Updating my Paradigms

Joannes Richter A paradigm is a concept. The original Greek term (paradeigma) was used in Greek texts such as Plato's Timaeus1 as the model or the pattern that the Demiurge (god) used to create the cosmos. The word has come to refer to a thought pattern in scientific disciplines. An online dictionary 2 defines this usage as "a philosophical and theoretical framework of a scientific school or discipline within which theories, laws, and generalizations and the experiments performed in support of them are formulated; broadly: a philosophical or theoretical framework of any kind." Everybody may start life with a standard set of paradigms. Sometimes we exchange some of these frameworks and replace parts of the sets, which have been altered by insights. In fact a standard set of paradigms do not supply us with new information. Only the paradigms we have exchanged in a lifetime will really be interesting. This is what life is all about. The other framework may be considered as superfluous and redundant efforts in our lives. The following overview suggests a new set of paradigms as a concept of the origins of myths, grown from a common source of bipolarity, evolving in several sets of symbols the colors 3, the vowels I,A,U,E,O,Y, the Ego-pronouns (Mannus, man, moi, me, expanding to iu,iau,iou, and culminating in Ih, Y, I), the divine names (Diu the French Dieu , Diaus the Indo-European Dyaus, Dious the Latin IU-piter). The last entries cover another interpretation of the Kylver rune-stone and a survey of naming conventions for settlements and towns. In order to keep this overview compact the illustrations have been omitted. Instead the images and samples have been included in the references in the footnotes.

1 2 3

Plato's Timaeus 28A (ca. 360 BC) The Merriam-Webster Online red, blue (respectively yellow) and purple, which may be identified in flags, in royal robes in architecture and in paintings

Contents
Paradigm #1 - Genesis..........................................................................................................................3 Paradigm #2 The colors Red, Blue and Purple..................................................................................8 Paradigm #3 The evil colors Blue and Yellow.............................................................................11 Paradigm #4 The colors Red, White and Blue in Flags...................................................................12 Paradigm #5 The Royal Robes........................................................................................................14 Paradigm #6 The Vowels are religious symbols..............................................................................16 Paradigm #7 The Ego-pronouns are representing religious symbols..............................................21 Paradigm #8 Three layers of Ego-pronouns....................................................................................23 Paradigm #9 - Interpreting the Kylver rune-stone ............................................................................25 Paradigm #10 - Naming Conventions for Locations..........................................................................26 Paradigm #11 The words Day and night include some sacred vowels............................................30 Paradigm #12 Genesis has been used to design a language............................................................32

Paradigm #1 - Genesis
It must have been a lifetime ago I realized the glorious intent of the Book Genesis, in which the creation allegory is formulated as a series of complementary split-ups, culminating in the creation of Man4. The creation phases always start by generating a neutral object, to be followed by a split-up into a male and a female gendered objects5. Examples from Genesis may illustrate the concept, in the first day starts by creating the light as a neuter, which will be split up in a male day and a female night: Let there be light will create: a neuter object, the light (German: das Licht), which is to be divided in the daylight (German: das Tageslicht, in which the light previously had been defined as neuter) and the female concept of darkness (German: die Dunkelheit), to be named the (male) Day, (German: der Tag) respectively the (female) Night, (German: die Nacht).

The systematic gender-usage however is not very clear and the clearest gendered concept may be restricted to the first creation day, in which the neuter light has been split up in the male day and the female night. We may analyze the subsequent steps as follows: The second day may be considered as a creation process, in which the neuter Expanse has been split up in the male rain (German: der Regen) respectively a neuter surface waters (German: das Oberflchenwasser). The third day may be considered as a creation process, in which the female earth's surface (German: die Erdoberflche) has been split up in a female Earth (German: die Erde) respectively a (neuter) Meer (German: das Meer). The fourth day may be considered as a creation process, in which the neuter light (German: das Licht) has been split up in a male Day (German: der Tag) ruled by a female Sun (German: die Sonne), respectively a female Night (German: die Nacht), ruled by a male Moon (German: der Mond). The fifth day may be considered as a creation process, in which the neuter creatures (German: das Geschpf or das Tier) has been split up in male Birds (German: der Vogel) respectively male Fishes (German: der Fish). Of course these animals have been split up in male and female individuals.

