Early Stirrings of the Genesis Seal
When I first came face to face with the Genesis Seal, it didn’t occur to me to question how old it might be. It is part of the Hebrew Torah, so it must be as old as the Jewish source to which it belongs. Or that is what I assumed for a long time. It is only latterly that I have come to question that assumption, as I recognised one cultural encounter after another where the Genesis Seal could have had an unseen role. Finally, I took the unprecedented step of looking for evidence of a role for the Seal that did not depend on Jewish history in any shape or form. What I uncovered will have repercussions for everything we ever took for granted about biblical history.
The earliest evidence I found for the influence of the Genesis Seal is seen in a polytheistic mythology of Ancient Egypt. A particular collection of myths involving the gods Isis, Osiris, Seth and Horus (son of Isis and Osiris) all spill naturally from the revealed content of the Genesis Seal, mostly in its G1 and G2 aspects. And the earliest recorded references to that pantheon have been found as Pyramid Texts at Saqqara (near Cairo).
In the mythology, Isis, Osiris and Seth were siblings. The Egyptian tradition tells that Osiris was ruler over Egypt and was married to his sister-god Isis. Osiris was a good and wise ruler who was despised by the jealous Seth. The story of how these relationships played out may be presented in three phases.
(1)
One day, Osiris decided to leave Egypt and travel abroad, spreading his wisdom to other peoples of the world. This was the opportunity Seth had been waiting for. He started to plot the overthrow of Osiris as soon as he should return from his travels.
First, Seth recruited 72 like-minded conspirators to his cause. Next, he commissioned a beautiful, jewel-encrusted wooden chest that was made to the exact measurements of Osiris. Finally, as soon as word reached Seth that Osiris was on his way back to Egypt, Seth organised a lavish welcoming banquet, but only to be attended by Osiris and the 73 conspirators. During the merry-making, Seth initiated a competition, inviting each person present to lie in the chest, and promising to give the priceless box to whomever it might fit. Of course, it didn’t fit any of the Seth’s 72 recruits. Seth then offered the same invitation to Osiris who, against his better judgement, eventually took his place in the chest. The 73 conspirators were all gathered around Osiris and quickly put the lid of the chest in place, fastened it securely and poured molten metal into every crack to make it airtight. Finally the chest, now a sarcophagus, was thrown into the River Nile, where it was expected to sink.
The essential details of this part of the story can be related to a single compact part of the G1 aspect of the Genesis Seal. Figure 17 highlights components of the numerical view that have not been described before.
Low down, and to the right there are two 3x3 groups of digits the diagonals of which have been seen to be valid emergent words that are closely related. These groups combine to represent a box shape having relative dimensions 3x3x5. In each square end, the vertical diagonal comes from the word
aur (light), while the letters sandwiched between their middles spell the word
choshek (darkness) belonging to the source text. One side of the upper 3x3 group, seen here as a 292 sequence, consists of the emergent word
betzer (gold). Together, these details translate to the closed chest, its dark interior and the metal (gold) that was poured, molten into every crack. Thus far, these details have been seen before as having been interpreted in a biblical context.
The reason I have chosen the numerical view of the G1 Square is because it demonstrates new information that explains why Seth needed 73 conspirators (including himself). Three linear sequences have been highlighted, all of them set in axes that are radial to the first letter of Genesis. One of them, the 292, comes directly from the word for gold, and is equal to 4x73. In the other, adjacent side of the perimeter is a 1314, which is 18x73. And in the horizontal diagonal, the highlighted 876 is equal to 12x73. Therefore the 73 (conspirators) had the lid of the chest surrounded on every side. In fact, this configuration of multiples of 73 will be found to have an additional role at the end of the story. The second phase follows here.
(2)
To Seth’s dismay the sarcophagus did not sink, but floated down the river and out to sea, eventually becoming entangled in a tamarisk tree near Byblos in Phoenicia. The years passed, and the sarcophagus finally became entirely embedded within the trunk of the tamarisk.
At last, Isis became convinced that the reason her husband had not returned was because he must have met an untimely end. She set out to trace his whereabouts and finally came upon a royal palace, where the tamarisk had been taken to serve as the main pillar supporting a great hall. Isis sensed the presence of Osiris’ body within the pillar and arranged for the sarcophagus to be removed. Isis then took the body of Osiris back to Egypt, still in his sarcophagus.
