It appears that the nature of pyramid texts that accompany the ‘deceased’ is to allow the ‘deceased’ to rise through the various arenas of contention where particular ‘gods’ and events are met and bypassed. The journey is for the ‘deceased’ to verify their right to reside with the great Gods in the afterlife and Netherworld...and also in the very realm that the Gods reside: the celestial mansion. It is the Celestial Mansion that Ra travels in his solar barque, Ra being the sun itself, and as long as the sun courses through the sky, life will continue on Earth and in the cosmos. For all this to happen, there had to be a beginning.
Zep Tepi offers up the birth of the universe out of a primordial egg where the egg manifests once a very strange battle results in the universe being allowable to exist. There is no time span during this pre-existing moment where this strange battle occurs...just that it is and has always been in the background, waiting for the right moment where one party quite happy with there being non-existence seemingly makes a mistake. The mistake is seized upon by a second party that has always been contending that existence should be had, and the ‘thought’ of existence forms the egg. There is contention that the egg and its space-time-life composed within are an abomination but the ‘structure of non-existence’ itself rules that existence is now unstoppable. Once the egg is manifest, it has a guardian overseeing the egg and its internal wonder that will break the egg open and put forth all things that will ever exist inside the universe.
All gods in their guises and names and forms and functions spring forth when the egg breaks and reveals the first form: the universe itself. This form then creates the next forms, the highest gods, and they the next, the higher gods, and so on, opening up ever more lower realms or stages upon which and within which we have all life and powers and functions and forms. We, the thinking and perceiving forms that can appreciate the grand hierarchy of all kinds of participants not just in the universe but also those beyond the veil, give reason and appreciation to it all...and create different dramas to describe it all so that we can show our most glorious thanks to the universe and all its upper responsible forces and actions for continuing to give us life.
Each drama is but a layer of understanding that mimics layers either side of it in some way. Ra and his retinue are replicas of Khepera and his retinue, but they have different guises and functions. Osiris and his retinue are again replicas of the others, with different guises and functions. The dramas these are involved in express our ability to give definition to them and explain them in some way. Zep Tepi promotes the understanding of the universe ‘becoming’, and Zep Tepi promotes the return of the sun on the winter solstice in its celestial travels, and Zep Tepi also promotes the intelligent man grasping the wonder of existence where once man was ignorant of such things. In the very drama a Pharaoh performs as he exits from the Earthly plane, he is merging these three arenas of Zep Tepi into his own journey of being valid in condensing those dramas into a fourth drama: what Pharaoh does so that all hierarchies of force and power and form and function allow mankind to continue to have their realm of existence in which to live as best as they can, according to the laws that govern this realm from the higher realms of the gods. If we make grave mistakes, we have to rectify them; if we do the right things, we get to go on; if we make an ally of a god, we get assistance from them, and we will do all kinds of things to make an ally and define what works and what does not in keeping an ally on our side.
Sometimes though, mankind discovers ways in which to seemingly take something that is a natural law and harness it to our own use. We seemingly curry favour with certain responsible parties by immersing ourselves into something so profoundly that we understand that party, what they do, how they do it, and we define a way in which to mimic it. All manner of tales offer up instances of either men or gods doing something to bring a ‘godly work’ to mankind, either by theft, reward, pity, courage, or just plain tenacity to know something. One of those things is how to journey through the realm/s of the gods and their arenas of existence, and to do so in such a way that we do not disintegrate from the effort.
All manner of ancient writings from all manner of societies have their versions of these things, and the ancient Egyptians had a very particular one that hides science within ‘religion’. When we put the Pyramid Texts under scrutiny, we see science existing within the myths and legends that describe all those gods and their dramas, expressed as dramas because the science of things was quite mystical and could really only be compared to extensions of our own existence, but on a whole other level of how things exist and how they do what they do. In the death of a Pharaoh and his journey through the realm of the gods, he is performing actions that are scientific in principle yet religious in expression. He is also following a directive so that he succeeds in his purpose and yet one must consider how Pharaoh knows how to successfully journey, an out-of-body experience, successfully.
