Source :

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Fifth Tablet of Creation Legend.

Obverse.

1. It was delightful, all that was fixed by the great gods.

2. Stars, their appearance [in figures] of animals he arranged.

3. To fix the year through the observation of their constellations,

4. twelve months (or signs) of stars in three rows he arranged,

5. from the day when the year commences unto the close.

6. He marked the positions of the wandering stars (planets) to shine in their courses,

7. that they may not do injury, and may not trouble any one,

8. the positions of the gods Bel and Hea he fixed with him.

9. And he opened the great gates in the darkness shrouded

10. the fastenings were strong on the left and right.

11. In its mass (i.e. the lower chaos) he made a boiling,

12. the god Uru (the moon) he caused to rise out, the night he overshadowed,

13. to fix it also for the light of the night, until the shining of the day,

14. That the month might not be broken, and in its amount be regular.

15. At the beginning of the month, at the rising of the night,

16. his horns are breaking through to shine on the heaven.

17. On the seventh day to a circle he begins to swell,

18. and stretches towards the dawn further.

http://thesunsetchart.com/chaldea.html

In the Papryi Graecae Magicae (P.G.M) we find a truly unique record into the ancient practices of Greek, Egyptian, Jewish, Gnostic and early Christian magic. Collectively, the P.G.M. refer to a cache of ancient papyri of spells and rituals dating between the 2nd Century B.C.E. and the 5th Century C.E. In them, we find a wide range of magical practices from folkloric remedies and love spells to full-fledged exorcisms, summonings, and elaborate rites of initiation.[1]

Particularly interesting to students of western esoterica is the frequent recurrence of two practical techniques: 1) self-identification with the deity, and 2) the vibratory use of long  “untranslatable” vowel formulas identified as voce magicae or nomina barbara.[2]

Both these techniques remain prominent in the modern currents of western magical traditions under the practice of assuming godforms and the vibration of divine names.[3] Indeed, these practices may be considered universal and likely traced back to the teachings of a primordial tradition preceding all archaeological notions of history, at very least we have early material records of a parallel tradition arising in the east with the vowel mantras of the Vedic schools and practices of becoming the deity during worship.[4] Regarding the voce magicae of the P.G.M specifically, there is a fair amount of historic literature that traces these practices to the rituals and priestly tradition of Ancient Egypt; according to the chroniclers of the ancient world, the priest of the Pharaohs were rumored to perform unparalleled magical acts through invoking the harmonies of the seven vowels.[5]

First origin of my origin, AEHIOYΩ, first beginning of my beginning PPP SSS PHRE, spirit of spirit, the first of the spirit in me, MMM, fire given by god to my mixture of the mixtures in me, the first of the fire in me, EY EIA EE, water of water, the first of the water in me, OOO AAA EEE, earthy substance, the first of the earthy substance in me,  YE YOE…

Magical invocations such as the introductory line of the Mithras Liturgy (P.G.M. IV. 475-829) quoted above drew on the sound of the letters and the sacred science of hermetic vibration to align the practitioner to the metaphysical principles of the operation. Such voce magicae were conceived as the vibrational manifestation of the very principle in question.  In some instances the sounds may have been designed to mimic elements of Nature, such as the sound of wind(i.e. PPP SSS PHRE) or the tune of water (OOO AAA EEE). In others, like the various permutations of the the seven vowels (AEHIOYΩ) and the commonly repeated divine names of IAΩ and IEOU,  the vowel sounds were the magical formula used to invoke the power of the “seven Immortal Gods of the Universe”.[6]

From the writings of Aristotle and Hippocrates we know that as early as the 4th Century B.C.E. the Greek initiates attributed the seven vowels to the seven heavens and planets.[7] Manly P. Hall (1901-1990) in his Secret Teachings of All Ages[8] discusses the correspondences:

The Greek initiates also recognized a fundamental relationship between the individual heavens or spheres of the seven planets, and the seven sacred vowels. The first heaven uttered the sound of the sacred vowel Α (Alpha); the second heaven, the sacred vowel Ε (Epsilon); the third, Η (Eta); the fourth, Ι (Iota); the fifth, Ο (Omicron); the sixth, Υ (Upsilon); and the seventh heaven, the sacred vowel Ω (Omega). When these seven heavens sing together they produce a perfect harmony which ascends as an everlasting praise to the throne of the Creator. (See Irenæus’ Against Heresies.)

However, the actual correspondences used by these initiates were never recorded, so posterity was left playing a guessing game as to which vowel represents which planet.

