WORK DAYS OF GOD Herbert W Morris D.D.circa 1883 Page 22 "As all the words in the English language are composed out of the twenty-six letters of the alphabet,.." 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" 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 "BY WRITING THE 26 LETTERS OF THE ALPHABET IN A CERTAIN ORDER ONE MAY PUT DOWN ALMOST ANY MESSAGE" 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 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." THIS IS THE SCENE OF THE SCENE UNSEEN THE UNSEEN SEEN OF THE SCENE UNSEEN THIS IS THE SCENE 3 THE 33 15 6 4 MIN D 40 22 4 2 OF 21 12 3 9 HUMANK IND 95 41 5 18 First T ota l 189 90 18 1+8 Add to Red uce 1+8+9 9+0 1+8 9 Se cond T ota l 18 9 9 - Red uce to De duce 1+8 - - 9 Ess ence of N umb e r 9 9 9 THE FAR YONDER SCRIBE AND OFT TIMES SHADOWED SUBSTANCES WATCHED IN FINE AMAZE THE ZED ALIZ ZED IN SWIFT REPEAT SCATTER STAR DUST AMONGST THE LETTERS OF THEIR PROGRESS AT THE THROW OF THE NINTH RAM WHEN IN CONJUNCTION SET THE FAR YONDER SCRIBE MADE RECORD OF THEIR FALL 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." FINGERPRINTS OF THE GODS 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 4320 or 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" ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE R+HREE+OU+R+I+VE+I+EV+I+I ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE R+HREE+OU+R+I+VE+I+EV+I+I ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 85R6 655 256 2HREE 6OUR 6IVE 1I6 1EV55 5I782 5I55 R+HREE+OU+R+I+VE+I+EV+I+I ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE R+HREE+OU+R+I+VE+I+EV+I+I 85R6 655 256 2HREE 6OUR 6IVE 1I6 1EV55 5I782 5I55 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 8596 655 256 28955 6639 6945 196 15455 59782 5955 R+HREE+OU+R+I+VE+I+EV+I+I 8596 655 256 28955 6639 6945 196 15455 59782 5955 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 9+8+9+5+5+6+3+9+9+4+5+9+5+4+9+9 9 +8+9+5+5+6+3+9+9+4+5+9+5+4+9+9 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 8596 655 256 28955 6639 6945 196 15455 59782 5955 7x9 = 63 36 = 9x7 8596 655 256 28955 6639 6945 196 15455 59782 5955 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE ZEO ONE TWO T F F SX SEN EGHT NNE Z+E+O+ O+N+E+T+W+O+T+F+F+S+X+S+E+N+ E+G+H+T+N+N+E 8+5+6+6+5+5+2+5+6+2+6+6+1+6+1+5+5+5+7+8+2+5+5+5 Z+E+O+ O+N+E+T+W+O+T+F+F+S+X+S+E+N+ E+G+H+T+N+N+E ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE 8596 655 256 28955 6639 6945 196 15455 59782 5955 R HREE OUR IVE I EV I I R +H+R+E+E+O+U+R+I+V+E+I+E+V+I+I 9+8+9+5+5+6+3+9+9+4+5+9+5+4+9+9 R +H+R+E+E+O+U+R+I+V+E+I+E+V+I+I R HREE OUR IVE I EV I I 