‘Foretelling the future’ comes in many forms, where the most widely used one is based upon astronomy. This form crosses into astrology, and all manner of celestial realms and their inhabitants and cycles can be ‘known about’ and then worked with or against to bring about favourable moments in time when works are either performed, prepared for, or left undone for a more auspicious time. Knowing celestial mechanics means knowing the future according to ‘seasons’ and cycles that all manner of things perform their own life-cycles amid...from the migrations and breeding patterns of all kinds of animals and creatures, to plant growth and their fruits, to weather patterns, to cyclical celestial phenomenon in such as the planets moving, eclipses, comets/asteroids making their journeys through our system - Halleys Comet is one, Leonid and Geminid meteor showers are a couple of others. These are all participants in their own dramas that mankind can create stories about and know them so that we can respect and use them when we should. Or suffer from some kind of calamity when things go awry.
On the one hand, we have science; on the other hand, we have mysticism. We ‘know’ things, but we also are susceptible to nature’s ways. What nature is in all its forms are the titles of gods and what those titles represent. If we know a ‘god’ and its ways, we can create a drama to define what that is, and by inputting an effort into that drama, we can direct the outcome of something rather than being susceptible to nature’s ways.
Another form of ‘foretelling the future’ is by crossing into a realm of a particular god and being that god in its existence. The boat of Ra is so named the solar barque of millions of years: Ra is all-existing in his life cycle, and is every moment at once. So too are all manner of gods that are so grand and great as Ra. For the ancient Egyptians, immersing them self into the form of Ra or another god is to be that god and know as that god knows. There is only one way to do this: one has to die. Apparently, death allows one to take on the persona of a particular god, and in many rites and rituals performed by all kinds of societies, a figurative death also allows someone to adopt the guise of a god and be the intermediary between mankind and the gods. Yes, one doesn’t have to actually die but may be seen as dead due to some kind of action.
In the structure of the Egyptian belief system, science does indeed hide an amazing truth in the recreation of the dramas of Zep Tepi in all its layers and extensions as Pyramid Texts. This truth is the death of the Pharaoh in order to traverse the barrier between mankind and the universe; between time and timelessness; to step outside of the way of things and see what that way is leading to. By knowing the destination, mankind can prepare for it or alter its course, and Pharaoh and all manner of people who involve themselves in such events do die – actually or figuratively - and do come back to tell the tale of what is going to happen.
The very moments leading up to death and revival from death are laid out in such as the Book of Caverns, one text among several such treatises on passing from life into the after-life. One specific section of this book deals with the very death of the Pharaoh, portrayed in several ways as Osiris being resurrected at the hands of Isis – with a little help from Seth; the sun reaching the mid-point of night where it turns around in its winter solstice moment to return to summer; and the Pharaoh having his ‘soul’ taking up its position both within the land of the living and the land of the dead. This specific section has several scenes occurring within a very particular location, and in regards to the pyramid – in its form and inclusions – this location is the Queen’s Chamber.
Various treatises offer up versions of these matters where they try to identify what occurs, and some actually do offer up the occasion of what occurs that is hidden within a mystical scene while also describing a scientific procedure: electricity kills the Pharaoh, and electricity revives the Pharaoh, and the electricity is the clap of thunder and brilliance of lightning described in certain texts. One bolt of this is red and is the killer one. The other bolt of this is blue and is the reviving one. Pharaoh is the only one within the chamber for both bolts, but he has a helper that goes in after the death-blow and sets about readying the body for revival with the effects of certain things that are within a ‘box’ in the chamber. If the procedure fails, Pharaoh has his heir nearby to assume the vacated role of himself, along with other participants responsible in their ways for what they do in aiding this whole drama to unfold to its end, or as just observers to make sure things unfold as they should, or just to be witnesses to the drama.