Considering that Greek astronomy was heavily influenced by the Egyptian and Chaldean astronomers before them, we can safely assume that the planets were arranged in the Chaldean order that predominated the traditional teachings of the ancient world (Moon, Mercury, Venus, Sun, Mars, Jupiter, Saturn).[9] We will address the question of whether the order should be taken as ascending or descending shortly. The other assumption taken by most scholars is that the vowels were considered in their alphabetic order, but as Joscelyn Godwin points out a tonal or harmonic order may have been more inline with Pythagorean doctrine of Harmonia. [10]

Hall, while admitting the lack of textual evidence, proposes a Moon-Alpha order based on the alphabetical ordering of the vowels and the Chaldean planets in ascending order from Moon to Saturn.”Although not so stated, it is probable that the planetary heavens are to be considered as ascending in the Pythagorean [Chaldean] order, beginning with the sphere of the moon, which would be the first heaven.”[11] This is the same system proposed by the 18th Century French scholar Abbé Jean Jacques Barthélemy[12] and followed by the majority of vowel-planet correspondence systems .[13]

However, the German occultist and magician Henry Cornelius Agrippa (1486-1535) proposed a different system in his De Occulta Philosophia.[14] Without the textual tradition to preserve the correspondences used by the Greek initiates, Agrippa turned to the Hebrew alphabet and initiatic tradition of the Kabbalah to provide the framework. He had very high regard for the antiquity and symbolism of the Hebrew letters, and in particular of the inherent 3:7:12 division of the alphabet in which (and together with the ten digits) the initiate found the esoteric keys of the universe (see Concerning the Trees). Agrippa’s correspondence was likely influenced by the highly meditative and magical text of the Sefer Yetzirah where the seven Hebrew Double Letters( ת ,ר ,פ , כ ,ד ,ג ,ב) map in their alphabetic order to the seven planets in their descending order of emanation (Saturn, Jupiter, Mars, Sun, Venus, Mercury, Moon). This Saturn-Bayt order is the predominate system of correspondence between the seven Doubles and the seven planets in traditional Kabbalah;[15] and, through applying the same formula (alphabetic letters to descending planets) to the Greek vowels and Chaldean planets, Agrippa arrived at the Saturn-Alpha order .

Regardless of the Alpha orientation (Moon-Alpha or Saturn-Alpha), the Sun and the vowel Iota in both systems remain unchanged. The Sun’s position as the fourth and central planet in the Chaldean order defines it as the central pivot between what modern astronomy understands as the inner planets (Venus, Mercury, Moon/Earth) and outer planets of the solar system (Mars, Jupiter, Saturn) . This Central Principle is precisely what we find expressed in traditional glyph of Sol() as a literal expression of the center point (•) within the circle (O).  This concept is reiterated in philosophical assertions such as found in the Corpus Hermetica, “And round about the Sun, and dependent on the Sun, are the eight spheres…” [16] Whether these esoteric teachings of the Sun-Center were interpreted in terms of a modern heliocentric solar system- though interesting and highly suggestive -  is irrelevant.[17] As we have already discussed in Sun: IGNIS CENTRUM, the initiates into the Mysteries would have seen this as a reference to a metaphysical principle beyond the manifested solar orb and pertaining to the traditional doctrine of the sacred Center and the Divine Seed within. [18]

This brings us to question how the Chaldean order was defined in the first place. Seems strange that we would still entertain a system based on a simplistic geocentric model of the universe. Equally perplexing is how this primitive system could seemingly predict a heliocentric solar system through the elegant symbolism of the Central Principle. The answers lie in how this order was created, or rather discovered. The Chaldean Magi derived this order from their empirical observations of the sidereal cycles of the planets. As such, it is perhaps one of the most pure and unbroken traditions of sacred science as the arrangement was learned from the planetary rhythms themselves.

Seen from our vantage point on Earth, the Moon takes the shortest time to complete a cycle around the zodiac and Saturn takes the longest. The sidereal cycle observed for the Sun is actually  the Earth’s periodic orbit around the Sun and acts as the base rhythm of 1-year (365.25 days) by which we identify the outer and inner planets. For this reason whether we assume a heliocentric or geocentric position the principle of Sun-Center holds true. Thus, from our terrestrial orientation we perceive the universe in the Moon-Alpha direction and the orb of the Sun is the fourth and central planet because it is a reflection of our position on Earth.

We must take a moment to observe  the natural synergy between Moon and Saturn as the Alpha-Omega of the Chaldean planets. This speaks volumes in the language of traditional symbolism where Moon is synonymous with  ‘Life’ and ‘Nature’ . [19] Saturn, on the other hand, has been identified with edge of the heavens and the thresholds of space, time, and timelessness (see The Eternal Chronos). Most humans in antiquity would only experience one or two Saturn cycles in their lifetime and the planet was logically equated with ‘Death’ and the Omega point of the mortal human experience. [20] More importantly, however,  Moon and Saturn in their sidereal cycles share the same numerical rhythm (29.5) but at different magnitudes (days/years). This is a truly remarkable and beautiful manifestation of the Alpha-Omega principle  -  it teaches how Unity can be separated and polarized merely through the perception of space and time.