The sixth day may be considered as a creation process, in which the male Primal Man (German: der Mensch) has been split up in a male person (German: der Mann) respectively a woman (German: die Frau).

4 For details see The Sky-God Dyaeus page 92 5 For details see Gender-Concepts in Creation Legends

Day #1
In the beginning God6 created the heavens and the earth. Now the earth was formless and empty. Darkness was on the surface of the deep. Gods Spirit was hovering over the surface of the waters. God said, Let there be light, and there was light. God saw the light, and saw that it was good. God divided the light from the darkness. God called the light Day, and the darkness he called Night. There was evening and there was morning, one day.

Day #2
God said, Let there be an expanse in the midst of the waters, and let it divide the waters from the waters. God made the expanse, and divided the waters which were under the expanse from the waters which were above the expanse, and it was so. God called the expanse sky. There was evening and there was morning, a second day.

Day #3
God said, Let the waters under the sky be gathered together to one place, and let the dry land appear, and it was so. God called the dry land Earth, and the gathering together of the waters he called Seas. God saw that it was good. God said, Let the earth put forth grass, herbs yielding seed, and fruit trees bearing fruit after their kind, with its seed in it, on the earth, and it was so. The earth brought forth grass, herbs yielding seed after their kind, and trees bearing fruit, with its seed in it, after their kind: and God saw that it was good. There was evening and there was morning, one day, a third day.

Day #4
God said, Let there be lights in the expanse of sky to divide the day from the night; and let them be for signs, and for seasons, and for days and years; and let them be for lights in the expanse of sky to give light on the earth, and it was so. God made the two great lights: the greater light to rule the day, and the lesser light to rule the night. He also made the stars. God set them in the expanse of sky to give light to the earth, and to rule over the day and over the night, and to divide the light from the darkness. God saw that it was good. There was evening and there was morning, one day, a fourth day.

Day #5
God said, Let the waters swarm with swarms of living creatures, and let birds fly above the earth in the open expanse of sky. God created the large sea creatures, and every living creature that moves, with which the waters swarmed, after their kind, and every winged bird after its kind. God saw that it was good. God blessed them, saying, Be fruitful, and multiply, and fill the waters in the seas, and let birds multiply on the earth. There was evening and there was morning, a fifth day.

Day #6
God said, Let the earth bring forth living creatures after their kind, cattle, creeping things, and animals of the earth after their kind, and it was so. God made the animals of the earth after their kind, and the cattle after their kind, and everything that creeps on the ground after its kind. God saw that it was good.
6 1:1 After God, the Hebrew has the two letters Aleph Tav (the first and last letters of the Hebrew alphabet) as a grammatical marker.

God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the birds of the sky, and over the cattle, and over all the earth, and over every creeping thing that creeps on the earth. God created man in his own image. In Gods image he created him; male and female he created them. God blessed them. God said to them, Be fruitful, multiply, fill the earth, and subdue it. Have dominion over the fish of the sea, over the birds of the sky, and over every living thing that moves on the earth. God said, Behold, I have given you every herb yielding seed, which is on the surface of all the earth, and every tree, which bears fruit yielding seed. It will be your food. To every animal of the earth, and to every bird of the sky, and to everything that creeps on the earth, in which there is life, I have given every green herb for food. And it was so. God saw everything that he had made, and, behold, it was very good. There was evening and there was morning, the sixth day.