Arriving in Egypt in the Nile Delta, Isis learned that Seth was out hunting in the very same area. Fearing what Seth might do if the sarcophagus was discovered, Isis tried to hide it in the reeds of the delta. Unfortunately, the sparkling gemstones encrusting the chest gave away its position to Seth, who took it back into his possession. He then cut the body of Osiris into fourteen pieces and scattered them far and wide throughout Egypt.
Isis was not discouraged, and set out again to recover those pieces. She found every one of them except for his penis, which had been swallowed by a catfish. Isis fashioned a replacement penis from gold, then assembled the fourteen pieces, to restore the dead Osiris. Calling on the magic powers of Anubis, Isis brought Osiris back to life for a while, during which she coupled with him, conceiving their son Horus. Still fearing the retribution of Seth, Isis took flight into the Nile Delta marshlands to pass her time until Horus should be born.
In the G1 view of the Genesis Seal, the Nile Delta is represented by the prominent Y-shape consisting of five copies of the letter
vav (this letter has the enduring role of representing water in the Genesis Seal). In the G1 Square, there are two pieces of corroboration for this interpretation, both seen in the same horizontal row of Figure 18.
Reading left to right in the left side of the highlighted row is the word
shebu (a sparkling gem), accounting for the way the covering of gemstones on the sarcophagus gave away its position to Seth. In the right side, the word
achu (a bulrush) identifies a type of reed that is endemic throughout the Nile Delta, but here associated with a pictorial representation of that region. The reason Isis is said to have spent the time she carried the unborn Horus in the Nile Delta is explained by an overlapping confluence of the G1 and G2 squares. In the G2 Square, the three letters of
rechem (a womb) come to occupy the same three elements as the upper V portion of the prominent Y-shape that dominates the G1 view. And the golden phallus with which Isis conceived Horus is explained by the linear ‘head’ that projects from the triangular ‘gold’ in the right hand corner, all of which is present in both G1 and G2.
As to why Seth had cut the body of Osiris into fourteen pieces, this reflects another view bequeathed by just Genesis 1:1. The 4x7 matrix seen in Figure 19 should be familiar from the large 45-degree right-angle triangle on the left. This has a horizontal 1414 sequence locked into its outline, representing 1/Sine(45). The right-hand copy of the same matrix shows a greatly extended 4-1-4-1-4-1-4 sequence, revealing the outline of human male genitals. The extra, horizontal link at the upper end is included for a reason that I shall come to later. This is not the only way that a 1-4-1-4… sequence may be traced within this matrix. But it is distinctive enough to have inspired the story of Osiris’ penis being the fourteenth piece of his body.
(3)
Bye and bye, Horus grew up to be a fine god-king in his own right. And when he was old enough, his mother Isis told Horus the story of how Seth had murdered Osiris, his father. In his zeal to avenge his dead father, Horus challenged Seth to combat, during which Seth lost a testicle and Horus had his left eye plucked out. However, Horus’ eye was later restored by another of the gods (perhaps Hathor or Thoth).
The symbol of the Eye of Horus, shown below, has been preserved through the ages, and is now popular with ‘New Age’ types everywhere.
Taking the major part of this image in isolation, there is good reason for believing it has been inspired by a confluence of the G1 and G2 views of the Genesis Seal, some of which was described earlier. The three prominent projections around this eye are indicative of the corner of a rectangular shape, with the diagonal inscribed. These projections will be seen to coincide with the relative positions of three linear numbers – all multiples of 73 – that previously explained the 73 conspiring murderers of Osiris. What is more, the bisecting projection emulates a scroll, hinting at the spiralling text within the Genesis Seal. What, then, should we make of the eye itself? The best possible answer lies in the letter
ayin (traditionally symbolic of an eye) that is responsible for the G1 to G2 transformation when it migrates to that same corner of G2. That would account for the eye being plucked from Horus in his struggle with Seth. The later restoration of the Eye occurs in the G4 Square, when a letter
ayin is restored to its regular place as 49th letter of the inserted text. That is at the opposite end of the horizontal diagonal. However, apart from this one small element of the much larger myth, nearly everything else is explicable in terms of the G1 Square.
