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www.amazon.co.uk/Moses-Muses-Martin-Bernal-x/dp/0099224712
Mosaistics: Moses and Muses Musical Theory - Torah
The diffusion of Hebrew-Phoenician culture throughout the Mediterranean world took place in many successive waves, long before the advent of Christianity made the Torah of Moses known in the Roman Empire by Latin translations of the Hebrew Bible. Even the name of Rome, founded by the Hebrew-speaking Aeneas, is a Hebrew word meaning "Acropolis", as the Greek city of Thebes was founded as a Jewish colony by the Hebrew-speaking Kadmos, and named after King David.
Saint Augustine writes that Prometheus lived at the time of Moses, both of them great teachers of mankind, who were not only contemporaries, but identical. Both are descendants of families with twelve children, the 12 children of Israel and the 12 Titans, children of Heaven and Earth, Uranus and Gaea, the Hebrew Asherah and El, whence Isra-El. The name of pro-Methe-us yields Moses, if stripped of its Aryan prefix and suffix, for the "th" in Methe becomes "sh" in Hebrew Mosheh.
To Greek or Roman ears Mosheh, the Hebrew form of Moses, transcribed as Mousai or Musae, does not sound like a masculine singular, but like a feminine plural, and hence the personification and deification of the Mosaical arts and sciences adopted by the Graeco-Roman world led to the nine goddesses known as the Muses. In keeping with the Torah of Moses, the Muses are concerned with music and literature rather than sculpture and painting prohibited as objects of idol worship.
In the 10th century B. C. E., which is the golden age of Israel, the Mosaical arts and sciences began to be adopted by Greeks and other Mediterranean peoples. This is the time, when the Mycenaean Cretans played an important role at the court of the Israelite dynasty of Egypt under the House of David-Thutmosis I, and when the ships of King Solomon and his Tyrian allies sailed west to Crete, as borne out by the stories of Europa (from Hebrew ha-Ereb "the evening"), and Kadmos.
Foremost among the Mosaical arts and sciences is the art of alphabetic writing, which according to Eupolemus (ca. 150 B. C. E.) was invented by Moses in the Sinai, who taught the people of Israel, the Phoenicians got it from the Jews, and the Greeks from the Phoenicians. From Herodotus we learn that Kadmos brought it to Thebes, which does not mean that he invented it. This is confirmed by Diodorus Siculus, who ascribes the invention of the alphabet to the Muses, i.e. to Moses.
Music is named after the Muses, but what Moses had to do with music was hitherto unknown. The history of European musical theory begins with Pythagoras, who is credited with inventing our diatonic scale, and said to have perceived the harmony of the 10 spheres. After my discovery of the 3D structure of the Ten Commandments, I was able to prove that Pythagoras owed his geometry as well as his religion and musical theory to the Jews, as claimed by Hermippus of Smyrna.
The Hebrew origin of the Muses is corroborated by their companion Apollo, transliterated from Hebrew ha-Baal, whom the Israelites worshipped at Mount Carmel. Although Apollo is depicted with a lyre, its invention is attributed to Hermes. His name can now be derived from Greek harma "chariot" as a translation of Hebrew Merkavah, after the harmony of the 10 spheres is identified with the Ten Commandments and the Ark of the Covenant, similarly Mercurius < Merc(a)v(a)rius.
The deification of the Tablets of the Law resulted from their being buried in the temple, built by King Solomon in Jerusalem almost 500 years after Moses had made them in the Sinai, thus idolizing the very same stone that prohibits idol worship, and naming Israel's god YaHUH (Yahuweh) after its first two words. The 10 lines (Sephirot) of their inscription became the 10 heavenly spheres, and the wooden box, in which they were carried, turned into the celestial chariot (Merkavah) of mysticism.
Anthropomorphism changed the box in which the two stone tablets lay into the dwelling (Mishkan), in which YaHUH resided, the throne on which he sat, or the chariot (Merkavah) that he rode. The Ark of the Covenant or divine chariot (Harma) was also personified as Harmonia, who became the wife of Kadmos, and deified as Hermes, the Latin Mercurius (by syncope from Mercavarius), who like the Harma (Merkavah) whence his name travels between heaven and earth.
The spurious brother of Moses, Aharon (by metathesis from ha-Aron "the Ark") who allegedly, but quite appropriately is charged with having made the Golden Calf, is likewise a personification of the Ark of the Covenant, that was transformed into an object of idol worship by the kings of Israel, after they had abolished the ancient Israelite Republic, for which it stood. As Jews wear hats before the Ark, so does Hermes or Mercury holding his caduceus or Aaron's rod
moziani.tripod.com/home/dr_ed09m.htm
Coincidentally: Moses and the Muses
Fr. George W. Rutler
The Anglo-Irish critic Robert Wilson Lynd observed that only in literature does coincidence seem unnatural. The literary Detection Club, whose members included Dorothy Sayers, Agatha Christie, and G.K. Chesterton, denied their fictitious sleuths access to coincidences, along with divine revelation, feminine intuition, mumbo-jumbo, jiggery-pokery, and an act of God. Synchronicity and other forms of coincidence are not unnatural in the lives of ordinary authors themselves. I list only a few compelling examples.