Once Pharaoh has been revived, the recounting of what he saw while dead is gone through and courses of action are implemented to either make sure the future unfolds as it should, or try to redirect the future to a better outcome. The problem with this comes down to who else knows what...and if there is a way for them to use that knowledge to also implement their own agenda for whatever benefit they may assume. Some things can surely be known if the right questions are asked or offered while Pharaoh is dead; otherwise it is just the perception of what the future may give over. Death itself is a strange affliction that, on the one hand has no life within the body, and on the other hand has some form of energy that leaves the body and goes elsewhere. We kind of think we know our mind and physics and how things work, but ‘thought’ is a very strange thing. We know from certain examples that ‘thought’ can be measured outside of the skull as electrical radiation, and there are all manner of examples of telepathy and such that show ‘thought’ can travel. How far and to where thought can travel is the great contention both science and religion struggle to define.
I will give over one contention from all this: the ark of the covenant. This is the ‘box’ within the chamber, stolen and whisked out of Egypt to herald a new direction for the thieves and their own defined value in corralling not just a ‘god’ but the favour and hopeful control of that ‘god’. What the thieves did not know was that it was the pyramid itself and its features and functions that were the important bits. The ‘box’ was a necessary prop but only a prop. The pyramid and its function had long since ceased to be of importance for whatever reasons, either all that was necessary to know was discovered by ‘death-trips’, or the pyramid malfunctioned and lost its ability to create the plasma discharges responsible for dying and revival. Intrusion into the pyramid allowed its ransacking, and it was a very dark day when that happened...all manner of things were eventually released from its structure, and all manner of true scientific wonders disappeared.
Thanks to the recent muon scan of the pyramid, and the identification of a void above the gallery, my analysis of the pyramid showing the winter solstice sun at noon within that very location may identify one particular chamber where who-knows-what is housed. I hazard the guess that it is the very remnants of one of the ancient ones who gave cause for Egypt to be founded...one of those grand ancient ones that were part of a society that underwent a great catastrophe that wiped nearly all of that society’s inhabitants out of existence. An asteroid strike, fragmented across the globe and responsible for all kinds of legends that have come down to us, seems to be this great catastrophe. Many believe that we did indeed have a highly civilised and capable society in the past, and survivors went hither and yon to spread their abilities to the natives they encountered and invested themselves into those societies in order to make life better for them. Certain skills were lost, so all their previous abilities were also lost...but some things could be recreated in ways that needed either great amounts of re-engineering or slight adaptions of simpler elements and devices to recreate older technologies that could no longer work as they used to.
The production of electricity was one of these...necessary for what it could do to someone in having them step into another realm and back again. Lightning is the greatest form of electricity, great plasma discharges that do strike the ground, and if it can be directed to a specific location and harnessed in some way, then it can be used when the right time needs it to be used. It would seem that Khufu’s Pyramid has inclusions for such a thing when we look at the shafts of the chambers, especially the remnants of copper still in the lower shafts. The upper shafts were open to the air and course their ways through the pyramid, especially going wide around the Grand Gallery in order to reach the upper chamber. We don’t know what was in the gallery nor that chamber, nor do we know what kinds of material is within the pyramid that can direct electricity to specific locations, like that of the upper ends of the lower shafts that go down to the middle chamber. What we do know is that plasma can pass through rock that is not that thick, and the shafts of both chambers ended just a few inches before the chambers.
Pyramid Texts offer descriptions of man journeying through the realms of the gods and either staying in that realm or coming back, such are the dramas they tell of. Rejuvenation is the primary tale within those dramas of Ra, Osiris and Pharaoh, and when the pyramid is shown to have certain of its locations as stages where specific scenes of action are performed by those in attendance, we can appreciate what Pharaoh and his retinue are doing: recreating godly scenes and actions so that Pharaoh becomes a representative of two of those gods...Ra and Osiris. Pharaoh doesn’t have to be dead to perform his functions...he needs to be alive so he can inform his closest allies of what he has encountered and been through so that the future is known and can be orchestrated against or with. It is just a really big shame that the secrets of all this have been lost to time and the actions of those who destroyed those secrets. But we do have the remnants that can be rebuilt according to the knowledge of what those secrets were: we have the texts and the pyramid.
