The Coincidence Theory

MEDIA HYPOCRITES HEAL THYSELF

-Who runs secret societies in so-called "Open Societies"?

-Who teaches their young that conspiracies are "just theories"?

-Who profits from, rig and control democratic elections?
-Who produces and induces scam and spam artists to operate on the net?
-Who are the first to attack the whistleblowers who expose MEDIA DRIVEN CONSPIRACIES on the net?

The Texas "democrat and media prostitute" Paul Begala slipped when he said it best, LIVE on CNN : "We're, (the media), are all part of the same hypocrisy"

WHAT HAVE THEY GOT TO HIDE?

Is it just coincidence, when one attemps to expose this international media hypocrisy, that the following "shit happens" ?

- The BAL Brotherhood of Ma Bell (Sympatico) profiles, interferes with, monitors and/or records your calls.

- The BAL Brotherhood of Ma Bell (site Hosts) rewrite their internal management programs to hinder your posting and disguise or outright falsify the true number of visitors to your site. They, the hosts, also mirror your site and invite illegal visitors (IPv6) to secretly surf copy and modify your archives.

- The worst YAHOOS you will ever meet in communities on the YAHOO net are male nurses called Jim (code word for JAM, I am, or James I). TOM-a-HAWK is second. #2 is #1

- The root cause of worms and viruses being downloaded to your computer come to you through those BAL suppliers who claim to prevent this type of activity (ie: Horton). Horton itself has filed lawsuits exposing this deniable scam.

- TROJAN HORSE worms and viruses are EMBEDDED in HP printers.

- The BAL connected Dutch and Belgium Deutsche public tracking services disguise or outright falsify the true number of visitors to your site.

- Although the national police of all countries never seem to be able to track al Qaeda terrorists and/or suicide-bombers (from the BAS-E) on the net, the pro-active pedophile agents of BAS-E tollgaters who constantly surf the net are themselves able to locate and expose all but "police, or BAS-F protected pirates and mass-murderers".

UNIFON : International Phonetic Alphabet

UNIFON, 40-symbol phonetic alphabet based on one symbol for a single basic sound; developed by John M.al.one, U.S. economist; contains 22 letters of the English alphabet and 18 variants.

Milne, John. 1850-1913. British mining engineer and inventor (1880) of the seismograph, an instrument for automatically detecting and recording the intensity, direction, and duration of a 'movement' underground.

Life begins at 40.

SEJONG (1397-1450). The fourth king of the Yi Dynasty, which ruled Korea from 1392 until the annexation of the country by Japan in 1910, was Sejong the Great. Sejong introduced HANGUL, a 24-letter phonetic alphabet carefully designed to suit the Korean language. With the technique of movable-type printing, which had developed in Korea in 1234, many publications in such fields as medicine, astronomy, geography, history, and architecture were produced. In 1446 Sejong decreed hangul to be the country's official writing system. In spite of this decree, the pervasive influence of Chinese culture in Korea, particularly among the upper classes and scholars, prevented Sejong's alphabet from being widely used until after World War II.

Sejong reigned from 1419 until his death in 1450. In addition to introducing the alphabet, he is remembered for his support of learning and for the way he reduced the power of the Buddhist hierarchy in Korea by banning Buddhist monks from the city of Seoul. During Sejong's reign Korea reached new heights in cultural development.

SUPERMAN~SUPERSLAVE !

Lion man takes pride of place as oldest statue.
30,000-year-old carving work of Neanderthals.

4 September 2003

by: REX DALTON

German lion man might be about to become the second oldest sculpture. A figurine depicting a Lowenmensch ('lion man') - has been carbon-dated to around 30,000 years ago, when some of the earliest known relatives of modern humans populated Europe.

It is older than a previously discovered Lowenmensch, fragments of which were found by German archaeologists in 1939 near Vogelherd and dated to about the same time. Until now, those artefacts were accepted as the oldest examples of figurative art in the world. The newly discovered objects are older. They were uncovered at a lower level in the cave floor's sediments.

"These discoveries have incredible significance. "They depict the animal world in a semi-realistic way. It shows early man moving from his immediate world to an imaginative world." Humans first arrived in central Europe by following the River Danube west into the area. The figurines add a new dimension to theories about the Danube route. "During the Ice Age in Europe, the frozen Danube would be like a highway."

Fossil remains suggest that modern humans and Neanderthals both lived in Europe during this period. Some archaeologists argue that it is possible that the much-maligned Neanderthals produced similar objects. "I don't think that is as far-fetched as some people might think. These objects are pushing the markers and traits" of mod ern man "further back into time".

Archaeologists have pointed out that beads, bone points and pendants have already been discovered in association with Neanderthal fossils. Attributing artefacts to one of the two hominid groups will spur fresh exploration of France, Spain and South Africa, where even older cave drawings - but not figurative art of this age - have been identified.....Nature Magazine

Think about the implications here. Neanderthals carve statues of a man with the head of a lion, in Germany, at a time around 28,000 BC. Then, in Egypt, sometime between 8,000 BC and 2,000 BC, a PriestHood also makes a statue of a man-lion. This one, THE SPHINX, has the body of a lion and the head of a man.

The symbolism here, which spans 26,000 years, is undoubtedly that of Genetic Engineering and the reversal of the binary code; where 01 becomes 10, as it appears in the modern alpha-numeric word L10N. In other words it is not unlike with the alpha-numeric word Z01N, which becomes Z10N.

Z01N is the word given to us by the Basque PriestHoods which represents 'any animal whose reproduction begins with an egg', while Z10N reportedly refers to 'paradise on earth'. This Masonic allegory suggests that evolution, when it comes to the development of the human being having divided into genders, male from female, has in fact progressed too far to suit our slave~masters.

Unlike the earthworm who travels alone in a void and yet can reproduce itself, human beings sent out to explore the universe would have to travel in couples, if they were to terra-form elsewhere on their one-way voyage into space.

