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RoyalCraftiness

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  1. A year is a quarter of an Olympiad. 27 is also the perimeter value of 1/4 of the 27x27 square. There are more than one elegant way to present things. The Masonic way is to present 27 as the side length of the perfect square ashlar. 27 if we want to speak of "middle ways" is the halfway number in the string of 53 of those. There are 26 on each side of it. What is the reference to the many lines produced in three score years? Is that a grid being depicted? If each day was a radius line in a circle what gets given after three score years is a 60 degree wedge. If one line is a day how many days are given by the Sonnets? Isn't it something like 154x14=2156 days=5.9 years. That doesn't look interesting. On the other hand 2156 years in the 25960 year cycle is approximately 1/12, so close to a Great Hour suggestion. This we ought to expect as 60 goes quite well in 360. Suffice to say that there is a structure, that 53 and 27 figure in it symbolically. 52 and 26 make more sense for our calendars. To try and square the circle and account for the differences there will always be some fudging. It doesn't quite map 1:1. 364 doesn't map to 364.25 or 360.
  2. You've treated the entirety of the Sonnets as a year and have given no weight to the idea that it could represent a period of 2 or 4 years instead? What if it was supposed to be like an Olympiad (a show of respect for Zeus) in his victory over Kronos and time? The illustration uses 26 letter characters + 1 rondelle for the cycle. That is 27 symbols in total. 27, coincidentally, is the total number of gears in the main gear train of the Antikythera mechanism. It displayed the 4 year period as well as the solar year (even the Egyptian year). It also displays a division of 14, but that is in the context of the Saros eclipse cycle calculation. It is also displaying the Metonic cycle which is what was believed to have been used to set calendars (thus time). That one is based in 20 eclipse yeas and 40 eclipse seasons. That is our ever present 2T and 4T suggestion which is found together. I'm afraid that the Greek inscription here is not of much help as ENIAUTOS (Latin reading) translates to "cycle of time" and or "year". Both are accepted meanings. Is the cycle of time only fully accounted for every 4 years when we add a day? It is certainly the most precise definition of the unit cycle of time which is not making an irritating scale error. All smaller subdivisions of the Greater Year (4 year) we use need to be fudged to not throw us into a loop in our time keeping. According to Strong's concordance. ENIAUTOS, or versions of it, appears 14 times in the Greek Bible. It has the meaning of the "Lord's year" in one instance. There's no indication what the Lord used for a fundamental unit cycle of time. We could imagine that it is a Great Year (25 960 years) which brings all the stars back to where they were when the cycle started. This does return us to the question of how many astronomical cycles were appreciated by the Greeks. They certainly knew the length of time associated with the Earth turning around itself, of the Earth turning around the Sun and of the Stars turning around the equinoxes (due to precession). I am not aware that they were keeping time with our relative positioning by keeping track of the Milky way (galactic plane). 26 in weeks is a half year. 14 half years would be 7 years. Is that a Greater Year of unit time? The block could be like a Great Week that is echoing the 7 days of creation. This to say that we are not really helped by recognizing numbers in knowing what is going on symbolically. The image in interesting. It reminds me of the temple of Apollo in the Star Trek Episode. Swimming in the water there are swans. There appears to be a nice oak forest around the temple which is contrasted with the dying oak in the foreground. The inscription which was "fairly" written is taken from Virgil in "Georgics". It means "in itself and in its own, through the tracks, it rolls on". We're dealing with infinity symbols and with the idea that ends are new beginnings here. Resurrections are mentioned. Keep in mid that all this is echoed in alchemy by the 7 stages of transformation (perhaps another allusion to 7 we need to consider and put emphasis on). On the two ends of that cycle are calcination and coagulation. Calcination is the creative fire of the Phoenix. Coagulation is the "crown of creation" where the elements solidify in the culmination of the master work. It is no sooner achieved that it returns to the ashes. "Crown of creation", as well as calcination and coagulation are perhaps invoking CC pairs that can be seen as 33. Returning to the Antikythera mechanism for a bit of a side note, I've been intrigued by the inscriptions on the eclipse dial divisions which tell the observer about the nature of the solar or lunar eclipse that might be seen on a predicted day. There is, for example: The top three characters refer to the moon. The bottom three to the Sun (H is for Helios). The odd middle character in both is a symbol made up of three letters that spell the Greek for "hour", ora. The third symbol is the "monad". It is actually indexing the Greek alphabet in a way that is supposed to give us the hour of the day. Omicron (it shows the little "o" which is the dot) is the 15th letter of the 24 character Greek alphabet. You are supposed to read from this that there is going be either a solar or Lunar eclipse on the 15th hour of the day. I think this is a great practical example of how one pointed to a time with a letter symbol correspondence. I had the thought that I might forward this to the Lagina brothers on Oak Island to confuse them even more with their musings about the infamous H+O stone fragment which is oddly quite similar. The Greek cross and 4 pellet motif is used there instead of the fancy invention seen in the Antikythera inscription.
