TRANSLATIONS

TRANSLATIONS

Suddenly very many ideas and tasks appear urgent. But I have to proceed systematically. I will begin by cutting off one of the heads of the hydra which has been bothering me for a long time:

Sums of glyphs in consecutive lines:
+	1	2	3	4	5	6	7	8
b1	82	167	244	324	404	496	580	664
b2	85	162	242	322	414	498	582	672
b3	77	157	237	329	413	497	587	672
b4	80	160	252	336	420	510	595	671
b5	80	172	256	340	430	515	591	673
b6	92	176	260	350	435	511	593	676
b7	84	168	258	343	419	501	584	668
b8	84	174	259	335	417	500	584	669
a1	90	175	251	333	416	500	585	670
a2	85	161	243	326	410	495	580	662
a3	76	158	241	325	410	495	577	662
a4	82	165	249	334	419	501	586	663
a5	83	167	252	337	419	504	581	661
a6	84	169	254	336	421	498	578	658
a7	85	170	252	337	414	494	574	666
a8	85	167	252	329	409	489	581	665
sum	1334	* 2	* 3	* 4	* 5	* 6	* 7	* 8
Blue for even sums and black for odd sums. Red means eye-catching.			The sums from beginning of each line and up to the end of the page appear in rectangles.			There is no obvious intentional system among the numbers.

From this table it appears evident that the result 244 = 12² + 100 for the length counted in glyphs from Ab1-43 to Ab4-43 was purely arbitrary.

As was explained just a moment ago, 244 appears as the result for all measurements of this kind between a glyph in line Ab1 and line Ab4 - given that the ordinal numbers are the same.

Consequently we can use the table to immediately see that the distance (counted in glyphs) between Ab1-43 and Ab4-43 must be 244 = the distance from Ab1-1 and Ab4-1.

I have not bothered with tabulating past 8 lines. If I for example want to know how many glyphs there are from line b1 up to line a6, that should be easily counted from the table:

b1 - b8 = 664

a1 - a5 = 416

sum = 1080

But then the hydra develops a new head: 1080 = 40 * 27, that cannot be purely arbitrary, or?

I have to cut off the new head too. There may be an intentional number system which appears only by counting beyond 8 lines. OK. I will look:

Sums of glyphs in consecutive lines counted beyond 8 lines:

754

839

915

997

1080

1164

1249

1334

757

833

915

998

1082

1167

1252

1334

748

830

913

997

1082

1167

1249

1334

753

836

920

1005

1090

1172

1257

1334

756

840

925

1010

1092

1177

1254

1334

760

845

930

1012

1097

1174

1254

1334

753

838

920

1005

1082

1162

1242

1334

754

836

921

998

1078

1158

1250

1334

752

837

914

994

1074

1166

1250

1334

747

824

904

984

1076

1160

1244

1334

739

819

899

991

1075

1159

1249

1334

743

823

915

999

1083

1173

1258

1334

741

833

917

1001

1091

1176

1252

1334

750

834

918

1008

1093

1169

1251

1334

750

834

924

1009

1085

1167

1250

1334

749

839

924

1000

1082

1165

1249

1334

Blue for even sums and black for odd sums. Red means eye-catching.

The sums from beginning of each line and up to the end of the page appear in

rectangles.

Maybe there was an intention to reach 1000 glyphs counted from Aa8-1 up to and including the glyphs in line Aa3?

664

251

1000

If so, then we should presumably count Aa1-1 to line Ab8 (as earlier found out) and thereby reach 665 respectively 250.

After which we should probably also consider the glyphs in line a8 to be a kind of preliminary to side b, and reach 664 + 1 + 85 = 750.

I.e. there may be an intentional structure where we have:

a8 + side b + Aa1-1	a1 + a2 + a3 - Aa1-1	a4 + a5 + a6 + a7
750	250	334

Is not this result another incantation for 3 + 1? (Because 750 = 3 * 250.) We may after all have caught fish in the numeric nets.

We have reached 250 glyphs earlier: ... In Large Santiago Tablet there are 20 extra glyphs embedded on each side, 2 * (314 + 10) = 2 * 324 = 648 ...

b1-1 -- b1-126	48 (?)	64 (?)	314 (?)
b1-127 -- b2-13	16
b2-14 -- b7-6	250
b7-7-- b7-26	Q has ended, P continues	20
b7-27-- b10-49		193 (?)	314 (?)
b10-50-- b12-49	Also P has ended	121 (?)

