This number symbolism suggests the birth of the Jewish Green Man may have been purposely calculated to occur at the specific numerical difference of eleven centuries within a 5,125-year Mayan Sun. If so how would the ancient Jews have known about this solar cycle, and why would they have linked their messiah’s birth to this particular point in time?
To begin with we must assume that the Mayan and Gregorian calendars were based on common astronomical knowledge. A Mayan Sun represents about one-fifth of the Earth’s precession or wobble cycle around the Sun. Five of these Suns then makes a Mayan Long Count of 25,650 years very close to the Greek Great Year or Zodiacal Cycle of about 25,765 years. The key question is was this information shared between the Americas and Europe through ancient transatlantic voyages (by the proto-Phoenicians), or was it simply a matter of two separate cultures observing planetary cycles over a very long time, eventually discovering the same cycle?
While we cannot be certain how this came to be, we do know that the Julian calendar was altered by Pope Gregory XIII to coincide with this eleven-century difference and not the generally accepted date of the messianic birth. Furthermore recorded history shows there was much anticipation leading up to this prophesied birth and that many wise men (not just three) were in wait. Did these Gnostic priests think there was something special about an eleven-century difference in one-fifth of a Great Year, and if so what could it be?
The answer might have something to do with how nine and eleven balance harmonically around ten. We already know that the consonant ninth-wave partial is uniquely synchronized with its fundamental resonant frequency, acting as a Harmonic Center for other harmonics to balance around it. But there is an opposing frequency we have not yet discussed that could explain the importance of eleven.
Within the harmonic series, dissonance is maximized at the eleventh-wave partial or, as it was known in the time of Pope Gregory XIII, the Diabolus in Musica. Eleven is then numerically symbolic of the Christian devil and believed to be opposite the resonant Harmonic Center or ninth. Yet it was at this eleven difference in time that the Christian messiah was believed born. What does this mean?
When the Sun is identified with the consonant ninth and Harmonic Center of the solar system, its harmonic opposite becomes the dissonant eleventh Venus. Between these two is then the fundamental frequency of Mercury. Associating these with their Hebrew trinity names, the Sun becomes Yahweh, Venus becomes Asherah, and Mercury becomes their son Jesus, as an alternate entheogen deity to the Moon.
Now we already know that Mercury was personified as the Messenger of the Sun and an entheogenic Green Man, who for the Jews was likely Jesus. So under this harmonic symbolism, Jesus could only be born from the sun god Yahweh through the Venusian goddess Asherah at the eleventh harmonic. This harmonic would then have been equated with an eleven-century difference in the solar cycle to form what we might call a Harmonic trinity as follows.52
The Harmonic Trinity
Considering the importance of numerology or gematria in the Hebrew Qabala, it seems more than a little likely that Jesus was calculated to replace the other Green Men of the day, that being Dionysus/Bacchus, Mithra, and Krishna. In this way he would have been a new kind of messiah—a Harmonic Messiah—created by the median of nine and eleven.
While such an interpretation goes far beyond present-day understanding of ancient religious symbolisms, it is not as farfetched as it sounds. Such symbolisms could have easily been deduced very early in human history using basic harmonic theory taken from astronomical tables. In fact it could have been confirmed using simple arithmetic.
1 / 9 = .11 …53
To a wise Jewish priest, the opposing relationship between nine and eleven in this equation could have been interpreted as a natural fertility point in a repeating solar cycle and the proportion God would need to use to reproduce himself. Interpreted perhaps as a crack in the universe or weak point in time, the eleven-difference in the solar cycle would have been considered a schism or birth canal through which God could incarnate into the vibrating material realm. Of course to do this they would have had to know that 5,125 years is one-fifth of a natural cycle equivalent to a Mayan Sun.
But this raises another question. Since the union of nine and eleven was the first coming of the Jewish messiah, were the terror attacks on the twin towers of the World Trade Center on 9/11 also timed by someone as his second coming? If so, is this why subtracting 2001 creates a double-eleven difference?
3113.61 — 2001.69 = 1111.92 years.
