The Genesis Seal
- Thread starter Kingfisher2926
- Start date
dafydd
Banned
- Joined
- Feb 14, 2008
- Messages
- 35,398
The Templars would have had trouble reading English.
Lucian
Illuminator
- Joined
- Jan 26, 2009
- Messages
- 3,257
Well, if I recall correctly, "graal" just means "a vessel of some kind or another." Perhaps it was saucer-shaped. Chretien, Wolfram, etc. had to disguise their tales of flying saucers so they wouldn't get into trouble with the Church.
Don't be silly. Everyone knows that dragons are terrible linguists. No, the Beowulf-poet used the Genesis Seal for his description of the dragon. After all, the dragon became enraged after a cup (a grail, perhaps?) was stolen from his hoard. What the poet is saying is that reptilian aliens came to earth on a flying saucer, which they then hid and guarded. When the Geats discovered proof of alien life, the aliens decided to wipe them out. Duh.
One detail I might have missed: nothing in your first three steps suggests any way to determine which corner of the grid to start the inward spiral, nor which direction (clockwise or counterclockwise) to go from that corner.
Changing those choices produces reflected and/or rotated versions of the Seal. This doesn't matter for some of the meanings you've read into it, but it does for others. For example, in six of the eight possibilities, the Y shape you describe in step 5 does not resemble a Hebrew character, nor a woman's womb, as the Y shape ends up on its side or upside down. Many of the other pictorial meanings (rivers flowing in certain compass directions, shapes of testicles and so forth) also depend on that orientation.
Did you choose the orientation (starting corner and direction of the inward spiral) before or after you started ascribing meanings to features?
Respectfully,
Myriad
There should now be a brief recess before Kingfisher posts his next wall of text. Let us all take this time to reflect on what has gone before, and perhaps speculate as to what the future may hold. Could the next instalment finally answer the questions we have all been asking? I'm feeling really confident right now but let's wait and see. We don't want to get our hopes up prematurely. Obviously the next major posting won't just be a re-hash of what has gone before like all of the previous ones were. No Way. This next one will be something entirely different. The answers are coming. And all you non-believers should stay your hand, and be prepared for a major revelation. Oh yes. The next wall will silence you all.
Donn
Philosopher
I so enjoy these chains of hard evidence. Batman is reputed to possess skillz and some experts suggest they are mad!
Great point. I'll bet he could find patterns in any darn permutation of that grid. He'll probably say he tried them but found more sense in the one he uses. He often admits to things like this without connecting the dots.
Last edited:
Sideroxylon
Featherless biped
I am reminded a bit of Hyper Dimensional Design thread and that has been going on for years without progress. If he keeps this course and maintains interest this could reach equal levels of longevity and tedium.
Dancing David
Penultimate Amazing
I am saying you have no consistency in the way you find these patterns of significant words, that is an error of analysis. Some of you patterns have one shape, some have another, in some you have letters in others you have numbers.
To me it seems you are just looking for any type of patterns, hardly what one would expect of a designed code.
Let me ask this, if this was encryption, what would the key look like? What way would someone sending the message and receiving the message have for determining which patterns were the ones containing information? This is the way that most coded messages work.
And if you meant to show intent or non-random meaning that would really help, other wise it seems to be pareidolia.
Other wise it looks like you are playing Boggle
Dancing David
Penultimate Amazing
A line in some cases that is not straight or has variance in width. I could have used squigly or wobbly as well.
In some cases you seem to have bifurcations (ie the wang), in others diamond shapes that are not continuous.
Nay_Sayer
I say nay!
Really all we need to do is go back to the OP.
Kingfisher2926
Critical Thinker
- Joined
- Dec 9, 2011
- Messages
- 288
Great Square of Pegasus
I ended my previous contributory post by remarking on the strangely marginal role of horses in the Bible. I mentioned that the Hebrew word for ‘horse’ is sus, that it begins and ends with the letter samech, and that it is the only word of biblical Hebrew to confer a qatan value sequence of 666. The letter samech is doubly significant because Figure 37 in that post (repeated here) reveals a slightly exaggerated image of a samech. This image even contains a 666 sequence as well as two overlapping copies of 14641 (ie 11x11x11x11), one of which completes an octagon with the 666.