... 314 = 64 + 250 reminds us about Aa4-64. Cfr 364 = 64 + 300 ...

Aa4-64 is the π glyph on side a,

which we now easily can calculate from the numbers in the first of the tables above as 251 + 64 - 1, we must subtract 1 for Aa1-1.

300 = 20 / 24 * 360.

The hydra is hard to kill.

... In the middle of the text on side a we find Ha6-106 etc, which we recognize as parallel to Aa1-49 etc:

A
H

The parallel continues for 31 glyphs (in H - 28 in A), ending with the peculiarly looking Ha6-136 respectively Aa1-76:

28 parallel glyphs in A should be considered as a separate unit of the text in Tahua.

What happens if we subtract those 28 from 1000? Aa1-49--76 are inside the 1000 unit of glyphs.

1000 - 28 = 972 = 9 * 108 = 12 * 9²= 4 * 3⁵.

108 immediately stirs my mind. First I look to see what I have written here about 108 earlier in Translations and Index. I find only one item:

Candelabra of the Andes

"Two thousand miles of empty ocean and the deeps of the Chile Basin separate Easter Island from the west coast of South America. A due-east course would lead voyagers from the island to make landfall in Chile. But a course somewhat to the north of east might bring a ship eventually to the safe haven of the bay of Paracas in Peru, which lies on a meridian exactly 180 degrees of longitude east - and west - of the temples of Angkor in Cambodia.

We came across the water from the north in a small open boat, skirting the arid Balestas islands, now a marine sanctuary, and heading for the Paracas peninsula, where rolling sandstone hills and escarpments drop steeply into the sea. From more than 15 kilometers off-shore we had been able to make out the so-called 'Candelabra of the Andes', first through binoculars and then in direct sight. It lay due south of us, carved into a sloping cliff, looming ever larger in our field of view as we approached.

The scholarly consesus is that this huge earth-diagram could easily be 2000 years old and is most likely to have been the work of the same people who created the better-known Nazca lines which are found inland, some 300 kilometers to the south. This 'Nazca culture', about which very little is known, is thought to have flourished from the second century BC until about 600 AD.

The 'Candelabra' has a rectangular, box-like base, enclosing a circle, out of which rises the representation of a wide central vertical bar, more than 240 meters in length, running north to south. This is crossed, about one-third of the way up, by a triangular contraption running east to west for some 120 meters, supporting two shorter vertical bars. All three bars are surmounted by curious patterns generally interpreted as flames or rays of light.

Because of its auspicious geodetic location half-way round the world from Angkor and 108 degrees west of Giza - sites that both 'resemble the sky' by modelling specific constellations on the ground - we have naturally considered the possibility that the Candelabra could be a work of celestial imitation. What particularly invites this enquiry is the orientation of the diagram. It is set very closely to true north-south, the meridian of the sky, the great dividing-line across which astronomers in all cultures have traditionally observed the 'transits' of stars.

The Candelabra was intended by its designers to be seen from the north. Indeed, there is no other perspective from which it may be satisfactorily viewed: the observer must face south towards the sloping escarpment on which it is carved. Examining the diagram from the base up naturally draws the eyes towards the southern sky above the escarpment, and specifically towards the south meridian. Although it may be entirely coincidental, computer simulations tell us that at around the hour of midnight on the March equinox 2000 years ago - the epoch in which the Candelabra was probably made - the constellation known as Crux (the Southern Cross) would have been seen lying on the south meridian at an altitude of 52 degrees. At that moment an observer positioned on a boat as we now were, about a kilometre north of the Candelabra, would have seen the Southern Cross suspended in the sky directly above the great cliff diagram." (Hancock 3)

An altitude of 52 degrees for the Southern Cross suggests 7 * 52 = 364 for my mind.

108 degrees west of Giza means 1/5 of the sum of the interior angles in a pentagon, a symbol of celestial strength. The sum of the interior angles in any polygon is calculated by the formula A = 180 * (n - 2).

polygon	n	A	A / n
triangle	3	180^°	60°
rectangle	4	360^°	90°
pentagon	5	540^°	108°
hexagon	6	720^°	120°

The rightmost column shows what interior angle we have in a regular polygon.

I think the ancient peoples over the world were well aware of these facts. The location 108° west of Giza for the Candelabra of the Andes is a natural choice.