8596 655 256 28955 6639 6945 196 15455 59782 5955 ZERO ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE A MAZE IN ZAZAZA ENTER AZAZAZ AZAZAZAZAZAZAZZAZAZAZAZAZAZA ZAZAZAZAZAZAZAZAZAAZAZAZAZAZAZAZAZAZ THE MAGICALALPHABET ABCDEFGHIJKLMNOPQRSTUVWXYZZYXWVUTSRQPONMLKJIHGFEDCBA 12345678910111213141516171819202122232425262625242322212019181716151413121110987654321 - THE R A INBOW LIGH T - - - 3 THE 33 15 6 7 R A INBOW 82 37 1 5 LIGH T 56 29 2 15 THE R A INBOW LIGH T 171 81 9 1+5 - 1+7+1 8+1 - 6 THE R A INBOW LIGH T 9 9 9 15 THE RAINBOW LIGHT - - - - THE 33 15 6 - R 18 9 9 - A 1 1 1 - I 9 9 9 - N + B + O + W 54 18 9 - L 12 3 3 - I 9 9 9 - G+H+T 35 17 8 15 THE RAINBOW LIGHT 171 81 54 1+5 - 1+7+1 8+1 5+4 6 THE RAINBOW LIGHT 9 9 9 THE LIGHT IS RISING RISING IS THE LIGHT 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 - 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 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 A B C D E F G H I - - - - - - - - - - - - - - - - 8 9 + = 17 1+7 = 8 = 8 - - - - - - - - 8 9 + = 17 1+7 = 8 = 8 9 A B C D E F G H I - - - - - - - - - 1 2 3 4 5 6 7 - - + = 28 2+8 = 10 1+0 1 - 1 2 3 4 5 6 7 - - + = 28 2+8 = 10 1+0 1 9 A B C D E F G H I - - - - - - - - - 1 2 3 4 5 6 7 8 9 + = 45 4+5 = 9 = 9 - 1 2 3 4 5 6 7 8 9 + = 45 4+5 = 9 = 9 9 A B C D E F G H I - - - - - - - - - 1 - - - - - - - - + = 1 oc cu r s x 1 = 1 - - 2 - - - - - - - + = 2 oc cu r s x 1 = 2 - - - 3 - - - - - - + = 3 oc cu r s x 1 = 3 - - - - 4 - - - - - + = 4 oc cu r s x 1 = 4 - - - - - 5 - - - - + = 5 oc cu r s x 1 = 5 - - - - - - 6 - - - + = 6 oc cu r s x 1 = 6 - - - - - - - 7 - - + = 7 oc cu r s x 1 = 7 - - - - - - - - 8 - + = 8 oc cu r s x 1 = 8 - - - - - - - - - 9 + = 9 oc cu r s x 1 = 9 9 A B C D E F G H I - - 45 - - 9 - 45 - 1 2 3 4 5 6 7 8 9 - - 4+5 - - - - 4+5 9 A B C D E F G H I - - 9 - - 9 - 9 - 1 2 3 4 5 6 7 8 9 - - - - - - - - 9 A B C D E F G H I - - 9 - - 9 - 9 9 J K L M N O P Q R - - - - - - - - - - - - - 5 6 - - - + = 11 1+1 = 2 = 2 - - - - - 14 15 - - - + = 29 2+9 = 11 1+1 2 9 J K L M N O P Q R - - - - - - - - - 1 2 3 4 - - 7 8 9 + = 34 3+4 = 7 = 7 - 10 11 12 13 - - 16 17 18 + = 97 9+7 = 16 1+6 7 9 J K L M N O P Q R - - - - - - - - - 10 11 12 13 14 15 16 17 18 + = 126 1+2+6 = 9 = 9 - 1 2 3 4 5 6 7 8 9 + = 45 4+5 = 9 = 9 9 J K L M N O P Q R - - - - - - - - - 1 - - - - - - - - + = 1 oc cu r s x 1 = 1 - - 2 - - - - - - - + = 2 oc cu r s x 1 = 2 - - - 3 - - - - - - + = 3 oc cu r s x 1 = 3 - - - - 4 - - - - - + = 4 oc cu r s x 1 = 4 - - - - - 5 - - - - + = 5 oc cu r s x 1 = 5 - - - - - - 6 - - - + = 6 oc cu r s x 1 = 6 - - - - - - - 7 - - + = 7 oc cu r s x 1 = 7 - - - - - - - - 