Thus, the reason for cloning Hermaphrodite SuperSlaves who will protect and serve the MOHO~MANDAN intra-terrestrial Neanderthals, they who control surface Ecclesiastical Freemasonry, from the safety of the BASALT layer in the Earth's crust. There, sedimentary rock separates them from the water of the ocean while the earth's mantle protects them from the FIRE of the core. These are the two Pillars of Hercules.

The SculPTor

Scrambled or Sunny Side Up?

It was the belief of almost all the ancient nations, that the world was hatched from an egg made by the Creator(genetic engineering), over which the Spirit of God was represented as hovering in the same manner as a bird broods or flutters over her eggs. Faber, (Pag. Idol., i. 4,) who traced everything to the Arkite worship, says that this egg, which was a symbol of the resurrection, was no other than the ark; and as Dionysus was fabled in the Orphic hymns to be born from an egg, he and Noah were the same person; wherefore the birth of Dionysus or Brahma, or any other hero god from an egg, was nothing more than the egress of Noah from the ark. Be this as it may, the egg has been always deemed a symbol of the resurrection of our Lord. As this is the most universally diffused of all symbols, it is strange that it has found no place in the symbolism of Freemasonry, which deals so much with the doctrine of the resurrection, of which the egg was everywhere the recognized symbol. It was, however, used by the ancient architects, and from them was adopted by the Operative Masons of the Middle Ages, one of whose favorite ornaments was the ovolo, or egg-moulding.

Egg in physiology is a body formed in certain females, in which is contained an embryo, foetus of the same species, under a cortical surface or shell. The exterior part of an egg is the shell, which in a hen, for instance, is white, thin, and friable cortex, including all the other parts. The shell beomes more brittle by being exposed to a dry heat. It is lined everywhere with a very thin but pretty tough membrane, which dividing at, or very near, the obtuse end of the egg, forms a small bag, where only air is contained. In new laid eggs this folliculus appears very little, but becomes larges when the egg is kept.

Within this are contained the albumen or white, and the vitellus or yelk; each of which have their different virtues. The albumen is a cold, viscous, white liquor in the egg, different in consistence in its different parts. It is observed, that there are two distinct albumens, each of which are enclosed in its proper membrane; of these, one is very thin and liquid, and the other more dense and viscous, and of somewhat whiter color; but in old and stale eggs, after some days incubation, inclining to a yellow. As this second albumen cov.ers the yelk on all sides, so it is itself surrounded by the other external liquid. The albumen of a fecundated egg, is as sweet and free from corruption, during all the time of incubation, as it is in new laid eggs; as also the vitellus. As the eggs of hens consists of two liquors separated one from another, and distinguished by two branches of umbilical veins, one of which goes to the vitellus, and the other to the albumen; so it is very probable that are of different natures, and consequently appointed for different purposes.

When the vitellus grows warm with incubation, it becomes more humid, and like melting wax, or fat; whence it takes up more space; for as the foetus increases, the albumen insensibly wastes away, and condenses: the vitellus, on the contrary, seems to lose little or nothing of its bulk when the foetus is is oerfected, and only appears more liquid and humid when the abdomen of the foetus begins to be formed.

The chick in the egg is first nourished by the albumen; and when this is consumed, by the vitellus as with milk. If we compare the chalazze to the extremities of an axis passing through the vitelus, which is of a spherical form, this sphere will be composed of two unequal portions, its axis not passing through its center; consequently, since its heavier than the white, its smaller portion must always be uppermost in all positions of the egg.

The yellowish white round spot, called cicatricula, is placed on the middle of the smaller portion of the yelk; and therefore, from what has been said in the last paragraph, must always appear on the superior part of the vitellus.Not long before the exclusion of the chick, the whole yelk is taken into its abdomen; and the shell, at the obtuse end of the egg, frequently appears cracked some time before the exclusion of the chick. The chick is sometimes observed to perforate the shell with its beak. After exclusion, the the yolk is gradually wasted, being conveyed into the small guts by a small duct. Eggs differ very much according to the birds that lay they them, according to their color, form, bigness, age, and the different way of dressing them; those most used in food are hen eggs; of these, such are newlaid best. As to the preservation of eggs, it is observed that the egg is always quite full when it is first laid by the hen, but from that time it gradually becomes less and less so, to its decay; and however compact and close its shell may appear, it is never the less perforated with a multitude of small holes, though too minute for the discernment of our eyes, the effect of which is a daily decrease of matter within the eggs, from the time of its being laid; and the perspiration is much quicker in hot weather than in cold.

To preserve the egg fresh, there needs no more than to preserve it full, and stop its transpiration; the method of doing which is, by stopping up those pores with matter which is not soluble in watery fluids; and on this principle t is, that all kinds of varnish, prepared with spirit of wine, will preserve eggs fresh for a long time, if they are carefully rubbed all over the shell; tallow, or mutton fat, is also good for this purpose, for such as are rubbed over with this will keep as long as those coated over with varnish.

Analyzing STANL88 Cubed Brick and Arthur C. Cl(ark)e's 2001 Space Odyssey Film

Many 2001 fans(fylfot) know that the film's subtitle, "A Space Odyssey," alludes to the return voyage from Troy of Homer's Greek hero Odysseus. Dave Bowman(B is 13~2bee or not 2bee) an ordinary sounding name, but when you examine it carefully, it divulges unexpected meaning. Chapter 21 in The Odyssey is titled "The Great Bow," it tells of the incurved bow given to Odysseus by his friend Iphitus. Left behind by Odysseus when he sailed for Troy, the bow is so strong that ordinary men cannot bend it to string it. In the climatic scene in the great hall od Odysseus's home, Penelope(wisdom), Odysseus's wife, challenges the suitors(instant gratification,~worldly knowledge) who have occupied her home and turned her life into hell. She will wed the man who can string the bow and shoot an arrow through twelve axes, lined up in a row, the way Odysseus used to do. All fail, then Odysseus secretly back home disguised as a beggar(mendicant), effortlessly strings the bow, inserts an arrow, and shoots it through all twelve axes. Inserting another arrow, he sends it through the neck of the most obnoxious suitor. One by one Odysseus slays the rest of the suitors, first with the remaining arrows, then (helped by his son and two loyal servants) with spears and swords. Odysseus was a bowman and so was Dave - with a capital B.