In the present post, I intend to show a relationship between the Genesis Seal and some concise aspects of Greek mythology, along with astronomical constellations that mimic the latter and are mimicked by the former. I shall address two strands of that mythology, both of which involve a very particular sus known as Pegasus. And we shall find that the Winged Horse is never far removed from combinations of the numbers 666 and 14641.
The historical context, together with the Genesis Seal, may have an unexpected bearing on the way that Greek mythology developed, perhaps explaining why the Greek and Babylonian naming of constellations does not overlap. We have a head start in understanding the way the Babylonians approached astronomy. In my post #654, I showed that eleven of the twelve Babylonian Signs of the Zodiac are explicable in terms of the Genesis Seal; nine of them from the G3 aspect alone.
In terms of celestial real-estate, the Babylonians quickly cornered the market in all its prime parcels, seemingly before the Greeks arrived on the scene. Also, where the Babylonians’ interest in the Genesis Seal led to a mature, mathematical approach to astronomy and astrology, the Greeks appear to have been content with inventive, but comparatively primitive story-telling. It is instructive to focus on a few of the better-known characters of the Greek mythology, some of which share their names with constellations that are celestial near-neighbours. The two strands I shall describe both follow from Perseus’ defeat of the Gorgon, Medusa. First, I can show that this starting point, too, has its counterpart in the Genesis Seal. The chief points of contact in this story are:
If there is a weakness anywhere in this post, it may be here at the start, where my first suggestion is entirely dispensable anyway. Here, I speculate that the familiar Y-shaped artefact in Figure 38 may have been the pattern for Medusa. One reason for making this suggestion depends on the smaller, inverted Y-shape, a little higher than the first but interlocking with it, and sharing two reflective axes. This is a reflection of the larger ‘Y’ because it is composed from the letters of mare’ah (a mirror). The actual mirror is Perseus’ burnished shield in which he had been told he could observe the Gorgon without the risk of being turned to stone. And the shield may be represented by the nine letters to the left that have their own bi-lateral symmetry. Notice especially that this group encompasses the position of a small, distinctive Y-shape composed only from the letter aleph, the one that may be seen in the G4 Square. Also, that artefact is exactly the same shape as the small, inverted ‘mirror-image’ in Figure 38. In due course. I shall show how both of those smaller Y-shapes can be equated with Pegasus.
I feel I am on firmer ground when we switch attention to the G2 Square in Figure 39. This shows the horizontal word cherev (a sword), which shares the same vertical axis as the original ‘Y’, now cutting across the serpentine image that has replaced the ‘Y’, implying that the head of Medusa has just been removed. The serpentine artefact in Figure 39 could be the reason the gorgons are described as having serpents in place of hair on their heads.
Note that the eight letters in octagonal frames in an octagonal formation are the very ones that confer qatan values to give the 14641 and 666 combination seen in Figure 37. I have already offered a tentative reason for how the Genesis Seal may have inspired the myth of Pegasus, using Figure 37. But, since Pegasus was born from the neck-stump of Medusa, it is quite plausible that the closed octagon highlighted above is that neck-stump, since it is formed from a combination of a 666 (sus) and a 14641. This is also an indicator that the small, inverted ‘Y’ in Figure 38 had been an early sighting of Pegasus. I shall come to the real significance of the number 14641 presently.
Again referring to Figure 38, there is a distinct similarity between the headline Y-shape and the part of the sky where the constellations of Pegasus and Andromeda intersect. The upper ‘V’ portion evidently corresponds to three stars of the Great Square of Pegasus. Let me explain why both the G1 and G2 squares would have been quite capable of reinforcing the Greeks’ interest in a square of stars. In the G1 square, the prominent Y-shape is embedded in a compact triangular group that includes another 14641, which is the square of 121. While 121 is the fourth member of the series of hexagram, or Star numbers: 13, 37, 73, 121… In other words, both versions of 14641 in G2 (only 1 in G1), each associated with a 666 (sus), imply a square of stars. This is a ‘Great Square’ because 14641 is the squared square: (11x11) x (11x11).