By deciphering the pyramid and what it represents, the work I produced in Opus Mundialis Rostau shows the pyramid representing models of the cosmos and the Earth and the various areas of those realms pertaining to various features of the pyramid, those features necessary for recreating dramas that people perform in order to know the future. Considering certain historical occasions and how they unfolded when they did, can we say that certain Pharaohs were successful in their performances within the pyramid? Sure we can...there are records of myth and legend to tell us so.
Cheers
Zep Tepi offers up the birth of the universe out of a primordial egg where the egg manifests once a very strange battle results in the universe being allowable to exist. There is no time span during this pre-existing moment where this strange battle occurs...just that it is and has always been in the background, waiting for the right moment where one party quite happy with there being non-existence seemingly makes a mistake. The mistake is seized upon by a second party that has always been contending that existence should be had, and the ‘thought’ of existence forms the egg. There is contention that the egg and its space-time-life composed within are an abomination but the ‘structure of non-existence’ itself rules that existence is now unstoppable. Once the egg is manifest, it has a guardian overseeing the egg and its internal wonder that will break the egg open and put forth all things that will ever exist inside the universe.
All gods in their guises and names and forms and functions spring forth when the egg breaks and reveals the first form: the universe itself. This form then creates the next forms, the highest gods, and they the next, the higher gods, and so on, opening up ever more lower realms or stages upon which and within which we have all life and powers and functions and forms. We, the thinking and perceiving forms that can appreciate the grand hierarchy of all kinds of participants not just in the universe but also those beyond the veil, give reason and appreciation to it all...and create different dramas to describe it all so that we can show our most glorious thanks to the universe and all its upper responsible forces and actions for continuing to give us life.
Each drama is but a layer of understanding that mimics layers either side of it in some way. Ra and his retinue are replicas of Khepera and his retinue, but they have different guises and functions. Osiris and his retinue are again replicas of the others, with different guises and functions. The dramas these are involved in express our ability to give definition to them and explain them in some way. Zep Tepi promotes the understanding of the universe ‘becoming’, and Zep Tepi promotes the return of the sun on the winter solstice in its celestial travels, and Zep Tepi also promotes the intelligent man grasping the wonder of existence where once man was ignorant of such things. In the very drama a Pharaoh performs as he exits from the Earthly plane, he is merging these three arenas of Zep Tepi into his own journey of being valid in condensing those dramas into a fourth drama: what Pharaoh does so that all hierarchies of force and power and form and function allow mankind to continue to have their realm of existence in which to live as best as they can, according to the laws that govern this realm from the higher realms of the gods. If we make grave mistakes, we have to rectify them; if we do the right things, we get to go on; if we make an ally of a god, we get assistance from them, and we will do all kinds of things to make an ally and define what works and what does not in keeping an ally on our side.
Sometimes though, mankind discovers ways in which to seemingly take something that is a natural law and harness it to our own use. We seemingly curry favour with certain responsible parties by immersing ourselves into something so profoundly that we understand that party, what they do, how they do it, and we define a way in which to mimic it. All manner of tales offer up instances of either men or gods doing something to bring a ‘godly work’ to mankind, either by theft, reward, pity, courage, or just plain tenacity to know something. One of those things is how to journey through the realm/s of the gods and their arenas of existence, and to do so in such a way that we do not disintegrate from the effort.
All manner of ancient writings from all manner of societies have their versions of these things, and the ancient Egyptians had a very particular one that hides science within ‘religion’. When we put the Pyramid Texts under scrutiny, we see science existing within the myths and legends that describe all those gods and their dramas, expressed as dramas because the science of things was quite mystical and could really only be compared to extensions of our own existence, but on a whole other level of how things exist and how they do what they do. In the death of a Pharaoh and his journey through the realm of the gods, he is performing actions that are scientific in principle yet religious in expression. He is also following a directive so that he succeeds in his purpose and yet one must consider how Pharaoh knows how to successfully journey, an out-of-body experience, successfully.