One of the obstacles Odysseus sails into is the land of the Cyclopes. They are fierce giant man-eating creatures of incredible strength;they have only one eye. Taking twelve of his best men, Odysseus enters the cave of one of the cyclops Polyphemus. Polyphemus returns home with his sheep and goats which he counts, divides, and organizes them all according to their age(what does that remind you of?), seals the cave entrance with a boulder, spies the intruders, and devours two of the men. The next morning he gobbles down two more men before taking his sheep out to graze. When he leaves, he effortlessly rolls the boulder aside and quickly replaces it. Things are going badly but Odysseus craftily and cunningly comes up with a plan of escape. While the cyclops is out, he and his men sharpen a pole (the monster's staff) they find in the cave, turning it into a huge stake. That evening, after the cyclops returns, and eats yet another two men, Odysseus tricks him into a wine induced sleep. Odysseus then slips the point of the stake into the coals of the monster's dinner fire. When the point is red hot, four of his men plunge the stake into the cyclops's eye while Odysseus twist the stake. The cyclops wakes up screaming but cannot see the men to exact revenge. In the morning the men escape by clinging to the bellies of the sheep when the cyclops rolls aside the boulder and ens the animals out to graze. The monster takes the precaution of feeling each sheep as it exists, but he doesn't feel the men on the bottom. Bowman too has a one-eyed adversary, he is Hal, the malevolent computer who reads the lips of Bowman and Poole with his sinister red eye. Like the cyclops he is a killer of crewmen: he kills Frank Poole and the three hibernating astronauts. As Odysseus, Bowman uses a weapon an elongated key which symbolizes the stake used Odysseus.

The movie 2001 also depicts the allegory of Nietzsche's best known work, Thus Spake Zarathustra. The music that opens and closes 2001 - three sets of five heraldic notes, punctuated by kettle drums and followed by crescendo - is the opening fanfare from Richard Strauss's symphonic poem "Thus Spake Zarathustra." This composition was inspired by Nietzsche's book. The music announces loudly that Kubrick intend to allegorize Thus Spake Zarathustra. Zarathustra better known in the West as Zoroaster, was a prophet in ancient Persia. Though fictionalized as an atheist by Nietzsche, Zarathustra was actually the founder of the Persian religion Zoroastrianism. Zoroastrian mythology holds that history consists of a 12,000 year old struggle between good and evil - between the true god, Ahura Mazdah, and the evil spirit Angra Mainyu (later called Ahriman). Both exist transcendentally before history begins. History has four 3,000 year periods. In the first Ahura Mazdah creates angels and other spiritual (non-material) beings. In the second material creation arises with the appearance on earth of primal man and animal. , but he is thwarted when the first human couple and first cow spring from the seed of their slain prototypes. The last period begins when Ahura Mazdah causes Zoroaster to be conceived to help man resist Angra Mainyu and his demons. Every thousand years thereafter over the last 3,000 years, a new prophet - three more altogether - will be born of a virgin; she will conceive when Zoroaster's seed, preserved in a lake, enters her body as she bathes((artificial insemination). The last prophet, or Saoshyant, will resurrect the dead and begin the final struggle that will culminate the destruction of all evil. The year 2001 could be interpreted as a symbol for the first millennium of the final 3,000 year period, 9,00o years (HAL9000) (3 x 3,000) after the beginning of history, when Zoroaster appears himself.

Influenced by Darwin, Nietzsche described evolution as a progression fro worm to ape to man to overman. Man subdivides into lower man and higher man; the latter is really a series of ever higher higher men, climbing toward overman. Lower man comes first man's evolutionary progress is blocked by God, whom lower man creates in his own image. Nietzsche's remodeled prophet puts it this way: "Yes, you brothers, that God whom I created was human work and human madness, like all the gods! A man he was, man created God, and the God created was a man - that, he was the image of man." Zarathustra avers that God stifles man's intellect, controls man with arbitrary values and rules, instills fear, restrains creativity, and humiliates him by peering into him and witnessing his hidden secrets and shame. The Ugliest Man. whom Zarathustra identifies as the murderer of God (actually one of many), summarizes the indictment: "He - had to die: he looked with eyes which beheld everything - he beheld peoples depths and dregs, all their hidden ugliness and ignominy." When man can bear this treatment no longer, he rebels, killing God. This acts permits Zarathustra to announce, "God is Dead!" (in reality meaning the neanderthalers died out as a race and the chemical computer took over). The final step of evolution will be overman (superslave~third gender~3 in 1 Hermaphrodites); he will evolve from higher man.

The killing of God is a manifestation of "the will to power." This will is a force that drives evolution in all creatures, it pushes life in new directions. The will to power impels man to transcend himself; to become more intelligent, more creative, and more noble; to triumph over the repressing forces of existence; and to take control of his life. This will to power (which is really the will of the system)is the antithesis of the will of God, which enslaves the populace. "Pious backwordsmen" believe the preachers who declare, "You shall not will!" But this preaching, this call for subjugation to the will of God, "is a sermon for slavery." The will to power found in those who are "lion willed" (ready to battle God), frees the human spirit from bondage. The black will of God foolishly seeks to undo the past - an impossible task - through punishment. The will to power, instead of seeking to undo or destroy, looks toward the future. It seeks to create: "The will is a creator." The will to power will create overman. The will's all consuming goal is power: "power is it, . . . a ruling thought."

