articles of Druidism were orally preserved and transmitted for centuries. He argues convincingly that the ancient poetry of Europe was ultimately based on what its composers believed to be magical principles, the rudiments of which formed a close religious secret for centuries. In time these were-garbled, discredited and forgotten.

Among the many signs of the transmission of special numbers he points out that the aggregate number of letter strokes for the complete 22-letter Ogham alphabet that he is studying is 72 and that this number is the multiple of 9, 'the number of lunar wisdom'. . . . he then mentions something about 'the seventy day season during which Venus moves successively from. maximum eastern elongation 'to inferior conjunction and maximum western elongation'.13

Page 207

"...Feniusa Farsa, Graves equates this hero with Dionysus. Farsa has 72 assistants who helped him master the 72 languages created at the confusion of Babel, the tower of which is said to be built of 9 different materials

We are also reminded of the miraculous translation into Greek of the Five Books of Moses that was done by 72 scholars working for 72 days, Although the symbol for the Septuagint is LXX, legend, according to the fictional letter of Aristeas, records 72. The translation was done for Ptolemy Philadelphus (c.250 BC), by Hellenistic Jews, possibly from Alexandra.14

Graves did not know why this number was necessary, but he points out that he understands Frazer's Golden Bough to be a book hinting that 'the secret involves the truth that the Christian dogma, and rituals, are the refinement of a great body of primitive beliefs, and that the only original element in Christianity- is the personality of Christ.15

Frances A. Yates, historian of Renaissance hermetisma tells, us the cabala had 72 angels through which the sephiroth (the powers of God) are believed to be approached, and further, she supplies the information that although the Cabala supplied a set of 48 conclusions purporting to confirm the Christian religion from the foundation of ancient wisdom, Pico Della Mirandola, a Renaissance magus, introduced instead 72, which were his 'own opinion' of the correct number. Yates writes, 'It is no accident there are seventy-two of Pico's Cabalist conclusions, for the conclusion shows that he knew something of the mystery of the Name of God with seventy-two letters.'16

In Hamlet's Mill de Santillana adds the facts that 432,000 is the number of syllables in the Rig-Veda, which when multiplied by the soss (60) gives 25,920" (The reader is forgiven for a bit of laughter at this point)

The Bible has not escaped his pursuit. A prominent Assyriologist of the last century insisted that the total of the years recounted mounted in Genesis for the lifetimes of patriarchs from the Flood also contained the needed secret numbers. (He showed that in the 1,656 years recounted in the Bible there are 86,400 7 day weeks, and dividing this number yields / Page 208 / 43,200.) In Indian yogic schools it is held that all living beings exhale and inhale 21,600 times a day, multiply this by 2 and again we have the necessary 432 digits.

Joseph Campbell discerns the secret in the date set for the coming of Patrick to Ireland. Myth-gives this date-as-the interesting number of AD.432.18

Whatever one may think-of some of these number coincidences, it becomes difficult to escape the suspicion that many signs (number and otherwise) - indicate that early man observed the results of the movement of Precession and that the - transmission of this information was considered of prime importance.

With the awareness of the phenomenon, observers would certainly have tried for its measure, and such an endeavour would have constituted the construction-of a 'Unified Field Theory' for nothing less than Creation itself. Once determined, it would have been information worthy of secrecy and worthy of the passing on to future adepts.

But one last word about mankind's romance with number coincidences.The antagonist in John Updike's novel, Roger's Version, is a computer hacker, who, convinced, that scientific evidence of God's existence is accumulating, endeavours to prove it by feeding -all the available scientific information. into a comuter. In his search for God 'breaking, through', he has become fascinated by certain numbers that have continually been cropping up. He explains them excitedly as 'the terms of Creation':

"...after a while I noticed that all over the sheet there seemed to hit these twenty-fours Jumping out at me. Two four; two, four. Planck time, for instance, divided by the radiation constant yields a figure near eight times ten again to the negative twenty-fourth, and the permittivity of free space, or electric constant, into the Bohr radius ekla almost exactly six times ten to the negative twenty-fourth. On positive side, the electromagnetic line-structure constant times Hubble radius - that is, the size of the universe as we now perceive it gives us something quite close to ten to the twenty-fourth, and the strong-force constant times the charge on the proton produces two point four times ten to the negative eighteenth, for another I began to circle twenty-four wherever it appeared on the Printout here' - he held it up his piece of stripped and striped wallpaper, decorated / Page 209 / with a number of scarlet circles - 'you can see it's more than random.'19
This inhabitant of the twentieth century is convinced that the striking occurrences of 2 and 4 reveal the sacred numbers by which God is speaking to us.

So much for any scorn directed to ancient man's fascination with number coincidences. That fascination is alive and well, Just a bit more incomprehensible"

 

 

NUMBER

9

THE SEARCH FOR THE SIGMA CODE

Cecil Balmond 1998

Cycles and Patterns

Page 165

Patterns

"The essence of mathematics is to look for patterns.

Our minds seem to be organised to search for relationships and sequences. We look for hidden orders.

These intuitions seem to be more important than the facts themselves, for there is always the thrill at finding something, a pattern, it is a discovery - what was unknown is now revealed. Imagine looking up at the stars and finding the zodiac!

Searching out patterns is a pure delight.

Suddenly the counters fall into place and a connection is found, not necessarily a geometric one, but a relationship between numbers, pictures of the mind, that were not obvious before. There is that excitement of finding order in something that was otherwise hidden.