‘Foretelling the future’ comes in many forms, where the most widely used one is based upon astronomy. This form crosses into astrology, and all manner of celestial realms and their inhabitants and cycles can be ‘known about’ and then worked with or against to bring about favourable moments in time when works are either performed, prepared for, or left undone for a more auspicious time. Knowing celestial mechanics means knowing the future according to ‘seasons’ and cycles that all manner of things perform their own life-cycles amid...from the migrations and breeding patterns of all kinds of animals and creatures, to plant growth and their fruits, to weather patterns, to cyclical celestial phenomenon in such as the planets moving, eclipses, comets/asteroids making their journeys through our system - Halleys Comet is one, Leonid and Geminid meteor showers are a couple of others. These are all participants in their own dramas that mankind can create stories about and know them so that we can respect and use them when we should. Or suffer from some kind of calamity when things go awry.
On the one hand, we have science; on the other hand, we have mysticism. We ‘know’ things, but we also are susceptible to nature’s ways. What nature is in all its forms are the titles of gods and what those titles represent. If we know a ‘god’ and its ways, we can create a drama to define what that is, and by inputting an effort into that drama, we can direct the outcome of something rather than being susceptible to nature’s ways.
Another form of ‘foretelling the future’ is by crossing into a realm of a particular god and being that god in its existence. The boat of Ra is so named the solar barque of millions of years: Ra is all-existing in his life cycle, and is every moment at once. So too are all manner of gods that are so grand and great as Ra. For the ancient Egyptians, immersing them self into the form of Ra or another god is to be that god and know as that god knows. There is only one way to do this: one has to die. Apparently, death allows one to take on the persona of a particular god, and in many rites and rituals performed by all kinds of societies, a figurative death also allows someone to adopt the guise of a god and be the intermediary between mankind and the gods. Yes, one doesn’t have to actually die but may be seen as dead due to some kind of action.
In the structure of the Egyptian belief system, science does indeed hide an amazing truth in the recreation of the dramas of Zep Tepi in all its layers and extensions as Pyramid Texts. This truth is the death of the Pharaoh in order to traverse the barrier between mankind and the universe; between time and timelessness; to step outside of the way of things and see what that way is leading to. By knowing the destination, mankind can prepare for it or alter its course, and Pharaoh and all manner of people who involve themselves in such events do die – actually or figuratively - and do come back to tell the tale of what is going to happen.
The very moments leading up to death and revival from death are laid out in such as the Book of Caverns, one text among several such treatises on passing from life into the after-life. One specific section of this book deals with the very death of the Pharaoh, portrayed in several ways as Osiris being resurrected at the hands of Isis – with a little help from Seth; the sun reaching the mid-point of night where it turns around in its winter solstice moment to return to summer; and the Pharaoh having his ‘soul’ taking up its position both within the land of the living and the land of the dead. This specific section has several scenes occurring within a very particular location, and in regards to the pyramid – in its form and inclusions – this location is the Queen’s Chamber.
Various treatises offer up versions of these matters where they try to identify what occurs, and some actually do offer up the occasion of what occurs that is hidden within a mystical scene while also describing a scientific procedure: electricity kills the Pharaoh, and electricity revives the Pharaoh, and the electricity is the clap of thunder and brilliance of lightning described in certain texts. One bolt of this is red and is the killer one. The other bolt of this is blue and is the reviving one. Pharaoh is the only one within the chamber for both bolts, but he has a helper that goes in after the death-blow and sets about readying the body for revival with the effects of certain things that are within a ‘box’ in the chamber. If the procedure fails, Pharaoh has his heir nearby to assume the vacated role of himself, along with other participants responsible in their ways for what they do in aiding this whole drama to unfold to its end, or as just observers to make sure things unfold as they should, or just to be witnesses to the drama.
Once Pharaoh has been revived, the recounting of what he saw while dead is gone through and courses of action are implemented to either make sure the future unfolds as it should, or try to redirect the future to a better outcome. The problem with this comes down to who else knows what...and if there is a way for them to use that knowledge to also implement their own agenda for whatever benefit they may assume. Some things can surely be known if the right questions are asked or offered while Pharaoh is dead; otherwise it is just the perception of what the future may give over. Death itself is a strange affliction that, on the one hand has no life within the body, and on the other hand has some form of energy that leaves the body and goes elsewhere. We kind of think we know our mind and physics and how things work, but ‘thought’ is a very strange thing. We know from certain examples that ‘thought’ can be measured outside of the skull as electrical radiation, and there are all manner of examples of telepathy and such that show ‘thought’ can travel. How far and to where thought can travel is the great contention both science and religion struggle to define.