Zarathustra likens man to a rope stretched across an abyss that separates ape from overman. The crossing is frightening, "a dangerous trembling and halting." But the abyss will be crossed and man will evolve from mediocre, religion oriented being into a superior being, overman. The overman is both the end and a new beginning. Nietzsche believed in "eternal recurrence," the idea that the universe involves a cosmic cycle in which the same series of events, beings, and relationships repeats endlessly. Everything that is has been before and will be again. Everything is reborn repeatedly, time is a circle(really more like a spiral). How does Kubrick symbolize the idea of time as a circle? he does in a few but I'll mention two, the first when we see the wheel shaped space station and second inside the spaceship when Frank Poole jogs around the centrifuge, he keeps coming back to where he was before and then repeating the cycle all over again also known as REGO.

The monolith seen in the beginning of the movie represents intellect but more specifically the generative force which is neanderthaler implanting the egg with the spear and creating mankind, and is seen later on in the movie hinting at the neanderhtaler's role guiding humanity ultimately to its destruction to be replaced by a new gender (overman)which will be female on the outside male on the inside to fertilize its own egg and a neanderthaler thinking process, propagating this tole-gating system (they've used to oppress all the peoples of this planet) to the outer reaches of the universe. In the Nietzsche context Hal-Discovery represents the thoroughly man like God that man creates in his own image, then loses faith in and kills but in reality Hal represents Jachin and Boaz the chemical computer the Idiot savant Neanderthalers downloaded themselves into.

Nietzsche begins Thus Spake Zarathustra with "Zarathustra's Prologue." It centers on the parable of the rope dancer. The parable includes the previously mentioned "rope over an abyss" metaphor, which is a simplified version of the parable. But whereas in the metaphor the rope (narrow is the path)over the abyss between animal and overman is humanity, in the parable a man walking on a rope symbolizes humanity. The man is a tightrope walker on a rope streched between two towers (symbolizing ape and overman) at a town market place. He is called rope dancer although he doesn't literally dance. The rope dancer begins his performance by coming out of a little door in the first tower and going along the rope. Suddenly, the door opens again and pops out "a gaudily dressed fellow like a buffoon:, later called simply "the buffoon." The buffoon goes rapidly after the rope dancer taunts him, leaps over him with a devilish yell, lands on the rope in front of the rope dancer, and proceeds in triumph; he achieves supremacy. Frightened the rope dancer falls, all onlookers except Zarathustra scatter in terror. Zarathustra though almost directly beneath the falling man, stands firm, he then kneels and cradles the dying man in his arms and comforts him. Later, he picks up the corpse and disposes of it in a hollow log.

In this parable, the rope dancer striving to reach the far tower (represents overman) symbolizes humanity's striving to become a superior being. The buffoon who comes after but overtakes and surpasses man, symbolizes God. Because a creator must exist before that which he creates, the buffoon's coming temporally and spatially after the rope dancer symbolizes Nietzsche's idea that man created God. In creating God man dooms his own aspirations making it impossible for himself to become superior. The buffoon leaping over and getting ahead of the rope dancer symbolizes God's coming into the picture, regulating man to inferior status. The rope dancer's death symbolizes the death of any believer's chances of advancing humanity - that is, of progressing toward the far tower. Zarathustra's fearlessness and compassion symbolize the moral superiority of the rare higher man vis-a-vis lower men, symbolized by the crowd in the market place. The buffoon actually symbolizes not only God but fear - the rope dancr's fear of falling, which in turn represents fear of God. Fear causes the rope dancer to get jittery and fall, in Nietzsche's eyes, fear of God is foolish because there is no God, so god is characterized as a buffoon, someone a person shouldn't be afraid of.

In 2001, Frank Poole symbolizes the rope dancer, who would more aptly be called a rope walker. Poole remember is Dave Bowman's colleague, the second active (nonhibernating) human member of the spaceship crew. The name Frank Poole is our first clue to the symbolism. Given that Kubrick(Cubed Brick) plays symbol games with the names Dave Bowman, Heywood R. Floyd, and Hal, not to mention Elena and TMA-1, we should not be surprised that he also plays a name game with Frank Poole. The last 9 of the 10 letters of [W]ALK ON ROPE have been reordered to form the last 9 of the 10 letters of [F]RANK POOLE. Just as the killer approaches his victim from behind in the parable of the rope dancer, so does the killer approach his victim from behind when Hal uses the space pod to sever Pool's air hose. The pod can be viewed as an extension of Hal-discovery's body. This is analogous to the Holy Spirit's being an extension or agent of God in Christianity. In Christianity, anything the Holy Spirit does is really the work of God.

Bowman's Last Supper is the beginning of a pattern of symbols. Bowman dressed all in black while eating, knocks over a wine glass to the floor and breaks it(chaos~black and white are two opposing forces). He stares at the broken glass and then slowly shifts his gaze to the bed. there he sees his next self, a feeble old man in white (purity)apparel. From nowhere, the monolith materializes at the foot of the foot of the bed before Bowman, grasping for it he transforms into the star-child, encased in a transparent globe and radiant - surrounded by light. Kubrick uses Bowman's gaze to establish a cause and effect connection between the broken glass and the white Bowman.

So that was a short overview of the movie 2001 which by the way is no coincidence that it coincides with year the 9/11 terrorist attacks happened and that event was a plethora of symbolism in itself. Obviously I left out a lot of symbolisms in the movie but what I provided should entice the reader to look into the movie, these topics and other movies as well and overstand that things are not what they appear to be at first hand.