8 - + = 8 oc cu r s x 1 = 8 - - - - - - - - - 9 + = 9 oc cu r s x 1 = 9 9 J K L M N O P Q R - - 45 - - 9 - 45 - 10 11 12 13 14 15 16 17 18 - - 4+5 - - - - 4+5 9 J K L M N O P Q R - - 9 - - 9 - 9 - 1 2 3 4 5 6 7 8 9 - - - - - - - - 9 J K L M N O P Q R - - 9 - - 9 - 9 8 S T U V W X Y Z - - - - - - - - - 1 - - - - 6 - 8 + = 15 1+5 = 6 = 6 - 19 - - - - 24 - 26 + = 69 6+9 = 15 1+5 6 8 S T U V W X Y Z - - - - - - - - - - 2 3 4 5 - 7 - + = 21 2+1 = 3 = 3 - - 20 21 22 23 - 25 - + = 111 1+1+1 = 3 = 3 8 S T U V W X Y Z - - - - - - - - - 19 20 21 22 23 24 25 26 + = 18 0 1 + 8 +0 = 9 = 9 - 1 2 3 4 5 6 7 8 + = 36 3 + 6 = 9 = 9 8 S T U V W X Y Z - - - - - - - - - 1 - - - - - - - + = 1 oc cu r s x 1 = 1 - - 2 - - - - - - + = 2 oc cu r s x 1 = 2 - - - 3 - - - - - + = 3 oc cu r s x 1 = 3 - - - - 4 - - - - + = 4 oc cu r s x 1 = 4 - - - - - 5 - - - + = 5 oc cu r s x 1 = 5 - - - - - - 6 - - + = 6 oc cu r s x 1 = 6 - - - - - - - 7 - + = 7 oc cu r s x 1 = 7 - - - - - - - - 8 + = 8 oc cu r s x 1 = 8 8 S T U V W X Y Z - - 36 - - 8 - 36 - 1 2 3 4 5 6 7 8 - - 3+6 - - - - 3+6 8 S T U V W X Y Z - - 9 - - 8 - 9 - 19 20 21 22 23 24 25 26 - - - - - - - - 8 S T U V W X Y Z - - 9 - - 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 oc cu r s x 3 = 3 = 3 - - 2 - - - - - - - - 2 - - - - - - - - 2 - - - - - - + = 2 oc cu r s x 3 = 6 = 6 - - - 3 - - - - - - - - 3 - - - - - - - - 3 - - - - - + = 3 oc cu r s x 3 = 9 = 9 - - - - 4 - - - - - - - - 4 - - - - - - - - 4 - - - - + = 4 oc cu r s x 3 = 12 1+2 3 - - - - - 5 - - - - - - - - 5 - - - - - - - - 5 - - - + = 5 oc cu r s x 3 = 15 1+5 6 - - - - - - 6 - - - - - - - - 6 - - - - - - - - 6 - - + = 6 oc cu r s x 3 = 18 1+8 9 - - - - - - - 7 - - - - - - - - 7 - - - - - - - - 7 - + = 7 oc cu r s x 3 = 21 2+1 3 - - - - - - - - 8 - - - - - - - - 8 - - - - - - - - 8 + = 8 oc cu r s x 3 = 24 2+4 6 - - - - - - - - - 9 - - - - - - - - 9 - - - - - - - - + = 9 oc cu r s 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 THE LIGHT IS RISING NOW RISING IS THE LIGHT 0 - Z = 8 - 4 ZE R O 64 28 1 1 - O = 6 - 3 ONE 34 16 7 2 - T = 2 - 3 TWO 58 13 4 3 - T = 2 - 5 T HREE 56 29 2 4 - F = 6 - 4 F OUR 60 24 6 5 - F = 6 - 4 F IVE 42 24 6 6 - S = 1 - 3 S I X 52 16 7 7 - S = 1 - 5 S EV EN 65 20 2 8 - E = 5 - 5 E I GHT 49 31 4 9 - N = 5 - 4 N I NE 42 24 6 45 - - - 42 - 40 Add 522 225 45 4+5 - - - 4+2 - 4+0 Red uce 5+2+2 2+2+5 4+5 9 - - - 6 - 4 De duce 9 9 9 - - - - - - - - - - - - 1 2 3 4 5 6 7 8 9 - - - - - - - - - - - - - - - - - - - - - 0 - Z = 8 - 4 ZE R O 64 28 1 - 1 - - - - - - - - 1 - O = 6 - 3 ONE 34 16 7 - - - - - - - 7 - - 2 - T = 2 - 3 TWO 58 13 4 - - - - 4 - - - - - 3 - T = 2 - 5 T