There is one characteristic of this mythology that has a huge significance for the provenance of the Genesis Seal. It is the fact that the gods: Isis, Osiris, Seth and Horus are all recorded in the interior texts in the Pyramid of Unas at Saqqara. And these have been reliably dated to around 3000BC.
Having likened the headline ‘Y’ artefact in the G1 Square to the Nile Delta, it is a short step to show that the G2 view reinforces the idea that Egypt is an analogue of heaven itself. I am reminded of a document now known as The Asclepius that was found among the otherwise (Gnostic) Christian Nag Hammadi codices. In this document,
Hermes Trismegistus addresses his eponymous pupil so:
Do you not know, Asclepius, that Egypt is an image of heaven or, to be more precise, that everything governed and moved in heaven came down to Egypt and was transferred there? If truth were told, our land is the temple of the whole world. The author of the Asclepius could so easily have been sat before a copy of the Genesis Seal.
The G2 view of the Genesis Seal reveals a new headline image that I have described as a Lamed River, due to its overall shape (like a Hebrew letter
lamed) and because the letter
vav of which it is composed, bears all the hallmarks of a symbol for water.
Figure 20 shows an extended section of the River Nile, from the delta in the north to a region that is exceptionally well endowed with temples and necropolises. There is no doubting that the enlarged, more southerly portion of the river bears a striking resemblance to the headline image in the G2 Square. What is more, the stretch between Abydos and Nag Hammadi is remarkably similar to the phallic image seen in Figure 19(b), once the upper, horizontal link is taken into consideration. That is from Abydos, where Isis is said to have laid Osiris to rest, to Nag Hammadi where the hidden Christian codices were found in 1945. The large meander in the Nile at Nag Hammadi, corresponding to the scrotum in Figure 19(b), may well be the inspiration for the mythical detail that Seth lost a testicle in his struggle with Horus. However we shall see next a more complete reason why Seth’s and Horus’ injuries should both be as they are in that story.
If we may accept that the Genesis Seal was known from as early as the building of the Pyramid of Unas, it is no great stretch of credibility to recognise other examples of its influence in later Egyptian art. A particularly likely candidate is a portrait of Pharaoh Amenhotep II (BC 1424 to 1379), shown in Figure 21.
Particular components to note in the portrait are the Uraeus serpent placed over the brow of the Pharaoh, and the strongly emphasised jaw-line. Together with his ceremonial beard, these features all emulate the magnified portion of the River Nile seen in Figure 20. The eye of Amenhotep II resembles a simplified form of the Eye of Horus that, in comparison with the Nile, coincides with the scrotum meander at Nag Hammadi. That would strongly reflect the relationship between the injuries mutually inflicted by Horus and Seth in their struggle together.
I have included an enlarged Hebrew letter
lamed at Figure 21(b) for two reasons. One is because this is a remarkably close match for the facial outline in the portrait of Amenhotep II, and for the topical portion of the Nile. Notice especially the part of the letter that is almost indistinguishable from the head of the Uraeus serpent. Incidentally, the Hebrew letter
lamed is the only one of the 22 that protrudes above an unseen shoulder-line from which all the other letters hang down.
Another reason to include the
lamed is because, until the G1 to G2 transformation, the letter
ayin (an eye) combines with a
lamed in the two-letter word
aal (upon), very aptly from ‘
upon the face’.
Strangely, however, either the letter
lamed or the portrait could turn out to be an anachronism, since the Hebrew Square Script only came into use during a century or two preceding the Babylonian Exile of the Jews. That is, eight centuries after the time of Amenhotep II. It was around that time that Judaism adopted the Square Script to Hebrew, from the Aramaic language that had recently become a
lingua franca throughout the Ancient Near East. So, the form of the portrait in Figure 21 could not have been structured to emulate the much later Aramaic letter
lamed. The face of Amenhotep II is far more likely to be fashioned to honour the topography of the sacred Great River of Egypt. So, we are left to conclude that when the form of the Aramaic letter
lamed was decided eight centuries later, it was probably with the same objective. Here, we have one more reason to conclude that the Hebrew creation account was already known among great cultures long before the Jewish people came along and laid claim to it.