And there is the knowledge that a huge unseen world lurks behind the facades we see of the numbers themselves."

 

....

 

THE LIGHT IS RISING NOW RISING IS THE LIGHT

 

 

Y
=
3
-
3
YOU
61
16
7
A
=
1
-
3
ARE
24
15
6
G
=
7
-
5
GOING
52
34
7
O
=
6
-
2
ON
29
11
2
A
=
1
-
1
A
1
1
1
J
=
1
-
7
JOURNEY
108
36
9
A
=
1
-
1
A
1
1
1
V
=
4
-
4
VERY
70
25
7
S
=
1
-
7
SPECIAL
65
29
2
J
=
1
-
7
JOURNEY
108
36
9
D
=
4
-
2
DO
19
10
1
H
=
8
-
4
HAVE
36
18
9
A
=
1
-
1
A
1
1
1
P
=
7
-
8
PLEASANT
88
25
7
J
=
1
-
7
JOURNEY
108
36
9
D
=
4
-
2
DO
19
10
1
``-
-
55
-
54
First Total
790
304
79
-
-
5+5
-
5+4
Add to Reduce
7+9+0
3+0+4
7+9
-
-
10
-
9
Second Total
16
7
16
-
-
1+0
-
-
Reduce to Deduce
1+6
-
1+6
-
-
1
-
9
Essence of Number
7
7
7

 

 

OF TIME AND STARS

Arthur C. Clarke

Page 205

The Sentinel

"I can never look now at the Milky Way without wondering from which of those banked clouds of stars the emissaries are coming. If you will pardon so commonplace a simile, we have set off the fire alarm and have nothing to do but to wait.

I do not think we will have to wait for long.

 

 

I

CAN NEVER LOOK NOW AT THE MILKY WAY WITHOUT WONDERING

FROM WHICH OF THOSE BANKED CLOUDS OF STARS THE EMISSARIES ARE COMING.

IF YOU WILL PARDON SO COMMONPLACE A SIMILE,

WE HAVE SET OFF THE FIRE ALARM AND HAVE NOTHING TO DO BUT TO WAIT.

I DO NOT THINK WE WILL HAVE TO WAIT FOR LONG.

 

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
1
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
C
=
3
-
3
CAN
18
9
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
5
NEVER
64
28
1
-
1
-
-
-
-
-
-
-
-
L
=
3
-
4
LOOK
53
17
8
-
-
-
-
-
-
-
-
8
-
N
=
5
-
3
NOW
52
16
7
-
-
-
-
-
-
-
7
-
-
A
=
1
-
2
AT
21
3
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
M
=
4
-
5
MILKY
70
25
7
-
-
-
-
-
-
-
7
-
-
W
=
5
-
3
WAY
49
13
4
-
-
-
-
4
-
-
-
-
-
W
=
5
-
7
WITHOUT
116
35
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
9
WONDERING
109
55
1
-
1
-
-
-
-
-
-
-
-
F
=
6
-
4
FROM
52
25
7
-
-
-
-
-
-
-
7
-
-
W
=
5
-
5
WHICH
51
33
6
-
-
-
-
-
-
6
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
T
=
2
-
5
THOSE
67
22
4
-
-
-
-
4
-
-
-
-
-
B
=
2
-
6
BANKED
37
19
1
-
1
-
-
-
-
-
-
-
-
C
=
3
-
6
CLOUDS
74
20
2
-
-
2
-
-
-
-
-
-
-
O
=
6
-
2
OF
21
12
3
-
-
-
3
-
-
-
-
-
-
S
=
1
-
5
STARS
77
14
5
-
-
-
-
-
5
-
-
-
-
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
E
=
5
-
10
EMISSARIES
117
45
9
-
-
-
-
-
-
-
-
-
9
A
=
1
-
3
ARE
24
15
6
-
-
-
-
-
-
6
-
-
-
C
=
3
-
6
COMING
61
34
7
-
-
-
-
-
-
-
7
-
-
-
-
89
-
102
First Total
1229
491
122
-
3
2
9
8
5
24
28
16
27
-
-
8+9
-
1+0+2
Add to Reduce
1+2+2+9
4+9+1
1+1+2
-
-
-
-
-
-
2+4
2+8
1+6
2+7
-
-
17
-
3
Second Total
14
14
5
-
3
2
9
8
5
6
10
7
9
-
-
1+7
-
-
Reduce to Deduce
1+4
1+4
-
-
-
-
-
-
-
-
1+0
-
-
-
-
8
-
3
Essence of Number
5
5
5
-
3
2
9
8
5
6
1
7
9

 

I

CAN NEVER LOOK NOW AT THE MILKY WAY

WITHOUT WONDERING FROM WHICH OF THOSE BANKED CLOUDS OF STARS THE EMISSARIES ARE COMING

 

 

IF YOU WILL PARDON SO COMMONPLACE A SIMILE,

WE HAVE SET OFF THE FIRE ALARM AND HAVE NOTHING TO DO BUT TO WAIT.

