The Brain is an Advanced Fractal Antenna

[MonsieurM]

The Poetic Edda: Voluspo

part II

37. Northward a hall | in Nithavellir
Of gold there rose | for Sindri's race;
And in Okolnir | another stood,
Where the giant Brimir | his beer-hall had.

38. A hall I saw, | far from the sun,
On Nastrond it stands, | and the doors face north,
Venom drops | through the smoke-vent down,
For around the walls | do serpents wind.

40. The giantess old | in Ironwood sat,
In the east, and bore | the brood of Fenrir;
Among these one | in monster's guise
Was soon to steal | the sun from the sky.

41. There feeds he full | on the flesh of the dead,
And the home of the gods | he reddens with gore;
Dark grows the sun, | and in summer soon
Come mighty storms: | would you know yet more?

43. Then to the gods | crowed Gollinkambi,
He wakes the heroes | in Othin's hall;
And beneath the earth | does another crow,
The rust-red bird | at the bars of Hel.

44. Now Garm howls loud | before Gnipahellir,
The fetters will burst, | and the wolf run free;
Much do I know, | and more can see
Of the fate of the gods, | the mighty in fight.

46. Fast move the sons | of Mim, and fate
Is heard in the note | of the Gjallarhorn;
Loud blows Heimdall, | the horn is aloft,
In fear quake all | who on Hel-roads are.

47. Yggdrasil shakes, | and shiver on high
The ancient limbs, | and the giant is loose;
To the head of Mim | does Othin give heed,
But the kinsman of Surt | shall slay him soon.

49. Now Garm howls loud | before Gnipahellir,
The fetters will burst, | and the wolf run free
Much do I know, | and more can see
Of the fate of the gods, | the mighty in fight.

50. From the east comes Hrym | with shield held high;
In giant-wrath | does the serpent writhe;
O'er the waves he twists, | and the tawny eagle
Gnaws corpses screaming; | Naglfar is loose.

52. Surt fares from the south | with the scourge of branches,
The sun of the battle-gods | shone from his sword;
The crags are sundered, | the giant-women sink,
The dead throng Hel-way, | and heaven is cloven.

53. Now comes to Hlin | yet another hurt,
When Othin fares | to fight with the wolf,
And Beli's fair slayer | seeks out Surt,
For there must fall | the joy of Frigg.

55. Hither there comes | the son of Hlothyn,
The bright snake gapes | to heaven above;
. . . . . . . . . .
Against the serpent | goes Othin's son.

56. In anger smites | the warder of earth,--
Forth from their homes | must all men flee;-
Nine paces fares | the son of Fjorgyn,
And, slain by the serpent, | fearless he sinks.

58. Now Garm howls loud | before Gnipahellir,
The fetters will burst, | and the wolf run free;
Much do I know, | and more can see
Of the fate of the gods, | the mighty in fight.

59. Now do I see | the earth anew
Rise all green | from the waves again;
The cataracts fall, | and the eagle flies,
And fish he catches | beneath the cliffs.

61. In wondrous beauty | once again
Shall the golden tables | stand mid the grass,
Which the gods had owned | in the days of old,
. . . . . . . . . .

62. Then fields unsowed | bear ripened fruit,
All ills grow better, | and Baldr comes back;
Baldr and Hoth dwell | in Hropt's battle-hall,
And the mighty gods: | would you know yet more?

64. More fair than the sun, | a hall I see,
Roofed with gold, | on Gimle it stands;
There shall the righteous | rulers dwell,
And happiness ever | there shall they have.

65. There comes on high, | all power to hold,
A mighty lord, | all lands he rules.
. . . . . . . . . .
. . . . . . . . . .

[MonsieurM]

one more North Poem

Poetic Edda/Hymiskviða

will keep it as whole but color the two version 369 and the rest

1. Of old the gods | made feast together,
And drink they sought | ere sated they were;
Twigs they shook, | and blood they tried:
Rich fare in Ægir's | hall they found.

2. The mountain-dweller | sat merry as boyhood,
But soon like a blinded | man he seemed;
The son of Ygg | gazed in his eyes:
"For the gods a feast | shalt thou forthwith get."

3. The word-wielder toil | for the giant worked,
And so revenge | on the gods he sought;
He bade Sif's mate | the kettle bring:
"Therein for ye all | much ale shall I brew."

4. The far-famed ones | could find it not,
And the holy gods | could get it nowhere;
Till in truthful wise | did Tyr speak forth,
And helpful counsel | to Hlorrithi gave.

5. "There dwells to the east | of Elivagar
Hymir the wise | at the end of heaven;
A kettle my father | fierce doth own,
A mighty vessel | a mile in depth."

Thor spake:

6. "May we win, dost thou think, | this whirler of water?"

Tyr spake:
"Aye, friend, we can, | if cunning we are."

7. Forward that day | with speed they fared,
From Asgarth came they | to Egil's home;
The goats with horns | bedecked he guarded;
Then they sped to the hall | where Hymir dwelt.

8. The youth found his grandam, | that greatly he loathed,
And full nine hundred | heads she had;
But the other fair | with gold came forth,
And the bright-browed one | brought beer to her son.

9. "Kinsman of giants, | beneath the kettle
Will I set ye both, | ye heroes bold;
For many a time | my dear-loved mate
To guests is wrathful | and grim of mind."

