part VI: the Lyre, Isaiah

part VI: the Lyre, Isaiah

the Lyre, the musical instrument of the Watercourse

textnote:
we are aware that often people read words at face-value, and many think a term as “the land” should be ofcourse “this earth, we live on” — but a term like this is decided from the context it is placed in; for example, “Egypt” is a real country during the exodus, but always represents Sekhet-Áaru when the term is used in prophecy. Related to this face-value is a second problem, namely the line-up of the words being used:
there is the “interlinear version” (which we use), and there is the other version (from which most modern versions are taken from, as KJV); but this version is often “switching words” in a sentence, and when object and subject have switched places, it often renders a different meaning, altogether. We consider this was done on purpose, in order to “keep the adamite soul thinking like Job”, using “sorcery by words”: because sorcery is typically about “creating another consciousness by hustling the order of words”; and we consider the added term as “reverse interlinear” to be no accident.
note: our interpretation of the line in purple; possible interesting terms for you in the notes in darkblue ; we apologize for each time the extensive notes, it makes things very unreadable, but Vital for context; we added other (legal) possible readings in red , glued to objectword,
summary – …after meeting the harp played by Apollo [part to be posted] and as next theme in Mahabharata, we decided to look first what scripture informs us about this instrument [since that is our core];

the term appears in relation to the “24” in Revelation, who are seated in the area of the upper node (see diagram page) where the throne is restored again soon; and a more contextual fragment is in Isaiah chapter sixteen [below], per definition the Lyre must relate to the same area.
A] the lyre in glyphs
1) related to “the very start of their matrix construct”
…we should show ‘normal harps’ first, but for context starting with the above scene, from amtuat I, where the rã boat has attached in front a something, by some dubbed ‘a mat’, by others a carpet. The carpet is positioned such, that either is intended “that the boat sails through it” or perhaps “has captured it as trophy” – likely both; it does not appear in any of the following hours. The ‘carpet’ has no name attached;
neither it is traceable as such in the lines describing this scene; and having learned how very punctilious those were who have written these spells, it was for a reason.
In front of the boat, just before the carpet, marches a deity holding a huge knife (not pictured here), with a name related to “to slay the word-inside for existence by the K-axis”, and this theme will return by the ‘harp’ names, below. It is absolutely Un-doable to try understand the depictions and glyphs, without grasping the intended concepts — but ancient Greece showed Apollo upon the bowl holding a lyre; Rig Veda mentions similar, and also scripture: then our only option is to try see whether the spells show the same thing.
In the picture, the ‘carpet’ cóuld be “a lyre”, and here related to “a stream of water”, also “being a construct” (because of the boat), and coupled with the knife-male who apparently cut-off and conquered this construct. All of tuat I is weirdly divided into many pictured sections, as if a “doubling” is going on here; yes ofcourse we’ll need to review it again, but now this crucial aspect is involved, we can read it better; to right, the plausible glyph we consider this “carpet” to be, as T’EMA-M,
“(the rug) / (for) the M-realm / (by) to reap (lampstand) / the hand (T’)”; the ‘reaping’ is “within the lampstand” (the sickle-MA), the context is about ‘weaving (creating)’, and the derived glyph will be the matrix-term QEMAM, ‘to create’, but bý the q-axis, this time. Please consider the next glyph-pics, containing the actual “lyre”:

1) related to the axis
– to right, lower position, tchatchnu-t res, ‘lyre, harp’,
the context of the glyph is “being related to the q-axis”,
where both axis fire-drill the eden-tile. the south-land,
RES, is insofar important that it contains the -R and -S,
which will be used abóve the line as SER,
“to make speech (via adamite soul)”, here read as
“the lyre/(of) the south-land/(at) place-T
for the word-inside by the double-fire-drill”,

linking immediately the axis with this Lyre concept.
Perhaps the lyre should be imagined as ‘vocal cords’,
where the produced ‘sound’ [as words] is likely not
so much related to the eden-realm, but related to…”
the material-type substances shared with the M-realm”,
which may be the reason they wanted it so much.
Compare how, until now, théir rhythms for physical life etc.,
all the different cycles, are made by a “drum”, as the
‘heartbeat of this solarplane’.