Day #7
The heavens and the earth were finished, and all the host of them. On the seventh day God finished his work which he had made; and he rested on the seventh day from all his work which he had made. God blessed the seventh day, and made it holy, because he rested in it from all his work which he had created and made. Five divine creation phases seem to correlate to splitting phases and we may list the created objects in the correct sequence of occurrence. Normally we would expect the sixth phase to culminating in another splitting phase, but in the standard version of Genesis this cannot be identified easily. Day 1 2 3 4 5 6 First mentioned light - Day waters under the expanse (sea salt water) Earth greater light (sun-day) waters (fishes) Man (male) Last mentioned darkness - Night waters above the expanse (rain sweet water) Seas lesser light (moon-night) earth (birds) Man (female)

Table 1: Creation phases in Book Genesis The standard version describes Man's creation in an asymmetrical procedure firstly resulting in an over-complete male being, to be followed by a female being, created from the bone of the man. This however would deviate from a symmetrical and simultaneous creation of the male and female partners. The symmetrical creation process has been discussed in ancient times such as 380 BC in Plato's Banquet (Symposium). Symmetrical creation processes7 however also have been discussed amongst the Hebrew rabbis, e.g. the Pharisees (ca. 30 AD)8, Jeremiah ben Eleazar9, a Palestinian scholar of the 2nd century, the highly respected medieval rabbis Rashi ( 1105) and Rashbam ( 1158) and the Zohar10.
7 See for details: The Hermetic Codex 8 From the Jewish Encyclopedia: Adam Kadmon ( Er. 18a, Gen. R. viii.) - In explaining the various views concerning Eve's creation, the Pharisees taught that Adam was created as a man-woman (androgynous). 9 Info from the website: Jewish Encyclopedia 10 The Zohar first appeared in Spain in the 13th century, and was published by a Jewish writer named Moses de Leon.

The Pharisees
The Jewish Encyclopaedia reports the creation of an androgynous being titled Adam Cadmon by Yahweh11. In explaining the various views concerning Eve's creation, the Pharisees taught 12 that Adam was created as a man-woman (androgynous).

Jeremiah, son of Eleazar

Jeremiah ben Eleazar13, a Palestinian scholar of the 2 nd century (living a few centuries after Plato), inferred from Ps. cxxxix. 5 that Adam was created with two faces, one of a man and one of a woman, and that God afterward cleft them asunder ('Er. 18a). In Gen. R. viii. 1 this opinion is ascribed to Samuel b. Naman, while Jeremiah's opinion is stated to have been that Adam was created a hermaphrodite14. Jeremiah, son of Eleazar, says: "God created Adam androgynous, but Samuel, son of Naman, says, He created him 'double-faced,' then cutting him in twain and forming two backs, one to the one and the other to the second" 15.

Rashi's Genesis (1100 AD)

God as Judge, alone without the angels, created the human being, by hand, in a mold which was like the mold with which a seal is made or like the die from which a coin is produced, and which had been specially crafted for the human being. In a mold which was a hologram image of God, God created the human being. One being which was both male and female and which was subsequently divided into two beings, God created them 16.

11 Reference: Patrism, Matrism and Androgyny

12 13 14 15 16 From the Jewish Encyclopedia: Adam Kadmon ( Er. 18a, Gen. R. viii.) Info from the website: Jewish Encyclopedia See the entry Androgynos at the Jewish Encyclopedia see Bacher, "Ag. Pal. Amor." i. 547, iii. 585 Rabbi Rashi 1040-1105, northern Europe (chapter 27)

Paradigm #1 - Genesis of a double-faced creature

These quotations suggest to formulate a first paradigm as follows: God created Adam androgynous 'double-faced,' then cutting him in twain and forming two backs, one to the one and the other to the second. Bi-faced, androgynous sculptures have been found and described in abundant amount the Hermes of Roquepertuse17, Tuisco18 This paradigm, describing the creation of an androgynous Adam Cadmon is not new. This paradigm however triggered a research for other symmetrical symbols referring to this ancient creation legend. The most remarkable results will also be formulated by subsequent new paradigms.