Returning now to the question of why 11:11 a.m. is the “end time,” a quick calculation shows this to be equal to 671 minutes from midnight. When this is then taken as a proportion of a Gregorian calendar day of 1,440 minutes, we find it to be the exact proportion of 5,125 to 1,100 years by one order of magnitude. Thus we find the beginning of our present-day Gregorian calendar is proportional to the Mayan calendar solar cycle in exactly the same way 11:11 a.m. is proportional to the cycle of one solar day. Amazingly eleven is the difference in both the number of years and time of day between the Gregorian and Mayan calendars!
Here again is compelling evidence that harmonic science was used to connect sky gods with plant gods. It seems unlikely such numerical correspondences would be a random coincidence. Instead it implies an intentional use of harmonic theory to predict the birth of a major religious deity—one now at the center of the most powerful nations on Earth. It also links the Gregorian and Mayan calendars through the Earth’s precessional cycle, implying an ancient transfer of advanced astronomical knowledge between the Mediterranean and the Americas.
Now whether Jesus was a case of harmonic theories hiding behind the mystery of prophecy, stirring up expectations for a new Green Man, or simply natural cycles working through the mechanisms of society remains an open issue. Many Christians might say this illustrates how God intercedes in human affairs and incarnates on Earth, and others would say this is an example of how the priestly class manipulates society to their own ends. But no matter what you believe, no one can deny the numbers. They stand on their own.
The fact is, for good or for ill, a complete reinvention of the world began some two millennia ago at an eleven-century differential in the middle of the Fifth Sun. From this harmonic schism came centuries of Christian policies and the dominance of Western civilization. We see it in the continuation of Roman imperialism and a world transformed by 9/11.
One might now wonder if the same harmonic portal has been opened again. Is the new solar cycle of 2012 already acting as a catalyst for social change? Are the eleven time-prompts many have been experiencing evidence of a worldwide shift in consciousness? Will this cause the global economic and political upheaval to be calmed, say by something unexpected like the discovery of a cheap and sustainable new source of energy?
Who knows? All we can do is hope that this time around the Sun will deliver us back to the wise goddess of the Tree and not just another Green Man.
Music of the Spheres
Early religion was really as much about physics and physiology as it was about spiritual concerns. The musical mythologies and resonant temples were used as classroom aids to explain how nature self-organizes according to harmonic principles. Through the use of metaphor and allegory, the solar priests sought to teach everyone how resonant patterns in the sky were directly related to the patterns of life on Earth.
In those days temples were centers for the study of nature. Observations of the sky were recorded in detailed astronomical tables and calendars, creating a foundation of harmonic science for the study of life and spirituality. Recognizing the orbital cycles and conjunctions as a kind of celestial music, the solar priests wrote a songbook about the sky so that others might sing along. Naming this songbook the Rig-Veda, they sent it around the world to harmonize human civilization with the sky.
Through an understanding of periodic cycles and conjunctions, the solar priests sought to know the future. With centuries of empirical data behind them, they could tell when to
plant, when to harvest, when to hunt, and when to celebrate. They saw in these calendar cycles their own fate, watching each day as the Sun was born by the Morning Star only to be buried in the underworld by the Evening Star. Everything was integrated and predictable in a sky full of musical gods and resonant patterns.
Back then everyone was very concerned with the harmony of the gods. Their orbital frequency and corresponding past events were their personalities, moods, and behaviors. From the triangular Iris orbit of Mercury to the pentagonal Rose of Venus; from the septagonal Daisy of Mars to the dodecagonal heart of Jupiter—each god and goddess had his or her traits. Interpreted through their own inner perception of musical consonance and dissonance and feelings of tension and resolution, the solar priests saw everything as a Music of the Spheres.