  3. There's something in all this business that does seem to want to resonate. Take this leftover 1 that you are dealing with in your scheme. This is very similar to the the extra 1 day that we account for every 4 years in our calendar. The 4 year period was important to the Greeks. It was called an Olympiad. The Olympic games were a symbolic celebration of Zeus' victory over Kronos (time). 4 years is 4x364 days=1456 days. If that was a cycle or circle of importance then the idea of squaring the circle (which can only ever be approached approximately) may ask that we define a square that is close enough to be of symbolic use. That square is 27 by 27. if you split the 4 year cycle in two 728 days you will notice that 27x27=729. The difference is one again. There rectangle one would have wanted to use would work best if we could use fractions. 13.5 x 27 (=364.5) would be awesome. But seeing that we are dealing in Sonnets that are 14 lines in length the obvious choice is to use 14x26 and call that fine enough. 26 is excellent for indexing to the alphabet (1:1). As far as globes and time go we managed to get to something similar with out 24 time zones which account for 15 degrees of longitude each. 24 x 15= 360. We could have just as easily defined 26 of 14, but there is something rather nice in having 360 degrees in a circle which has appeal to time measurement expressed in units of 60 (minutes and hours). Could one somehow code and alphabet onto a globe? Sure, why not? You'd need some latitude specifications. Those we can get from celestial declination values. if 40 is of interest to us then Cygnus will be of use.
  4. It works because of symmetry. This would work the same if there were just 2 rows of 182 lines. In fact it would work as well with one row of 364 lines. Moving up one line has the same value as moving down one line. You visualize that by drawing a horizontal line of 364 characters and identifying the middle in by counting 182 spaces. No matter how many you rob from one side you are adding the same amount when you move in the other direction. This is absolutely not anything special. It's symmetry and and related to the fact that each position has one unit of value. the 1:1 ratio gives it the high symmetry. How one parses the lines or columns has no effect. The symmetry must be maintained. It boggles the mind that we would be given 14B 26 Index. It makes sense that it has a value of 40 since 14+ 26=40. Clever use of the scheme by the writer of the script. There's almost zero chance this was derived from the Sonnets cosideration, though. Why focus on 40, though?
  5. Interestingly 14B is 40 in your table indexed to 26 letter characters. Can't make that shit up. Lol.
  6. I have something for you Rob. While reading the transcript of the episode "Who Mourns for Adonais" I noticed that the scan that was performed by Tchekov is on sector "14B by 26 index" 14 by 26=364. That's your Sonnet rectangle. 14 is the number of lines per Sonnets. Also, weirdly, Carolyn Palamas' designation is the AA officer (for Anthropology and Archaeology). The only other number referenced in the dialogue is 22, which I cannot stop seeing as Twenty-Two or two twenties (4T), lol. There is one reference to Hermes where Apollo tells him that he was right before he fades away.