In the Saturn-Alpha order recorded by Agrippa we find an inversion of the human perspective. The orientation reflects the Alpha and Omega axis upon itself, it switches from the perspective of a human looking out at the Heavens to the Creator overlooking His creation…This orientation is a system the promotes the return to Center as opposed to Moon-Alpha that speaks to movement towards the periphery and circumference of the circle. The return to Center is a descending act related to the “entering the cosmic cave” or the “passage through the underworld” in the mythic narrative of the Solar Hero (Osiris, Dionysus, Mithras, Apollo, Christos, etc.). This chthonic act parallels the initiatic practices of descending into one’s own being in order to awaken the Divine Seed of the Heart.[21] In Traditional schools this has been identified as the principial act of initiation, and according to Julius Evola (1898 – 1974)  this act implied by alchemical aphorism of the “Gold hidden within Saturn” is “one of the first and fundamental operations in the initiatic art:  the transferring of the sense of the Self into the region of the heart.”[22] In the two systems of orientation(Moon-Alpha and Saturn-Alpha) we find insights into two branches of spiritual practice; the former best equated with the path of mysticism and dissolution into the All, and the later to that of initiation and spiritual immortality through Unity with the All.

This inversion is not only referenced in the Mysteries of the Greek and Hebrew Alphabets, but we also find it in the rich symbolic language of the Tarot and in particular the 12th trump- The Hanged Man. There is much to contemplate regarding the abundant alchemical and magical symbolism of the trump, but this is beyond the present scope. At a very topical level what we are presented with is a symbol of the initiate reversing his orientation to the natural world. [23] The inversion takes place in the 12th trump representing the 12 constellations of the zodiac (time) and the 12 edges of the cube (space). In older versions of the card such as Le Pendu in the  Tarot de Marseilles, the cross bar from which the figure hangs is supported by two vertical poles each with six stumps, as if their branches have been cut off – a clear metaphor to breaking free from the 12-pronged structure of the universe. We should also note that this trump precedes the 13th and most misunderstood card, Death. The exoteric and ominous nature of this major arcana is a far cry from the esoteric traditional symbolism as representing the “passage through the underworld” and the metaphorical death preceding initiatic resurrection. [24] Playing on the double meaning of the Greek verb τελευτᾷν (‘to die’ and ‘to be initiated’), Plutarch wrote ” to die is to be initiated into the Greater Mysteries.”[25] What we are referring to is not physical death, but rather a philosophic “Death” pertaining to the orientation of one’s sense of Self away from the limits of physical existence and into the realm of transcendent principle; the inversion of perspective as represented by  Saturn-Alpha and The Hanged Man trump is the necessary stage preceding this Great initiation.

This Alpha=Omega inversion and the doctrine of transcending the space-time dimension is preserved(among many other places) in various Medieval and Renaissance paintings and engravings of the Heavenly Spheres- classified as ‘hermetic’ or ‘alchemical’ in nature. These depict an archetypal Man (often depicted as androgynous to illustrate transcendent Unity) standing atop the earth with his head in the Saturnine heavens. Other variations display the figure standing in the 8th Heaven of the fixed stars above the 7th Heaven of Saturn, or even more reduced versions simply depict the figure standing atop the sphere of the heavens. Regardless of the artistic variations all forms of this symbol share the theme of the philosophic Man-God or Solar Hero triumphing over the material world.[26] Resurrected beyond the confines of space-time and liberated from the karmic cycles of life and death, the Solar Hero now peers through the universe with the eyes of immortality… his orientation is none other than Saturn-Alpha.

While the uninitiated masses made offerings to and worshiped the exoteric face of individual deity(ies) and the Solar Hero(s) of the prevailing mythology in an attempt to gain worldly favors and a rewarding afterlife, the initiates of the Mysteries recognized in these mythological images and storylines symbolic concretions of greater esoteric truths.[27] Under the doctrine of Pythagorean Unity and the divinity of the human soul, the initiates of such traditions sought to achieve apathanatismos (‘deification of the Self’) by aligning themselves with – and becoming – the Solar Hero.[28] This was accomplished by a life-long devotion to the Mysteries and their teachings where the mythological narratives of the Solar Hero were revealed as parallel allegories to the spiritual development of man. These Mysteries were committed to instructing the initiate in the disciplinary techniques and practices to silence the desires of material orientation and to experience the subtle realities through awakening the Divine Seed of the Heart.[29] Via the magical and meditative practices of self-identification with the deity and the vibration of vowel mantras and other voce magicae as preserved in the P.G.M., the initiate learned to transform his/her perspective to one of transcendent Unity (read Alpha = Omega) and elevate their consciousness to a higher ontological level of experience …we may say, that such practices were intended to liberate the initiate from the confines of space-time and to evoke a transformation in the initiate’s sense of Self from mere mortal to living God.

While, at a philosophical level,  Agrippa’s Saturn-Alpha system seems to best align with the traditional doctrine of initiation,  we cannot conclude that it was the system used by the Greek initiates in practice. That the Chaldean order from a descending perspective was used is highly likely due to the importance placed on the doctrine of the Center and the centering implication of Saturn-Alpha, but ordering the vowels in alphabetic order is suspect given the musical nature of the sounds produced.