There is also reason to believe the entire distinctive ‘Y’ in G1 has also been interpreted as the Winged Horse. This is not just because its 666 stem has a resonance with the word sus, or because its two upper branches are redolent of wings. There is another characteristic of Pegasus that is nicely represented by the combination of G1 with G2. According to the myth, wherever the hooves of Pegasus struck the ground, there would issue a spring, implying cultured learning. And where the G1 Square indicates the position of the hooves of Pegasus, G2 has the source of the serpentine Lamed River. Note, too, that the G1 to G2 transformation is the result of the removal of the sole letter ayin that is traditionally symbolic of both an eye and a well-spring. In my post #654, I drew attention to another distinctive Y-shape in the G4 Square that is at the confluence of two kinds of flow (ie water and knowledge), each from two directions. The central element of the same small ‘Y’ is also the origin of two copies of 121 as the sides of a square, hence another 14641. This was first demonstrated in post #1011, Figure 36 (repeated here).
While film-makers are sometimes a little too enthusiastic in weaving Pegasus into their creations, there are relatively few mentions of the Winged Horse in the proper mythology. One notable example begins when Pegasus was harnessed by Bellerophon, near the fountain Peirene that was also sacred to the Muses. With the help of Pegasus, Bellerophon sought out and killed the monster Chimera. Significantly, the Genesis Seal identifies both Bellerophon and the Chimera in close association with Pegasus and Peirene. In the G4 Square (see Figure 40) Bellerophon may be identified by name (letters on yellow backgrounds) mounting the Y-shaped Pegasus. That sequence of five letters forms an image that is not unlike the lamed-river that was prominent in the G2 Square, and is now echoed by letters shown in blue, octagonal frames. The four letters on dark-blue, square backgrounds are sufficient to create a Hebrew transliteration of Peirene.
The Chimera was a strange beast indeed, having a body like a lion and the heads of a lion, a goat and a serpent. This is a perversion of the ‘living creatures’ that Ezekiel described as each having four faces, also inspired by this part of the G4 Square (see post #654). Even stranger, the goat-head was said to sprout from the creature’s spine. In terms of the Genesis Seal, the G4 aspect (Figure 40) is the one that includes the word ariy (a lion), ascending from the central element of the notable Y-shape. It is this word that confers a vertical 121 group that is both square (as 11×11) and a Star of David, hexagram number. The serpent head of the Chimera is surely an echo of the serpentine, headline image from the G2 Square that terminates in the very same central element of the same Y-shape. The goat-head is a combination of the emergent linear tayish (a he-goat) and rosh (a head), both on orange backgrounds. These words both begin in the Square’s vertical diagonal and meet in a shared final letter. In this sense, the goat-head emerges from the middle of the spine of the square.
According to the Greek myth, Bellerophon killed the Chimera with an arrow shot from above. This is also explained by the vertically descending word yara (the reverse of ‘lion’), as it can mean ‘an archer’ as well as ‘to flow’.
All-in-all, the G4 aspect of the Genesis Seal supplies an abundance of material to explain the key elements of this myth as an alternative interpretation to that of Ezekiel. The geometrical content (ie squares of squares, and squares of stars) provides an additional rationale for these features within the Seal to have become associated, in Greek mythology, with constellations of the night sky. Always remembering that the four faces of Ezekiel’s living creatures are Signs of the Zodiac that occur at regular 3-monthly intervals throughout the year.
Also, given the zodiacal interpretation, the same part of the G4 Square is able to account for the Greek myth of the Minotaur, which is part man (the Water Carrier) and part bull (Taurus). The Centaur (part man, part horse) is explicable likewise, since Sagittarius was of that stock, and can be understood as a combination of the descending yara (archer) with the Y-shape (flying horse) in which it terminates.
Having slain Medusa, Perseus set a course for home employing winged-boots loaned to him by Apollo, and carrying the head of the Gorgon in a bag. He was a late-comer to another tale that began when Cassiopeia, Queen to King Cepheus, boasted that she and her daughter Andromeda were more beautiful than the sea-nymph Neirids, of legendary beauty. Poseidon, God of the oceans, was incensed by Cassiopeia’s arrogance and loosed Cetus, the sea-monster, to ravage the coast of Cassiopeia’s realm. In desperation, King Cepheus consulted Pythia, the Oracle of Delphi, and was advised that the only way to appease Poseidon would be for the King to make a sacrifice of his virgin daughter, Andromeda, to the monster Cetus. That was why, when Perseus chanced to fly over that coast, he witnessed the beautiful virgin Andromeda chained to a rock and about to be devoured by the monster. Perseus altered course and caught the attention of Cetus. He then removed the head of Medusa from its sack, presenting its face to the monster, which immediately turned into stone. Perseus released Andromeda from her chains and the two were subsequently married.