HREE 56 29 2 - - 2 - - - - - - - 4 - F = 6 - 4 F OUR 60 24 6 - - - - - - 6 - - - 5 - F = 6 - 4 F IVE 42 24 6 - - - - - - 6 - - - 6 - S = 1 - 3 S I X 52 16 7 - - - - - - - 7 - - 7 - S = 1 - 5 S EV EN 65 20 2 - - 2 - - - - - - - 8 - E = 5 - 5 E I GHT 49 31 4 - - - - 4 - - - - - 9 - N = 5 - 4 N I NE 42 24 6 - - - - - - 6 - - - 45 - - - 42 - 40 Add 522 225 45 - 1 4 3 8 5 18 14 8 9 4+5 - - - 4+2 - 4+0 Red uce 5+2+2 2+2+5 4+5 - - - - - - 1+8 1+4 - - 9 - - - 6 - 4 De duce 9 9 9 - 1 4 3 8 5 9 5 8 9 1 - O = 6 - 3 ONE 34 16 7 2 - T = 2 - 3 TWO 58 13 4 3 - T = 2 - 5 T HREE 56 29 2 4 - F = 6 - 4 F OUR 60 24 6 5 - F = 6 - 4 F IVE 42 24 6 6 - S = 1 - 3 S I X 52 16 7 7 - S = 1 - 5 S EV EN 65 20 2 8 - E = 5 - 5 E I GHT 49 31 4 9 - N = 5 - 4 N I NE 42 24 6 45 - - - 34 - 36 Add 458 197 44 4+5 - - - 3+4 - 3+6 Red uce 4+5+8 1+9+7 4+4 9 - - - 7 4 9 De duce 17 17 8 - - - - - - - P r oduce 1+7 1+7 - 9 - - - 7 - 9 Ess ence 8 8 8 - - - - - - - - - - - - 1 2 3 4 5 6 7 8 9 - - - - - - - - - - - - - - - - - - - - - 1 - O = 6 - 3 ONE 34 16 7 - - - - - - - 7 - - 2 - T = 2 - 3 TWO 58 13 4 - - - - 4 - - - - - 3 - T = 2 - 5 T HREE 56 29 2 - - 2 - - - - - - - 4 - F = 6 - 4 F OUR 60 24 6 - - - - - - 6 - - - 5 - F = 6 - 4 F IVE 42 24 6 - - - - - - 6 - - - 6 - S = 1 - 3 S I X 52 16 7 - - - - - - - 7 - - 7 - S = 1 - 5 S EV EN 65 20 2 - - 2 - - - - - - - 8 - E = 5 - 5 E I GHT 49 31 4 - - - - 4 - - - - - 9 - N = 5 - 4 N I NE 42 24 6 - - - - - - 6 - - - 45 - - - 34 - 36 Add 458 197 44 - 1 4 3 8 5 18 14 8 9 4+5 - - - 3+4 - 3+6 Red uce 4+5+8 1+9+7 4+4 - - - - - - 1+8 1+4 - - 9 - - - 7 4 9 De duce 17 17 8 - 1 4 3 8 5 18 14 8 9 - - - - - - - P r oduce 1+7 1+7 - - - - - - - - - - - 9 - - - 7 - 9 Ess ence 8 8 8 - 1 4 3 8 5 9 5 8 9 0 - 4 ZE R O 8 5 9 6 - = 28 2+8 = 10 1+0 1 1 - 3 ONE 6 5 5 - - = 16 1+6 = 7 - 7 2 - 3 TWO 2 5 6 - - = 13 1+3 = 4 - 4 3 - 5 T HREE 2 8 9 5 5 = 29 2+9 = 11 1+1 2 4 - 4 F OUR 6 6 3 9 - = 24 2+4 = 6 - 6 5 - 4 F IVE 6 9 4 5 - = 24 2+4 = 6 - 6 6 - 3 S I X 1 9 6 - - = 16 1+6 = 7 - 7 7 - 5 S EV EN 1 5 4 5 5 = 20 2+0 = 2 - 2 8 - 5 E I GHT 5 9 7 8 2 = 31 3+1 = 4 - 4 9 - 4 N I NE 5 9 5 5 - = 24 2+4 = 6 - 6 45 - 40 Add 42 70 58 43 12 - 225 - - 63 - 45 4+5 - 4+0 - 4+2 7+0 5+8 4+3 1+2 - 2+2+5 - - 6+3 - 4+5 9 - 4 Re duce 6 7 13 7 3 - 9 - - 9 - - - - - - - - 1+3 - - - - - - - - - 9 - 4 De duce 6 7 4 7 3 - 9 - - 9 - 9 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 360° in 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 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 Santillarta 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) Thee 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 interest-