Perhaps in this light, and for practical application we should not correspond the vowels to their alphabetical order, but rather according to their natural acoustic pitch.[30] This would place the vowels in an empirically derived hierarchy based on the frequency of their pitch, letting the vowel sounds themselves dictate their position, and is very inline with the process used to arrive at the Chaldean ordering of the planets. When in doubt let the universe speak for itself.

We find that when the Greek vowels are arranged in Tonal Order the systems cannot be described as Alpha oriented, since both orientations yield Sun-Alpha. Instead we are presented with Moon-Iota and Saturn-Iota orientations depending on whether the initiatic (or inverse) perspective is taken.

As to which system of correspondence is “correct”, it is impossible to say for sure. They all speak to key universal truths and each is valid in its own right. However, in practice, I strongly suspect that the Tonal Order to the descending planets (Saturn-Iota) best aligns with practices of the Greek initiates, particularly when we consider the symbolism of the planets in light of the seven subtle centers of occult corporeity (i.e. chakras). We must remember that as arrays of principles reflect into different states of subtle existence their ordering tends to change, we see this with the arrangement of the Chaldean planets which yield the Saturn-Alpha or Moon-Alpha systems reproduced above. However, when we consider these in terms of harmonics, and in particular the scale of perfect fifths, the order is mixed and yields the harmony of the spheres manifest as time in the ordering of the week (Saturn, Sun, Moon, Mars, Mercury, Jupiter, Venus). This was represented by inscribing the seven planets in a circle connected by the Heptagram, each planet links to the third planet from its position resulting in the seven pointed star connecting the planets in their weekly order.

We are left with various gateways to unravel the Mystery of the Vowels and the power of the “seven Immortal Lords of the Universe”. Through the principles of inversion and reflection, the planets and vowels re-orient themselves as they manifest at different ontological levels; and in each manifestation they yield further insights towards the transcendent principles of our universe. Ever so slightly the Veil is parted for those who have the will and desire to Know.

First origin of my origin, AEHIOYΩ…

Notes

1. Hans Dieter Betz (ed). The Greek Magical Papyri in Translation: Including the Demotic Spells (Chicago, IL: University of Chicago Press, 1992).
2. Laurel Holmstrom. Self-Identification with Deity and Voces Magicae in Ancient Egyptian and Greek Magic
3. See Aleister Crowley. Magick: Book 4, Liber Aba (York Beach, ME: Weiser Books, 1994) and Israel Regardie. The Golden Dawn: The Original Account of the Teachings, Rites & Ceremonies of the Hermetic Order (St. Paul, MN:Llewellyn Publications, 2002[1971]).
4. Julius Evola. The Yoga of Power (Rochester, VT: Inner Traditions, 2005).
5. Joscelyn Godwin.The Mystery of the Seven Vowels (Phanes Press,1991).
6. Hans Dieter Betz (ed). The Greek Magical Papyri in Translation: Including the Demotic Spells (Chicago, IL: University of Chicago Press, 1992):48-50.
7. Kierren Barry. The Greek Qabalah (York Beach, ME: Weiser Books, 1999):  35 -50.
8. Manly P. Hall. Secret Teachings of All Ages (New York, NE:Tarcher/Penguin, 2003[1928]).
9. Anthony Aveni. Behind the Crystal Ball: Magic, Science and the Occult from Antiquity through the New Age (New York, NY: Crown Publishing, 1996).
10. Joscelyn Godwin.The Mystery of the Seven Vowels(Phanes Press,1991).
11. Manly P. Hall. Secret Teachings of All Ages (New York, NE:Tarcher/Penguin, 2003[1928]).
12. Abbé Jean Jacques Barthélemy. Les voyages du jeune Anarchasis en Gréce(1787)
13. Kierren Barry. The Greek Qabalah (York Beach, ME: Weiser Books, 1999):  35 -50.
14. Henry Cornelius Agrippa.Three Books Of Occult Philosophy. Trans. J. F. Edited by Donald Tyson (St. Paul, MN: Llewellyn, 1993).
15. See table in Concerning the Trees and Aryeh Kaplan’s translation and commentary on the Sefer Yetzirah (York Beach, ME: Weiser Books, 1993)
16. Corpus Hermetica, Libellus XVI.
17. See argument in Rene Schwaller de Lubicz. Sacred Science: The King of Pharaonic Theocracy (Rochester, VT: Inner Traditions, 1982)
18. In particular see René Guénon. Symbols of Sacred Science (Hillsdale, NY: Sophia Perennis, 2004) and Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art (Rochester, VT: Inner Traditions, 2005).
19. See Moon: The Hook of Consciousness and Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art (Rochester, VT: Inner Traditions, 2005).
20. Anthony Aveni. Behind the Crystal Ball: Magic, Science and the Occult from Antiquity through the New Age (New York, NY: Crown Publishing, 1996).
21. René Guénon. Symbols of Sacred Science (Hillsdale, NY: Sophia Perennis, 2004).
22. Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art (Rochester, VT: Inner Traditions, 2005) and quote with original italics from UR Group. Introduction to Magic Rituals and Practical Techniques for the Magus (Rochester, VT; Inner Traditions, 2001): 55
23. See Arthur E. Waite. The Pictorial Key to the Tarot:XII The Hanged Man [1911] and Paul Foster Case. The True and Invisible Rosicrucian Order (York Beach, ME: Weiser Books, 1985).
24. Arthur E. Waite. The Pictorial Key to the Tarot:XII Death [1911].
25. Plutarch. Fragments also see Albert G. Mackey.The Symbolism of Freemasonry (1882).
26. See Joseph Campbell. The Hero’s Journey: Joseph Campbell on His Life and Work, 3rd edition, Phil Cousineau, editor.(Novato, CA: New World Library, 2003). and  Joseph Campbell. The Hero with a Thousand Faces (Princeton, NJ: Princeton University Press, 2008).
27. Manly P. Hall. Secret Teachings of All Ages (New York, NE:Tarcher/Penguin, 2003[1928]).
28. In particular see René Guénon. Symbols of Sacred Science (Hillsdale, NY: Sophia Perennis, 2004) and Julius Evola. The Hermetic Tradtion:Symbols and Teachings of the Royal Art (Rochester, VT: Inner Traditions, 2005).
29. ibid.
30. Joscelyn Godwin.The Mystery of the Seven Vowels (Phanes Press,1991).