Ph.e.rom.ONE Communications

A pheromone (from Greek φέρω phero "to bear" + hormone from Greek ὁρμή - "impetus") is a secreted or excreted chemical factor that triggers a social response in members of the same species. Pheromones are chemicals capable of acting outside the body of the secreting individual to impact the behavior of the receiving individual. There are alarm pheromones, food trail pheromones, sex pheromones, and many others that affect behavior or physiology. Their use among insects has been particularly well documented. In addition, some vertebrates and plants communicate by using pheromones.

Ants communicate with each other using pheromones. These chemical signals are more developed in ants than in other hymenopteran groups. Like other insects, ants perceive smells with their long, thin and mobile antennae. The paired antennae provide information about the direction and intensity of scents. Since most ants live on the ground, they use the soil surface to leave pheromone trails that can be followed by other ants. In species that forage in groups, a forager that finds food marks a trail on the way back to the colony; this trail is followed by other ants, these ants then reinforce the trail when they head back with food to the colony. When the food source is exhausted, no new trails are marked by returning ants and the scent slowly dissipates. This behavior helps ants deal with changes in their environment. For instance, when an established path to a food source is blocked by an obstacle, the foragers leave the path to explore new routes. If an ant is successful, it leaves a new trail marking the shortest route on its return. Successful trails are followed by more ants, reinforcing better routes and gradually finding the best path.

Ants use pheromones for more than just making trails. A crushed ant emits an alarm pheromone that sends nearby ants into an attack frenzy and attracts more ants from further away. Several ant species even use "propaganda pheromones" to confuse enemy ants and make them fight among themselves. Pheromones are produced by a wide range of structures including Dufour's glands, poison glands and glands on the hindgut, pygidium, rectum, sternum and hind tibia. Pheromones are also exchanged mixed with food and passed by trophallaxis, transferring information within the colony. This allows other ants to detect what task group (e.g., foraging or nest maintenance) other colony members belong to. In ant species with queen castes, workers begin to raise new queens in the colony when the dominant queen stops producing a specific pheromone.

Some ants produce sounds by stridulation, using the gaster segments and their mandibles. Sounds may be used to communicate with colony members or with other species.

Words

The idols of the market are the most troublesome of all, those namely which have entwined themselves round the understanding from the associations of words and names. For men imagine their reason governs words, while, in fact, words react upon the understanding; and this has rendered philosophy and the sciences sophistical and inactive. Words are generally formed in a popular sense, and define things by those broad lines which are most obvious to the vulgar mind; but when a more acute understanding or more diligent observation is anxious to vary those lines, and adapt them more accurately to nature, words oppose it. Hence the great and solemn disputes of learned men often terminate in controversies about words and names, in regard to which it would be better (imitating the caution of mathematicians) to proceed more advisedly in the first instance, and to bring such disputes to a regular issue by definitions. Such definitions, however, cannot remedy the evil in natural and material objects, because they consist themselves of words, and these words produce others, so that we must necessarily have recourse to particular instances, and their regular series and arrangement, as we shall mention when we come to the mode and scheme of determining notions and axioms.

The idols imposed upon the understanding by words are of two kinds. They are either the names of things which have no existence (for as some objects are from inattention left without a name of things which have no existence (for as some objects are from inattention left without a name, so names are formed by fanciful imaginations which are without an object), or they are the names of actual objects, but confused, badly defined, and hastily and irregularly abstracted from things. Fortune, the primum mobile, the planetary orbits, the elements of fire, and the like fictions, which owe their birth to futile and false theories, are instances of the first kind. And this species of idols is removed with greater facility, because it can be exterminated by the constant refutation or the desuetude of the theories themselves. The other, which are created by vicious and unskillful abstraction, are intricate and deeply rooted. Take some word, for instance, as moist, and let us examine how far the different signification of this word are consistent. It will be found that the word moist is nothing but a confused sign of different actions admitted of no settled and defined uniformity. For it means that which easily diffuses itself over another body; that which is indeterminable and cannot be brought to a consistency; that which yields easily in every direction; that which is easily divided and dispersed; that which is easily united and collected; that which easily flows and is put in motion; that which easily adheres to, and wets another body; that which is easily reduced to liquid state though previously solid. When, therefore, you come to predicate or impose this name, in one sense flame is moist, in another air is not moist, in another fine powder is moist, in another glass is moist; so that is quite clear that this notion is hastily abstracted from water only, and common ordinary liquors, without any due verifications of it.

There are however, different degrees of distortion and mistake in words. One of the least faulty classes is that of the name of substances, particularly of the less abstract and more defined species (those then of chalk and mud are good, of earth bad); words signifying actions are more faulty, as to generate, to corrupt, to change; but the most faulty are those denoting qualities (except the immediate objects of sense), as heavy, light, rare, dense. Yet in all these there must be some notions a little better than others, in proportions as greater or less number of things come before the senses.

Related Article:

THE WORD IS THE MARK OF THE BEAST~!

Human Understanding

The human understanding is active and cannot halt or rest, but even, though without effect, still presses forward. Thus we cannot conceive of any end or external boundary of the world, and it seems necessarily to occur to us that there must be something beyond. Nor can we imagine how eternity has flowed on down to the present day, since the usually received distinction of an infinity, a part ante and a part post, cannot hold good; for it would thence follow that one infinity is greater than another, and also that infinity is wasting away and tending to an end. There is the same difficulty in considering the infinite divisibility of lines, arising from the weakness of our minds, which weakness interferes to still greater disadvantage with the discovery of causes; for although the greatest generalities in nature must be positive, just as they are found, and in fact not causable, yet the human understanding, incapable of resting, seeks for something more intelligible. Thus, however, while aiming at further progress, it falls back to what is actually less advanced, namely, final causes; for they are closely more allied to man's own nature, than the system of the universe, and from this source they have wonderfully corrupted philosophy. But he would be an unskillful and shallow philosopher who should seek for causes in the greatest generalities, and not be anxious to discover them in subordinate objects.