ing 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 radiusekla 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 striped 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" OF TIME AND STARS Arthur C. Clarke 1972 FOREWORD "'Into the Comet' and 'The Nine Billion Names of God' both involve computers and the troubles they may cause us. While writing this preface, I had occasion to call upon my own HP 9100A computer, Hal Junior, to answer an interesting question. Looking at my records, I find that I have now written just about one hundred short stories. This volume contains eighteen of them: therefore, how many possible 18-story collections will I be able to put together? The answer ­as I am sure will be instantly obvious to you - is 100 x 99. . . x 84 x 83 divided by 18 x 17 x 16 ... x .2 x 1. This is an impressive number - Hal Junior tells me that it is approximately 20,772,733,124,605,000,000. 3 THE 33 15 6 4 N I NE 42 24 6 7 B I L LIO N 73 37 1 5 NA ME S 52 16 7 2 OF 21 12 3 3 GOD 26 17 8 24 - 247 121 31 2+4 - 2+4+7 1+2+1 3+1 6 - 13 4 4 - - 1+3 - - 6 - 4 4 4 Page 15 The Nine Billion Names of God 'This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a machine. Could you explain just what you intend to do with it?'

'Gladly,' replied the lama, readjusting his silk robes and carefully putting away the slide rule he had been using far currency conversions. 'Your Mark V Computer can carry out any routine mathematical operation involving up to ten digits. However, for our work we are interested in letters, not numbers. As we wish you to modify the output circuits, the machine will be printing words, not columns of figures.'