Rome erred!  They did not believe there was one God of creation, since they evoked things to happen through many different rituals.  They believed in magic and the sorcery of Egypt.  They used the art of exact formulas to cause things to happen.  Their belief did not include one God who was in total control!  Rome learned their practices from Egypt; which was the Chaldean Religion of Babylon.

Rome’s use of religion had two purposes:

1. They used sorcery to cause things to supernaturally happen, good and evil.
2. They used their gods and rituals to appease that inner feeling everyone experiences that causes people to seek their God.

The Roman gods (the specifically named idols) were simply tools.  A tool to make people believe their leaders were the mediators between the ordinary people and the gods.  Rome had many centuries of practice, plus thousands of years of records from Egypt, to perfect their sorcery.

Sorcery is the use of formulas, any formulas, even repetitious prayer, which is used in every Christian Church of every denomination and non denomination, besides all other religions in the world.  Sorcery is the human connection to the demonic spiritual world.  The Roman practice of sorcery gives them access to new inventions, ideas, and solutions to problems.

Access to the spiritual world gave Rome the edge over other nations; maintaining control of their empire by the use of magic, not tricks, but real magic, which is abominable and rebellious to God.  The art of sorcery and magic was performed in Egypt.  God used Moses to perform three miracles in Egypt.  The Egyptian priests duplicated the exact phenomenon, turning a dead wooden staff into a living serpent.  Proving men can evoke demonic spirits who can produce phenomenon far exceeding the normal behavior of natural phenomenon.

This power is still used in Rome today.  It is referred to in the New Testament book of Revelation as lying miracles, signs and wonders performed by the false prophet, which is another name for the “Antichrist”.

The difference between lying miracles and true miracles is not that a lying miracle is a fake miracle, nor slight of hand, or a trick.  The lying miracle is just as real and supernaturally evoked as the true miracle.  The difference between the two miracles rests upon who performed the miracle: whether it is demons or God!

Do you believe there is only one God?  Good!  The demons believe, and tremble!  Rome used religious rituals (sorcery) and gods (idols) to control the masses; to dupe the slaves into working hard for a small portion of what their masters receive from their hard work.  Then their masters trick the public into giving two parts of their small portion back to Rome.  Thus keeping the masses under control and happy all over the world, until today; making the general public believe they’ve received a fair pay for a day’s work: while the masters actually take two-thirds of their earnings back again through taxes and churches.

Somewhat like the company store.  Where the worker had to buy what he needed, and the prices were calculated to relieve the worker of the nice high wage he thought he had received for his work rendered.  Yet, the company store was a devise to keep the worker working because his salary seemed fair; while the company store was owned and used by the boss to get those salaries back into his bank account.

Thus, the rich get richer and the poor remain poor.  It’s no different today, which is why King Solomon said, there is nothing new under the Sun; and Jesus said, the poor will always be with us… .

To be continued…

According to most dictionary references, the majority of words currently in use today trace their source back to Latin, Greek or Old, Middle; German, French or Spanish, along even with reference sometimes to Hebrew or Sanskrit. Arabic is rarely referenced, which is another problem that needs to be tackled in a separate article.

Attempting to find the origin for the term, God proved to be quite fruitless as I perused all major English dictionaries, old and new. I welcome anyone’s proofs to the contrary, and, until such time as any are brought forward, I invite all to read this answer, which is based on what I consider to be the supreme truth, found in the Arabic language.