One position above that, at BD 99, ‘part of a boat’,
“the staff (wood)/(of) vulture-rule/(for) the Ba-soul/(of) the solarplane”,
perhaps explaining the strange sceptre-glyph used in several PT’s;
both glyphs above that have the magically-dangerous \\,
showing that it is a room which does not belong to them,
“the house \\ (for) the word/ (by) the double-fire-drill”,
the ‘house’ being the area right upon the eden tile
(see diagram w/ woman);
as well as “the place / (for) the word / (by) the double djed-pillar”;
the concept of the latter we still search;
perhaps the stepdowns TCH-TCH and TCH-T’ etc can help;
TCHAR-; several, “the essence / (of) the mouth (eden’s) / (by) the fire-drill”,
TCHARI, “the essence / (of) the most-b-soul-adam / (of) the mouth / (by) the fire-drill”,
TCHARÃA, “to become the great pillar / (by) the mouth / to fire-drill”,

b) at k-axis

… to right, KENNARTU, and KENÁNÁUR;
the interesting is the relation with the [only] hebrew word for harp, KINNOWR, where, above, Strong’s tells it is from an unused root – that root being completely untracable but with a lot of bending; yet the similar term appears as glyph. It may be coincidence (since hebrew and glyphs are unrelated), yet in several important themes, glyphs dó match – likely because of legal right.

The top one is probably a derivation, but reading as as well as
“the staff (wood)/(of) the one / mouth (eden’s)/(for) vulture-rule/(of) existence/(as) existence/(by) k-axis”,
where the ‘one’ can be “the word of place-T”; and though
the relation between ‘staff’ and ‘mouth’ is made here
(let’s see where that combination appears in other glyphs),
the word itself is magically\\dangerous; better is lower one,
as well as “the staff / (of) the lion-mouth / (for) the word of hail/(of) existence of hail, / (for) existences / (by) the k-axis”;

– the related clusters are for us to go chew upon: KKU\\,
‘word of darkness’, KHENSU, ‘this moon’s energies’
(as words!), RRK, their serpent of eden-speech, KENMUT, ‘ape’, etc;
not pictured is “wrath, abuse, anger”, here KENÁT, the ‘anger’
will return in next shown glyphs below, here as as well as
“to become place-T of hail / (for) existence / (by) the k-axis”,

c) for the solarplane

… as BEN or BENT-, ‘harp’, but now as “the lyre for existence by the solarplane”; and this BENT has the same connotations as previous: BENT-, ‘ape’, and that same ‘evil, wickedness’, but now as “the hail for existence by the solarplane”; and a similar set of links we need to look at – first as the “doubling” through BENBEN (to copulate with), BENBEN (-stone), BENU phoenix, BENÁ (now turned into ‘sweetness’ – of hail for the solarplane), etc.

… since there are three positions in the BEN- chapter, as stepdowns, it can make sense that the nature of the lyre was indeed for “the type aspects shared with them” – BÁNT, to right, is obviously a stepdown of BEN, before; with the purpose to get to ‘horus-falcon’, BÁK, and to iron [energies], BÁA; the same ‘sweetness’ appears again, and also a palm-tree: likely the start of BEQ, carrying the solarplane, linking to the q-axis (as some bizarre offshoot of the latter);
…and next stepdown as BAÃAINU-T, ‘harp’;
coming close now to BEB and ÁBAIT, Apollo/abaddon (at top, with deity-endglyph); the lyre may read as “the staff (wood) / (by) place-T for the word-inside / (for) the m-b-soul-adam-like dimensional-spaciousness / (of) the Ba spirit-soul”, and note the same ‘place for the word-inside’ as by the TCHATCHA, above.