10. Late to his home | the misshapen Hymir,
The giant harsh, | from his hunting came;
The icicles rattled | as in he came,
For the fellow's chin-forest | frozen was.

11. "Hail to thee, Hymir! | good thoughts mayst thou have;
Here has thy son | to thine hall now come;
(For him have we waited, | his way was long
And with him fares | the foeman of Hroth,
The friend of mankind, | and Veur they call him.

12. "See where under | the gable they sit!
Behind the beam | do they hide themselves."
The beam at the glance | of the giant broke,
And the mighty pillar | in pieces fell.

13. Eight fell from the ledge, | and one alone,
The hard-hammered kettle, | of all was whole;
Forth came they then, | and his foes he sought,
The giant old, | and held with his eyes.

14. Much sorrow his heart | foretold when he saw
The giantess' foeman | come forth on the floor;
Then of the steers | did they bring in three;
Their flesh to boil | did the giant bid.

15. By a head was each | the shorter hewed,
And the beasts to the fire | straight they bore;
The husband of Sif, | ere to sleep he went,
Alone two oxen | of Hymir's ate.

16. To the comrade hoary | of Hrungnir then
Did Hlorrithi's meal | full mighty seem;
"Next time at eve | we three must eat
The food we have | {illegible}s the hunting's spoil."

17. ...
Fain to row on the sea | was Veur, he said,
If the giant bold | would give him bait.

Hymir spake:

18. "Go to the herd, | if thou hast it in mind,
Thou slayer of giants, | thy bait to seek;
For there thou soon | mayst find, methinks,
Bait from the oxen | easy to get."

19. Swift to the wood | the hero went,
Till before him an ox | all black he found;
From the beast the slayer | of giants broke
The fortress high | of his double horns.

Hymir spake:

20. "Thy works, methinks, | are worse by far,
Thou steerer of ships, | than when still thou sittest."
...
...

21. The lord of t
e goats | bade the ape-begotten
Farther to steer | the steed of the rollers;
But the giant said | that his will, forsooth,
Longer to row | was little enough.

22. Two whales on his hook | did the mighty Hymir
Soon pull up | on a single cast;
In the stern the kinsman | of Othin sat,
And Veur with cunning | his cast prepared.

23. The warder of men, | the worm's destroyer,
Fixed on his hook | the head of the ox;
There gaped at the bait | the foe of the gods,
The girdler of all | the earth beneath.

24. The venomous serpent | swiftly up
To the boat did Thor, | the bold one, pull;
With his hammer the loathly | hill of the hair
Of the brother of Fenrir | he smote from above.

25. The monsters roared, | and the rocks resounded,
And all the earth | so old was shaken;
...
Then sank the fish | in the sea forthwith.

26. ...
Joyless as back | they rowed was the giant;
Speechless did Hymir | sit at the oars,
With the rudder he sought | a second wind.

Hymir spake:

27. "The half of our toil | wilt thou have with me,
And now make fast | our goat of the flood;
Or home wilt thou bear | the whales to the house,
Across the gorge | of the wooded glen?"

28. Hlorrithi stood | and the stem he gripped,
And the sea-horse with water | awash he lifted;
Oars and bailer | and all he bore
With the surf-swine home | to the giant's house.

29. His might the giant | again would match,
For stubborn he was, | with the strength of Thor;
None truly strong, | though stoutly he rowed,
Would he call save one | who could break the cup.

30. Hlorrithi then, | when the cup he held,
Struck with the glass | the pillars of stone;
As he sat the posts | in pieces he shattered,
Yet the glass to Hymir whole they brought.

31. But the loved one fair | of the giant found
A counsel true, | and told her thought:
"Smite the skull of Hymir, | heavy with food,
For harder it is | than ever was glass."

32. The goats' mighty ruler | then rose on his knee,
And with all the strength | of a god he struck;
Whole was the fellow's | helmet-stem,
But shattered the wine-cup | rounded was.

Hymir spake:

33. "Fair is the treasure | that from me is gone,
Since now the cup | on my knees lies shattered;"
So spake the giant: | "No more can I say
In days to be, | 'Thou art brewed, mine ale.'

34. "Enough shall it be | if out ye can bring
Forth from our house | the kettle here."
Tyr then twice | to move it tried,
But before him the kettle | twice stood fast.

35. The father of Mothi | the rim seized firm,
And before it stood | on the floor below;
Up on his head | Sif's husband raised it,
And about his heels | the handles clattered.

36. Not long had they fared, | ere backwards looked
The son of Othin, | once more to see;
From their caves in the east | beheld he coming
With Hymir the throng | of the many-headed.

37. He stood and cast | from his back the kettle,
And Mjollnir, the lover | of murder, he wielded;
...
So all the whales | of the waste he slew.

38. Not long had they fared | ere one there lay
Of Hlorrithi's goats | half-dead on the ground;
In his leg the pole-horse | there was lame;
The deed the evil | Loki had done.

39. But ye all have heard,-- | for of them who have
The tales of the gods, | who better can tell?
What prize he won | from the wilderness-dweller,
Who both his children | gave him to boot.

40. The mighty one came | to the council of gods,
And the kettle he had | that Hymir's was;
So gladly their ale | the gods could drink
In Ægir's hall | at the autumn-time.