Taken as a given that the concept of the word God in most minds is that of strength and giving, fairness and capability, I offer the possibility that the root can be found in the Arabic term jude, which root is jawada – which is this meaning exactly. A related term in English would be the word “good”.

Let us now look at the Arabic word Allah – we can immediately recognize the English word “all”, indeed we have herein one of the best characteristics of Allah’s attributes; The All-Knowing, All-Seeing, All-Hearing, All-Merciful etc. Every baby born anywhere in the world has, as his first utterance the short “a” sound. No new born ever cried out with an “s” or a “t” or a “d” or a “b” sound! All exclaim the “a” as an expression of the oneness of humanity, in relation to its Creator.

Also, all final deathbed gasps exhale the “h”, the last letter of the name of Allah. This is because He is the First and the Last! When we scream in pain or cry out in fear, or grunt and groan during strenuous exercise or disgust, or exclaim in joy or surprise, it is the very same… “ahhh”, and not the “g” of the word God that we all emit. This reality is intrinsic in our innermost selves, something out of our control!!

Why is this so, you may ask. It is because the word Allah refers to the concept of that which all turn to for refuge and repose.Without finding this state of rest and security, we are in a constant state of frustration and irritability. Our souls all yearn to reach the place of contentment, which can only be found by knowing Allah as He has revealed Himself to us, in the Qur’an.

Another interesting facet of the two related languages is the relation of the words “man” and “woman”. The word “man” (mim, nun) in Arabic is the personal pronoun for the human being, as in the English word “man”. Both languages use the term also in the sense of “who”. Therefore, the usage of the term “man” is nearly identical in both languages!

The word “wa” in Arabic means “and”. In English the word “woman” could be seen to be derived from the concept of a partner to the man. Therefore, the woman or “waman” as it might be more correctly rendered, can be construed as meaning “and-man” or “together with man”, the couple which forms the very essence of the human race…

The reason why I referred to the letter “o” as an incorrect rendering in the English word woman is my idea that “o’s” and short “e’s” are extraneous additions to the correct pronunciations, found in the Qur’an. As these sounds were not originally revealed by Allah. The Qur’an is the only revelation, which has remained intact. Both the original Torah and Bible are non-extant and therefore, not open to analysis of their original linguistic aspects. The assumptions put forward regarding the Sumerian, Akkadian, Chaldean, Syriac, Aramaic and Hebrew roots, do not readily admit to these, being derived from the mother Arabic for obvious reasons.

Here, I shall offer a very plausible argument for my suggestion that Arabic is the true language of humanity, based on some concrete examples, with which we can form illuminating comparisons.

If Allah, the Eternal Unchanging Truth, chose to call Himself Allah… is it meet and proper for any created being to change His name? Do any of us have the power to move an atom in the universe without Allah’s first moving it and giving us the ability to be used, as His instruments?

Consider the usage in Hebrew of the word “Elohim”. Elohim stands for the concept of the Supreme Being, along with His attributes. We Muslims say Allahumma for Allah and His attributes, or names and characteristics. Those who went astray, after they knew the truth frombani Isra’il are known in Arabic as “yahud”. They were not content with the limitations of Allah in any fashion, and were always adding or deleting to that which Allah had ordained. Similarly, they do the same behavior today, with genetic engineering, euthanasia and cryonics etc., forever exceeding the limits of Allah, even in regards to life and death!

The word “Elohim” (plural of “eloha” – the powerful) was invented by them to resist the Almighty. “A” – The first letter of Allah’s name, was changed to “E” and the second was changed to “o”. There are portions in the Pentateuch, which refer to Elohim and others, which refer toYahweh and was changed to Jehovah only in the 14th century. It is read in Greek as Adonis and in Latin as Dominus.

Yet, Allah the Almighty, who is the “all in all” – does not ever change and thusly it would stand to reason, neither would His name. It is now and forever, as it was revealed in the Qur’an - ALLAH. And furthermore, I venture to claim that if the original Torah and Bible were extant for us to examine, we would find the word Allah there also. I wish to remind all sincere Christians, correctly following Jesus – who never called himself God – of the very first two of the Ten Commandments.

Related Article: Some words about “Allah”

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The ancient Pythagoreans used music as a means of curing and caring for the soul, as we read in biographies of Pythagoras (e.g., Iamblichus’ Pyth. Way of Life, ch. 25, in Guthrie, 84-5).

In one case, a young man was about to burn down the house of an unfaithful girlfriend.

Pythagoras realized that he was being agitated excessively by the music played nearby, and so he told the musician to play in a different mode, which immediately calmed the young man.

In another case, the Pythagorean sage Empedocles was visiting the home of a judge who had condemned a man to death. The man’s son rushed in with a drawn sword, intent on killing the judge, but Empedocles sang an enchantment that diverted the son from his rash purpose and saved his host.