  7. Omg, lol. I just noticed that June 18th, 2023 was by youngest sister's 53rd birthday. Small world isn't it?
  8. Funny. Do you remember what was actually said that made the AI generated subtitle come out that way?
  9. There is a bit of a side story here that can be found in "Star Trek" where there's already been a recognized effort to mix in the Shakespearean themes in the writing. In the episode "Who Mourns for Adonais?" we will discern that the air date for the episode was September 22 (the Fall equinox), 1967. It was episode 2 of season 2. The episode had production code 33. It is quite interesting that Apollo loses his power in this episode when his Temple is destroyed and, ultimately, when his followers reject him (when his heavy handed attempt at "loving" the crew has been spurned). Mourning Adonis is something that has a Shakespearean reference as well a Biblical one. This occurred at the MidSummer festival. "Adonais" is from a work of poetry where it has the meaning Gods. The title is a line from a Percy Shelley work which mourns John Keats. The female love interest in the episode in question is given the name Carolyn Palamas. The etymology of the name informs us that Carolyn is from "free man". Palamas is a region of Greece. The name has entered the religious philosophical lexicon (Palamism, Palamites...)because of Saint Gregory Palamas who famously defended the Eastern Orthodox idea that man could become God like through deification (theosis) and the character (or substance) of the uncreated light of transfiguration. Apollo "dies" in this episode by his light fading away which is at a least a proper way to pay homage to the original meaning of dying. There are various elements in this story that conjure up some suggestions. The Enterprise was first seized by a giant green hand when it had been captured. The green hand symbolism can be interpreted as a reference to a novice sailor and to be in the grip of of something strong. That is perhaps making allusion to the fact that the voyages to the "undiscovered country" are only starting for humans. Losing the Gods may only be the start of it. Perhaps the journey is about being more God-like in our own self pursuits. Who knows? Have we become free men for rejecting the Gods and no longer being in their grip? Perhaps so, but are we sailing without bearings?
  10. There are interesting things we can add here. In the Ptolemaic system of spheres the 4th Sphere was the Sun's. This was echoed in the creation story where the Sun is created on the 4th day. The 53 we already have seen is the top angle of the compass in the Masonic compass and square motif. It is there atop the triangle. This is relatable to a possible visual which one can observe atop the Great Pyramid when the Sun's elevation is such that the bottom of it is just atop its apex. As it happens the pyramid will not have a cast shadow when it is there. That is on account of the fact that the pyramid sides are inclined by 51.84 degrees. At 53 degrees of elevation the Sun's base can be seen sitting on the pyramidion's position casting no shadow. This would have a certain amount of eye appeal. Regarding how the pyramid's base corners were aligned to the cardinal points, it has been surmised that the method of casting a shadow using a gnomon stick upon a flat platform was employed. At the Fall equinox the Sun will produce a gnomon shadow whose tip will travel on a line that is East-West all day. In truth this is a very good approximation only. The error produced is the one which is today observed in the cardinal point alignment of the corners of the Great pyramid (small but recognizable). This informs us that the casting of shadows is very much central to the understood properties of the Sun. Interestingly the Fall equinox is on September 22 (day 265 of 365 in our calendar; 100 are left). The day and month here are suggestive of 22/7 which was the Greek approximation of pi (the constant of circles). This is purely coincidental and related to the fact that the Roman calendar shifted in 153 BCE. Prior to that September was the 7th month. What is also interesting is the idea that the passage into the astronomical age of Pisces occurred at a standardized 53 BCE (as opposed to our 1 BCE today). This would have made the birth of the incarnation of the Sun God's son occur on what we call year 53 (our zero). This would be a fitting birth year for the symbol of the Sun God in his new Grecian tires (wearing a Sun disk around his head to boot). It also has the interesting consequence of having Christos die 88 (53+33) years into the age and for the fall of Jerusalem to have happened 123 years into it (123 is famously tied to 6 by 1+2+3=1x2x3 and the star of David). If you divide the symmetries in the representation of 88 with mirror planes you get a Greek cross suggestion and the familiar motif of the cross and four pellets (which predates Christianity and was assimilated by it). Each circle is said to represent an element (first), a cardinal point (later) and an evangelist (lastly). By the year 1100 the symbol had been adapted to the Cross of Jerusalem. The death at 88 idea makes the cross center take on the meaning of the point of alchemical conjunction (the 4th alchemical transformation). It is therefore quite well suited for the birth and rebirth story that was once Tammuz' story (he who was Tau). The fact that the Christos symbol's adventures are characterized by references to periods of 40 should perhaps not surprise us that much if we consider that his father was Enki. In him we also have the 4"O" suggestion. Regarding the musicality of O, o, o, o it should also be said that this reflects the musical inclination to put an accent on the first beat in 4/4 time. This produces what has been called the driving beat which pushes music along. The reason for it is apparently that it is what pleases us most. The inclusion of the drum makes us think of a march, and to our lives as a steady march towards death. Coincidentally, March was the first of the year prior to 153 BCE. It was the date when the cycle restarted.