[MonsieurM]

continuing on our knowledge gathering :



The I Ching, Legge tr. Index

The I Ching, or Book of Changes , is the most widely read of the five Chinese Classics. The book was traditionally written by the legendary Chinese Emperor Fu Hsi (2953-2838 B.C.). It is possible that the the I Ching originated from a prehistoric divination technique which dates back as far as 5000 B.C. Thus it may be the oldest text at this site. Futher commentaries were added by King Wen and the Duke of Chou in the eleventh century B.C.

An I Ching interpretation is performed by making six binary decisions (a hexagram). This is called 'casting the I Ching'. These are written down as a stack of six solid or broken lines. This was traditionally done either by tossing yarrow stalks or coins, although there is no reason why the hexagrams can't be generated by some other means (such as a computer program).

There are actually four possible values for each of the lines; the two on/off values, and a line which changes from on to off or vice versa. Thus one cast of the I Ching can generate two different hexagrams, which adds depth to the interpretation. The sophistication of this method has not escaped modern interpretation, and the four-valued logic has been compared to the biochemistry of DNA amino acids. How a Neolithic shamans' divination technique presaged the basic logic of the human genome is one of the ageless mysteries.

Production Notes: This is a complete overhaul of the Legge I Ching etext, with all of the original illustrations. This utilizes Unicode characters throughout to represent the 'short A' and the 'Yodh' found in the original book. Because not all browsers support the official Unicode 'Yodh' (Ȝ and ȝ), we have used Ž and ž to represent it. In addition, we have used images to present the dozen or so Chinese characters in this text.

The Yî King Text: Section I

I. The Khien Hexagram
II. The Khwăn Hexagram
III. The Kun Hexagram
IV. The Măng Hexagram
V. The Hsü Hexagram
VI. The Sung Hexagram
VII. The Sze Hexagram
VIII. The Pî Hexagram
IX. The Hsiâo Khû Hexagram
X. The Lî Hexagram
XI. The Thâi Hexagram
XII. The Phî Hexagram
XIII. The Thung Zăn
XIV. The Tâ Yû Hexagram
XV. The Khien Hexagram
XVI. The Yü Hexagram
XVII. The Sui Hexagram
XVIII. The Kû Hexagram
XIX. The Lin Hexagram
XX. The Kwân Hexagram
XXI. The Shih Ho Hexagram
XXII. The Pî Hexagram
XXIII. The Po Hexagram
XXIV. The Fû Hexagram
XXV: The Wû Wang Hexagram
XXVI. The Tâ Khû Hexagram
XXVII. The Î Hexagram
XXVIII. The Tâ Kwo Hexagram
XXIX. The Khan Hexagram
XXX. The Lî Hexagram

Text Section II

XXXI. The Hsien Hexagram
XXXII. The Hăng Hexagram
XXXIII. The Thun Hexagram
XXXIV. The Tâ Kwang Hexagram
XXXV. The Žin Hexagram
XXXVI. The Ming Î Hexagram
XXXVII. The Kiâ Zăn Hexagram
XXXVIII. The Khwei Hexagram
XXXIX. The Kien Hexagram
XL. The Kieh Hexagram
XLI. The Sun Hexagram
XLII. The Yî Hexagram
XLIII. The Kwâi Hexagram
XLIV. The Kâu Hexagram
XLV. The Žhui Hexagram
XLVI. The Shăng Hexagram
XLVII. The Khwăn Hexagram
XLVIII. The Žing Hexagram
XLIX. The Ko Hexagram
L. The Ting Hexagram
LI. The Kăn Hexagram
LII. The Kăn Hexagram
LIII. The Kien Hexagram
LIV. The Kwei Mei Hexagram
LV. The Făng Hexagram
LVI. The Lü Hexagram
LVII. The Sun Hexagram
LVIII. The Tui Hexagram
LIX. The Hwân Hexagram
LX. The Kieh Hexagram
LXI. The Kung Fû Hexagram
LXII. The Hsiâo Kwo Hexagram
LXIII. The Kî Žî Hexagram
LXIV. The Wei Žî Hexagram

[MonsieurM]

Let's go a little more in depth ( Jules Vernes like )



. THE KUN HEXAGRAM



Kun (indicates that in the case which it presupposes) there will be great progress and success, and the advantage will come from being correct and firm. (But) any movement in advance should not be (lightly) undertaken. There will be advantage in appointing feudal princes.

1. The first NINE, undivided, shows the difficulty (its subject has) in advancing. It will be advantageous for him to abide correct and firm; advantageous (also) to be made a feudal ruler.

2. The second SIX, divided, shows (its subject) distressed and obliged to return; (even) the horses of her chariot (also) seem to be retreating. (But) not by a spoiler (is she assailed), but by one who seeks her to be his wife. The young lady maintains her firm correctness, and declines a union. After ten years she will be united, and have children.

3. The third SIX, divided, shows one following the deer without (the guidance of) the forester, and only finding himself in the midst of the forest. The superior man, acquainted with the secret risks, thinks it better to give up the chase. If he went forward, he would regret it.

p. 63

4. The fourth SIX, divided, shows (its subject as a lady), the horses of whose chariot appear in retreat. She seeks, however, (the help of) him who seeks her to be his wife. Advance will be fortunate; all will turn out advantageously.

5. The fifth NINE, undivided, shows the difficulties in the way of (its subject's) dispensing the rich favours that might be expected from him. With firmness and correctness there will be good fortune in small things; (even) with them in great things there will be evil.