'I don't quite understand. . .'

'This is a project on which we have been working for the last three centuries - since the lamasery was founded, in fact. It is somewhat alien to your way of thought, so I hope you will listen with an open mind while I explain it.'

'Naturally.'

'It is really quite simple. We have been compiling a list which shall contain all the possible names of God.'

'I beg your pardon?' Page16 'We have reason to believe,' continued the lama imperturbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.'

'And you have been doing this for three centuries?'

'Yes: we expected it would take us about fifteen thousand years to complete the task.'

'Oh,' Dr Wagner looked a little dazed. 'Now I see why you wanted to hire one of our machines. But what exactly is the purpose of this project?'

The lama hesitated for a fraction of a second, and Wagner wondered if he had offended him. If so, there was no trace of annoyance in the reply.

'Call it ritual, if you like, but it's a fundamental part of our belief. All the many names of the Supreme Being - God Jehova, Allah, and so on - they are only man-made labels. There is a philosophical problem of some difficulty here, which I do not propose to discuss, but somewhere among all the possible combinations of letters that can occur are what one may call the real names of God. By systematic permutation of letters, we have been trying to list them all.'

'I see. You've been starting at AAAAAAA . . . and working up to ZZZZZZZZ . . .'

'Exactly - though we use a special alphabet of our own. Modifying the electromatic typewriters to deal with this is, of course, trivial. A rather more interesting problem is that of devising suitable circuits to eliminate ridiculous combinations. For example, no letter must occur more than three times in succession.'

,'Three? Surely you mean two.'

'Three is correct: I am afraid it would take too long to explain why, even if you understood our language.' " Page 68 Into the Comet

"Pickett's fingers danced over the beads, sliding them up and down the wires with lightning speed. There were twelve wires in all, so that the abacus could handle numbers up to 999,999,999,999 - or could be divided into separate sections where several independent calculations could be carried out simultaneously.

'374072,' said Pickett, after an incredibly brief interval of time. 'Now see how long you take to do it, with pencil and paper.'

There was a much longer delay before Martens, who like most mathematicians was poor at arithmetic, called out '375072'. A hasty check soon confirmed that Martens had taken at least three times as long as Pickett to arrive at the wrong answer.

The atronomer's face was a study in mingled chagrin, astonishment, and curiosity.

'Where did you learn that trick?' he asked. 'I thought those things could only add and subtract.'