17 The Roquepertuse acropolis has been destroyed by the Romans in 124 BC and was discovered in 1860. At this location the archaeologists found a dual-faced, androgynous sculpture, named: Hermes (0,2 m high). 18 Described as a principal German creator god in Germania by Tacitus (98 AD)

Paradigm #2 The colors Red, Blue and Purple

In reading the Bible we may identify some important divine prescriptions for three colors, two of which (red and blue) seem to be located at the borders of the rainbow. A symbolism for these colors has not been explained in these divine commands. Purple stripes (named clavi) were reserved for the knights and senators. As a divine emperor Nero reserved purple clothing for the imperial family19. Claviger is the attribute for the ancient Roman deity Janus as a key-bearer. Originally the keys to be carried by Janus may not have been the standard metal keys. Instead they must have been religious keys to be stored in the purple Clavikeys at the tunic. These symbols are as old as Janus him- respectively herself. The original gender of Janus is quite obscure. As most of the most ancient gods he or she is reported to have been an androgynous deity and predecessor of the androgynous sky-god Jupiter. The androgynous character would explain the male and female attributes in the symbolic color purple. Red and blue have been used as symbolic colors for male, respectively female genders, whereas purple has been applied as a divine symbolic color. The symbolism for red and blue has been reversed in the 20th century. Temporarily pink may have been a color associated with masculinity 20. In 1914, The Sunday Sentinel, an American newspaper, advised mothers to use pink for the boy and blue for the girl, if you are a follower of convention. The return (or change) to pink for girls and blue for boys happened in America and elsewhere only after World War II.

Translation errors21
In 1545 Luther published a translation22 of the Bible, in which he described the colors for the Covenant Tent and the Temple. In The 2nd Book of Moses - Exodus 25-3 he applies the words for red colors scarlet and rosin-red. Instead of the traditional color blue he erroneously uses yellow 23. The multiple, repeated error is a systematic error and may have influenced the public opinion of the symbolic colors yellow and blue. The Second Book of Chronicles (Chapter 2, 7 & 14, and Chapter 3, 14) refer to scarlet and rosin-red and yellow. The Hebrew word for blue is 'tekeleth' and the Greek word for blue is 'huakinthinos'. Blue is frequently associated with garments, tabernacle and temple furnishings such as in Exodus 26:1. In fact a great number of ancient Bible-translations does not refer to blue, but to yellow. The problem has been revealed at the Luther Bible, but the error had been introduced at least 50 years before. In fact a similar problem has been identified in a great number of Dutch Bibles such as: the Delftse bijbel published 1477, introducing yellow in parallel to blue well before Luther's translation. The Delftse bijbel may have been known to Luther. the Liesveltbijbel (1542), derived from Luther's Bible, published in Antwerpes, replacing blue by yellow the Deux-Aes-Bijbel (1562), in parts derived from the Liesvelt-Bible, published in Emden, replacing blue by yellow, and of course in Lutherse translation into Dutch language (1648), replacing blue by yellow. The Dictionary of the Holy Bible 24by Augustin Calmet explains the translation problem. The flower hyacinth has not been mentioned in the Bible. The color refers to a precious stone, which has not been specified, but may have been yellow. Today most translators refer hyacinth to the color blue a bluish blue-red hue.
19 20 21 22 23 24 See for details: The Hermetic Codex Reference: Gender References for Purple, Red and Blue See details in Analysis of the Translation Errors in Exodus 25-4 Luther-Bible published in 1545 See: Notes to the Biblical Origin of the Red, White and Blue Page 514 entry Hyacinth

In fact the misinterpretation of the hyacinth color (blue versus yellow) already started with the completion of the Septuagint-translation into Greek language, which has been dated between the 3rd century BCE and 132 BCE25.

The Bible26
The Books Exodus and Chronicles reveal a great number of symbolic colored woven materials (red, blue and purple twining) in the divine instructions for the Covenant tent and for Solomon's temple27: 28: 5They shall take the gold, and the blue, and the purple, and the scarlet, and the fine linen. 6They shall make the ephod of gold, of blue, and purple, scarlet, and fine twined linen, the work of the skilful workman. 7It shall have two shoulder-pieces joined to the two ends of it, that it may be joined together. 8The skilfully woven band, which is on it, that is on him, shall be like its work and of the same piece; of gold, of blue, and purple, and scarlet, and fine twined linen.
15You

shall make a breastplate of judgment, the work of the skilful workman; like the work of the ephod you shall make it; of gold, of blue, and purple, and scarlet, and fine twined linen, shall you make it.
28They

shall bind the breastplate by the rings of it to the rings of the ephod with a lace of blue, that it may be on the skillfully woven band of the ephod, and that the breastplate may not swing out from the ephod. There is a total of 25 divine orders for the usage of blue, purple and scarlet. In these descriptions the German Luther-Bible also mentions the color white as an additional, maybe important attribute for the twined linen.