  11. That was an interesting read. I enjoyed the interview that touches on Sonnet 53 which involves Adonis. I was just speaking of Adonis and his relationship to the Sun God Tammuz (Tau) with Rob. I had to go to Sonnet 53 and see what the Acrostic suggestion mentioned looked like. It is true that one can coax out Adonis with a bit of bending of the Acrostic rules. I concur that the Sonnet is actually a description of the Sun in the first stanza (as opposed to some fair youth). It is the substance of the Sun that we are asked about, and it is its ability to have a cast shadow be attached to all things that is described. To have placed this in Sonnet 53 is fitting since it is the well known Hebrew Gematria value for the word Hamah which is for "Sun" (and also fire). If we were to describe the substance of the Sun by employing the descriptions of Adonis we would not be helped by the "counterfeit". Tammuz in "Grecian tires" is Adonis. That's how the Greeks dressed up their version of that Sun God. This is compared to how all of the beauty in art was captured by the attributes of Helen (the symbol of beauty). In Q 3 we are also given a recognizable allusion to the season of plenty which follows Spring. It closes with a pair of lines which just about ascribes all living things to its existence while saying that none are like it "in heart". This is very close to the German mystic Jakob Böhme's writings on the Sun contained in "Aurora", ca 1600. I would not typically attribute this to a mainstream Christian. Böhme was a major influence on Rosicrucian thinking, it is said.
  12. I can't find any reference to the description such an alphabet. Do you have one? I see that there is a paper written by a James North which concerns Bacon's Alphabet of Nature and the Triple Tau. I'm interested in this suggestion, because of the elegance of the arrangement of four 24 letter alphabet blocks (96 characters) in a 10x 10 grid. It leaves 4 empty cells that form an inner "tomb". The entire representation is suggestive a cross and 4 pellet motif. The value of the 24 characters is 300, which is the Greek value of Tau. This fourfold alphabet representation has much to say about the spatial mirror symmetries of nature (chirality of nature).
  13. Wait for the devil's advocate... What have you solved for yourself here that was not already known by others who knew it when they used it? What is guiding anyone to use any number of Os he wants? Nobody on this Earth would ever have suggested that the Os where there to overtly point you to a Shakespearean authorship mystery. The question is why there are repetitions of 3, 4 or 5 words. Macbeth is full of allusion to groups of threes. Why would there be, in dying, four Os used? Why this choice of number? Why not just save the ink and use 3? The choice is for effect, and the desired effect could in fact be related to a mysterious rationale that is infused in just about every choice an author makes in the picking of his details. I am more of the opinion that any effect here would have to be in the immediate context of what is given. Death is given with a fourfold repetition of O in the context of sound. The most curious might ask why on Earth we ever decided to favor 4 beats to the measure in music. Is even that arbitrary and explained away by simply saying that this is how it is done. There are always choices that come and inform what becomes standardized. This is true of the foot or the meter. I find it fascinating to think that one could come to write with such a level of playful consideration, but we do know that this is exactly what some have done in the history of literature. To know what is going on is another matter. With that we rely on trends and on the imagination. We have no way to know that what tickles us was intended to do that in exactly the way it does. This is true of all manipulation of symbols. One person writes using them and another reads something into it that isn't always intended. We are at a loss to know what to do with our own recognitions.
  14. This works as a suggestion. Would you be so impressed by it that you would immediately accept the meaning you ascribe to it? This is also perfectly aligned with the suggestion that someone is serving you a potent poison. That one would have to be completely rejected on the basis that it is not something that you would want to believe. 4x14=64, which is 8 x 8 or 4 circles spatially arranged to evoke the thought of a number in you. it might get you thinking of 88 which is nothing but 8 given 11 times. You might want to represent that with 4 characters displaying their own symmetry with 1881. The 4th stage of alchemical transformation is Conjunction (divine union). It is the dance of two becoming one – conjunction is the cosmic romance which is given to us by the story of Adonis and Aphrodite that we recall from "Metamorphoses". Elements that were apart now intertwine, creating a harmonious whole. This came to mind from the consideration of a cosmology that is given by the 7 concentric circles that extend to heaven. Each of the circles is an alchemical stage in transformation. It (the fourth circle) certainly does resonate with the notion of dying and fusing. The A-A myth is of course the Western version of the story of Tammuz (the Sun God) and Inanna. Tammuz is the oldest of the Gods that is pointed to by the Tau symbol. His father was Enki who is symbolized by 40. You can think of 4-Os coming from 40. They are Father and Son. Tammuz' story was all the rage in Tudor times. It made up an important part of the Histories of the World, so it was known. Many works touched on him, including some of the Shakespearean ones. He is the prototype for the death and rebirth story. The name Fortinbras is from the French for "strong in arms", but it is also quite suggestively "for T" in its beginning. Four Ts are in fact referred to as making up the arms of the cross. I suppose we can build even further with this to show that the cross and four pellet motif is quite ancient (from Greek times before Christianity). This speaks of a great borrowing from stories that come to generate a more universal story with the power to stir and convince. Who really plays at such games anyway? The answer is that humans do. The player in us is given a name in myth. He never ceases to want to play. He desperately wants to convince, because that is the culmination of transforming minds with suggestions. He is a trickster.