'Well - multiplication's only repeated addition, isn't it? All I did was to add 856 seven times in the unit column, three times in the tens column, and four times in the hundreds column. You do the same thing when you use pencil and paper. Of course, there are some short cuts, but if you think I'm fast, you should have seen my granduncle. He used to work in a Yokohama bank, and you couldn't see his fingers / Page 69 / when he was going at speed" I SAY THREAD THAT THREAD THREAD READ DEATH DEATH READ THREAD THREAD R DEATH DEATH R THREAD THREAD READ DEAR THREAD THE NEW ELIZABETHAN REFERENCE DICTIONARY An up-to-date vocabulary of the living English language Circa 1900 FOURTH EDITION Page 1472 thread (thred) [A.-S. thraed, from thrawan, to THROW (cp. Dut. draad, G. draht, Icel. thrathr)], n. A slender cord consisting of two or more yarns doubled or twisted ; a single filament of cotton, silk, wool, etc., esp. Lisle thread ; anything resembling this ; a fine line of colour etc. ; a thin seam or vein ; the spiral on a screw ; (fig.) a continuous course (of life etc.). v.t. To pass a thread through the eye or aperture of ; to string (beads etc.) on a thread ; (fig.) to pick (one's way) or to go through an intricate or crowded place, etc. ; to streak (the hair) with grey etc. ; to cut a thread on (a screw). thread and thrum : Good and bad together, all alike. threadbare, a. Worn so that the thread is visible, having the nap worn off ; (fig.) worn, trite, hackneyed. threadbareness, n. thread-mark, n. A mark produced by coloured silk fibres in banknotes to prevent counterfeiting. thread-paper, n. Soft paper for wrapping up thread, thread-worm, n. A thread-like nematode worm, esp. one infesting the rectum of children. threader, n. threadlike, a. and adv. thready, a. threadiness, n. THE NEW ELIZABETHAN REFERENCE DICTIONARY An up-to-date vocabulary of the living English language FOURTH EDITION Circa 1900 Page 1472 thread (thred) [A.-S. thraed, from thrawan, to THROW (cp. Dut. draad, G. draht, Icel. thrathr)], n. A slender cord consisting of two or more yarns doubled or twisted ; a single filament of cotton, silk, wool, etc., esp. Lisle thread ; anything resembling this ; a fine line of colour etc. ; a thin seam or vein ; the spiral on a screw ; (fig.) a continuous course (of life etc.). v.t. To pass a thread through the eye or aperture of ; to string (beads etc.) on a thread ; (fig.) to pick (one's way) or to go through an intricate or crowded place, etc. ; to streak (the hair) with grey etc. ; to cut a thread on (a screw). thread and thrum : Good and bad together, all alike. threadbare, a. Worn so that the thread is visible, having the nap worn off ; (fig.) worn, trite, hackneyed. threadbareness, n. thread-mark, n. A mark produced by coloured silk fibres in banknotes to prevent counterfeiting. thread-paper, n. Soft paper for wrapping up thread, thread-worm, n. A thread-like nematode worm, esp. one infesting the rectum of children. threader, n. threadlike, a. and adv. thready, a. threadiness, n. l isle t hread : l isle t hread : l A strong tightly twisted cotton thread (usually made of long-staple cotton) - lisle. Derived forms: lisle threads. Type of: cotton. Nearest ... www.wordwebonline.com/en/LISLETHREAD De f i n i t i on - of L isle f r om Dicti ona r y.net on - of Lomonay.net Lisle thread, a hard twisted cotton thread, originally produced at Lisle. Source: Webster's Revised Unabridged Dictionary (1913) ... www.dictionary.net/lisle-9k CASSELL'S ENGLISH DICTIONARY 1974 Lisle thread (lil thred) [ town in France, now Lille], n, A fine, hard thread orig. made at Lille. L = 3 4 LIF E 32 23 5 