The Pythagoreans also used music in less extreme circumstances. For example, special melodies were used at night to calm their minds and to ensure peaceful sleep and good dreams, and others were used in the morning to bring alertness. Some of these were wordless “vowel chants,” as will be explained below. In general they used enchanting music whenever they needed to alter the state of their own or others’ souls. In this article I will show some ways that you can do the same.

The Modal Glyph
[The Modal Glyph iamge]Although much of the Pythagorean lore has been lost, we can understand some of the techniques for using ancient Greek music for healing and magical purposes by looking at the Modal Glyph, a diagram that summarizes some of the correspondences of the tones and modes. (These correspondences were given by ancient musical philosophers such as Aristides Quintilianus and Ptolemy; see Barker 1984, 1989, and Godwin, 1991, 1993.) First consider the Heptagram, the star of seven points connected by red arrows. Around these points are the letters A-G, which represent notes in a C-major scale (CDEFGAB). (Since absolute pitch is not important for our purposes, these letters can represent any major scale; what matters is the pattern of tones and semitones. Simply place the lowest note on the point marked C, and write the rest around in order. For example, for a D-major scale, instead of C D E F G A B we write D E F# G A B C#.) The boxes beside each note give a number of correspondences: on the top line we have a planetary symbol and a Greek vowel (aehiouw), on the second line a day of the week, and on the third line either one or two Zodiacal signs. The inner Heptagram represents the cycle of the days of the week and the corresponding planets. To see this, begin with Sunday at the top and follow the line (against the arrow) to the lower left to Monday and continue around the Heptagram until it returns to Sunday.

The outer Octagon represents the eight modes (similar to major and minor scales), the Dorian, Phrygian, Lydian, etc. In ancient times the Greeks recognized only seven modes, which follow the Heptagram in order like the week: (1) Dorian, (2) Hypodorian, (3) Phrygian, etc. (These are the better known medieval names; the ancient Greeks used similar names, but in a different arrangement.) Each mode has a corresponding planet and Zodiacal signs, and each sign has a divine guardian (Lat., tutor) (given, for example, in Manilius’ Astronomica, 2.433-52), which is not shown in the diagram, but will be mentioned below. (They are different from the planetary houses.) The signs are also associated with parts of the body, as can be learned from any astrology text (e.g. Manilius, 2.453-465).

In later times an eighth mode was added, giving two for each element, which means that we can increase or decrease each of the four humors (as will be explained shortly). The eighth mode, the Hypomixolydian, corresponds to the Fixed Stars, whereas the seven ancient modes correspond to the planets, the Wandering Stars, among which the Heptagram cycles endlessly. Further, clockwise around the Octagon, from the Moon, to Mercury, etc., to Saturn and the Fixed Stars, the eight celestial spheres are listed from inner- to outermost in the ancient Chaldean order (that is, from fastest to slowest motion).

Each mode is under the patronage of a Muse: Clio, Calliope, Terpsichore, Melpomene, Erato, Euterpe, Polyhymnia, Urania (according to the Chaldean order).

The ninth Muse, Thalia is assigned the Terrestrial Sphere and governs Silence for, as Ramis says, “Thalia remains silent, like the Earth.” Apollo governs all nine Muses, their spheres, and the modes together with Silence. To remember the correspondences, you may use the verses of Agrippa (Three Books Occult Phil., 1651, II.xxvi):

Silent Thalia we to th’ Earth compare,
For She by music never doth ensnare;
After the Hypodorian Clio sings,
Persephone likewise doth strike the bass strings;
Calliope also doth chord second touch,
Using the Phrygian; Mercury as much:
Terpsichore strikes the third, and that rare,
The Lydian music makes so Venus fair.
Melpomene, and Titan do with a grace
The Dorian music use in the fourth place.
The fifth ascribed is to Mars the God
Of war, and Erato after the rare mode
Of th’ Phrygians, Euterpe doth also love
The Lydian, and sixth string; and so doth Jove.
Saturn the seventh doth use with Polymny,
And causeth the Mixed Lydian melody.
Urania also doth the eighth create,
And music Hypo-Lydian elevate.

(Note that Agrippa is a bit loose with the names of the modes.)

Each mode has a different Form, or pattern of tones and semitones, which determines the character of the mode and is of central importance in applying music to therapeia (cure and care) for the soul. This pattern is defined by the Roman numeral at the beginning of the line under the mode’s name, which defines the degree of a major scale at which this pattern begins (its Foundation Note), as well as by the arrow, which points directly to this degree.

Chaldean Numerology Origin

The science of Chaldean Numerology is one of the ancient in history of mankind. Numerology originated 5000 years ago, and it was the Babylonian’s who are credited for inventing this unique astral system. Chaldean Numerology is considered to be the ancient and first among the types of numerology. The Babylonian’s were so precise and accurate in forming the number system for Chaldean numerology.

They analyzed the pattern of planets in the universe, and with intuitive (Through Meditation) and supernatural powers they were able to understand the mysteries of universe. Thus they found a powerful tool called Chaldean Numerology which could help them in changing their destinies.