I will give over one contention from all this: the ark of the covenant. This is the ‘box’ within the chamber, stolen and whisked out of Egypt to herald a new direction for the thieves and their own defined value in corralling not just a ‘god’ but the favour and hopeful control of that ‘god’. What the thieves did not know was that it was the pyramid itself and its features and functions that were the important bits. The ‘box’ was a necessary prop but only a prop. The pyramid and its function had long since ceased to be of importance for whatever reasons, either all that was necessary to know was discovered by ‘death-trips’, or the pyramid malfunctioned and lost its ability to create the plasma discharges responsible for dying and revival. Intrusion into the pyramid allowed its ransacking, and it was a very dark day when that happened...all manner of things were eventually released from its structure, and all manner of true scientific wonders disappeared.
Thanks to the recent muon scan of the pyramid, and the identification of a void above the gallery, my analysis of the pyramid showing the winter solstice sun at noon within that very location may identify one particular chamber where who-knows-what is housed. I hazard the guess that it is the very remnants of one of the ancient ones who gave cause for Egypt to be founded...one of those grand ancient ones that were part of a society that underwent a great catastrophe that wiped nearly all of that society’s inhabitants out of existence. An asteroid strike, fragmented across the globe and responsible for all kinds of legends that have come down to us, seems to be this great catastrophe. Many believe that we did indeed have a highly civilised and capable society in the past, and survivors went hither and yon to spread their abilities to the natives they encountered and invested themselves into those societies in order to make life better for them. Certain skills were lost, so all their previous abilities were also lost...but some things could be recreated in ways that needed either great amounts of re-engineering or slight adaptions of simpler elements and devices to recreate older technologies that could no longer work as they used to.
The production of electricity was one of these...necessary for what it could do to someone in having them step into another realm and back again. Lightning is the greatest form of electricity, great plasma discharges that do strike the ground, and if it can be directed to a specific location and harnessed in some way, then it can be used when the right time needs it to be used. It would seem that Khufu’s Pyramid has inclusions for such a thing when we look at the shafts of the chambers, especially the remnants of copper still in the lower shafts. The upper shafts were open to the air and course their ways through the pyramid, especially going wide around the Grand Gallery in order to reach the upper chamber. We don’t know what was in the gallery nor that chamber, nor do we know what kinds of material is within the pyramid that can direct electricity to specific locations, like that of the upper ends of the lower shafts that go down to the middle chamber. What we do know is that plasma can pass through rock that is not that thick, and the shafts of both chambers ended just a few inches before the chambers.
Pyramid Texts offer descriptions of man journeying through the realms of the gods and either staying in that realm or coming back, such are the dramas they tell of. Rejuvenation is the primary tale within those dramas of Ra, Osiris and Pharaoh, and when the pyramid is shown to have certain of its locations as stages where specific scenes of action are performed by those in attendance, we can appreciate what Pharaoh and his retinue are doing: recreating godly scenes and actions so that Pharaoh becomes a representative of two of those gods...Ra and Osiris. Pharaoh doesn’t have to be dead to perform his functions...he needs to be alive so he can inform his closest allies of what he has encountered and been through so that the future is known and can be orchestrated against or with. It is just a really big shame that the secrets of all this have been lost to time and the actions of those who destroyed those secrets. But we do have the remnants that can be rebuilt according to the knowledge of what those secrets were: we have the texts and the pyramid.
By deciphering the pyramid and what it represents, the work I produced in Opus Mundialis Rostau shows the pyramid representing models of the cosmos and the Earth and the various areas of those realms pertaining to various features of the pyramid, those features necessary for recreating dramas that people perform in order to know the future. Considering certain historical occasions and how they unfolded when they did, can we say that certain Pharaohs were successful in their performances within the pyramid? Sure we can...there are records of myth and legend to tell us so.
Cheers