The question arises: How might the Genesis Seal have had any part in the formulation of this story? I shall show an explanation based on some of the Seal’s now-familiar structural features that bear a close resemblance to relevant, major constellations, along with contributions from emergent words in the Genesis Seal.
The comparison may again begin with the prominent artefact in the G1 Square that is shaped like a letter ‘Y’. As mentioned earlier, the five identical components of this ‘Y’ are comparable to five stars of near-equal magnitude that constitute parts of the constellations of Andromeda and Pegasus, where they overlap. The upper ‘V’ portion belongs to the distinctive Great Square of Pegasus, while the linear stem is part of the Andromeda group (the star where they intersect was recently re-designated by astronomers as belonging to Andromeda, though it can never be disassociated from the Great Square). Obviously the ‘V’ component is not a complete square, though we should take note that the very same three elements come to contain a rechem (damsel) following the G1 to G2 transformation, while the fourth corner becomes part of a chalam (to bind) interlocking with the damsel on two letters. So, together, those overlapping words account for all four corners of that square, in such a way that the Seal agrees with the Greek myth in identifying Andromeda as the damsel bound in chains. The final piece of the jigsaw is the fact that the Hebrew word chalamish (a rock) incorporates the verb ‘to bind’. Recall, also, that the nine copies of the letter vav in the Seal text have been identified (originally for biblical reasons) as representing water that has settled into the lower half of both the G1 and G2 squares. Therefore, anyone familiar with the Genesis Seal would have no trouble identifying (i)a damsel (ii)chained to (iii)a rock in (iv)the sea.
To identify Cassiopeia in the same context, we need only look at the lower corner of the G1 square (see Figure 41).
Here, in its numeric aspect, we see the triangular cluster that I identified in post #827 as a 6-1-4-6-1-4 sequence. And that was recognised as prime candidate to have inspired an enigmatic biblical verse that includes the clause: Unless their Rock had sold them… (see Deuteronomy 32:30). Not only does this cluster reinforce the idea of Andromeda bound to a rock, but the ‘W’-shape at the heart of the constellation of Cassiopeia can be identified with five of those six elements, discarding the lower digit 6. Significantly, the operative five elements are the very ones that may be traced as a 14641, being (11×11) × (11×11). The parentheses are included to re-emphasise that 14641 is a squared square, so a Great Square by any set of criteria. And while the Great Square of Pegasus has no direct mythological connection with Cassiopeia, this 14641 does result in Andromeda being enclosed between the same two constellations as in the heavens. The fact that Cassiopeia and Andromeda were mother and daughter is captured in Figure 41 in the way that three stars of the Andromeda constellation are embedded in five stars of Cassiopeia. In the G1/G2 squares, the mother and daughter certainly do exude great beauty. Each of these squares associates a 666 with a 14641, in equally striking yet independent ways.
It is clear that the Ancient Greeks and Babylonians were both obsessed with the same compact zone of the G4 Square, but not to the exclusion of other aspects of the Genesis Seal. It is also quite curious that the two cultures seem to have avoided laying claim to the same parts of the heavens, almost as though there was an agreed understanding between them.
These observations only strengthen my own suspicion that the Jewish prophet, Ezekiel must have played some part in the design of the Hebrew Genesis Seal. After all, Babylon was a place where all three cultures are known to have interacted, during Ezekiel’s lifetime and the Jews’ exile there.
Previous contributory posts in this thread are numbered:
1, 119, 136, 288, 289, 361, 446, 492, 554, 654, 697, 755, 827, 867, 937, 1011
I ended my previous contributory post by remarking on the strangely marginal role of horses in the Bible. I mentioned that the Hebrew word for ‘horse’ is sus, that it begins and ends with the letter samech, and that it is the only word of biblical Hebrew to confer a qatan value sequence of 666. The letter samech is doubly significant because Figure 37 in that post (repeated here) reveals a slightly exaggerated image of a samech. This image even contains a 666 sequence as well as two overlapping copies of 14641 (ie 11x11x11x11), one of which completes an octagon with the 666.
In the present post, I intend to show a relationship between the Genesis Seal and some concise aspects of Greek mythology, along with astronomical constellations that mimic the latter and are mimicked by the former. I shall address two strands of that mythology, both of which involve a very particular sus known as Pegasus. And we shall find that the Winged Horse is never far removed from combinations of the numbers 666 and 14641.