6. The topmost SIX, divided, shows (its subject) with the horses of his chariot obliged to retreat, and weeping tears of blood in streams.

---------------------------

THE SUNG HEXAGRAM



Sung intimates how, though there is sincerity in one's contention, he will yet meet with opposition and obstruction; but if he cherish an apprehensive caution, there will be good fortune, while, if he must prosecute the contention to the (bitter) end, there will be evil. It will be advantageous to see the great man; it will not be advantageous to cross the great stream.

1. The first SIX, divided, shows its subject not perpetuating the matter about which (the contention is). He will suffer the small (injury) of being spoken against, but the end will be fortunate.

2. The second NINE, undivided, shows its subject unequal to the contention. If he retire and keep concealed (where) the inhabitants of his city are (only) three hundred families, he will fall into no mistake.

3. The third SIX, divided, shows its subject keeping in the old place assigned for his support, and firmly correct. Perilous as the position is, there will be good fortune in the end. Should he perchance

p. 70

engage in the king's business, he will not (claim the merit of) achievement.

4. The fourth NINE, undivided, shows its subject unequal to the contention. He returns to (the study of Heaven's) ordinances, changes (his wish to contend), and rests in being firm and correct. There will be good fortune.

S. The fifth NINE, undivided, shows its subject contending;--and with great good fortune.

6. The topmost NINE, undivided, shows how its subject may have the leathern belt conferred on him (by the sovereign), and thrice it shall be taken from him in a morning.

--------------------------

THE HSIÂO KHÛ HEXAGRAM



Hsiâo Khû indicates that (under its conditions) there will be progress and success. (We see) dense clouds, but no rain coming from our borders in the west.

1. The first NINE, undivided, shows its subject returning and pursuing his own course. What mistake should he fall into? There will be good fortune.

2. The second NINE, undivided, shows its subject, by the attraction (of the former line), returning (to the proper course). There will be good fortune.

p. 77

3. The third NINE, undivided, suggests the idea of a carriage, the strap beneath which has been removed, or of a husband and wife looking on each other with averted eyes.

4. The fourth SIX, divided, shows its subject possessed of sincerity. The danger of bloodshed is thereby averted, and his (ground for) apprehension dismissed. There will be no mistake.

5. The fifth NINE, undivided, shows its subject possessed of sincerity, and drawing others to unite with him. Rich in resources, he employs his neighbours (in the same cause with himself).

6. The topmost NINE, undivided, shows how the rain has fallen, and the (onward progress) is stayed;--(so) must we value the full accumulation of the virtue (represented by the upper trigram). But a wife (exercising restraint), however firm and correct she may be, is in a position of peril, (and like) the moon approaching to the full. If the superior man prosecute his measures (in such circumstances), there will be evil.

.....you can continue till the last sign and the same pattern / Resonance will appear .....and others as well

[MonsieurM]

3 THE KUN HEXAGRAM



Footnotes

63:III The character called Kun is pictorial, and was intended to show us how a plant struggles with difficulty out of the earth, rising gradually above the surface. This difficulty, marking the first stages in the growth of a plant, is used to symbolise the struggles that mark the rise of a state out of a condition of disorder, consequent on a great revolution. The same thing is denoted by the combination of the trigrams that form the figure;--as will be seen in the notes on it under Appendix II.

I have introduced within parentheses, in the translation, the words 'in the case which the hexagram presupposes.' It is necessary to introduce them. King Wăn and his son wrote, as they did in every hexagram, with reference to a particular state of affairs which they had in mind. This was the unspoken text which controlled and directed all their writing; and the student must try to get hold of this, if he would make his way with comfort and success through the Yî. Wăn saw the social and political world around him in great disorder, hard to be remedied. But he had faith in himself and the destinies of his House. Let there be prudence and caution, with unswerving adherence to the right; let the government of the different states be entrusted to good and able men:--then all would be well.

The first line is undivided, showing the strength of its subject. He will be capable of action, and his place in the trigram of mobility will the more dispose him to it. But above him is the p. 64 trigram of peril; and the lowest line of that, to which especially he must look for response and co-operation, is divided and weak. Hence arise the ideas of difficulty in advancing, the necessity of caution, and the advantage of his being clothed with authority.

To the subject of the second line, divided, advance is still more difficult. He is weak in himself; he is pressed by the subject of the strong line below him. But happily that subject, though strong, is correct; and above in the fifth line, in the place of authority, is the strong one, union with whom and the service of whom should be the objects pursued. All these circumstances suggested to the duke of Kâu the idea of a young lady, sought in marriage by a strong wooer, when marriage was unsuitable, rejecting him, and finally, after ten years, marrying a more suitable, the only suitable, match for her.

The third line is divided, not central, and the number of its place is appropriate to the occupancy of a strong line. All these things should affect the symbolism of the line. But the outcome of the whole hexagram being good, the superior man sees the immediate danger and avoids it.

The subject of the fourth line, the first of the upper trigram, has recourse to the strong suitor of line 1, the first of the lower trigram; and with his help is able to cope with the difficulties of the position, and go forward.

The subject of the fifth line is in the place of authority, and should show himself a ruler, dispensing benefits on a great scale. But he is in the very centre of the trigram denoting perilousness, and line 2, which responds to 5, is weak. Hence arises the symbolism, and great things should not be attempted.

The sixth line is weak; the third responding to it is also weak it is at the extremity of peril; the game is up. What can remain for its subject in such a case but terror and abject weeping?