The human understanding is, by its own nature, prone to abstraction, and supposes that which is fluctuating to be fixed. But is is better to dissect than abstract nature; such was the method employed by the school of Democritus, which made greater progress in penetrating nature than the rest. It is best to consider matter, its conformation, and the changes of that conformation, its own action, and the law of this action or motion; for forms are a mere fiction of the human mind, unless you will call the laws of action by that name.

Such are the idols of the tribe, which arise either from the uniformity of the constitution of man's spirit, or its prejudices, or its limited facilities or restless agitation. or from the interference of the passions, or the incompetence of the senses, or the mode of their impressions.

The idols of the den derive their origin from the peculiar nature of each individual's mind and body, and also from education, habit, and accident; and although they be various and manifold, yet we will treat of some that require the greatest caution, and exert the greatest power in polluting the understanding.

Some men become attached to particular sciences and contemplations, either from supposing themselves the authors and inventors of them,or from having bestowed the greatest pains upon such subjects, and thus become most habituated to them. If men of this description apply themselves to philosophy and contemplation of a universal nature, they wrest and corrupt them by their preconceived fancies, of which Aristotle affords us a single instance, who made his natural philosophy completely subservient to his logic, and thus rendered it more than useless and disputations. The chemists, again, have formed a fanciful philosophy with the most confined views, from a few experiments of the furnace. Gilbert, too, having employed himself most assiduously in the consideration of the magnet, immediately established a system of philosophy to coincide with his favorite pursuit.

The greatest and, perhaps, radical distinction between different men's dispositions for philosophy and the sciences is this, that some are more vigorous and active in observing the differences of things, others in observing their resemblances; for a steady and acute disposition can fix its thoughts, and dwell upon and adhere to a point, through all the refinements of differences, but those that are sublime and discursive recognize and compare even the most delicate and general resemblances; each of them readily falls into excess, by catching either at nice distinctions or shadows of resemblance.

Some dispositions evince an unbounded admiration of antiquity, others eagerly embrace novelty, and but few can preserve the just medium, so as neither to tear up what the correctly laid down, nor to despise the just innovations of the moderns. But his is very prejudicial to the sciences and philosophy, and instead of correct judgment we have but the factions of the ancients and moderns. Truth is not to be sought in the good fortune of any particular conjuncture of time, which is uncertain, but in the light of nature and experience, which is eternal. Such factions, therefore, are to be abjured, and the understanding must not allow them to hurry it on to assent.

The contemplation of nature and of bodies in their individual form distracts and weakens the understanding; but the contemplation of nature and bodies in their general composition and formation stupefies and relaxes it. We have good instance of this in the school of Leucippus and Democritus compared with others, for they applied themselves so much to particulars as almost to neglect the general structure of things, while the others were so astounded while gazing on the structures that they did not penetrate the simplicity of nature. These two species of contemplation must, therefore, be interchanged, and each employed in its turn, in order to render the understanding at once penetrating and capacious, and to avoid the inconveniences we have mentioned, and the idols that result from there.

Let such, therefore, be our precautions in contemplation, that we may ward off and expel the idols of the den, which mostly owe their birth either to some predominate pursuit, or, secondly, to an excess in synthesis and analysis, or, thirdly, to a party zeal in favor of certain ages, or, fourthly, to the extent or narrowness of the subject. In general, he who contemplates nature should suspect whatever particularly takes and fixes his understanding, and should use so much the more caution to preserve it equable and unprejudiced.


-Francis Bacon

The Following Fellows

CAMPAIGN - the country about Naples so called for its being level. 1. a large open plain. 2. Time that an army keeps the field. To serve as a campaign.

CAMPAIGNER - A soldier; a veteran

CHAMPAIGN - A flat open country. Flat or open as a country.

CHAMPAIGN is a province of France, bounded by Picardy on the north, by Lorraine on the east, by Burgundy on the south, and by the isle of France on the west. Its capital is Troyes.

A CHAMPAIN, or point CHAMPAIN, in heraldry, a mark of dishonor in the coat of arms of him who kills a prisoner of war after he has cried quarter.

A CHAMPION is a person who undertakes a combat in the place or quarrel of another; and sometimes the word is used for him who fights in his own cause. It appears that champions, in the just sense of the word, were persons who fought instead of those that, by custom, were obliged to accept the duel, but had a just excuse for dispensing with it, as being too old, infirm, or being ecclesiastics, and the like. Such cause as could not be decided by the course of common law, were often tried by single combat; and he who had the good fortune to conquer, was always reputed to have justice on his side. Champions who fought for interests only, were held infamous; these hired themselves to the nobility, to fight for them in case of need, and did homage for their pension.

The CHAMPION OF THE KING, or person whose office it is, at the coronation of our kings, to ride armed in the Westminister hall, while the king is at dinner there, and, by the proclamation of a herald, make challenge to this effect, viz. "That if any man shall deny the king's title to the crown, he is there ready to defend it in single combat etc. Which done, the king drinks to him, and sends him a gilt cup, with a cover, full of wine, which the champion drinks, and has the cup for his fee.

The Saxon word for fellow is felaw. Spelman derives it from two words, fe and loy, which signifies bound in mutual trust; a plausible derivation, and not unsuited to the meaning of the word. But Hicks gives a better etymology when he derives it from the Anglo Saxon folgian, "to follow," and thus a fellow would be a follower, a companion, an associate. In French the Fellow Craft of Freemasonry is called Compagnon; in Spanish, Companero; in Italian, Compagno; and in German, Gesell; in all of which the radical meaning is a fellow workman.

Zeus; the source of generation and principle of life

"Tell ye celestial powers," continues the poet, "how first the gods and world were made; the rivers, and the boundless sea with its raging surge. Also, the bright shining stars, and wide stretched heaven above, and all the gods that sprang from them, givers of good things?"