The ‘spaciousness glyph’ (the tub, following the ba-soul) may relate to the ‘form of the words’ – though to us ‘sounds’ appear as waves, the sound made by the harp must result in “expanding bubbles of sound”, much alike the growing soap-bubbles a child can play with – but then “filled with sound”, which is ‘spacious’ because eden’s word is that nature. The comparison can be valid, relating to the “birth of Aphrodite”, the Greek goddess of beauty – as the inside of the Ba-soul – who was “born in the foam of the sea”;

questions
carefully we look whether the concept itsélf can make any sense, but it is still Tricky to try imagine “what this harp can look like”, or “what is playing it”: though this Lyre theme seems to be related to “the deer” [next part of Mahabharata], and to either tree or horn, we need find connections between their important “throat”, as KHKH- etc, whereby the glyph KH-, to right, is said to represent “a sieve” – but in our present context it is more probable it is harp-related. first below the Isaiah 16 chapter, for context

B] the construct of ‘Moab’ addressed — Isaiah sixteen
1) Jubal and David
Apart from the elders, related to the throne at the upper node,
there is another person mentioned; “Jubal was the father of
all such as the harp….”, as the father of musicians;
his etymology is as Jubal, “stream”, H2986 yabal, ‘to flow,
to bring’ — as the Watercourse brings the words,
and the same word for ‘harp’ is used, H3658 kinnowr,

…as the same term for the lyre in the story of David,
where the Link is made between the king’s mental suffering
(from an evil spirit), and David playing the harp,
wherefrom the king started to feel better. It shouldn’t
be coincidence that, at some point, he “throws a spear”
to the playing David – since spear [or tree or axis] are
related to the lyre theme, and because everyone He uses,
will perform a playout related to themes as this.
More about David, below,

2) Isaiah 16 –
send-you! butting-lamb one-ruling-of land from·Sela wilderness·ward to mountain-of daughter-of tziun
Send ye the lamb to the ruler of the land from Sela to the wilderness, unto the mount of the daughter of Zion

  • sela, ‘rock’, likely used as ’tile’, as part of a mountain,
  • lamb, ult. from karar, ‘to whirl, to dance’, to move in a circle [comp. same root ‘a round vessel’], to run, to leap [where the term ‘lamb’, kar-, is taken from]; if anyone ‘dances’ it is Shiva (Osiris as construct) and the glyphs as ÁB- Abbait-apollo, where the dancing represents “béing created”; the term should read ‘leaping animal’, not specific ‘a lamb’ [because also ram and camel are used], and could be “deer” just as well [!]; here as “the construct which creates (maintains)”,
  • wilderness: the ‘rock’s wilderness’, likely as “the rule of the north-mountain” (diagram page), Send the deer, as the one construct ruling the land, from the wilderness of the north-mountain to the (construct of) the tziun mountain

and·he-becomes as·flyer flitting nest one-being-sent-away they-shall-be daughters-of Moab crossings to·Arnon
For it shall be, [that], as a wandering bird cast out of the nest, [so] the daughters of Moab shall be at the fords of Arnon

  • our version has “and he becomes” added; in kjv as H5074 nadad, “to move”, other colours are “to flee, to remove, to cast out”,
  • ‘bird’, appears negative, yet can only be negative in relation to ‘nest’, [likely as Horus], see next;
  • ‘nest’, ult. H7077 qanan, few instances, all negative; ‘nest’ as glyph SESH-, the false SH-pool north,
  • our version adds ‘they shall be’,
  • ‘daughters of moab’, Moab, “of his father”, said from M- plus ab-, ‘father’; but note that in all 1200+ instances, this ‘father’ is always addressed to “human fathers” [yes also the st.Paul term is off, read, ‘redacted’], and the reason is the very word AB-; simply because it is THE root of apollo-abaddon and the cauldron. The incest relating to the story of Lot is supporting this AB- theme of “illegal mixture”; in context, “the daughters” are “the artificial constructs of the cauldron ABT’U”, the M- perhaps as M-realm (same mixture),
  • ford, ‘a place of crossing’, ult. from H5674 abar, “to pass over, to die, go away, depart, bank of a stream”, comp. ‘niburu’; the context of “the shores of the solarplane”, glyph UT’EB, is close;
  • arnon, ‘rushing stream’, border between moab and amorites; from H7442 ranan, ‘to sing’ [in spells as ‘to create’, singing-goddesses], context here perhaps as ‘imprisoned, split-off part of the watercourse’ [since this arnon-river],
    he becomes / as the (horus) bird / is leaving / the nest (matrix) / as one being sent-away, / (and) they shall be / the constructs of the AB-mixture-land / (at,of) the shores / of the split-off Watercourse