[MonsieurM]

6 THE SUNG HEXAGRAM



Footnotes

70:VI We have strength in the upper trigram, as if to regulate and control the lower, and peril in that lower as if looking out for an opportunity to assail the upper; or, as it may be represented, we have one's self in a state of peril matched against strength from without. All this is supposed to give the idea of contention or strife. But the undivided line in the centre of Khân is emblematic of sincerity, and gives a character to the whole figure. An individual, so represented, will be very wary, and have good fortune; but strife is bad, and if persevered in even by such a one, the effect will be evil. The fifth line, undivided, in an odd place, and central, serves as a representative of 'the great man,' whose agency is sure to be good; but the topmost line being also strong, and with its two companions, riding as it were, on the trigram of peril, its action is likely to be too rash for a great enterprise. See the treatise on the Thwan, in loc.

The subject of line 1 is weak and at the bottom of the figure. He may suffer a little in the nascent strife, but will let it drop; and the effect will be good.

Line 2 represents one who is strong, and has the rule of the lower trigram;--he has the mind for strife, and might be expected to engage in it. But his strength is weakened by, being in an even place, and he is no match for his correlate in line 5, and therefore retreats. A town or city with only three hundred families is said p. 71 to be very small. That the subject of the line should retire to so insignificant a place is further proof of his humility.

Line 3 is weak and in an odd place. Its subject therefore is not equal to strive, but withdraws from the arena. Even if forced into it, he will keep himself in the background;--and be safe. 'He keeps in the old place assigned for his support' is, literally, 'He eats his old virtue;' meaning that he lives in and on the appanage assigned to him for his services.

Line 4 is strong, and not in the centre; so that we are to conceive of its subject as having a mind to strive. But immediately above it is line 5, the symbol of the ruler, and with him it is hopeless to strive; immediately below is 3, weak, and out of its proper place, incapable of maintaining a contention. Its proper correlate is the lowest line, weak, and out of its proper place, from whom little help can come. Hence its subject takes the course indicated, which leads to good fortune.

Line 5 has every circumstance in favour of its subject.

Line 6 is strong and able to contend successfully; but is there to be no end of striving? Persistence in it is sure to end in defeat and disgrace. The contender here might receive a reward from the king for his success; but if he received it thrice in a morning, thrice it would be taken from him again. As to the nature of the reward here given, see on the Lî Kî, X, ii, 32.

P. Regis explains several of the expressions in the Text, both in the Thwan and the Hsiang, from the history of king Wăn and his son king Wû. Possibly his own circumstances may have suggested to Wăn some of the Thwan; and his course in avoiding a direct collision with the tyrant Shâu, and Wû's subsequent exploits may have been in the mind of the duke of Kâu. Some of the sentiments, however, cannot be historically explained. They are general protests against all contention and strife.

[MonsieurM]

9 THE HSIÂO KHÛ HEXAGRAM



Footnotes

77:IX The name Hsiâo Khû is interpreted as meaning 'small restraint.' The idea of 'restraint' having once been determined on as that to be conveyed by the figure, it is easily made out that the restraint must be small, for its representative is the divided line in the fourth place; and the check given by that to all the undivided lines cannot be great. Even if we suppose, as many critics do, that all the virtue of that upper trigram Sun is concentrated in its first line, the attribute ascribed to Sun is that of docile flexibility, which cannot long be successful against the strength emblemed by the lower trigram Khien. The restraint therefore is small, and in the end there will be 'progress and success.'

The second sentence of the Thwan contains indications of the place, time, and personality of the writer which it seems possible to ascertain. The fief of Kâu was the western portion of the p. 78 kingdom of Yin or Shang, the China of the twelfth century B. C., the era of king Wăn. Rain coming and moistening the ground is the cause of the beauty and luxuriance of the vegetable world, and the emblem of the blessings flowing from good training and good government. Here therefore in the west, the hereditary territory of the house of Kâu, are blessings which might enrich the whole kingdom; but they are somehow restrained. The dense clouds do not empty their stores.

P. Regis says:--'To declare openly that no rain fell from the heavens long covered with dense clouds over the great tract of country, which stretched from the western border to the court and on to the eastern sea, was nothing else but leaving it to all thoughtful minds to draw the conclusion that the family of Wan was as worthy of the supreme seat as that of Shâu, the tyrant, however ancient, was unworthy of it (vol. i, p. 356).' The intimation is not put in the Text, however, so clearly as by P. Regis.

Line 1 is undivided, the first line of Khien, occupying its proper place. Its subject, therefore, notwithstanding the check of line 4, resumes his movement, and will act according to his strong nature, and go forward.

Line 2 is also strong, and though an even place is not appropriate to it, that place being central, its subject will make common cause with the subject of line 1; and there will be good fortune.

Line 3, though strong, and in a proper place, yet not being in the centre, is supposed to be less able to resist the restraint of line 4; and hence it has the ill omens that are given.

The subject of line 4, one weak line against all the strong lines of the hexagram, might well expect wounds, and feel apprehension in trying to restrain the others; but it is in its proper place; it is the first line also of Sun, whose attribute is docile flexibility. p. 79 The strong lines are moved to sympathy and help, and 'there is no mistake.'

Line 5 occupies the central place of Sun, and converts, by the sincerity, of its subject, 4 and 6 into its neighbours, who suffer themselves to be used by it, and effect their common object.