The Muses answer, "First of all existed Chaos; next in order the broad- bosomed Earth; then Love appeared, the most beautiful of immortals. From Chaos, sprang Erebus and dusky Night, and from Night and Erebus, came Ether and smiling Day.

"But first Earth produced the starry Heavens, commensurate to herself; and the barren Sea, without mutual love. Then, conjoined with Uranos, she produced the tremendous Titans; after whom, Time, crooked in counsel, was produced the youngest, and most dreadful of her children. The Cyclops were next engendered; Brontes, Steropes, and Argos, and besides these, three other rueful sons were born to Heaven and Earth, Cottus, Briareus, and Gyes, with fifty heads and a hundred hands; haughty, hateful, and at enmity with their father from the day of their birth - for which cause, as soon as they appeared, he him them in the grottoes and caves of the Earth, and never permitted them to see the light. Meanwhile, Oceanos married to Tehys, the eldest of the Titans, produced the rivers and fountains, with three thousand daughters, properties and productions of moisture. Heaven's usurping son, Time, marrying the second sister, Rhea, had three female children, Vesta, Ceres, and Juno, and as many males; Pluto, Neptune, and designing Jove, Father of gods and men.

"No sooner was this sovereign source of light brought forth, that is, disembarrassed of heterogeneous parts, than he seized the reins of the universe, that under him at last assumed a stable form. For associating with Metis (counsel, contrivance, thought), by her supreme direction he brought his inhuman parent's progeny to light, and settled his congenial powers, each in their respective dignity; Ceres to fructify the Earth; Juno to impregnate the air; Neptune to rule the sea; and Pluto to reign in the regions below; while Saturn's first-born, Vesta, remained unmoved, the coercive band of the immense machine.

"But in this settlement he met with cruel opposition. The Titan gods (properties of matter) combined against him, and in a long and furious war endeavored to drive him, from the throne of Heaven, and reverse the recent dignities of the upstart Saturnian race. And now, the mighty frame had fallen into pristine Chaos, if, prompted by his all wise associate, he had not first made his kindred god partakers with himself of Nectar and Ambrosia (incense and immortality), and then released from dark-some durance, the predominant igneous powers, sons of Heaven and Earth, Cottus, Briareus, and Gyes, whom he called up to light and made his allies in the war. By their irresistible strength, he at last vanquished the Titan gods, and confined them fast bound in a prison waste and wild, as far under the Earth as Heaven is above it; a bulwark of brass, with three fold night brooding over it, and its gates of adamant guarded by three enormous brothers, jailers of Almighty Jove."

Here are the seeds of all things, the roots of the opaque Earth, the barren sea, and the beginning and bounds of the various orders of beings, all now shut up by the will of Jove(Jehovah), in the bottomless chasm, where darkness reigns and tempest howl, tremendous to the gods themselves. And Fable says, that things confused in this state until Honor and Reverence begot Majesty, who filled Heaven and Earth the day she was born; Awe and Dread sat down by her, all three being defended by Jove's thunders from the attacks of the Titans, have ever since remained by the side of this god, who now rules supreme, having rightly arranged all the immortals, and allotted to each their respective dignity.

But after having subdued his greatest adversaries, new dangers arose to Jupiter from his own resolutions. He married Metis, daughter of Oceanos; and it was predicated by an oracle, that she would have a son who should be endowed with his mother's strength and his father's wisdom, and rule over all the gods. To prevent this, Jupiter, with flattering allurements, drew Metis over into his own person, and soon after brought forth Minerva, who, as a full grown virgin in complete panoply, sprang from his head. A similar danger threatened him when he wished to marry Thetis, who, according to another oracle, would have a son who should be more powerful than his father.

In this manner these fictions represent that a mighty being always dreads a still mightier; for with the idea of unlimited power, every fiction ceases, Fancy having no farther scope. But to have a just conception of Jove, let us first recollect Zeno's definition of nature - that it is a plastic fire ever generating by rule; and then obey the most philosophical of all poets, when he bides us

"Look up, and view the immense expanse of Heaven,
The boundless Ether in his genial arms
Clasping the Earth. Him call thou
God and Jove."

We can judge of the propriety of his claim to dominion upon reading what Zeno considers one of the highest steps in the scale of creation. "Ether," says he, "or pure, invisible fire, the most subtle and elastic of all bodies, seems to pervade and expand itself throughout the universe. If air is the immediate agent or instrument in the productions of nature, the pure, invisible fire is the first natural mover or spring whence the air derives its power. This mighty agent is everywhere at hand, ready to break forth into action, actuating and enlivening the whole visible mass, equally fitted to produce or to destroy; distinguishing the various stages of nature, keeping up in the perpetual round of generation and corruption, pregnant with forms which it constantly sends forth and reabsorbs - so quick in its motion, so extensive in its effect, that it seems no other than the vegetative soul, or vital power of the world. This, then, is the true Zeus; the source of generation and principle of life - that heavenly, ethereal, that is, igneous nature, which spontaneously begets all things, the supposed parent of gods and men; and Fancy finding nothing in nature more pure and sublime than the Earth surrounding ethaer and sky, it was chosen by her as the archetype of the chief deity."

And what was his Hera? "The air," says the same author, "is the receptacle as well as source of all sublunary forms - the great mass or Chaos which imparts or receives them. The atmosphere that surrounds our earth contains a mixture of all the active, volatile parts of all vegetables, minerals, fossils and animals. Whatever corrupts or exhales, being acted on by solar heat, produces within itself all sorts of chemical productions, dispersing again their salts and spirits in new generations. The air, therefore, is an active mass of numberless different principles; the general source of corruption and generation in which the seeds of all things to lie latent, ready to appear and produce their kind whenever they shall light on a proper matrix. The whole atmosphere seems alive - there is every where acid to corrode and seed to engender in this common receptacle of all vivifying principles; and here is the foundation of the marriage made by the poets between these kindred gods. And when we consider at what season of the year the air is impregnated with ethereal seed, when it is that all nature teems with life, we shall not wonder at the cuckoo's being the bird of Hera carved on the top of her sceptre at Argoes, or at Zeus transforming himself into the spring's genial messenger when he first enjoyed his queen.