bring-you! bring-you! counsel make-you! mediation set-you! as·the·night shadow-of·you in·midst-of noons make-conceal-you! ones-being-expelled one-flittering must-not-be you-are-exposing
Take counsel, execute judgment; make thy shadow as the night in the midst of the noonday; hide the outcasts; betray not him that wandereth

  • twice ‘bring you’; yet most translated as “to come”, also ‘to enter, bring upon’ etc; depending on next terms, but apparently this bird is being addressed;
  • noon-day, at first sight as Rã’s attribute METER-, ‘noon, mid-day, middle’, but definitely eden’s here; the context is that the horus-spirits, who always judged, UTCHÃ, now will be judged by the return of eden’s daytime they can no longer hide within,
    Take council, / (and) make a judgement, / setting yourself (this time) / as a night-shadow / in the midst of / noon (eden light), / to hide yourself as outcasts, / as to not expose yourself as one who has fled;

they-shall-sojourn in·you ones-being-expelled-of·me Moab be-you! concealment for·them from·faces-of one-devastating that he-reaches-the-limit the·squeezer he-finishes devastation they-come-to-end one-tramping from the·land
Let mine outcasts dwell with thee, Moab; be thou a covert to them from the face of the spoiler: for the extortioner is at an end, the spoiler ceaseth, the oppressors are consumed out of the land

  • the main deity of Moab relocated to India as ‘Ganesha’, the elephant-headed pot-belly [sic], it’s pot-belly and other characteristics still recognizable. Here, ‘moab’ will be a “small black hole” as Prison – somewhere….
  • the squeezer, H4160 muwts, “to press” [hence ‘opressor’], but perhaps as staff-ta, as fire-drill (pestle-glyph)..?
  • trampling; kjv as taman, “complete, finish, consume, destroy, cease doing’,
    they shall wander / inside you, / (namely) those who I expelled, / (and), AB-land, / you be / the secret hidingplace / for them; / from the (dimensional) sides of / the devastating(ed) one / that / reaches the limit / the staff-tá / he finishes / the devastation / (and) they come to an end / as the one trampling / over / the land (south!)

16:5 u·eukn and·he-is-cestablished in·the·kindness throne and·he-sits on·him in·truth in·tent-of David one-judging and·one-inquiring judgment and·swift-of justice
And in mercy shall the throne be established: and he shall sit upon it in truth in the tabernacle of David, judging, and seeking judgment, and hasting righteousness.

  • ours adds, ‘and he is established’; the ‘judgement’ is again in comparison to their continuous judgement UTCHÃ,
  • tabernacle, or tent – compare the tabernacle-theme in relation to Tutankhamon’s shrines [see page], but now as “restored situation”; that it is a ‘tent’ [still!] may be because only the interval will start, soon (and not the new heaven and earth, yet);
  • throne, from H3680, “covering”, as the dome over the eden-tile (see diagrams, throne), where the ‘covering’ was until now Hathor’s hair;
  • David, as DwD;if you will do a search, you will find surprisingly un-solid root about a theme so important as ‘David’, representing Adam’s masculine having been restored [note how he is linked to the temporary tent, still – as during the interval]; we here suggest that the term DwD represents a truth-symbol akin to the IEUE word. The latter contains the vowel VaV, as halfstaff-T-e, being flanked by two figures with upright-arms, in the paleo-hebrew version – as “protection of the half-staff”. It is no coincidence that the nail, VaV, was related to the ‘hand’, per crucifixion: the hand as executive-area, the nail as staff. The term ‘hand’, yaD, is akin to the forms of DwD as yaDD etc;
    and (instead,) it is established / the mercy / throne-covering, / and he sits on him / (namely) the truth / of the tabernacle of / David, / as one judging / by inquiring for judgement (from heaven), / and hasting righteousness