Pindar is known to us as the Dircaean Swan because he was born about 522 B.C. in Boeotia near the fountain of Dircaea; and swans were sacred to Apollo, the father of the Muses. The humidity of Boeotia made it synonymous with plodding prosaicness. So even now a teacher may insult a dunce with the old Roman aphorism: “Boeotum in crasso jurares aere natum,” which almost translates itself: “You’d swear he was born in the thick air of Boeotia.” In the House of Commons, the Irish national leader Daniel O’Connell accused Disraeli of thickness, brazenly using “Jewish” as an equivalent for “Boeotian.” Disraeli, the Judaean Swan, rose from his bench and declared to the son of Eire: “I am indeed a Jew. And when the right honorable member’s ancestors were savages on an uncharted island, mine were priests in the temple of Solomon.” By this time, Disraeli had succumbed to the rarefied seductions of the Church of England, but this did not completely erase his interest in revealed religion. “Dizzy” became leader of the House of Commons fittingly on the 300th anniversary of the death of Oliver Cromwell from tertian ague. I say fittingly because Cromwell, a man not without arbitrary prejudices, was a hero to the Jews for having let them return from exile on the Continent.
Hebrew is God’s own language just as, according to Shakespeare’s Hotspur, the devil speaks Welsh. But no human race has a copyright on Hebrew. The 17th-century professor of Hebrew at the Roman College was Emil Gustav Hirsch, a Jesuit who, having written at length on the etymology of the Hebrew metaphors for light, coincidentally invented the magic lantern. A professor of Hebrew at the General Theological Seminary in New York City, the Episcopal clergyman Clement Clarke Moore published the ballad Twas the Night Before Christmas in the Troy (New York) Sentinel on December 23, 1823, in which year O’Connell started the Catholic Association in Ireland.
Czech was declared the official language of Bohemia on the 200th anniversary of the burning of John Huss, who used poetic hymnody to spread his religious views. More than one coincidence obtained in Scotland at the apogee of Czech letters. In 1615, Mary Cunningham died on the night before her wedding to Walter Drummond, the royalist poet who had reservations about the succession of the Elector Palatine, Frederic, in Bohemia. His bride’s death makes moving reading of his canceled epithalamium, and Drummond himself died in tears in the year of King Charles’s execution. Drummond was born in 1585 just as Jan Blahoslav was publishing the Kralicka’ Bible in Prague and the Spanish were raising their siege of Antwerp after 14 months: exactly the length of Cardinal Richelieu’s siege of La Rochelle in 1628. This isochronism is matched by the Turkish siege of Kut-el-Amara ending in 1916 and the Russian-Rumanian siege of Plevne of 1877, both lasting 144 days. Such events occasioned lugubrious poetry that has a modern variant in the repertoires of Hank Williams and Willie Nelson.
I trust I am not alone in considering Jose Pereira de Graca Aranha the Paul Claudel of Brazil. Both poets were born in 1868, and both were politically engaged diplomats. This is to be remembered when the daunting and dismaying modern taste for free verse has enlarged the poets’ circle to include antinomian beatniks and habitués of tango palaces. Alexander Pope complained of free verse in Prologue to the Satires. “It is not poetry, but prose run mad.” The 20th century was the anthropological equivalent of free verse. The modern age was not civilization but existence run mad; and modernism was not philosophy but facts run mad. Consequently, the Nobel Prize for literature has become an exercise in the inconsequential trivia all of us viscerally scorn. The philosophical template for literary exposition is in pieces. Time, however, is a prolific poet with a scythe for a pen. One need only consult this fabulous coincidence: Alexander Pope died on the 1,000th anniversary of the death of the Ommiad caliph and amateur poet Walid II, precursor to Yazid III whose death, after four months as caliph, would have excited the suspicions of the above-mentioned Detection Club.
www.crisismagazine.com/2000/coincidentally-moses-and-the-muses
Tell me these things, Muses, who dwell on Olympus,
From the beginning, and tell me, which of them was born first.
Hesiod requests the help of the Muses for the claims he will make. He then reports on the births of the gods with the Muses’ authority as his source. In relying on the Muses, Hesiod does not infer his account of the cosmos from natural evidence. Nor does he think that appeals to evidence are necessary: the divine warrant offered by the Muses is sufficient for his purposes.