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
9
-
2
IF
15
15
6
-
-
-
-
-
-
6
-
-
-
Y
=
7
-
3
YOU
61
16
7
-
-
-
-
-
-
-
7
-
-
W
=
5
-
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
P
=
7
-
6
PARDON
68
32
5
-
-
-
-
-
5
-
-
-
-
S
=
1
-
2
SO
34
7
7
-
-
-
-
-
-
-
7
-
-
C
=
3
-
11
COMMONPLACE
110
47
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
S
=
1
-
6
SIMILE
67
31
4
-
-
-
-
4
-
-
-
-
-
W
=
5
-
2
WE
28
10
1
-
1
-
-
-
-
-
-
-
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
S
=
1
-
2
SET
44
8
8
-
-
-
-
-
-
-
-
8
-
O
=
6
-
2
OFF
27
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
3
THE
33
15
6
-
-
-
-
-
-
6
-
-
-
F
=
6
-
4
FIRE
38
29
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
5
ALARM
45
18
9
-
-
-
-
-
-
-
-
-
9
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
N
=
5
-
7
NOTHING
87
42
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
D
=
4
-
2
DO
19
10
1
-
1
-
-
-
-
-
-
-
-
B
=
2
-
3
BUT
43
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
4
WAIT
53
17
8
-
-
-
-
-
-
-
-
8
-
-
-
54
-
60
First Total
990
405
126
-
4
6
3
4
5
18
21
32
36
-
-
5+4
-
6+0
Add to Reduce
9+9+0
4+0+5
1+2+6
-
-
-
-
-
-
1+8
2+1
3+2
3+6
-
-
9
-
3
Second Total
18
9
9
-
4
6
3
4
5
9
3
5
9
-
-
-
-
-
Reduce to Deduce
1+8
-
-
-
-
-
-
-
-
-
-
-
-
-
-
9
-
3
Essence of Number
9
9
9
-
4
6
3
4
5
9
3
5
9

 

 

I DO NOT THINK WE WILL HAVE TO WAIT FOR LONG

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
I
=
1
-
1
I
9
9
9
-
-
-
-
-
-
-
-
-
9
D
=
4
-
2
DO
19
10
1
-
1
-
-
-
-
-
-
-
-
N
=
5
-
2
NOT
49
13
4
-
-
-
-
4
-
-
-
-
-
T
=
2
-
2
THINK
62
26
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
2
WE
28
10
1
-
1
-
-
-
-
-
-
-
-
W
=
5
-
4
WILL
56
20
2
-
-
2
-
-
-
-
-
-
-
H
=
8
-
4
HAVE
36
18
9
-
-
-
-
-
-
-
-
-
9
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
W
=
5
-
4
WAIT
53
17
8
-
-
-
-
-
-
-
-
8
-
F
=
6
-
2
FOR
39
21
3
-
-
-
3
-
-
-
-
-
-
L
=
3
-
3
LONG
48
21
3
-
-
-
3
-
-
-
-
-
-
-
-
54
-
34
First Total
434
173
56
-
2
2
6
4
5
6
7
24
18
-
-
5+4
-
3+4
Add to Reduce
4+3+4
1+7+3
5+6
-
-
-
-
-
-
-
-
2+4
1+8
-
-
9
-
7
Second Total
11
11
11
-
2
2
6
4
5
6
7
6
9
-
-
-
-
-
Reduce to Deduce
1+1
1+1
1+1
-
-
-
-
-
-
-
-
-
-
-
-
9
-
7
Essence of Number
2
2
2
-
2
2
6
4
5
6
7
6
9

 

 

THE

LOST LANGUAGE OF SYMBOLISM

AN ENQUIRY INTO THE ORIGIN OF CERTAIN

LETTERS, WORDS, NAMES, FAIRY-TALES, FOLK-LORE AND MYTHOLOGIES

Harold Bayley 1912

"The Hebrew for man is ish and for woman isha."

Page 300

"Each language, whether Sanscrit or Zulu, is like a palimpsest, which, if carefully handled, will disclose the original text beneath the superficial writing, and though that original text may be more difficult to recover in illiterate languages, yet it is there nevertheless. Every language, if properly summoned, will reveal to us the mind of the artist who framed it, from its earliest awakening to its latest dreams. Everyone will teach us the same lesson, the lesson on which the whole Science of Thought is based, that there is no language without reason, as there is no reason with.out language."1 An analysis of the several terms for man, soul, or spirit reveals the time-honoured belief that the human race emerged in its infancy from the Great Light, and that every human soul was a spark or fragment of the Ever­Existent Oversoul. The Egyptian for man was se, the German for soul is seele - cognate with Selah! - and meaning likewise the "Light of the Everlasting." The Dutch for soul is ziel, the fiery light of God, and the English soul was once presumably is ol, the essence or light of God.2 The Hebrew for man is ish and for woman isha.

 

SELAH HALES

 

 

THE

LOST LANGUAGE OF SYMBOLISM

Harold Bayley 1912

Page 300

The Latin homo is OM, the Sun, as also is the French homme ; and dme, the French for soul, is apparently the Hindoo AUM. The ancient Mexicans traced their descent from an ancestor named Coxcox, i.e. ack ock se, ack ock se, the "Great Great Light, the Great Great Light." 8 The Teutons claim to have descended from TIU or TUISCO, an Aryan God of Light, and the name TUISCO may be restored into tu is ack O , the "brilliant light of the Great O."

Page 300 Notes

1 Biographieses of Words, Intro.
2 We may see similar vowel erosion going on at the present day, and the word cute will soon take its place in the dictionaries in addition to acute, its proper form.
3 This doubling of a title is a world-wide commonplace, similar to our " King of Kings and Lord of Lords, Very God of Very God."