Angkor Vat is located exactly at the opposite 'pole' (180° away either if you go west or go east). Moreover, I remember that in Heyerdahl 6 he suggests that this temple ground has been established by people influenced from America. (They went the easy way over the Pacific, helped by winds and currents.)

"Again, when one finds numbers like 108, or 9 * 13 [sic! unquestionably an interesting mistake], reappearing under several multiples in the Vedas, in the temples of Angkor, in Babylon, in Heraclitus' dark utterances, and also in the Norse Valhalla, it is not accident." (Hamlet's Mill)

The problem for us is that 108 and other eye-catching numbers are not objectively 'there' in the same reassuringly way as the statues in Angkor Vat; it may all be just in our minds:

"... It is known that in the final battle of the gods, the massed legions on the side of 'order' are the dead warriors, the 'Einherier' who once fell in combat on earth and who have been transferred by the Valkyries to reside with Odin in Valhalla - a theme much rehearsed in heroic poetry.

On the last day, they issue forth to battle in martial array. Says Grimnismal (23): 'Five hundred gates and forty more - are in the mighty building of Walhalla - eight hundred 'Einherier' come out of each one gate - on the time they go out on defence against the Wolf.'

That makes 432,000 in all, a number of significance from of old.

This number must have had a very ancient meaning, for it is also the number of syllables in the Rigveda. But it goes back to the basic figure 10,800, the number of stanzas in the Rigveda (40 syllables to a stanza) which, together with 108, occurs insistently in Indian tradition, 10,800 is also the number which has been given by Heraclitus for the duration of the Aiōn, according to Censorinus (De die natali, 18), whereas Berossos made the Babylonian Great Year to last 432,000 years. Again, 10,800 is the number of bricks of the Indian fire-altar (Agnicayana).³²

³² See J. Filliozat, 'L'Indie et les échanges scientifiques dans l'antiquité', Cahiers d'histoire mondiale 1 (1953), pp. 358f.

'To quibble away such a coincidence', remarks Schröder, 'or to ascribe it to chance, is in my opinion to drive skepticism beyond its limits.'³³

³³ F. R. Schröder, Altgermanischer Kulturprobleme (1929), pp. 80f.

Shall one add Angkor to the list? It has five gates, and to each of them leads a road, bridging over that water ditch which surrounds the whole place. Each of these roads is bordered by a row of huge stone figures, 108 per avenue, 54 on each side, altogether 540 statues of Deva and Asura, and each row carries a huge Naga serpent with nine heads. Only, they do not 'carry' that serpent, they are shown to 'pull' it, which indicates that these 540 statues are churning the Milky Ocean, represented (poorly, indeed) by the water ditch,³⁴ using Mount Mandara as a churning staff, and Vasuki, the prince of the Nagas, as their drilling rope.

³⁴ R. von Heine-Geldern, 'Weltbild und Bauform in Südostasien', in Wiener Beiträge zur Kunst- und Kulturgeschichte 4 (1910), p. 15.

(Just to prevent misunderstanding: Vasuki had been asked before, and had agreeably consented, and so had Vishnu's tortoise avatar, who was going to serve as the fixed base for that 'incomparably mighty churn', and even the Milky Ocean itself had made it clear that it was willing to be churned.)

The 'incomparably mighty churn' of the Sea of Milk, as described in the Mahabharata and Ramayana. The heads of the deities on the right are the Asura, with unmistakable 'Typhonian' characteristics. They stand for the same power as the Titans, the Turanians, and the people of Untamo, is short, the 'family' of the bad uncle, among whom Seth is the oldest representative, pitted against Horus, the avenger of his father Osiris.

The simplified version of the Amritamanthana (or Churning of the Milky Ocean) still shows Mount Mandara used as a pivot or churning stick, resting on the tortoise. And here, also, the head on the right has 'Typhonian' features.

The whole of Angkor thus turns out to be a colossal model set up for 'alternative motion' with true Hindu fantasy and incongruousness to counter the idea of a continuous one-way Precession from west to east." (Hamlet's Mill)

We have earlier seen the Mayan version of the Incomparably Mighty Churn:

... The turtle is a 'person' which also (e.g.) the Maya saw as located at the top of the year 'mound':

The picture - from Hamlet's Mill - is commented: ... the rope, the tortoise, and the churn (including an hourglass?) can be made out, and the 'kin', the sign of the sun, glides along the serpent-rope ...