The historical context, together with the Genesis Seal, may have an unexpected bearing on the way that Greek mythology developed, perhaps explaining why the Greek and Babylonian naming of constellations does not overlap. We have a head start in understanding the way the Babylonians approached astronomy. In my post #654, I showed that eleven of the twelve Babylonian Signs of the Zodiac are explicable in terms of the Genesis Seal; nine of them from the G3 aspect alone.
In terms of celestial real-estate, the Babylonians quickly cornered the market in all its prime parcels, seemingly before the Greeks arrived on the scene. Also, where the Babylonians’ interest in the Genesis Seal led to a mature, mathematical approach to astronomy and astrology, the Greeks appear to have been content with inventive, but comparatively primitive story-telling. It is instructive to focus on a few of the better-known characters of the Greek mythology, some of which share their names with constellations that are celestial near-neighbours. The two strands I shall describe both follow from Perseus’ defeat of the Gorgon, Medusa. First, I can show that this starting point, too, has its counterpart in the Genesis Seal. The chief points of contact in this story are:
- the gorgon Medusa, whose aspect could petrify anyone who looked directly upon it,
- the burnished shield in which Perseus could safely watch Medusa’s reflection,
- Perseus’ sword, with which he decapitated the Gorgon, and
- the Winged Horse, Pegasus, that was born from the gorgon’s raw neck-stump.
If there is a weakness anywhere in this post, it may be here at the start, where my first suggestion is entirely dispensable anyway. Here, I speculate that the familiar Y-shaped artefact in Figure 38 may have been the pattern for Medusa. One reason for making this suggestion depends on the smaller, inverted Y-shape, a little higher than the first but interlocking with it, and sharing two reflective axes. This is a reflection of the larger ‘Y’ because it is composed from the letters of mare’ah (a mirror). The actual mirror is Perseus’ burnished shield in which he had been told he could observe the Gorgon without the risk of being turned to stone. And the shield may be represented by the nine letters to the left that have their own bi-lateral symmetry. Notice especially that this group encompasses the position of a small, distinctive Y-shape composed only from the letter aleph, the one that may be seen in the G4 Square. Also, that artefact is exactly the same shape as the small, inverted ‘mirror-image’ in Figure 38. In due course. I shall show how both of those smaller Y-shapes can be equated with Pegasus.
I feel I am on firmer ground when we switch attention to the G2 Square in Figure 39. This shows the horizontal word cherev (a sword), which shares the same vertical axis as the original ‘Y’, now cutting across the serpentine image that has replaced the ‘Y’, implying that the head of Medusa has just been removed. The serpentine artefact in Figure 39 could be the reason the gorgons are described as having serpents in place of hair on their heads.
Note that the eight letters in octagonal frames in an octagonal formation are the very ones that confer qatan values to give the 14641 and 666 combination seen in Figure 37. I have already offered a tentative reason for how the Genesis Seal may have inspired the myth of Pegasus, using Figure 37. But, since Pegasus was born from the neck-stump of Medusa, it is quite plausible that the closed octagon highlighted above is that neck-stump, since it is formed from a combination of a 666 (sus) and a 14641. This is also an indicator that the small, inverted ‘Y’ in Figure 38 had been an early sighting of Pegasus. I shall come to the real significance of the number 14641 presently.
Again referring to Figure 38, there is a distinct similarity between the headline Y-shape and the part of the sky where the constellations of Pegasus and Andromeda intersect. The upper ‘V’ portion evidently corresponds to three stars of the Great Square of Pegasus. Let me explain why both the G1 and G2 squares would have been quite capable of reinforcing the Greeks’ interest in a square of stars. In the G1 square, the prominent Y-shape is embedded in a compact triangular group that includes another 14641, which is the square of 121. While 121 is the fourth member of the series of hexagram, or Star numbers: 13, 37, 73, 121… In other words, both versions of 14641 in G2 (only 1 in G1), each associated with a 666 (sus), imply a square of stars. This is a ‘Great Square’ because 14641 is the squared square: (11x11) x (11x11).