In line 6, the idea of the hexagram has run its course. The harmony of nature is restored. The rain falls, and the onward march of the strong lines should now stop. But weakness that has achieved such a result, if it plume itself on it, will be in a position of peril; and like the full moon, which must henceforth wane. Let the superior man, when he has attained his end, remain in quiet.

[MonsieurM]

here is a nice website to play with the Iching .... all you need : Three Coins


I Ching Online - the Online Book of Changes




Principle of Mentalism: All is Wave / Source field

got this : Cast Hexagram: 31

did not bother with the question nor the coins ( automatic toss )

Upper Trigram:
Tui / Lake
Image: Lake, Marsh.
Qualities: Satisfied, Fulfilled, Excessive, Open, Pleasing, Joyous, Magical, Elfin, Mischievous.
Direction: West.
Family Member: Youngest Daughter.
Body Part: Mouth.
Season; Late Autumn.
Time of Day: Dusk.
Animal: Sheep.
Color: Blue.
Element: Flesh.
Miscellaneous: Sorceress, Tongue, Smashing, Breaking Apart, Dropping Off, Bursting Open, Hard Salty Soil, Concubine, Ripe Fruit, Goat, Gypsy.

Lower Trigram:
Kên / Mountain
Image: Mountain.
Qualities: Tranquil, Immobile, Still, Perverse, Waiting, Patient, Calm, Stubborn, Inert, Methodical, Eternal.
Direction: Northeast.
Family Member: Youngest Son.
Body Part: Hand.
Season: Late Winter.
Time of Day: Dawn.
Animal: Dog.
Color: Emerald Green.
Element: Stone.
Miscellaneous: Byway, Mountain Path, Pebbles, Doorway, Opening, Gateway, Seed of Fruit, Eunuch, Watchman, Doorkeeper, Fingers, Rat, Black-billed Bird, Gnarled Tree.

[MonsieurM]

How is your mood Swing lately ,




Ray Bradbury Made Us Think, and Helped Me Learn to Blog

Ray Bradbury, who died at 91, was one of my favorite writers when I was in my teens and early 20s. Martian Chronicles, Dandelion Wine, and Fahrenheit 451 were all classics and his unforgettable short story “A Sound of Thunder” made the world stop and think. That was the story in which a time traveller inadvertently crushes a butterfly - an accident with far-reaching consequences.

Kenny Wayne Shepherd - Every Time It Rains - YouTube

Everytime It Rains lyrics

The dust can dry
The rust takes hold
See it in the sky
You're gonna go
Everytime it rains
Everytime it rains

Clouds come, they're standin' in the doorway
You run, why you wanna run away
Sky falls, take it as a sign
Who knows what I'm gonna find
Everytime it rains

And the rivers rise
You watch it all come down
See it in your eyes
It doesn't amke a sound
Everytime it rains
Everytime it rains

Clouds come, they're standin' in the doorway
You run, why you wanna run away
Sky falls, take it as a sign
Who knows what I'm gonna find
Everytime it rains
Everytime it rains

Clouds come, they're standin' in the doorway
You run, why you wanna run away
Sky falls, take it as a sign
Who knows what I'm gonna find
Everytime it rains

Everytime it rains

The dust can dry
The rust takes hold
See it in the sky
You're gonna go
Everytime it rains

Everytime it rains

Clouds come, they're standin' in the doorway
You run, why you wanna run away
Sky falls, take it as a sign
Who knows what I'm gonna find
Everytime it rains

Everytime it rains

You are the Soul of the Soul of the
Universe and your name is Love.

[MonsieurM]

Shall we continue

The Rig Veda Americanus is a collection of hymns addressing the pantheon of Aztec gods and presenting a small fraction of their mythology. At the end of the fourteenth century, the Aztecs established themselves as the leading nation in the region of modern-day central Mexico. Their power grew over the next 150 years, until their empire extended from the Atlantic to the Pacific. The Aztecs were warriors who conquered neighboring nations, but they themselves believed in the overwhelming influence wielded by the gods on earth and its inhabitants. In order to appease the gods, the Aztecs built monumental temples, where they committed sacrifices; like most Mesoamerican gods, the Aztec gods fed on human blood.

The Aztec religion is characterized by several peculiarities: It was not constructed at once but is a conglomeration that emerged over several centuries as taken from various religions and myths from Central American tribes and nations. The mythology is extremely mysterious...

Introduction
I. The Hymn of Huitzilopochtli.
II. War Song of the Huitznahuac
III. Hymn of Tlaloc
IV. Hymn to the All-Mother.
V. Hymn to the Virgin-Mother.
VI. Hymn to the God of Fire.
VII. Hymn of Mixcoatl.
VIII. Hymn to the God of Flowers.
IX. Hymn to the Goddess of Artists
X. Hymn to the God of Fishing.
XI. Hymn of the Otomi Leader.
XII. Hymn to the Goddess of Childbirth.
XIII. Hymn to the Mother of Mortals
XIV. Hymn at a Fast.
XV. Hymn to a Night-God.
XVI. Hymn to the Goddess of Food.
XVII. Hymn to the Gods of Wine.
XVIII. Hymn to the Master of Waters.
XIX. Hymn to the God of Flowers.
XX. Hymn to the God of Merchants.

[MonsieurM]

III The Hymn of Tlaloc.