 

 

THE MAGIC MOUNTAIN

Thomas Mann 1875-1955

Page 466

"Had not the normal, since time was, lived on the achievements of the abnormal? Men consciously and voluntarily descended into disease and madness, in search of knowledge which, acquired by fanaticism, would lead back to health; after the possession and use of it had ceased to be conditioned by that heroic and abnormal act of sacrifice. That was the true death on the cross, the true Atonement."

 

THE TRUE DEATH ON THE CROSS THE TRUE AT ONE MENT

 

 

ATONEMENT

 

-
-
-
-
A
-
-
-
-
-
-
-
-
T
-
-
-
-
-
-
-
-
O
-
-
-
-
-
-
-
-
N
-
-
-
-
A
T
O
N
E
M
E
N
T
-
-
-
-
M
-
-
-
-
-
-
-
-
E
-
-
-
-
-
-
-
-
N
-
-
-
-
-
-
-
-
T
-
-
-
-

 

 

CRUCIFIXION

 

-
-
-
-
-
C
-
-
-
-
-
-
-
-
-
-
R
-
-
-
-
-
-
-
-
-
-
U
-
-
-
-
-
-
-
-
-
-
C
-
-
-
-
-
-
-
-
-
-
I
-
-
-
-
-
C
R
U
C
I
F
I
X
I
O
N
-
-
-
-
-
I
-
-
-
-
-
-
-
-
-
-
X
-
-
-
-
-
-
-
-
-
-
I
-
-
-
-
-
-
-
-
-
-
O
-
-
-
-
-
-
-
-
-
-
N
-
-
-
-
-

 

 

CRUCIFIED

 

-
-
-
-
C
-
-
-
-
-
-
-
-
R
-
-
-
-
-
-
-
-
U
-
-
-
-
-
-
-
-
C
-
-
-
-
C
R
U
C
I
F
I
E
D
-
-
-
-
F
-
-
-
-
-
-
-
-
I
-
-
-
-
-
-
-
-
E
-
-
-
-
-
-
-
-
D
-
-
-
-

 

 

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

 

 

HOLY BIBLE

Scofield References

Page 1117 A.D. 30.

Jesus answered and said unto him, Verily, verily,
I say unto thee, Except a man be born again,
He cannot see the kingdom of God.
St John Chapter 3 verse 3
3     +     3     3     x     3
6        x        9
54
5 + 4

9

 

 

IN SEARCH OF THE MIRACULOUS

Fragments of an Unknown Teaching

P.D.Oupensky 1878-1947

Page 217

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

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
3
MAN
28
10
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
3
MAY
39
12
3
-
-
-
3
-
-
-
-
-
-
B
=
2
-
2
BE
7
7
7
-
-
-
-
-
-
-
7
-
-
B
=
2
-
4
BORN
49
22
4
-
-
-
-
4
-
-
-
-
-
-
-
13
-
13
-
124
52
16
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
B
=
2
-
3
BUT
43
7
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
5
ORDER
60
33
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
B
=
2
-
2
BE
7
7
7
-
-
-
-
-
-
-
7
-
-
B
=
2
-
4
BORN
49
22
4
-
-
-
-
4
-
-
-
-
-
H
=
8
-
2
HE
13
13
4
-
-
-
-
4
-
-
-
-
-
M
=
4
-
4
MUST
73
10
1
-
1
-
-
-
-
-
-
-
-
F
=
6
-
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
D
=
4
-
3
DIE
18
18
9
-
-
-
-
-
-
-
-
-
9
-
-
36
-
32
-
393
159
60
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
O
=
6
-
5
ORDER
60
33
6
-
-
-
-
-
-
6
-
-
-
T
=
2
-
2
TO
35
8
8
-
-
-
-
-
-
-
-
8
-
D
=
4
-
3
DIE
18
18
9
-
-
-
-
-
-
-
-
-
9
H
=
8
-
2
HE
13
13
4
-
-
-
-
4
-
-
-
-
-
M
=
4
-
4
MUST
73
10
1
-
1
-
-
-
-
-
-
-
-
F
=
6
-
5
FIRST
72
27
9
-
-
-
-
-
-
-
-
-
9
A
=
1
-
5
AWAKE
41
14
5
-
-
-
-
-
5
-
-
-
-
-
-
41
-
31
-
354
147
48
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
W
=
5
-
4
WHEN
50
23
5
-
-
-
-
-
5
-
-
-
-
A
=
1
-
1
A
1
1
1
-
1
-
-
-
-
-
-
-
-
M
=
4
-
3
MAN
28
10
1
-
1
-
-
-
-
-
-
-
-
A
=
1
-
6
AWAKES
60
15
6
-
-
-
-
-
-
6
-
-
-
H
=
8
-
2
HE
13
13
4
-
-
-
-
4
-
-
-
-
-
C
=
3
-
3
CAN
18
9
9
-
-
-
-
-
-
-
-
-
9
D
=
4
-
3
DIE
18
9
9
-
-
-
-
-
-
-
-
-
9
-
-
26
-
22
-
188
80
35
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
W
=
5
-
4
WHEN
50
23
5
-
-
-
-
-
5
-
-
-
-
H
=
8
-
2
HE
13
13
4
-
-
-
-
4
-
-
-
-
-
D
=
4
-
4
DIES
28
19
1
-
1
-
-
-
-
-
-
-
-
H
=
8
-
2
HE
13
13
4
-
-
-
-
4
-
-
-
-
-
C
=
3
-
3
CAN
18
9
9
-
-
-
-
-
-
-
-
-
9
B
=
2
-
2
BE
7
7
7
-
-
-
-
-
-
-
7
-
-
B
=
3
-
4
BORN
49
22
4
-
-
-
-
4
-
-
-
-
-
-
-
33
-
21
-
178
106
34
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
149
-
119
First Total
1237
544
193
-
8
2
3
32
25
18
28
16
63
-
-
1+4+9
-
1+1+9
Add to Reduce
1+2+3+7
5+4+4
1+9+3
-
-
-
-
3+2
2+5
1+8
2+8
1+6
6+3
-
-
14
-
11
Second Total
13
13
13
-
8
2
3
5
7
9
10
7
9
-
-
1+4
-
1+1
Reduce to Deduce
1+3
1+3
1+3
-
-
-
-
-
-
-
1+0
-
-
-
-
5
-
2
Essence of Number
4
4
4
-
8
2
3
5
7
9
1
7
9