we-hear pomp-of Moab proud very pride-of·him and·pomp-of·him and·rage-of·him not so therefore he-shall-chowl Moab for·Moab all-of·him he-shall-chowl to·raisins-of qir-chrshth you-shall-mumble ones-despondent
We have heard of the pride of Moab; [he is] very proud: [even] of his haughtiness, and his pride, and his wrath: [but] his lies [shall] not [be] so. Therefore shall Moab howl for Moab, every one shall howl: for the foundations of Kirhareseth shall ye mourn; surely [they are] stricken.

  • Kr-haresh, ‘wall of potsherds’, from Quir, “wall [of a house], sides [of an altar]”; from H6979, ‘to undermine, dig under, undermine, to cause to flow water, to bore [sic]” the other is a combined-term, “earthen-stone”, as ‘potsherd’ [‘useless’], the foundation is ashesh, used only once, the ‘double’ may reveal this house is “the house of Saturn H’ET, from ‘fortress’ and ‘earth’; note how it says “we are hearing the pride of him”, still judging at that place,

that plantations-of Heshbon he-is-feebled vine-of Sibmah possessors-of nations they-beat-down yellow-muscat-vines·of-her as-far-as Jazer they-touched they-strayed wilderness runners-of·her they-were-let-go they-passed sea
For the fields of Heshbon languish, [and] the vine of Sibmah: the lords of the heathen have broken down the principal plants thereof, they are come [even] unto Jazer, they wandered [through] the wilderness: her branches are stretched out, they are gone over the sea.

  • plantations, or ‘fields’; but it’s colour is “cultivated fields” but as in glyph AH’T [within, and just above the lampstand, of Saturn-H’];
  • Heshbon, ‘stronghold’, ult. from H2803, ‘to calculate, plan, to devise’ either glyph KA- or H’SB;
  • vine; several times used and mostly negative; the H1612 gephen shows “to bow, to bend”, which is ofcourse appropriate for a vine but so is the glyph KHEB- ‘to bend’, towards the K-axis:
  • Sibmah, root unclear; “fragrance”, but without better root it can be anything; glyph ÁAR and T’EKH- are used in spells as ‘vine’, but we cannot link any because ‘Sibmah’ has too little to go by;that she is a ‘possessor of nations’ may be the workplace ÁS – since there are these physical bodies [and of the Ba-souls] fabricated,
  • yellow-muscat-vines; yet the rootword soreq as ‘choice vine’ should relate to ‘redness’ [saruq] [saraq, ‘to hiss] which is Adam’s attribute [and as mutilated redness T’ESHER]; the problem is the use of the same word for both matrix and eden context, here complicated by the suffix ‘of her’,
  • Jazar, ult. H5826, as ‘to surround, to defend’, protect, to aid – but the root AZ- implies matrix,
  • they were let go, natash, “to pound” [beating-out and thus extending], to leave, we leave this line for a next time,

·so I-shall-lament in·lamentation-of Jazer vine-of Sibmah I-shall-soak·you tear-of·me Heshbon and·Elealeh that on summer-fruit-of·you and·on harvest-of·you whooping he-fell
Therefore I will bewail with the weeping of Jazer the vine of Sibmah: I will water thee with my tears, O Heshbon, and Elealeh: for the shouting for thy summer fruits and for thy harvest is fallen