  15. You've fallen prey to thinking there were any circles in there at all. Someone gained access to your brain with a suggestive question and tricked you. We know this person as the the 53rd card in the deck: the joker. How many squares are shown is a much more perplexing question. It might send us looking for a microscope.
  16. You'll have to tell me of how you came to be convinced of this. Seeing that it is a belief, do you feel you could convinced that it is not that? 1881 does have a lot going for it as a number. It is not prime, though. It has unique factors of 3, 11 and 19. That means it is divisible by 33. It's digital sum is 18, which is the number mirrored in the displayed symmetry. It's digital root is 9. 9x9=81 is the other half of the symmetric pair. 1881 is a tricapped prism number. It is the 11th one. The first is 1, the second is 9 and the third is 33 (those happen to be its first factors). It's palindromic. 18+81=99=33x3=11+88. 881+1=882 which has a digital sum of 18 and a digital root of 9 again. So does 181+8=189. It is divisible by 363 which might might make it useful to approximate a yearly cycle. It would take 132 495 years for the two cycles (363 and 365 days) to realign. Humans have only existed for 2 of those complete cycles. 18/81=0.2222222222....; 81/18=4.5=9/2 (8x8)+1+1=66=2x33 There are, of course, 4 circles involved in the representation of two 8s. If you are counting those.
  17. I suppose the answer here is that there are none. There are what appear to be circles of discrete alternating circle elements of different colors. We make up the picture in our minds by filling out the blanks. Not focusing directly on one element at a time give the impression there is motion and intertwined threads there.
  18. Nature provides us with facsimiles of circles to experience if we would call them that. There were most certainly the visible examples of the Sun and moon, but I feel not enough is said about the perturbation of water in a single point that produces a groundswell of animation as concentric circles that emanate from it. This must has evoked the dynamism of the life force which springs up from the point. The symbolic power of water is perhaps the most Earth based thing that we could have accessed to create metaphors with as we grew to be ever more prone to anthropomorphizing the world (making nature be in our own image). The concentric circle is seen in petroglyphs earlier than the circles centered on the circumference of another, presumably. To be enclosed in a circle has always been associated with being protected. We lived in them and were buried in them.
  19. Audi is Latin for "listen". The "rest" is silence if you listen. "Dyes" is also a figurative term that applied to sounds (ca. 1580; to dye out or fade) if you look at the etymology. It is unlikely to have been used to suggest dyes (coloring) here. The root of it is in Proto Germanic/Old Saxon words where it has the meaning of secret and in old English where it is has a meaning of secret, hidden, dark, obscure... To "dye" picked up the meaning of fading out of life into the secret realm, presumably. Four beats to nothing but silence. The beat can be thought of as a heart beat which still allows one to march dutifully along until it ceases. Thump, Thump, Thump, Thump, no more... Esoterically speaking, the intersection of the four circles is what defined the Greek elements (Air, Water, Fire, Earth). That may be the earliest of the symbolisms.
  20. Yes, I just wrote about that. The context of the drum in that passage might suggest a beat. Four beats to the bar is what is most common to Western Music. There is also the fact that O is the symbol of the whole note which is given by 4 intervals of quarter notes. That has a parallel to the interval of a cycle or a life. A whole note takes up the entirety of the measure in 4/4 time.