The god Tlaloc shared with Huitzilopochtli the highest place in the Mexican Pantheon. He was the deity who presided over the waters, the rains, the thunder and the lightning.

1. In Mexico the god appears; thy banner is unfolded in all directions, and no one weeps.

2. I, the god, have returned again, I have turned again to the place of abundance of blood-sacrifices; there when the day grows old, I am beheld as a god.

3. Thy work is that of a noble 1 - Magician ; truly thou hast made thyself to be of our flesh; thou hast made thyself, and who dare affront thee?



4. Truly he who affronts me does not find himself well with me; my fathers took by the head the tigers and the serpents.

5. In Tlalocan, in the verdant house, they play at ball, they cast the reeds.

6. Go forth, go forth to where the clouds are spread abundantly, where the thick mist makes the cloudy house of Tlaloc.

7. There with strong voice I rise up and cry aloud.

{p. 25}

8. Go ye forth to seek me, seek for the words which I have said, as I rise, a terrible one, and cry aloud.

9. After four years they shall go forth, not to be known, not to be numbered, they shall descend to the beautiful house, to unite together and know the doctrine.

10. Go forth, go forth to where the clouds are spread abundantly, where the thick mist makes the cloudy house of Tlaloc.

------------------------

VI. Hymn to the God of Fire.

Ixcoçauhqui, "the Yellow Faced," was the Mexican God of Fire. Torquemada gives as his synonyms Xiuhtecutli, "Lord of Fire," and Huehueteotl, "the Ancient God" (Monarquia Indiana, Lib. VI., cap. 28). Elsewhere he identifies him with the Sun-god (Ibid., Lib. XIV., cap. 4)

1. In the Hall of Flames let me not put to shame my ancestors; descending there, let me not put you to shame.

2. I fasten a rope to the sacred tree, I twist it in eight folds, that by it I, a magician, may descend to the magical house.

3. Begin your song in the Hall of Flames; begin your song in the Hall of Flames; why does the magician not come forth? Why does he not rise up?

4. Let his subjects assist in the Hall of Flames; he appears, he appears, let his subjects assist.

5. Let the servants never cease the song in the Hall of Flames; let them rejoice greatly, let them dance wonderfully.

6. Call ye for the woman with abundant hair, whose care is the mist and the rain, call ye for her.

------------------------

IX. Hymn to the Goddess of Artists

Xochiquetzal, "plumage of flowers," was the deity of the artists, the painters, weavers, engravers on metal, silver and goldsmiths, and of all who dealt in fine colors. Her figure was that of a young woman with gay garments and jewelry (Duran, Historia, cap. 94). In the Codex Telleriano-Remensis she is assigned as synonyms Ichpochtli, the Virgin, and Itzpapalotl, literally "the obsidian butterfly," but which was probably applied to a peculiar ornament of her idol.

1. I, Xochiquetzal, go forth willingly to the dancing place by the water, going forth to the houses in Tamoanchan.

2. Ye noble youths, ye priests who wept, seeking Xochiquetzal, go forth there where I am going.

1 + 2 = HM 3

------------------------ continued

[MonsieurM]

Part II

Rig Veda Americanus: Index

XII. Hymn to the Goddess of Childbirth.

The name of Ayopechcatl does not appear among the divinities named by Sahagun, Duran or the other authorities at my command. Her name indicates her function as the goddess of the child-bed and the neonatus, and the above hymn establishes her claim to a place in the Aztec pantheon.

1. Truly in whatever house there is a lying-in, Ayopechcatl takes charge of the child.

2. Truly in whatever house there is a lying-in, Ayopechcatl takes charge of the child, there where it is weeping in the house.

3. Come along and cry out, cry out, cry out, you new comer, come along and cry out.

{p. 48}

4. Come along and cry out, cry out, cry out, you little jewel, cry out.

----------------------------

XV. Hymn to a Night-God.

There is slight mention of the deity Xipe Totec in the Spanish writers. He was the patron divinity of the silversmiths,

1. The nightly drinking, why should I oppose it? Go forth and array yourselves in the golden garments, clothe yourselves in the glittering vestments.

2. My god descended upon the water, into the beautiful glistening surface; he was as a lovely water cypress, as a beauteous green serpent; now I have left behind me my suffering.

3. I go forth, I go forth about to destroy, I, Yoatzin; my soul is in the cerulean water; I am seen in the golden water; I shall appear unto mortals; I shall strengthen them for the words of war!

4. My god appears as a mortal; O Yoatzin, thou art seen upon the mountains; I shall appear unto mortals; I shall strengthen them for the words of war.

----------------------

XVIII. Hymn to the Master of Waters.

The Hymn of Atlaua ( vague resemblance to Atlantis.

1. I Chalmecatl, I Chalmecatl, I leave behind my sandles, I leave my sandles and my helmet.

2. Go ye forth and follow the goddess Quilaztli, follow her

3. I shall call upon thee to arise when among the shields, I shall call upon thee to arise.

4. I boast of my arrows, even my reed arrows, I boast of my arrows, not to be broken.

5. Arrayed in priestly garb, take the arrow in thy band, for even now I shall arise and come forth like the quetzal bird.