Although many system of numerology exists, it is the Chaldean which is the ancient and mother of all numerology systems. Pythagorean System arrived only after Alexander conquered Babylonia and the Greek’s had the access to the Chaldean Numerology Scripts and the Vedic System came to light in some 2000 BC.

Various Greek scholars who had access to Chaldean Numerology spread the ancient science in India when they entered India through Indus. Many Vedic scholars from India learn the Chaldean Numerology system through Greeks and the Greeks in turn understood the deeper meaning of Vedas. It is said that Alexander once read the Rig Veda in the banks of Indus with the help of translator and was so moved with the Vedas.

Pythagorean Numerology system was discovered by Pythagoras by making modifications on the Chaldean Numerology, but the present world acknowledges and practices that system even though the accuracy of that system is liable to be questioned. Its a sheer popularity and brand name called Pythagoras which made that system world wide famous.

Numerology System

Chaldean Numerology is the one of the ancient numerology system. There are many numerology system all over the world, and the Chaldean is widely considered to be the oldest of all. The other numerology system being Pythagorean Numerology, Chinese Numerology, Egyptian Numerology, Vedic Numerology. Hellenistic Numerology, Western Numerology and many more. These days people invent various numerology systems. But the standard one’s are one’s that i have mentioned above.

Chaldean Numerology has its origin in Babylonia. The Babylonians, Assyrians, are widely considered to be practicing Chaldean numerology. It is well known that Babylonians had an excellent math system. The invention of numbers and their mastery over astral system led to the birth of Chaldean Numerology.

Most westerners follow Pythagorean numerology, even numerologist cheiro suggested Pythagorean numerology for the world. But only very few know that the Chaldean numerology is more accurate than Pythagorean. Pythagorean mathematics were greatly derived from the Babylonians after Alexander the great conquered them.

There is even an esoteric school in Babylonia,where Pythagoras learned the astral behavior of numbers. From there he derived his own style of numerology. As far as the accuracy is concerned, Chaldean Numerology is the most accurate. The only reason people dont practice is because it was kept secret for many centuries, and only recently people came to know about the value system. Once chaldean numerology is understood, one can easily do wonders with numerology.

The Nostradamus Code – Explained:

In 1558., Nostradamus, writing to Henry II, mentions
the Chaldean Alphabet, (numerology & Sound).

“Such is the extent of time past, subject to correction by the most learned judgment, that the first man, Adam, came 1,242 years before Noah (not reckoning by such Gentile calculations as Varro used, but simply by the Holy Scriptures, as best my weak understanding and astronomical calculations can interpret them.) *About 1,080 years after Noah and the universal flood came Abraham, who, according to some, was a first-rate astrologer and invented the “Chaldean alphabet.” About 515 or 516 years later came Moses, and from his time to that of David about 570 years elapsed. From the time of David to that of out Savior and Redeemer, Jesus Christ, born of the unique Virgin, 1,350 year elapsed, according to some chronographs. Some may object that this calculation cannot be true, because it differs from that of Eusebius. From the time of the human redemption to the detestable heresy of the Saracens about 621 years elapsed.

From this one can easily add up the amount of time gone by.”

His mentioning the 1080 is a symbolic gesture, because we
currently use 10 ^ 80th power to signify the total of
elemental particles in the known universe….

1080 is also mentioned by Plato, to indicate “universal
truth.”

Nostradamus – The New City

Century 1, Quatrain 24
The new city contemplating a condemnation,
The bird of prey offers itself to the heavens.
After victory pardon to the captives,
Cremona and Mantua will have suffered great evils.

Century 1, Quatrain 87
Earth-shaking fire from the center of the earth.
Will cause the towers around the New City to shake,
Two great rocks for a long time will make war,
And then Arethusa (the waterer) will color a new river red.

Century 6, Quatrain 97
At forty-five degrees, the sky will burn,
Fire approaches the great new city,
Immediately a huge, scattered flame leaps up
When they want to have verification from the Normans.

Century 9, Quatrain 92
The king will want to enter the new city,
Through its enemies they will come to subdue it
Captives liberated to speak and act falsely,
King to be outside, he will keep far from the enemy.

Century 10, Quatrain 49
Garden of the world near the new city,
In the path of the hollow mountains,
It will be seized and plunged into the Vat,
Drinking by force the waters poisoned by sulfur.

My parents always defined me as “too” American, rather than Chaldean Iraqi. I grew up going to schools where the student population was predominantly white, with a few kids, like me who added diversity. My early formations of Chaldean were negative. I didn’t see people like me on tv or any positive role models (minus a few in my family). Many of the chaldeans I knew (know of) do not deviate from the heteronormative structure of marriage, family, real estate, business. Why raise your voice and start a career in activism? That doesn’t make money. Why do anything except go to church on Sundays. Only raise your voice for god and your Christian faith.