  21. Around the Sun, Around the Earth's own axis, around the precessionary wobble and around the galactic plane. That's four, but there are many more lesser and larger ones that are not considered important on account of everything wobbling around everything else. There are no less than 3 infinities worth of cycles to possibly refer to. The main four I refer to are accessible to observers over enough time. They are the ones we use to place ourselves in space and time. It doesn't matter that there is or isn't stuff encoded to play this game (which revolves around observing and being interested). What is important is that one can use anything available to make a story that has the potential to impress and recruit. The relative truth will only come out of the mouths of those who default into a condition of acceptance. To have reached acceptance is akin to a minor miracle. It is what makes the Santa Claus story so magical. The best stories stick with us because we want them to be true. In that regard there are no bad suggestions. If we are asking if a suggestion was ever intended, there is no answer to that that we can know unless someone comes from the past and confirms this for us. If I give you 33 in a story there is no way to know what I intended by it. I may have only intended that the number stir you up and get your attention piqued. It is also possible that everything that has ever been written about 33 could be accessed and used to create a narrative about what I could have meant. Seeing that we can write quite a lot about it, there's a predisposition in humans to think that there must have been at least some of that could have applied. But there could have been none of it. The "map" has been alluded to many times in literary suggestion. It is a map that Freemasonry tries to establish too. One can call it a roadmap to being a fully transformed person , how to perfectly polish the stone, or how to get to heaven, if one wishes. How exactly does one get to the point of transformation? There have been suggestions made about this for as long as men have had esoteric beliefs about an afterlife. Skepticism is fine, and it is always important to put it first when we are trying to know better, but what does it mean to be skeptical of Star Wars, for example? We know it is only a fiction, but there is something in the story telling that is clearly appealing to many of us on some level. What I am not skeptical of is the ability of humans to make a good story out of the things that are most coincidental and evocative of emotions in us. We can call these things wants or longings. The greatest of all is to want to know things with certainty. That is to know the father in metaphore. What is TT? We've considered it long enough? Is it part of a Triple Tau map to your own reclamation? Is it Thirty Three? Is sit anything that 33 can be? You've asked if there are other occurrences of this sort of repetition of words in Shakespeare (if you take O as a word). There are. There is "never" given 5 times in one place and there are many occasions of things being repeated 3 times. It would seem that a choice was exercised to use this for effect. It's not a bad idea to ask why there are 4 O's given in the context of what is being said there about drums. This may suggest 4 beats which is the typical structure you find in Western music (4 beats to the bar). That would be simple enough. One circle defines the monad, two the vesica, three the equilateral triangle and four the square. This may trigger us into considering what is meant by squaring the circle. Symbolically speaking this is attempting to do what appears to be impossible. One could can potentially equate that to knowing what's on the other side.
  22. Is this an acrostic suggestion of a promised TT map? The four "O"s are suggestive of a Tetrad. They suggest 4 circles or four cycles. We can immediately identify the 4 main astronomical cycles here (eccentricity, axial tilt, precession and orbital inclination). In the context of the play we do see that there is a potential suggestion of the end of a life or an "end times" there. This can be interpreted as the end of a cycle. "Good night sweet prince", combined with the singing of the angels and the beating of the drum (signifying the victory and power of God) has that flavor. Election by God would signify resurrection. This we can draw parallel to 40 with, because 40 is symbolic of the ultimate period of great change (death and resurrection). The tetrad in relation to the circle is encountered in the tetactys which itself displays 40 as the value of the side of "good" or the Godly. This never had an bearing on the identity of any British Earl. In terms of spatial representations we've described this already. One must consider a series of Great Circles or planes (the number is perhaps not well understood) which testify to points of coincidence between planes of reference. The point of crossing produces a symbolic location which can serve as a beacon for anyone to appreciate. The same method applied tp star positions produced celestial navigation methods in Tudor times therefore it is entirely possible the exercise extended to the figurative. Singling out such points when doing celestial navigation is an academic matter. Understanding the point of a figurative location is as unclear as interpreting astrology. There is a suggestion here that says that the production of such things ought to have a meaning in a Universe that is constructed to show such things. It is also possible that such a point be given a meaning by men who want to exploit the nature of the method of elucidation. 