6. Mighty is my god Atlaua; truly I shall arise and come forth like the quetzal bird.

Atlaua, mentioned by Olmos, who translates the word "Master of waters," is a divinity of whom little is known. The derivation from atlatl

the Emerald Tablet :

Four is it in qualities,
shining in each of the planes of existence,
but thirteen in one
the mystical number.
Based on the qualities of man are the Brothers:
each shall direct the unfoldment of being,
each shall channels be of the Great One.

ps: Fractal

a fractal construct has an 'efficient function', it has a fractal ergonomy to them, they function on multiple levels and in multiple dimensions:

[MonsieurM]

from: http://www.energeticforum.com/renewa...tml#post196817

THE SYMMETRY OF DARKNESS - YouTube

Thanks for watching it!


Regards


Ufopolitics

thank you for the vid

--------------------------- also:

The Origin of Esoteric Knowledge - YouTube

[MonsieurM]

info update:

New property of flames sparks advances in technology

Chemists at UCL have discovered a new property of flames, which allows them to control reactions at a solid surface in a flame and opens up a whole new field of chemical innovation.

Published in the journal Angewandte Chemie, authors of the new study have discovered their previous understanding of how flames interact with a solid surface was mistaken. For the first time, they have demonstrated that a particular type of chemistry, called redox chemistry, can be accurately controlled at the surface.

This finding has wide implications for future technology, for example in detection of chemicals in the air, and in developing our understanding of the chemistry of lightning. It also opens up the possibility of being able to perform nitrogen oxide and carbon dioxide electrolysis at the source for the management of green house gases.

Results of the study show that depending on the chemical make-up of the flame, scientists can record a distinctive electrical fingerprint. The fingerprint is a consequence of the behaviour of specific chemical species at the surface of a solid conducting surface, where electrons can exchange at a very precise voltage.

did you know

List of Nikola Tesla patents - Wikipedia, the free encyclopedia

U.S. Patent 0,396,121 - Thermo Magnetic Motor - 1888 January 15 - Widely known that heat applied to a magnetic body will lessen its magnetizing ability; High enough temperatures will destroy the magnetic field; Mechanical power by a reciprocating action obtained from the joint action of heat, magnetism, and a spring or weight (or other force); In this patent, the application of heat to a body that is magnetized by induction or otherwise to the action of heat until the magnetism is neutralized to allow a weight or a spring to give action and lessen the
Tesla's US390721 Patent for a "Dynamo Electric Machine"
action of the heat to restore the magnetic effect to move the body in the opposite direction.

ps: I wonder how this Thermo Magnetic Motor would work with an HHO flame : How to build a simple, yet effective, HHO generator - YouTube / HHO Generator or Joe Cell construction - YouTube

caution flames are not to be played with respect the experiment and be cautious


--------------------------------------

Breaking the limits of classical physics

(Phys.org) -- With simple arguments, researchers show that nature is complicated. Researchers from the Niels Bohr Institute have made a simple experiment that demonstrates that nature violates common sense – the world is different than most people believe. The experiment illustrates that light does not behave according to the principles of classical physics, but that light has quantum mechanical properties. The new method could be used to study whether other systems behave quantum mechanically. The results have been published in the scientific journal, Physical Review Letters.

[MonsieurM]

Being a big fan of Manga ( mostly the golden age 80's / 90's )

Kamui no Ken OST 01. Kamui Densetsu - YouTube

....Ninja's have a similar mystical approach



Ninja Mind Control





Kamui no Ken OST 11. Go_kaku no ****ou - YouTube

ONE MUST KNOW

To develop the talents associated with the mystic side of Ninja training, in addition to pos-
sessing strength, one must "know." To know means to have intelligence. This does not refer to the I.Q. so often quoted as a measure of intellect, but rather to an understanding or ability to learn.

Many people limit themselves to leading boring, dull lives by accepting the judgment of others that they are of low intelligence. This is not so. Just because one does not process sensory information and replay it the same way as everyone else-which in any case would be boring in the extreme and mark the extinction of creativity-does not mean that there is a lack of comprehension or interest. Just because a person does not understand another's purpose does not mean that he is confused

The Ninja possess mental powers of an informational, offensive, or defensive nature; but it is only during the latter stages of training that these techniques actually become effective in hand-to-hand combat. That is to say, after much practice one is able to defeat the enemy with- out physical contact. By that time, the student has mostly transcended motives that would land him in a situation where these paranormal powers would be warranted.

Ninja mysticism may take many forms. The simple form makes it possible to deflect negative vibrations and defend oneself against psychological assault merely by maintaining one's emotional balance. The more complex forms require mantras, somatic components, and elaborate rituals for maximum efficiency. The individual must first determine the methodology of his or her own psychological thought forms or constructs. Since one of the primary attributes of the spy has always been a good memory, most agents have never written down their techniques, although some tora-maki , or sacred scrolls, do exist.

Through the study of the mind, the Ninja hopes to gain wisdom and become a man of knowledge. As such, he attains an almost spiritual level of dedication to his art, which confers upon him a high degree of skill at arms. Many such accomplished Ninja are known by the eternal symbols they have adopted to signify their quests, but in time even these are put aside. At this level, the reverence for life becomes so great that the Ninja will no longer kill, and their powers are directed only toward revitalizing, protecting, and encouraging the efforts of others.

The goal of the true seeker is to become a sage, or superior man. There are certain immutable laws of the universe, which the sage must be in harmony with. Different Ninja sects espouse some laws in particular, according them greater significance than the others. But each law is essential in its own right, and must be considered equal to the rest

-------------continued kodo - lion - YouTube