 

 

-
ASTRAL BODY
-
-
-
6
ASTRAL
71
71
8
4
BODY
46
19
1
10
ASTRAL BODY
117
36
9
1+0
-`
1+1+7
3+6
-
1
ASTRAL BODY
9
9
9

 

 

I

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

 

 

-
-
-
-
-
C
-
-
-
-
-
-
-
-
-
-
R
-
-
-
-
-
-
-
-
-
-
U
-
-
-
-
-
-
-
-
-
-
C
-
-
-
-
-
-
-
-
-
-
I
-
-
-
-
-
C
R
U
C
I
F
I
X
I
O
N
-
-
-
-
-
I
-
-
-
-
-
-
-
-
-
-
X
-
-
-
-
-
-
-
-
-
-
I
-
-
-
-
-
-
-
-
-
-
O
-
-
-
-
-
-
-
-
-
-
N
-
-
-
-
-

 

 

FINGERPRINTS OF THE GODS

Graham Hancock 1995  


Page 382

Chapter 41

 "Conscious of being alone, this blessed and immortal being contrived to create two divine offspring, Shu, god of the air and dryness, and Tefnut the goddess of moisture: ' I thrust my phallus into my closed hand. I made my seed to enter my hand. I poured it into my own mouth. I evacuated under the form of Shu, I passed water under the form of Tefnut.' 7"

 

CREATE C RE AT E CREATE

SEE R SEE

E SEE E

SEE R SEE

CREATE C RE AT E CREATE

 

 

THE RIVER GOD

Wilbur Smith 1993

Page 64

"...Out of the chaos and darkness of Nun rose Ammon-Ra, He- Who- Creates-Himself. I watched Ammon-Ra stroke his generative member, masturbating and spurting out his seminal seed in mighty waves that left the silver smear that we know as the Milky Way across the dark void. From this seed were generated Geb and Nut, the earth and the heaven. '

'Bak-her!' a single voice broke the tremulous silence of the temple. 'Bak-her! Amen!' The old abbot had not been able to contain himself, and now he endorsed my vision of the creation. I was so astonished by his change of heart that I almost forgot my next line. After all, he had been my sternest critic up to that time. I had won him over completely, and my voice soared in triumph.

'Geb and Nut coupled and copulated, as man and women do, and from their dreadful union were born the gods Osiris and Seth, and the goddesses Isis and Nephthys.'..."

Page 63

"...At the rear of the stage, hanging from floor to ceiling, were tightly stretched sheets of linen on which the artists from the necropolis had painted marvellous landscapes. In the half-light of the dusk and the flicker of the torches in their brackets the effect was so realistic as to transport the beholder into a different world in a distant time.

There were other delights that I had prepared for Pharaoh's amusement, from cages of animals, birds and butterflies that would be released to simulate the creation of the world by the great god Ammon-Ra, to flares and torches that I had doctored with chemicals to bum with brilliant flames of crimson and green, and flood the stage with eerie light and smoke-clouds, like those of the underworld where the gods live.

'Mamose, son of Ra, may you be granted eternal life! We your loyal subjects, the citizens of Thebes, beg you to draw nigh and give your divine attention to this poor play that we dedicate to Your Majesty.'

My Lord Intef concluded his address of welcome and resumed his seat. To a fanfare of hidden rams' horns, I stepped out from behind the pillar and faced the audience. They had endured discomfort and boredom on the hard flagstones, and by now were ripe for the entertainment to begin. A raucous cheer greeted my entrance and even Pharaoh smiled in anticipation.

I held up both hands for silence, and only when it was total did I begin to speak my overture.

'While I walked in the sunlight, young and filled with the vigour of youth, I heard the fatal music the reeds by the bank of the Nile. I did not recognize the sound of this harp, and I had no fear, for I was in the full bloom of my manhood and secure in the affection of my beloved.

'The music was of surpassing beauty. Joyously I went to find the musician, and could not know that he was Death and that he played his harp to summon me alone.' We Egyptians are fascinated by death, and I had at once touched a deep chord within my audience. They sighed and shuddered.

'Death seized me and bore me up in his skeletal arms towards Ammon-Ra, the sun god, and I was become one with the white light of his being. At a great distance I heard my beloved weep, but I could not see her and all the days of my life were as though they had never been.' This was the first public recitation of my prose, and I knew almost at once that I had them, their faces were fascinated and intent. There was not a sound in the temple.

'Then Death set me down in a high place from which I could see the world like a shining round shield in the blue sea of the heavens. I saw all / Page 64 / men and all creatures who have ever lived. Like a mighty river, time ran backwards before mine eyes. For a hundred thousand years I watched their strivings and their deaths. I watched all men go from death and old age to infancy and birth. Time became more and more remote, going back until the birth of the first man and the first woman. I watched them at the moment of their birth and then before. At last there were no men upon the earth and only the gods existed.