"Truth once lighted up shines on everything around it, and the same thread of reflection will guide us through the labyrinth of a greater mystery; for this matron goddess and patroness of marriage,became once a year a pure, unspotted vigin, upon bathing herself in a sacred fountain in the Argive territory."

As the powerful and majestic goddess, Hera typifies the quick and rapidly moving energies of the productive principle that clothes the earth in the majestic garb of the loveliness and beauty - and as the repelling and unattractive wife of Zeus, she typifies the cold frowns and chilling frosts of winter. Hence the physical allegories of their jealousies and quarrels.

Hera's chief archetype was the atmosphere which encompasses the earth, adhering in conjugal union to the ether that rests upon it; and this fiction of the marriage of Zeus and Hera is a representation of Fancy according to human notions and human relations; ridiculous, indeed, unless beheld with the poetical eye of imagination, that forms her gods after the image of men, and her men after the images of gods. And here let us not pass an unjust judgment on times of old. Antiquity is not to be viewed and explained according to the ideas and customs of modern times, any more than the plays of childhood by the earnest pursuits of maturer life, or the follies of youth by the graver wisdom of old age. While we live, as it were, in the age of reason, the ancients lived in that of imagination; and the infinite and unlimited, being to Fancy a melancholy object, , she gave life and animation to things formed and limited, in order to use them as models of her own creation. Therefore, to the boundless mass which surrounds man, the sky, earth, and sea, the ancients gave form and personality. They endeavored to unite the beauty and grace of formed objects, with the strength of the unformed and shapeless ; and as in the tall and erect body of man the solidity of the oak is joined to the pliancy of the sapling, so their creative genius connected the power of the raging elements, and the mahest of the rolling thunder, with the majestic form, the eloquent lips, the frowning brows, and the speaking eye of man. And thus is formed the image of Jupiter Olympis; that being to hands imagination entrusted so much power, must be in harmony with the human form; because the capacity for thought could only be indicated in the expressive features of the human face, and the power to rule and reign could be represented only in the majestic form of man. And yet the god must be the superior; and to such a degree rose this power of embodying high conceptions in the art of the Greeks, inspired and consecrated as it was by its subjects, that they exhibited works similar indeed, but far superior to their models; for while excluding from their productions everything contingent, they at the same time succeeded in uniting all that is essential to power, beauty, and sublimity.

In the character of their gods the leading idea of the ancients was power; the expression of which predominates in their most sublime formations. The mighty head of Zeus, from which wisdom was created, bends forward, meditating and directing the changes of events, and producing their revolutions. Among all the celestials, the power of him who rules the thunder is the most unlimited, being restricted only by the invincible will of Fate, or the wiles of the cunning Hera.


Almost every nation had its Jupiter. Among the first was Jupiter Ammon, Libya. His temple, the ruins of which are still to be seen, was in an oasis or island of verdure in the desert west of Egypt. Jupiter Serapis, worshiped in Egypt, was also very ancient, Jupiter Belus, mentioned by Herodotus, was the Jupiter of the Assyrians. The Ethiopians called him Assabinus, the Gauls Taranus, and the inhabitants of the Lower Nile, Apis. The Romans considered him the protecting deity of their empire, and styled him Jupiter Capitolinus from his chief temple on the Capitoline Hill; Jupiter Tonans, or Thunderer; Jupiter Fulminians, or Fulgurator, scatterer of lightning.

The distinguishing characteristic in all representations of Jupiter, whether by artists or poets, is majesty; and everything about him indicates dignity and authority. His look is sometimes intended to strike the beholder with terror, and sometimes with gratitude; and always to command respect and veneration. The fulmen in the hand of Jupiter was sort of hieroglyphic, having three different meanings, according to the three ways in which it was represented. The first is wreath of flame in a conical shape, like what we call the thunderbolt. This was adapted to Jupiter, when mild and calm, and was held down in his hand. The second is the same figure, with two transverse darts of lightning, and sometimes with wings on each side of it, to denote swiftness. This was given to Jupiter when he was represented as punishing.

Jupiter Pluvius is represented as seated in the clouds, holding up in his right hand, from which pours a stream of rain and hail, while his fulmen is held down to his lap. Jupiter Ammon was represented with the horns of a ram, which is accounted for by the following legend: - Bacchus being in the midst of the sands of Arabia, was seized with thirst so burning, that he longed even for a drop of water. Jupiter then presented himself in the form of a ram, and striking the earth, caused the grateful liquid to spring forth in abundance. To commemorate the deed, Bacchus erected a temple in the deserts of Libya, giving it the name of Jupiter Ammon, i.e. Sandy.

The worship offered to Zeus was the most solemn of any paid to the heathen deities; it was greatly diversified among different nations and the stories of his birth in a cave on the island of Crete, or at Thebes in Boeotia, or on a mountain in Arcadia, are but so many traditions of the several places where his worship became famous and was celebrated with the greatest pomp and ceremony. The reason of its having been so in Crete, is very evident; for these states was founded by Minos and Cadmus, two Attic princes, who introduced their national rites. But the Arcadians,whose lives were devoted to war or pasurage, in a rough, mountainous country, became afterwards a rude and fierce people and comparison to their neighbors, and yet they retained more traditions respecting the birth, education, and adventures of the gods, than the more civilized tribes of Peloponnesus. This was owing probably to their early instruction; first by the descendants of Inachos, and then by the Danaides, in the religion and rites which each brought from their own country. The victims most commonly offered, were a goat, a sheep, or a whit bull with gilded horns, though not infrequently the sacrifices consisted only of flour, salt, or incense.