4 circles coming out of 4 "arc" suggestions is something we've encountered in the Shakespeare plaque as another spatial suggestion. The intersection of 4 circles there defines 3 vesicas, symbolic of a trinity, where the central one has various tantalizing possible properties relating to the Tau cross. There does not appear to be any doubt that there is a game around four circles being used in the recurring suggestions. Applying it to a globe is but a small extension of the idea if we want to produce a map. The occurrence of the O,o,o,o is on line 3847 of the first folio of this play. 3847 is prime, so there is no factorization. The number's running sum is 22. It is made up of pairs of digits that sum to 11. This is evocative of the 11,22,33 triplet that would express 100 as a trinity using multiples of 33.33. If one was to apply this to the globe with the idea of signaling a trinity of spatial divisions measured from Jerusalem one could produce one that involves a Paris point and a point on the North American coast. One can get very precise indeed if one involves a fourth point in the fashion of extending 11, 22 and 33 to 44. One achieves this by incorporating 44.4 to 66.6 W of Paris to obtain a point where the sum of the coordinates here are 111. This sort of exercise has enough elegance to want to potentially exploit it. I would argue that it likely has, and that is why we have a group of Bacon/Shakespeare suggestions that have travelled to near this point in our History. To manufacture such a link is to give meaning to the point. Whether the point was given earlier meaning or not is unknowable, but I would also argue that it is irrelevant. We know that it was given such meaning at some point by Freemasons who had the opportunity to plan and construct t o give a life to the suggestion. There's no need for this to represent anything but death and resurrection, though. One has to accept levels of conspiracy to suggest more. There's nothing to stop anyone from doing that and to recruit with it. If it works to recruit it servees a purpose which one can just as easily attribute Bacon's purpose.
  23. Be careful with publishers. They will happily take your money. You've written a book, and no one can take that away from you. It doesn't need to exist in any physical sense for it to be an achievement. If you want your work read, give it away. If it is money and fame you are after then there is something in the craft that touches on that. A realistic downside of publishing books is that it could cost you many thousands and you could be sitting on many boxes of books for the rest of your life. I have close relatives who can vouch for that.
  24. The thing we must conclude is that the cult of Francis Bacon it is part a myth making that all cultures are involved in to some degree. We come to associate men with certain virtues and values, and these are things that have appeal to us. It is not unlike what happened with Davy Crocket in the US. Every age requires that there be men who are used to sell us on some myth about who we are, who we should strive to be and what we should be up to in order to have self worth. I've hunted down a video I had bookmarked a while back, seemingly unrelated, that touches on these things. I think you' ll enjoy it as much as I did, knowing how critical you are of our current social problems (those that are near impossible to solve, it is said). https://www.youtube.com/watch?v=svHCXvQeZfY I don't know how any of us can ever convince ourselves we can know Bacon from what we are given in the shreds of what remains of recorded history. We have to construct a story to try and make the bits and pieces make sense to us. It would be just as easy to vilify someone if one wanted to. It is a great disservice to everyone to work as a PR machine for a view which is quite easily shown to be as much fiction and wishful thinking as anything else. It is not because we can access books that have been written by those who first engaged in these speculations that we claim to be on a path of exploration. It is not possible for us to know space exploration, i.e., by reading Arthur C. Clarke works, or to know science by reading Jules Vernes. Yet, I would argue, that these sort of works probably have more weight than anything else in forming what the masses have thought about that subject matter. The plight of the North American Indigenous is my own plight as I live it today. It is yours also. There are conquerors at the village gates who are surrounding us to take what is available in a game of economic conquest. They use the illusion of your own growing wealth to claim more for themselves. The way we are dealt with is not with gun powder. It is with suggestion. Suggestion is enough to conquer a mind with. In many ways it is not even direct. The video which I link contains a quote within in that touches on the ability of those who control the means of material production to control the means of thought production. Thought production IS the entire game. It is the mind that must be conquered as the final frontier. The voyages to the "undiscovered country" happen in a mind scape. This was happening in a Shakespearean play. People who can laugh together can live together. Those with a common history can rally together. Those who share enemies can be united in hate. And so on, and so on... It is possible that we feel so disfranchised by this onslaught of thought production that we unknowingly engage in versions of it as a way to compensate for all that is material which is feeling like it is slipping out of our hands. It's a bit unclear what that could be with Francis Bacon, but there are discernable areas (philosophy) where it would be in one's interest to make the man say, and be about, something other than what he was for. H can then be a model for us who can identify with the one who was denied what he was owed by birthright. Dig deep enough and it is not hard to come to the conclusion that any man is an arsehole. This has to have been true for Bacon too. When we are critical we destroy. That can be about the destruction of some people's efforts to do thought production.
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