There is also reason to believe the entire distinctive ‘Y’ in G1 has also been interpreted as the Winged Horse. This is not just because its 666 stem has a resonance with the word sus, or because its two upper branches are redolent of wings. There is another characteristic of Pegasus that is nicely represented by the combination of G1 with G2. According to the myth, wherever the hooves of Pegasus struck the ground, there would issue a spring, implying cultured learning. And where the G1 Square indicates the position of the hooves of Pegasus, G2 has the source of the serpentine Lamed River. Note, too, that the G1 to G2 transformation is the result of the removal of the sole letter ayin that is traditionally symbolic of both an eye and a well-spring. In my post #654, I drew attention to another distinctive Y-shape in the G4 Square that is at the confluence of two kinds of flow (ie water and knowledge), each from two directions. The central element of the same small ‘Y’ is also the origin of two copies of 121 as the sides of a square, hence another 14641. This was first demonstrated in post #1011, Figure 36 (repeated here).
While film-makers are sometimes a little too enthusiastic in weaving Pegasus into their creations, there are relatively few mentions of the Winged Horse in the proper mythology. One notable example begins when Pegasus was harnessed by Bellerophon, near the fountain Peirene that was also sacred to the Muses. With the help of Pegasus, Bellerophon sought out and killed the monster Chimera. Significantly, the Genesis Seal identifies both Bellerophon and the Chimera in close association with Pegasus and Peirene. In the G4 Square (see Figure 40) Bellerophon may be identified by name (letters on yellow backgrounds) mounting the Y-shaped Pegasus. That sequence of five letters forms an image that is not unlike the lamed-river that was prominent in the G2 Square, and is now echoed by letters shown in blue, octagonal frames. The four letters on dark-blue, square backgrounds are sufficient to create a Hebrew transliteration of Peirene.
The Chimera was a strange beast indeed, having a body like a lion and the heads of a lion, a goat and a serpent. This is a perversion of the ‘living creatures’ that Ezekiel described as each having four faces, also inspired by this part of the G4 Square (see post #654). Even stranger, the goat-head was said to sprout from the creature’s spine. In terms of the Genesis Seal, the G4 aspect (Figure 40) is the one that includes the word ariy (a lion), ascending from the central element of the notable Y-shape. It is this word that confers a vertical 121 group that is both square (as 11×11) and a Star of David, hexagram number. The serpent head of the Chimera is surely an echo of the serpentine, headline image from the G2 Square that terminates in the very same central element of the same Y-shape. The goat-head is a combination of the emergent linear tayish (a he-goat) and rosh (a head), both on orange backgrounds. These words both begin in the Square’s vertical diagonal and meet in a shared final letter. In this sense, the goat-head emerges from the middle of the spine of the square.
According to the Greek myth, Bellerophon killed the Chimera with an arrow shot from above. This is also explained by the vertically descending word yara (the reverse of ‘lion’), as it can mean ‘an archer’ as well as ‘to flow’.
All-in-all, the G4 aspect of the Genesis Seal supplies an abundance of material to explain the key elements of this myth as an alternative interpretation to that of Ezekiel. The geometrical content (ie squares of squares, and squares of stars) provides an additional rationale for these features within the Seal to have become associated, in Greek mythology, with constellations of the night sky. Always remembering that the four faces of Ezekiel’s living creatures are Signs of the Zodiac that occur at regular 3-monthly intervals throughout the year.
Also, given the zodiacal interpretation, the same part of the G4 Square is able to account for the Greek myth of the Minotaur, which is part man (the Water Carrier) and part bull (Taurus). The Centaur (part man, part horse) is explicable likewise, since Sagittarius was of that stock, and can be understood as a combination of the descending yara (archer) with the Y-shape (flying horse) in which it terminates.
Having slain Medusa, Perseus set a course for home employing winged-boots loaned to him by Apollo, and carrying the head of the Gorgon in a bag. He was a late-comer to another tale that began when Cassiopeia, Queen to King Cepheus, boasted that she and her daughter Andromeda were more beautiful than the sea-nymph Neirids, of legendary beauty. Poseidon, God of the oceans, was incensed by Cassiopeia’s arrogance and loosed Cetus, the sea-monster, to ravage the coast of Cassiopeia’s realm. In desperation, King Cepheus consulted Pythia, the Oracle of Delphi, and was advised that the only way to appease Poseidon would be for the King to make a sacrifice of his virgin daughter, Andromeda, to the monster Cetus. That was why, when Perseus chanced to fly over that coast, he witnessed the beautiful virgin Andromeda chained to a rock and about to be devoured by the monster. Perseus altered course and caught the attention of Cetus. He then removed the head of Medusa from its sack, presenting its face to the monster, which immediately turned into stone. Perseus released Andromeda from her chains and the two were subsequently married.