Mosaistics: Moses and Muses Musical Theory - Torah
The diffusion of Hebrew-Phoenician culture throughout the Mediterranean world took place in many successive waves, long before the advent of Christianity made the Torah of Moses known in the Roman Empire by Latin translations of the Hebrew Bible. Even the name of Rome, founded by the Hebrew-speaking Aeneas, is a Hebrew word meaning "Acropolis", as the Greek city of Thebes was founded as a Jewish colony by the Hebrew-speaking Kadmos, and named after King David.
Saint Augustine writes that Prometheus lived at the time of Moses, both of them great teachers of mankind, who were not only contemporaries, but identical. Both are descendants of families with twelve children, the 12 children of Israel and the 12 Titans, children of Heaven and Earth, Uranus and Gaea, the Hebrew Asherah and El, whence Isra-El. The name of pro-Methe-us yields Moses, if stripped of its Aryan prefix and suffix, for the "th" in Methe becomes "sh" in Hebrew Mosheh.
To Greek or Roman ears Mosheh, the Hebrew form of Moses, transcribed as Mousai or Musae, does not sound like a masculine singular, but like a feminine plural, and hence the personification and deification of the Mosaical arts and sciences adopted by the Graeco-Roman world led to the nine goddesses known as the Muses. In keeping with the Torah of Moses, the Muses are concerned with music and literature rather than sculpture and painting prohibited as objects of idol worship.
In the 10th century B. C. E., which is the golden age of Israel, the Mosaical arts and sciences began to be adopted by Greeks and other Mediterranean peoples. This is the time, when the Mycenaean Cretans played an important role at the court of the Israelite dynasty of Egypt under the House of David-Thutmosis I, and when the ships of King Solomon and his Tyrian allies sailed west to Crete, as borne out by the stories of Europa (from Hebrew ha-Ereb "the evening"), and Kadmos.
Foremost among the Mosaical arts and sciences is the art of alphabetic writing, which according to Eupolemus (ca. 150 B. C. E.) was invented by Moses in the Sinai, who taught the people of Israel, the Phoenicians got it from the Jews, and the Greeks from the Phoenicians. From Herodotus we learn that Kadmos brought it to Thebes, which does not mean that he invented it. This is confirmed by Diodorus Siculus, who ascribes the invention of the alphabet to the Muses, i.e. to Moses.
Music is named after the Muses, but what Moses had to do with music was hitherto unknown. The history of European musical theory begins with Pythagoras, who is credited with inventing our diatonic scale, and said to have perceived the harmony of the 10 spheres. After my discovery of the 3D structure of the Ten Commandments, I was able to prove that Pythagoras owed his geometry as well as his religion and musical theory to the Jews, as claimed by Hermippus of Smyrna.
The Hebrew origin of the Muses is corroborated by their companion Apollo, transliterated from Hebrew ha-Baal, whom the Israelites worshipped at Mount Carmel. Although Apollo is depicted with a lyre, its invention is attributed to Hermes. His name can now be derived from Greek harma "chariot" as a translation of Hebrew Merkavah, after the harmony of the 10 spheres is identified with the Ten Commandments and the Ark of the Covenant, similarly Mercurius < Merc(a)v(a)rius.
The deification of the Tablets of the Law resulted from their being buried in the temple, built by King Solomon in Jerusalem almost 500 years after Moses had made them in the Sinai, thus idolizing the very same stone that prohibits idol worship, and naming Israel's god YaHUH (Yahuweh) after its first two words. The 10 lines (Sephirot) of their inscription became the 10 heavenly spheres, and the wooden box, in which they were carried, turned into the celestial chariot (Merkavah) of mysticism.
Anthropomorphism changed the box in which the two stone tablets lay into the dwelling (Mishkan), in which YaHUH resided, the throne on which he sat, or the chariot (Merkavah) that he rode. The Ark of the Covenant or divine chariot (Harma) was also personified as Harmonia, who became the wife of Kadmos, and deified as Hermes, the Latin Mercurius (by syncope from Mercavarius), who like the Harma (Merkavah) whence his name travels between heaven and earth.
The spurious brother of Moses, Aharon (by metathesis from ha-Aron "the Ark") who allegedly, but quite appropriately is charged with having made the Golden Calf, is likewise a personification of the Ark of the Covenant, that was transformed into an object of idol worship by the kings of Israel, after they had abolished the ancient Israelite Republic, for which it stood. As Jews wear hats before the Ark, so does Hermes or Mercury holding his caduceus or Aaron's rod
moziani.tripod.com/home/dr_ed09m.htm
Coincidentally: Moses and the Muses
Fr. George W. Rutler
The Anglo-Irish critic Robert Wilson Lynd observed that only in literature does coincidence seem unnatural. The literary Detection Club, whose members included Dorothy Sayers, Agatha Christie, and G.K. Chesterton, denied their fictitious sleuths access to coincidences, along with divine revelation, feminine intuition, mumbo-jumbo, jiggery-pokery, and an act of God. Synchronicity and other forms of coincidence are not unnatural in the lives of ordinary authors themselves. I list only a few compelling examples.