'Yet still the river of time flowed back beyond the time of the gods into Nun, into the time of darkness and primordial chaos. The river of time could flow no further back and so reversed itself. Time began to run forward in the manner that was familiar to me from my days of life upon the earth, and I watched the passion of the gods played out before me.' My audience were all of them well versed in the theology of our pantheon, but none of them had ever heard the mysteries presented in such a novel fashion. They sat silent and enthralled as I went on.

'Out of the chaos and darkness of Nun rose Ammon-Ra, He- Who- Creates-Himself. I watched Ammon-Ra stroke his generative member, masturbating and spurting out his seminal seed in mighty waves that left the silver smear that we know as the Milky Way across the dark void. From this seed were generated Geb and Nut, the earth and the heaven. '

'Bak-her!' a single voice broke the tremulous silence of the temple. 'Bak-her! Amen!' The old abbot had not been able to contain himself, and now he endorsed my vision of the creation. I was so astonished by his change of heart that I almost forgot my next line. After all, he had been my sternest critic up to that time. I had won him over completely, and my voice soared in triumph.

'Geb and Nut coupled and copulated, as man and women do, and from their dreadful union were born the gods Osiris and Seth, and the goddesses Isis and Nephthys.'

I made a wide gesture and the linen curtains were drawn slowly aside to reveal the fantasy world that I had created. Nothing like this had ever been seen in Egypt before and the audience gasped with amazement. With measured tread I withdrew, and my place upon the stage was taken by the god Osiris. The audience recognized him instantly by the tall, bottle-shaped head-dress, by his arms crossed over his chest and by the crook and the flail he held before him. Every household kept his statuette in the family shrine.

A droning cry of reverence went up from every throat, and indeed the sedative that I had administered to Tod glittered weirdly in his eyes and gave him a strange, unearthly presence that was convincingly godlike. With the crook and the flail Osiris made mystical gestures and declaimed in sonorous tones, 'Behold Atur, the river!' ..."

 

 

THE RIVER GOD

Wilbur Smith 1993

"...Now came that action of the play that had given me, the author, considerable pause, for how could I contrive fecundity without a stout peg to hang it on? We had just seen Osiris forcefully deprived of his. In the end I was forced to stoop to that tired old theatrical device that I so scorned in the work of other playwrights, namely the intervention of the gods and their supernatural powers.
While my Lady Lostris spoke from the wings, her shadowy alter ego on stage stood over the mummiform figure of Osiris and made a series of mystical gestures. 'My dear brother, by the rare and marvellous powers granted to me by our forefather, Ammon-Ra, I restore to you those manly parts that cruel Seth so brutally tore from you,' intoned my mistress.
I had equipped the mummy case with a device that I could raise by hauling on a length of fine linen twine that ran over a pulley in the temple roof directly above where Osiris lay. At Osiris' words the wooden phallus, hinged to the god's pudenda, rose in majestic splendour, as long as my arm, into full erection. The audience gasped with admiration.
When Isis caressed it, I jerked the string to make it leap and twitch. The audience loved it, but loved it even better when the goddess mounted the supine mummy of the god. Judging by the convincing acrobatics of her simulated ecstasy, the harlot I had chosen to play the part must have been one of the truly great exponents of her art. The audience gave full recognition to her superior performance, egging her on with whistling and hooting and shouting ribald advice.
At the climax of this exhibition the torches were extinguished and the temple plunged into darkness. In the darkness the substitution was made once more and when the torches were re-lit my Lady Lostris stood in mid-stage with a new-born infant in her arms. One of the kitchen slaves had been considerate enough to give birth a few days previously, and I had borrowed her whelp for the occasion.
'I give you the new-born son of Osiris, god of the underworld, and of Isis, goddess of the moon and of the stars.' My Lady Lostris lifted the infant high and he, astonished by the sea of strangers before him, screwed up his tiny face and turned bright red as he howled.
Isis raised her voice above his and cried, 'Greet the young Lord Horus, god of the wind and the sky, falcon of the heavens!' ..."

 

 

THE RIVER GOD 

Wilbur Smith 1993

Page 47

"If I had known then how close my words would turn out to being the truth, I think I should have placed a live coal on my tongue before I spoke them."

 

 

KEEPER OF GENESIS

A

QUEST

FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock

1996

Return to the Beginning

Page 283

'I stand before the masters who witnessed the genesis, who were the authors of their own forms, who walked the dark, circuitous passages of their own becoming. . .

I stand before the masters who witnessed the transformation of the body of a man into the body in spirit, who were witnesses to resurrection when the corpse of Osiris entered the mountain and the soul of Osiris walked out shining. . . when he came forth from death, a shining thing, his face white with heat. . .

I stand before the masters who know the histories of the dead, who decide which tales to hear again, who judge the books of lives as either fun or empty, who are themselves authors of truth. And they are Isis and Osiris, the divine intelligences. And when the story is written and the end is good and the soul of a man is perfected, with a shout they lift him into heaven. . .'

Ancient Egyptian Book of the Dead (Normandi Ellis translation)

 

 

HEAVEN

THE KINGDOM OF EVEN

 

 

KEEPER OF GENESIS

A

QUEST

FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock

1996

Page 282

Map

What can it be that was put in Rostau?