The question arises: How might the Genesis Seal have had any part in the formulation of this story? I shall show an explanation based on some of the Seal’s now-familiar structural features that bear a close resemblance to relevant, major constellations, along with contributions from emergent words in the Genesis Seal.
The comparison may again begin with the prominent artefact in the G1 Square that is shaped like a letter ‘Y’. As mentioned earlier, the five identical components of this ‘Y’ are comparable to five stars of near-equal magnitude that constitute parts of the constellations of Andromeda and Pegasus, where they overlap. The upper ‘V’ portion belongs to the distinctive Great Square of Pegasus, while the linear stem is part of the Andromeda group (the star where they intersect was recently re-designated by astronomers as belonging to Andromeda, though it can never be disassociated from the Great Square). Obviously the ‘V’ component is not a complete square, though we should take note that the very same three elements come to contain a rechem (damsel) following the G1 to G2 transformation, while the fourth corner becomes part of a chalam (to bind) interlocking with the damsel on two letters. So, together, those overlapping words account for all four corners of that square, in such a way that the Seal agrees with the Greek myth in identifying Andromeda as the damsel bound in chains. The final piece of the jigsaw is the fact that the Hebrew word chalamish (a rock) incorporates the verb ‘to bind’. Recall, also, that the nine copies of the letter vav in the Seal text have been identified (originally for biblical reasons) as representing water that has settled into the lower half of both the G1 and G2 squares. Therefore, anyone familiar with the Genesis Seal would have no trouble identifying (i)a damsel (ii)chained to (iii)a rock in (iv)the sea.
To identify Cassiopeia in the same context, we need only look at the lower corner of the G1 square (see Figure 41).
Here, in its numeric aspect, we see the triangular cluster that I identified in post #827 as a 6-1-4-6-1-4 sequence. And that was recognised as prime candidate to have inspired an enigmatic biblical verse that includes the clause: Unless their Rock had sold them… (see Deuteronomy 32:30). Not only does this cluster reinforce the idea of Andromeda bound to a rock, but the ‘W’-shape at the heart of the constellation of Cassiopeia can be identified with five of those six elements, discarding the lower digit 6. Significantly, the operative five elements are the very ones that may be traced as a 14641, being (11×11) × (11×11). The parentheses are included to re-emphasise that 14641 is a squared square, so a Great Square by any set of criteria. And while the Great Square of Pegasus has no direct mythological connection with Cassiopeia, this 14641 does result in Andromeda being enclosed between the same two constellations as in the heavens. The fact that Cassiopeia and Andromeda were mother and daughter is captured in Figure 41 in the way that three stars of the Andromeda constellation are embedded in five stars of Cassiopeia. In the G1/G2 squares, the mother and daughter certainly do exude great beauty. Each of these squares associates a 666 with a 14641, in equally striking yet independent ways.
It is clear that the Ancient Greeks and Babylonians were both obsessed with the same compact zone of the G4 Square, but not to the exclusion of other aspects of the Genesis Seal. It is also quite curious that the two cultures seem to have avoided laying claim to the same parts of the heavens, almost as though there was an agreed understanding between them.
These observations only strengthen my own suspicion that the Jewish prophet, Ezekiel must have played some part in the design of the Hebrew Genesis Seal. After all, Babylon was a place where all three cultures are known to have interacted, during Ezekiel’s lifetime and the Jews’ exile there.
Previous contributory posts in this thread are numbered:
1, 119, 136, 288, 289, 361, 446, 492, 554, 654, 697, 755, 827, 867, 937, 1011
Sideroxylon
Featherless biped
Just like Dutch's thread, which I linked up the page, you are using this thread as a blog for your walls of text and pretty pictures while failing to engage your critics.
RobDegraves
Muse
- Joined
- Mar 31, 2009
- Messages
- 787
Either Kingfisher is a hard working troll, or so completely delusional that no one can bring him back other than a mental health professional.
Seriously Kingfisher, get help.
I'm pretty sure no one here cares about your seal. However, it is hopefully possible to convince you to get some professional help, assuming you actually take what you are saying seriously.
Seriously Kingfisher, get help.