To understand this music was to understand the musical cadence of Mount Meru. All the planets sang in this key, creating harmonies of two, three, five, eight, and thirteen that reached for the gold inside the star like this:
For every orbit of the Earth around the Sun, the Moon circles thirteen times around the Earth.54 And for every eight orbits of the Earth, Venus circles thirteen times around the Sun. As these match the thirteen human female menstrual cycles in a year, the Fibonacci proportion 13:8 between Venus and Earth became known as the fertility proportion that gave birth and resurrected the Sun.55
Since Venus kisses the Earth five times over eight years, so too could the Fibonacci proportion 8:5 be the love of Venus. Combined with the 3:2 conjunctive resonance of Mercury to the Sun, five consecutive digits of the Fibonacci series are revealed in the spiral of the Sun’s heliosphere. It was through observations like these that the legend of Meru, the Naga Swastika, the Cosmic Egg, and the Venus Blueprint probably got their start. This was the birth of the golden mean F, the universal constant of damping and order.
As the Music of the Spheres grew into a grand harmonic science, it became a bridge between the gods of the sky and gods of the mind. In Roman mythology Mercury was the fleet-footed messenger of the Sun, but we should not forget that he had wings also on his head. Known as Hermes by the Greeks, he flew from Mount Olympus to the people of Earth to deliver the “good news.” This news was the enlightenment of sunlight delivered through sacred plants. His was a message of visions and prophecy personified by the Green Man.
For the Hebrews the Messenger Nizziz arrived through prophets such as Isaiah, Jeremiah, Ezekiel, and Zechariah. For the Babylonians he came as Nebo or Nabu, and for the Sumerians he was Enki, whose symbol was the caduceus. In Vedic astrology he came through Budha, the god of Mercury whose father was Soma, the Moon, and mother Tara, the pole star. Through this inner Messenger of the plant, Budha traveled down Mount Meru to deliver his good news to the hearts and minds of the people.
Like the Soma Moon, Mercury was the wisdom of the sacred plant. Entering the body during communion, the fleet-footed Mercury became the kundalini serpent that resonated the pineal to give wings to the spirit. Emanating as light from the Sun, Mercury brought the good news of resonance.
The resonance of Mercury is expressed by p, the universal constant of wave periodicity. As Mercury orbits the Sun every eighty-eight Earth days, the Moon orbits the Earth every twenty-eight.56 Dividing eighty-eight by twenty-eight we find 3.1428, the simplest and most ancient rational approximation of л equal to 22/7. As the Earth-Moon system resonates with the Sun-Mercury system at a simple proportion of p, ancient priests would have learned the secret of circles and waves.
Mercury was indeed the god of resonance, delivering light and enlightenment from the Sun, while Venus brought order and stability as the goddess of damping. This is the essential harmony of Nature—the two great constants л and ф Yin and Yang; Male and Female—together bringing balance to Earth so that life might exist. Theirs was the harmony of a resonant hexagon inside a damping pentagon.
π /Ф2 12 / 10 = 6 / 5 = 1.2
Though many now cast aside the Music of the Spheres as just myth, it is a real thing. As a harmony of circles and spirals, eggs and stars, the planets resonate one inside the other like Russian matryoshka dolls. There they tune themselves near right turns of the Sun’s golden spiral. This is the truth of the Rig-Veda and “what is heard”—a solar keyboard of plasma resonating into spheres (Fig. 37).
Recreating this music was the purpose of the temples. The Babylonians reached for it with their spiral ziggurats, the Egyptians with their pyramids, the Chinese with the tiered pagodas, the Indians with their Meru temples, and the Maya with their stepped towers. Connecting the inner gods with the outer gods was the temple way—a musical transformation bringing social order with few man-made laws. This was the gift of the Rig-Veda and the blessing of the Venus Blueprint.
From the Music of the Spheres, the temple of the mind could be built. It gave meaning to life and order to civilization. It was the love of Venus and good news of Mercury; light of the Sun and enlightenment of the Moon all rolled into one. It held the secret of birth and the promise of resurrection. It was mankind’s model of harmony. Nothing was missing and nothing was outside of it.