H = 8 7 HA NG I NG 60 42 6 B = 2 2 BY 27 9 9 A = 1 1 A 1 1 1 T = 2 6 T HREAD 56 29 2 - - 16 20 First T ota l 176 104 23 - - 1+6 2+0 Add to Red uce 1+7+6 1+0+4 2+3 Q - 7 2 Se cond T ota l 14 5 5 - - - - Red uce to De duce 1+4 - - - - 7 2 Ess ence of N umb e r 5 5 5 - THREAD - - - 1 R 18 9 9 5 DEATH 38 20 2 6 THREAD 56 29 2 LIFE HANGING BY A THREAD - 20 L I F E - H A N G I N G - B Y - A - T H R E A D - - - - - -- - - - - 44 - - 9 - - - 8 - 5 - 9 5 - - - - - - - - 8 - - - - + = 44 4+4 = 8 = 8 = 8 62 - - 9 - - - 8 - 14 - 9 14 - - - - - - - - 8 - - - - + = 62 6+2 = 8 = 8 = 8 - 20 L I F E - H A N G I N G - B Y - A - T H R E A D - - - - - -- - - - - 60 - 3 - 6 5 - - 1 - 7 - - 7 - 2 7 - 1 - 2 - 9 5 1 4 + = 60 6+0 = 6 = 6 = 6 114 - 12 - 6 5 - - 1 - 7 - - 7 - 2 25 - 1 - 20 - 18 5 1 4 + = 114 1+1+4 = 6 = 6 = 6 - 20 L I F E - H A N G I N G - B Y - A - T H R E A D - - - - - -- - - - - 176 - 12 9 6 5 - 8 1 14 7 9 14 7 - 2 25 - 1 - 20 8 18 5 1 4 + = 176 1+7+6 = 14 1+4 5 = 5 104 - 3 9 6 5 - 8 1 5 7 9 5 7 - 2 7 - 1 - 2 8 9 5 1 4 + = 104 1+0+4 = 5 = 5 = 5 - 20 L I F E - H A N G I N G - B Y - A - T H R E A D - - - - - - - - - - 1 - - - - - - - 1 - - - - - - - - - 1 - - - - - 1 - - - 1 oc cu r s x 3 = 3 = 3 2 ``- - - - - - - - - - - - - - 2 - - - - 2 - - - - - - - 2 oc cu r s x 2 = 4 = 4 3 - 3 - - - - - - - - - - - - - - - - - - - - - - - - - 3 oc cu r s x 1 = 3 = 3 4 - - - - - - - - - - - - - - - - - - - - - - - - 4 - - 4 oc cu r s x 1 = 4 = 4 5 - - - - 5 - - - 5 - - 5 - - - - - - - - - - 5 - - - - 5 oc cu r s x 4 = 20 2+0 2 6 - - - 6 - - - - - - - - - - - - - - - - - - - - - - - 6 oc cu r s x 1 = 6 = 6 7 - - - - - - - - - 7 - - 7 - - 7 - - - - - - - - - - - 7 oc cu r s x 3 = 21 2+1 3 8 - - - - - - 8 - - - - - - - - - - - - - 8 - - - - - - 8 oc cu r s x 2 = 16 1+6 7 9 - - 9 - - - - - - - 9 - - - - - - - - - - 9 - - - - - 9 oc cu r s x 3 = 27 2+7 9 45 20 L I F E - H A N G I N G - B Y - A - T H R E A D - - 45 - - 20 - 104 - 41 4+5 2+0 - 9 - - - - - - - 9 - - - - - - - - - - 9 - - - - - 4+5 - - 2+0 - 1+0+4 - 4+1 9 2 L I F E - H A N G I N G - B Y - A - T H R E A D - - 9 - - 2 - 5 - 5 - - 3 9 6 5 - 8 1 5 7 9 5 7 - 2 7 - 1 - 2 8 9 5 1 4 - - - - - - - - - - 9 2 L I F E - H A N G I N G - B Y - A - T H R E A D - - 9 - - 2 - 5 - 5 THE LIGHT IS RISING RISING IS THE LIGHT 2 I S 28 10 1 9 UNIVERS AL 121 40 4 4 MIN D 40 22 4 3 THE 33 15 6 4 MIN D 40 22 4 2 OF 21 12 3 9 HUMANK IND 95 41 5 33 First T ota l 378 162 27 3+3 Add to Red uce 3+7+8 1+6+2 2+7 6 Se cond T ota l 18 9 9 - Red uce to De duce 1+8 - - 6 Ess ence of N umb e r 9 9 9 9 UNIVERS AL 121 40 4 4 MIN D 40 22 4 2 I S 28 10 1 3 THE 33 15 6 4 MIN D 40 22 4 2 OF 21 12 3 9 HUMANK IND 95 41 5 33 First T ota l 378 162 27 3+3 Add to Red uce 3+7+8 1+6+2 2+7 6 Se cond T ota l 18 9 9 - Red uce to De duce 1+8 - - 6 Ess ence of N umb e r 9 9 9 E = 5 - 2 EX 11 2 2 U = 3 - 6 UMBRI S 82 28 1 E = 5 - 2 ET 25 7 7 I = 9 - 10 I M AGINIBU S 104 50 5 I = 9 - 2 I N 23 14 5 V = 4 - 9 VERI TAT EM 113 41 5 - - 35 - 31 First T ota l 358 142 25 - - 3+5 - 3+1 Add to Red uce 3+5+8 1+4+2 2+5 - - 8 - 4 Se cond T ota l 16 7 7 - - - - - Red uce to De duce 1+6 - - - - 8 - 4 Ess ence of N umb e r 7 7 7 O = 6 - 3 OU T 56 11 2 O = 6 - 2 OF 21 12 3 S = 1 - 7 SH ADOWS 89 26 8 A = 1 - 3 A ND 82 28 1 P = 7 - 9 P HANTAS MS 111 30 3 I = 9 - 4 INTO 58 22 4 T = 2 - 5 T R UTH 87 24 6 - - 32 - 33 Add to Red uce 441 135 27 - - 3+2 - 3+3 Red uce to De duce 4+4+1 1+3+5 2+7 - - 5 - 6 Ess ence of N umb e r 9 9 9 I ME YOU ME CREATORS GODS CREATORS THOU ART THAT THAT ART THOU GOD SPIRIT ART THOU THOU ART GOD SPIRIT MIND MATTER SPIRIT GOD SPIRIT MATTER MIND THOU ART UNIVERSAL MIND GODS UNIVERSAL MIND ART THOU