Red & blue in architecture28

The gender symbols red & blue may also be identified in the temples of Agrigent, Sicily, in the Treasury of the Athenians at Delphi, in the Sifnian treasury, Delphi, in the Athena-Aphaia Temple at Aegina, in Polychrome Art in ancient Greece, in the Acropolis temple at Athens, in a number of Roman Temples, Augustus of Prima Porta, in Peplos Kore (with traces of colour), in The Nikolaichurch at Stralsund, in Basilica of Saint Servatius, Maastricht and in the Nefertiti bust.

25 From Wikipedia Septuagint: The translation process was undertaken in stages between the 3rd century BCE and the 1st century CE,[2] initially in Alexandria, but in time possibly elsewhere too. Although the translation was not completed for some time, it reached completion before 132 BCE. 26 See for details : The Hermetic Codex 27 Exodus 28:2-5 28 See the examples and other details in Red and Blue in Architecture and Artwork

Paradigm #2 - The colors Red, Blue and Purple are gender symbols
Red and blue have been used as symbolic colors for male, respectively female genders, whereas purple has been applied as a divine and/or imperial symbolic color, probably representing an androgynous gender. Purple stripes (named clavi, that is keys) were reserved for the knights and senators. As a divine emperor Nero reserved purple clothing for the imperial family. A possible misinterpretation of the hyacinthcolor (blue versus yellow) started with the completion of the Septuagint-translation into Greek language, which has been dated between the 3rd century BCE and 132 BCE. The symbolism for red and blue has been reversed in the 20th century. In 1914, The Sunday Sentinel, an American newspaper, advised mothers to use pink for the boy and blue for the girl, if you are a follower of convention. In ancient eras blue has not been considered as an evil symbol. Roman traditions 29 however avoided blue as a symbolic color. From the earliest eras of Roman history (the life of Romulus) the leader wore purple: a scarlet tunic and a toga bordered with purple. Even children did wear a robe bordered with purple. As a remarkable fact The life of Julius Caesar does not contain any reference to purple. If Plutarch had searched for any divine attribute to honor Caesar he would have been able to invent some purple robe for the divine emperor. In architecture a great number of decorations in primary colors has been identified, in which red and blue dominated.

29 Source: The Parallel Lives by Plutarch written by Plutarch around 100 A.D. - Reference: Symbolism of Purple and Scarlet in Greek and Roman Societies

Paradigm #3 The evil colors Blue and Yellow

Although the Book Exodus defines blue as a divine prescription for the Hebrew High Priests' garments and curtains at the Covenant Tent the symbol blue (and equally yellow) have been avoided as standard liturgical colors, probably resulting from the idea of avoiding any evil influence from the altar30. Liturgical colors are those specific colors which are used for vestments and hangings within the context of Christian and some other liturgies. The Wikipedia's text Liturgical colors states: The symbolism of violet, white, green, red, gold, black, rose, and other colors may serve to underline moods appropriate to a season of the liturgical year or may highlight a special occasion. Notably the elementary colors blue and yellow are absent in this list and to be precise the Dutch description for the Chasuble simply even states31 : blue fails to be used as a liturgical color. In ancient and medieval eras yellow is a betrayer's symbol for the evil and prostitutes32. The rules on liturgical colors before the time of Pope Pius X were essentially those indicated in the edition of the Roman Missal that Pope Pius V promulgated in 1570, except for the addition of feasts not included in his Missal. The scheme of colors in his Missal reflected usage that had become fixed in Rome by the twelfth century. In fact the Church never accepted blue as a standard liturgical color. Blue, as a color associated with the Virgin Mary, however has been allowed for the feast of the Immaculate Conception in some dioceses in Spain, Portugal, Mexico and South America. In the Philippines it is authorized for all feasts of the Virgin Mary, a practice followed in some other places without official authorization. In contrast to the ancient biblical adoration for blue symbolism medieval traditions generally symbolize evil by blue (Eve's color) and yellow (for traitors and evil women). Therefore the evil color blue as a religious symbol originally had to be abandoned from the Church's holy locations such as the altar. With a growing adoration for the Virgin Mary the Church however had to develop a minor acceptance for the color blue as a female symbol, which originally has been restricted for paintings and sculptures. The cardinals' garments and coat of arms are still restricted to the divine color red. The Church still avoids blue as a standard liturgical color in Masses and in the garments for the highest ranks of the clerical staff.