I'm pretty sure no one here cares about your seal. However, it is hopefully possible to convince you to get some professional help, assuming you actually take what you are saying seriously.
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Kingfisher2926
Critical Thinker
- Joined
- Dec 9, 2011
- Messages
- 288
You don't think that the Septuagint would have been a better choice then as it was closer to the original and said to be divinely inspired. Your choice of text dates to the 11th century AD.
how do you account for these differences. Red is the Masoretic, green is the Septuagint
In the beginning God created the heaven and the earth.
In the beginning God made the heaven and the earth.
Now the earth was unformed and void, and darkness was upon the face of the deep
But the earth was unsightly and unfurnished, and darkness was over the deep,
and the spirit of God hovered over the face of the waters.
and the Spirit of God moved over the water
And God said: 'Let there be light.' And there was light.
And God said, Let there be light, and there was light.
And God saw the light, that it was good;
And God saw the light that it was good
and God divided the light from the darkness.
and God divided between the light and the darkness.
And God called the light Day, and the darkness He called Night. And there was evening and there was morning, one day.
And God called the light Day, and the darkness he called Night, and there was evening and there was morning, the first day.
with even small differences capable of destroying your claim, it suddenly becomes apparent that the author of the genesis seal was a Masoretic scribe in the 11th C,
i.e. the seal won't work with any subtle variation in words at all the way that you have outlined it, the differences in the second line athough subtle would throw out all the connections following it
I am happy to debate these points, because I believe they may lead to a greater trust in my own source.
My first response must be to point out that the text you have provided in red and green all consists of English translations. The red (‘Masoretic’) is a direct translation from Hebrew. The Green (Septuagint) is a translation of a Greek translation of Hebrew. I hope we can agree that any translation will incorporate some evidence of the translator’s background, including his doctrinal beliefs. In the case of the 3rd Century Septuagint, the translation was carried out with a Christian purpose.
In one sense, therefore, it matters not that there are differences between the English texts. In Gen 1:1, the Masoretic use of ‘created’ is certainly more faithful to the Hebrew. There are other words in Hebrew that mean ‘made’ rather than ‘created’. On the other hand, the inclusion of the word ‘between’ in the Septuagint version of Gen 1:4 is more faithful to the Hebrew. My point is that for some purposes the original Hebrew script is all that matters.
When you say that the Septuagint is closer to the original Hebrew, that is only true in terms of dates. It is probably not correct in terms of accuracy of their original sources. One of the main purposes of the Masoretes was to iron out errors that had crept into Torah scrolls over a period of at least 14 centuries. The Masoretes themselves spent around four centuries on this task, comparing scrolls that had reached them through many alternative ‘hereditary’ lines. It is almost certain that some of the transcription errors they found already existed by the time the Septuagint was translated.
You also mentioned that the Septuagint ‘was said to be divinely inspired’. In fact, many Jews argue that the entire Torah (the Five Books of Moses) was dictated to that Prophet, by God himself, letter-for-letter. Leaving aside the obvious fact that the Torah has precedence, I hope we can agree that the concept of divine inspiration has no place in a discussion between skeptics.
Your final point about subtle differences between the Masoretic and Septuagint texts is applicable to those English translations, but not relevant to the Genesis Seal that is based on original Hebrew. If you want to argue that the original Hebrew is no longer accurate, I would not be able to supply evidence to the contrary. My only argument would be that a text of only 64 letters is less likely to have fallen victim to scribal errors than the 304805 letters of the complete Torah. I could argue also that the position of the Genesis Seal text makes it even less likely to inherit errors, since a scribe copying the start of the Torah would be fresher than at the end of the working day.
dafydd
Banned
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- Feb 14, 2008
- Messages
- 35,398
They only copied for two hours a day. They had a very good union. I'm with Hans, you ignore all criticism so now it's time to ignore you.
dafydd
Banned
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- Feb 14, 2008
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- 35,398
This thread will probably end up in AAH, together with the Corn Gods thread.
Kingfisher2926
Critical Thinker
- Joined
- Dec 9, 2011
- Messages
- 288
I have been off the air for almost two days because I lost my Internet connection. I still don't know why, or why it came back on again.
My first task when the opportunity arose was to upload my post #1091. Having done that, I am going back through posts that arrived during my Dark Age. Those that merit attention will receive a proper reply.
Nonpareil
The Terrible Trivium
Yeah, that's pretty much what I decided a few pages back.