FIGURE 37. Music of the Spheres model
CHAPTER 11
A Beautiful Vision
When we consider buildings like the seven wonders of the ancient world, the medieval cathedrals, the Egyptian pyramids, and temples, we find instances of construction using the principles of sacred geometry and the golden section calculated by the Fibonacci series of numbers. As the ancient diatonic musical scale is constructed using the same form and mathematics, then we are looking directly at “music in stone” when we view those ancient buildings. It is my conviction that they were built to communicate that sacred form and music directly and nonverbally to our higher self—our spiritual self—and that when we left those structures, we took with us something of the sacred truth. This truth, to a greater or lesser extent, changes us fundamentally, which is why it has remained in the collective consciousness of man over thousands of years.
I see the basic model of the universe as a musical model based on the ancient musical diatonic scale. Music is fundamental to the human race and it is a natural reflection of the musical model of the physical universe.
—TOMMY MITCHELL, FROM SOUND: A MODEL OF THE UNIVERSE
Taken on the whole, the evidence is clear. A spiritual science of harmony once guided social evolution, leading humanity to religion, governments, and everything we know as civilization.
We now know within a reasonable degree of certainty that Armenian Aryans must have developed this musical science prior to the writing of the Rig-Veda some six millennia ago, promulgating it around the globe as part of the world’s first missionary project.
Carried into Ethiopia, Mesopotamia, and the Indus Valley, the Rig-Veda was the catalyst behind the Egyptian, Sumerian, and Indian civilizations. We can trace it back through the Indian “Localization Era” around 1500 BC to Mesopotamia, where a fully developed harmonic science was in place by at least 1900 BC. But to estimate the true age of the Rig-Veda songbook and its musical science, we must turn to the history of astronomy.
The Vedic astronomical tables upon which the Rig-Veda was based are, in fact, much older, dating to at least the fourth millennium BC. This has been confirmed by several methods, particularly recorded star positions relative to the World Cycle. In these tables we find further evidence of an ancient harmonic science preexisting the development of musical scales and Vedic hymns. This science was so old that it predated the construction of the Great Pyramid of Giza by some 1,500 years, while paralleling the Uruk period prior to the birth of Sumerian civilization in Mesopotamia.
Determining when the Hindu chakra system developed is less clear. First described in the later Upanishads or appendices to the Vedas, the concept of “wheels of light” in the body and corresponding seven-step rainbow chakra system evolved from the much earlier idea of prana flow in the body. Depictions of the Egyptian uraeus and use of a grid for human figures dates the Hindu chakra syst
em toward the beginning of the Old Kingdom in the early third millennium BC.
Altogether this timeline suggests a preexisting “as above, so below” philosophy linking astronomical resonance patterns with similar physiological patterns in plant and animal life. Developed perhaps by the Sanskrit-speaking Ethiopians who brought civilization and pyramid building to Egypt, the Egyptian Canon of Proportions probably originated as an interpretation of internal physiology from the outer Mount Meru and Tree of Life models. Resonance in the body was probably deduced as the method of communication between the mind and gods in the sky. Resonate the brain at the right frequency through song and entheogenic plants and you could tune in to meet them.
Thus we might now reasonably assume the presence of a rudimentary harmonic science at the beginning of the Bronze Age, awakening humanity from its Stone Age infancy. In fact it would have been this very harmonic science of astronomy, cymatics, and numbers that led to the sudden development of writing, arithmetic, and large-scale theocratic systems of government that marked the dawning of the fourth millennium BC.
Furthermore we can characterize this musical science as an early form of quantum physics. This is evident in the ancient presumption of a structured space or aether similar to the Quantum Chromodynamic Lattice theory of quantum mechanics.57 Much like the “luminiferous ether” theory of the nineteenth century, the ancients presumed a medium through which light travels and atoms resonate into larger shapes. Evidence for this belief can be found throughout the ancient literature.
For instance the Greeks associated space with the first-born god Aether. He was believed to inhabit the pure upper air that the gods breathed instead of normal air. In the Orphic hymns, Aether is mentioned as the soul of the world from which all life emanates. But the Greeks did not invent this idea—they learned it from a far older culture.
The Venus Blueprint Page 22