  • to weep: contextually, God wouldn’t weep over their matrix constructs being destroyed, so this isn’t an emotional concept – the weeping as “essence of the eye”, that is, “of the cherub wheel”, counteracting “the tears of Rã”, as projected wheel, and from that essence making the egyptians RETH- by his ‘tears’ REM-;
  • whooping or shouting; an unclear concept for us, “either in battle or exitement”, but it is related to the harvest going bad, perhaps in relation to the speech (R) in REM- but now as ‘shouting’, as unadultered-eden-speech..?
  • el-ealeh, god-ascending;
  • he fell; pun on NPHL, nephilim, as the anunna-gods,

and·he-is-terminated rejoicing and·exultation fromthe·crop-land and·in·the·vineyards not he-is-being-jubilant not he-is-shouting wine in·the·winevats not he-is-treading the·one-treading whooping I-caused-to-cease
And gladness is taken away, and joy out of the plentiful field; and in the vineyards there shall be no singing, neither shall there be shouting: the treaders shall tread out no wine in [their] presses;

  • vineyards, as karmel; here as the Sekhet-fields, where the nature of the term is ‘abundance’,
  • shouting; see previous; the wine-presses remind of the butcher of Osiris SHEMSU-, the ‘wine-press god’,

so bowels-of·me for·Moab as·the·harp they-are-clamoring and·inward-of·me for·Kir~Haresh
Wherefore my bowels shall sound like an harp for Moab, and mine inward parts for Kirharesh.

  • ‘bowels’ are a wrong colour here; other terms are ‘womb, heart, the breast’, but we’d suggest “the torso”, not as glyph AB- but now at the right position, namely the upper half of the lampstand.
  • clamouring, word used in kjv as H1993, “to roar, rage, cry aloud, noise, tumultuous, etc”, compare the shouting, before; the entire sentence in present context presenting a trivial meaning – but it dóes make sense, when the ‘harp’ is again in the right place, and, fed by the Watercourse, “now roars at the Sekhet-fields” [protected by Moab – as their previous rule over the eden tile]: in order to break them all down.
  • harp as H3658,
  • inward of me, as repetition of “the torso”,
  • Kir haresh was the ‘to undermine, dig under, dig out of, to cause to flow forth of water [sic]

and·he-becomes that he-appears that he-tires-himself Moab the·high-place and·he-comes to sanctuary-of·him·to-pray-of and·not he-shall-prevail::
And it shall come to pass, when it is seen that Moab is weary on the high place, that he shall come to his sanctuary to pray; but he shall not prevail

  • the high place; in the many uses, there is a strict difference with God’s [high] place [see Micah 1:3], obviously because the term for it is Bamah, a step-down of ‘monster’, leviathan and behemoth; indicating this high place is glyph QA-, within the Sekhet-fields,
  • sanctuary, as H6942 qadash, but always as “physical holiness”, to sanctify this body;
  • to pray; as ‘to invoke’; interesting is the remark of the connection with ‘to revolve’; the word is absent in prophets and NT;

this the·word which he-spoke ieue to Moab from·then and·now he-speaks ieue Yahweh to·to-say-of in·three years as·years-of hired-one and·he-is-slighted glory-of Moab in·all-of the·throng the·vast and·remnant little bit not abundant
This [is] the word that the LORD hath spoken concerning Moab since that time. But now the LORD hath spoken, saying, Within three years, as the years of an hireling, and the glory of Moab shall be condemned, with all that great multitude; and the remnant [shall be] very small [and] feeble.

  • condemned as ‘dishonoured’,
  • multitude, H1995, hamown, is deliberately not used as per Revelation, but as general term, often negative or maximum ‘a mixed multitude’ [of good and bad ones]; here, obviously it is their multitude of spirits, glyph ÃSH,
  • three years; Isaiah was about 700BC, plus 3000 years..?

NEXT: PART VII: old Greece and parabolic mirrors, Genesis and Mahabharata > >

#note –
we can always do better; much can be improved in the above
concept of understanding whát was actually addressed,
but it gives us all a solid base to explore the imprisonment
of the Watercourse further, now the Lyre is established,

Posted: November 3, 2017 at 9:18 pm by loNe
Last Modified: December 16, 2017

Comments are closed.