Pindar is known to us as the Dircaean Swan because he was born about 522 B.C. in Boeotia near the fountain of Dircaea; and swans were sacred to Apollo, the father of the Muses. The humidity of Boeotia made it synonymous with plodding prosaicness. So even now a teacher may insult a dunce with the old Roman aphorism: “Boeotum in crasso jurares aere natum,” which almost translates itself: “You’d swear he was born in the thick air of Boeotia.” In the House of Commons, the Irish national leader Daniel O’Connell accused Disraeli of thickness, brazenly using “Jewish” as an equivalent for “Boeotian.” Disraeli, the Judaean Swan, rose from his bench and declared to the son of Eire: “I am indeed a Jew. And when the right honorable member’s ancestors were savages on an uncharted island, mine were priests in the temple of Solomon.” By this time, Disraeli had succumbed to the rarefied seductions of the Church of England, but this did not completely erase his interest in revealed religion. “Dizzy” became leader of the House of Commons fittingly on the 300th anniversary of the death of Oliver Cromwell from tertian ague. I say fittingly because Cromwell, a man not without arbitrary prejudices, was a hero to the Jews for having let them return from exile on the Continent.
Hebrew is God’s own language just as, according to Shakespeare’s Hotspur, the devil speaks Welsh. But no human race has a copyright on Hebrew. The 17th-century professor of Hebrew at the Roman College was Emil Gustav Hirsch, a Jesuit who, having written at length on the etymology of the Hebrew metaphors for light, coincidentally invented the magic lantern. A professor of Hebrew at the General Theological Seminary in New York City, the Episcopal clergyman Clement Clarke Moore published the ballad Twas the Night Before Christmas in the Troy (New York) Sentinel on December 23, 1823, in which year O’Connell started the Catholic Association in Ireland.
Czech was declared the official language of Bohemia on the 200th anniversary of the burning of John Huss, who used poetic hymnody to spread his religious views. More than one coincidence obtained in Scotland at the apogee of Czech letters. In 1615, Mary Cunningham died on the night before her wedding to Walter Drummond, the royalist poet who had reservations about the succession of the Elector Palatine, Frederic, in Bohemia. His bride’s death makes moving reading of his canceled epithalamium, and Drummond himself died in tears in the year of King Charles’s execution. Drummond was born in 1585 just as Jan Blahoslav was publishing the Kralicka’ Bible in Prague and the Spanish were raising their siege of Antwerp after 14 months: exactly the length of Cardinal Richelieu’s siege of La Rochelle in 1628. This isochronism is matched by the Turkish siege of Kut-el-Amara ending in 1916 and the Russian-Rumanian siege of Plevne of 1877, both lasting 144 days. Such events occasioned lugubrious poetry that has a modern variant in the repertoires of Hank Williams and Willie Nelson.
I trust I am not alone in considering Jose Pereira de Graca Aranha the Paul Claudel of Brazil. Both poets were born in 1868, and both were politically engaged diplomats. This is to be remembered when the daunting and dismaying modern taste for free verse has enlarged the poets’ circle to include antinomian beatniks and habitués of tango palaces. Alexander Pope complained of free verse in Prologue to the Satires. “It is not poetry, but prose run mad.” The 20th century was the anthropological equivalent of free verse. The modern age was not civilization but existence run mad; and modernism was not philosophy but facts run mad. Consequently, the Nobel Prize for literature has become an exercise in the inconsequential trivia all of us viscerally scorn. The philosophical template for literary exposition is in pieces. Time, however, is a prolific poet with a scythe for a pen. One need only consult this fabulous coincidence: Alexander Pope died on the 1,000th anniversary of the death of the Ommiad caliph and amateur poet Walid II, precursor to Yazid III whose death, after four months as caliph, would have excited the suspicions of the above-mentioned Detection Club.
www.crisismagazine.com/2000/coincidentally-moses-and-the-muses
Tell me these things, Muses, who dwell on Olympus,
From the beginning, and tell me, which of them was born first.
Hesiod requests the help of the Muses for the claims he will make. He then reports on the births of the gods with the Muses’ authority as his source. In relying on the Muses, Hesiod does not infer his account of the cosmos from natural evidence. Nor does he think that appeals to evidence are necessary: the divine warrant offered by the Muses is sufficient for his purposes.