What hidden thing with fire about it?

And where in darkness does it lie?

 

-
-
-
-
-
-
-
-
-
-
1
2
3
4
5
6
7
8
9
W
=
5
-
4
WHAT
52
16
7
-
-
-
-
-
-
-
7
-
-
C
=
3
-
3
CAN
18
9
9
-
-
-
-
-
-
-
-
-
9
I
=
9
-
2
IT
29
11
2
-
-
2
-
-
-
-
-
-
-
B
=
2
-
2
BE
7
7
7
-
-
-
-
-
-
-
7
-
-
T
=
2
-
4
THAT
49
13
4
-
-
-
-
4
-
-
-
-
-
W
=
5
-
3
WAS
43
7
7
-
-
-
-
-
-
-
7
-
-
P
=
7
-
3
PUT
57
12
3
-
-
-
3
-
-
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
R
=
9
-
6
ROSTAU
94
22
4
-
-
-
-
4
-
-
-
-
-
-
-
51
-
29
-
372
111
48
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
W
=
5
-
4
WHAT
52
16
7
-
-
-
-
-
-
-
7
-
-
H
=
8
-
6
HIDDEN
44
35
8
-
-
-
-
-
-
-
-
8
-
T
=
2
-
5
THING
58
31
4
-
-
-
-
4
-
-
-
-
-
W
=
5
-
4
WITH
60
24
6
-
-
-
-
-
-
6
-
-
-
F
=
6
-
4
FIRE
38
29
2
-
-
2
-
-
-
-
-
-
-
A
=
1
-
5
ABOUT
59
14
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
2
IT
29
11
2
-
-
2
-
-
-
-
-
-
-
-
-
36
-
30
-
340
160
34
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
A
=
1
-
3
AND
19
10
1
-
1
-
-
-
-
-
-
-
-
W
=
5
-
5
WHERE
59
32
5
-
-
-
-
-
5
-
-
-
-
I
=
9
-
2
IN
23
14
5
-
-
-
-
-
5
-
-
-
-
D
=
4
-
8
DARKNESS
91
28
1
-
1
-
-
-
-
-
-
-
-
D
=
4
-
4
DOES
43
16
7
-
-
-
-
-
-
-
7
-
-
I
=
9
-
2
IT
29
11
2
-
-
2
-
-
-
-
-
-
-
L
=
3
-
3
LIE
26
17
8
-
-
-
-
-
-
-
-
8
-
-
-
35
-
27
-
290
128
29
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
122
-
86
First Total
1002
399
111
-
2
8
3
12
20
6
35
16
9
-
-
1+2+2
-
8+6
Add to Reduce
1+0+0+2
3+9+9
1+1+1
-
-
-
-
1+2
2+0
-
3+5
1+6
-
-
-
5
-
14
Second Total
3
21
3
-
2
8
3
3
2
6
8
7
9
-
-
-
-
1+4
Reduce to Deduce
-
2+1
-
-
-
-
-
-
-
-
-
-
-
-
-
5
-
5
Essence of Number
3
3
3
-
2
8
3
3
2
6
8
7
9

 

 

FUNERAL FIRE PYRE AMIDST PYRAMID IS O IS PYRAMID AMIDST PYRE FIRE FUNERAL

 

 

FUNREAL

IS

REAL FUN IS IS FUN REAL

 

 

PYRAMID MARY PYRAMID

Y RAM MARY MARY Y RAM

 

 

KEEPER OF GENESIS

A

QUEST

FOR THE HIDDEN LEGACY OF MANKIND

Robert Bauval Graham Hancock

1996

Return to the Beginning

Page 283

"Is it possible that men and women of great wisdom and learning cast a 'glamour' over the Giza necropolis at some point in the distant /Page 284/ past? Were they the possessors of as yet unguessed-at secrets that they wished to hide here? And did they succeed in concealing those secrets almost in plain view? For thousands of years, in other words, has the ancient Egyptian royal cemetary at Giza veiled the presence of something else — something of vastly greater significance for the story of Mankind?
One thing we are sure of is that unlike the hundreds of Fourth-Dynasty mastaba tombs to the west of the Sphinx and clustered around the three great Pyramids, the Pyramids themselves were never designed to serve primarily as burial places. We do not rule out the possibility that the Pharaohs Khufu, Khafre and Menkaure may at one time have been buried within them — although there is no evidence for this — but we are now satisfied that the transcendent effort and skill that went into the construction of these awe-inspiring monuments was motivated by a higher purpose.
We think that purpose was connected to the quest for eternal life wrapped up in a complete religious and spiritual system that the ancient Egyptians inherited from unknown predecessors and that they later codified in their eerie and other-worldly funerary and rebirth texts. We suggest, in short, that it was the goal of immortality, not just for one Pharaoh but for many, that the corridors and passages and hidden chambers and concealed gates and doorways of the Giza complex were ultimately designed to serve. Depicted in the Book of What is in the Duat as being filled with monsters, these narrow, claustrophobic, terrifying places, hemmed in on all sides by sheer stone walls, were in our view conceived as the ultimate testing ground for initiates. Here they would be forced to face and overcome their most horrible and debilitating fears. Here they would pass through unimaginable ordeals of the spirit and the mind. Here they would learn esoteric wisdom through acts of concentrated intelligence and will. Here they would be prepared, through practice and experience, for the moment of physical death and for the nightmares that would follow it, so that these transitions would not confuse or paralyse them — as they might other, unprepared, souls — and so that they might become 'equipped spirits' able to move as they wished through heaven and earth, 'unfailingly, and regularly and eternally'.'
Such was the lofty goal of the Horus-King's quest and the ancient /Page 285/ Egyptians clearly believed that in order to attain it the initiate would have to participate in the discovery, the unveiling, the revelation, of something of momentous importance — something that would bestow wisdom, and knowledge of the 'First Time', and of the mysteries of the cosmos, and of Osiris, the Once and Future King.
We are therefore reminded of a Hermetic Text, written in Greek but compiled in Alexandria in Egypt some 2000 years ago, that is known as the Kore Kosmu (or Virgin of the World).2 Like other such writings, this text speaks of Thoth, the ancient Egyptian wisdom-god, but refers to him by his Greek name, Hermes:

Such was all-knowing Hermes, who saw all things, and seeing understood, and understanding had the power both to disclose and to give explanation. For what he knew, he graved on stone; yet though he graved them onto stone he hid them mostly . . . The sacred symbols of the cosmic elements [he] hid away hard by the secrets of Osiris . . . keeping sure silence, that every younger age of cosmic time might seek for them.'

The text then tells us that before he 'returned to Heaven' Hermes invoked a spell on the secret writings and knowledge that he had hidden:
O holy books, who have been made by my immortal hands, by incorruption's magic spells . . . free from decay throughout eternity remain, and incorrupt from time. Become unseeable, unfindable, for every one whose foot shall tread the plains of this land, until Old Heaven doth bring forth meet instruments for you . . .4
What instruments might lead to the recovery of `unseeable and unfindable' secrets concealed at Giza?
Our research has persuaded us that a scientific language of precessional time and allegorical astronomy was deliberately expressed in the principal monuments there and in the texts that relate to them. From quite an early stage in our investigation, we hoped that this language might shed new light on the enigmatic civilization of Egypt.

Page 287

"Looking at the awe inspiring scale and precision of the monuments we feel, too, that the purpose of the ancient master-builders was sublime, and that they did indeed find a way to initiate those who would come after - thousands of years in the future - by making use of the universal language of the stars.

They found a way to send a message across the ages in a code so simple and so self explanatory that it might rightly be described as an anti-cipher.

Perhaps the time has come to listen to that clear, compelling signal that beckons us out of the darkness of prehistory. Perhaps the time /Page 288/ has come to seek the buried treasure of our forgotten genesis and destiny:

Stars fade like memory the instant before dawn. Low in the east the sun appears, golden as an opening eye. That which can be named must exist. That which is named can be written. That which is written shall be remembered. That which is remembered lives. In the land of Egypt Osiris breathes . . .6"

Conclusion

The quotation is from the Normandi Ellis's translation of the Ancient Egyptian Book of the Dead, Awakening Osiris, and is drawn from Chapter XV of the Ancient Egyptian Book of the Dead, Papyrus of Ani.

 

HAVE E N HAVE

HEAVEN HAVE ENTERED HAVE HEAVEN

HAVE N E HAVE

 

 

HAVE 5 5 HAVE

HEAVEN HAVE ENTERED HAVE HEAVEN

HAVE 5 5 HAVE

 

 

-
HEAVEN
-
-
-
1
H
8
8
8
1
E
5
5
5
2
A+V
23
5
5
1
E
5
5
5
1
N
14
5
5
6
HEAVEN
55
28
28
-
-
5+5
2+8
2+8
6
HEAVEN
10
5
5
-
-
1+0
-
-
5
HEAVEN
1
5
5

 

 

-
6
H
E
A
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
8
-
-
-
-
5
+
=
13
1+3
=
4
=
4
=
4
-
-
8
-
-
-
-
14
+
=
22
2+2
=
4
=
4
=
4
-
6
H
E
A
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
-
5
1
4
5
-
+
=
15
1+5
=
6
=
6
=
6
-
-
-
5
1
22
5
-
+
=
33
3+3
=
6
=
6
=
6
-
6
H
E
A
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
8
5
1
22
5
14
+
=
55
5+5
=
10
1+0
1
=
1
-
-
8
5
1
4
5
5
+
=
28
2+8
=
10
1+0
1
=
1
-
6
H
E
A
V
E
N
-
-
-
-
-
-
-
-
-
-
-
-
-
-
1
-
-
-
-
-
1
occurs
x
1
=
1
=
1
2
-
-
-
-
-
-
-
-
-
2
TWO
2
-
-
-
-
-
3
-
-
-
-
-
-
-
-
-
3
THREE
3
-
-
-
-
-
-
-
-
-
-
4
-
-
-
-
4
occurs
x
1
=
4
=
4
-
-
-
5
-
-
5
5
-
-
5
occurs
x
3
=
15
1+5
6
6
-
-
-
-
-
-
-
-
-
6
SIX
6
-
-
-
-
-
7
-
-
-
-
-
-
-
-
-
7
SEVEN
7
-
-
-
-
-
-
-
8
-
-
-
-
-
-
-
8
occurs
x
1
=
8
=
8
9
-
-
-
-
-
-
-
-
-
9
NINE
9
-
-
-
-
-
27
6
H
E
A
V
E
N
-
-
18
-
-
6
-
28
-
19
2+7
-
-
5
-
-
5
5
-
-
1+8
-
-
-
-
2+8
-
1+9
9
6
H
E
A
V
E
N
-
-
9
-
-
6
-
10
-
10
-
-
8
5
1