Paradigm #3 - The evil liturgical colors are Blue and Yellow

Although the Book Exodus defines blue as a divine prescription for the Hebrew High Priests' garments and curtains at the Covenant Tent the medieval symbols blue and yellow have been avoided as standard liturgical colors, probably resulting from the idea of avoiding any evil (including the medieval idea of Eve's evil) influence from the altar. This scheme of colors reflected usage that had become fixed in Rome by the twelfth century.

30 Details have been documented in Liturgical (and Royal) Colours 31 Reference (Wikipedia - in Dutch): kazuifel 32 Details have been documented in Yellow for Judas

Paradigm #4 The colors Red, White and Blue in Flags33

In 1340 King Edward III used the red & blue combination by quartering the Royal Arms of England with the ancient arms of France, the fleurs-de-lis on a blue field, to signal his claim to the French throne. King Henry IV updated the French arms to the modern version, three fleurs-de-lis on a blue field.

The Triptych Garden of Delights

The Triptych Garden of Delights by Hieronymos Bosch (Madrid, Prado) has been dated 1510, or even earlier 1503-1504. Philip II had the Garden of Delights in his collection. In an overview the upper part of the central panel reveals five tower constructions, which have been designed by combining rose-red (pink) and blue colors. These colors (pink and blue) seem to be identical to the male & female symbols as identified in The Pink & Blue Project by JeongMee Yoon (2005). The symmetry has been carefully balanced to equalize the pink and blue elements. These colours probably symbolize the male and female forces in creation. In the Fountain at Eden the male and female symbols have been painted red, respectively blue.

The Kingfisher
One of the owners of the painting The Garden of Delights may have been William I, Prince of Orange. It must be noted that the William I, Prince of Orange has adopted the kingfisher as his favorite bird. The kingfisher however has been painted twice in the Triptych of Delights. The bird reveals blue-green, white and orange colors, which partly will also be found in the Prince's flag. The first owner may even have ordered to apply the colors rose-red and blue and/or the kingfisher as elements for the paintings. The kingfisher is also found on a medal created 1572 in honor for the city of Delft's transition to the Geuzen and carrying the inscription: Een held in ijs en baren - Wien God weet te bewaren34 The same year 1572 the provinces of the Low Countries, rose in revolt against King Philip II of Spain, and the Prince of Orange placed himself at the head of the rebels. The Watergeuzen (proindependence privateers), acting on his instructions, harassed the enemy everywhere they could and they did this under a tricolor Orange White Blue35, the colors of the Prince's coat of arms. It was thus a flag easily associated with the leader of the rebellion, and the association was also expressed in the name: "the Prince's Flag." In fact the flag however may originally have been setup to symbolize the ancient, androgynous PIE-symbols.

The Dutch, French, British, Russian, US-American and other flags

The Dutch or French flag may have inspired other nations to introduce the same symbolic-colors red, white and blue for their own national flags: "the British flag" or "the flag of Britain" (1606), the first Russian flag (1669). the US-American flag (1777), the South Korean flag (1882), representing the Yin/Yang-principle in the taegeuk, and the Flag of the Philippines (1898). Some of these designs may have been developed with the help of Templars and Freemasons, who are known to have conserved parts of the ancient wisdom and symbolism.
33 See for details : The Hermetic Codex 34 A hero in ice and waves, who is to be guarded by God - The Prince's Motto "Saevis Tranquillus In Undis"may have been chosen after the birth of Frederik Hendrik in 1584. 35 in Dutch: Oranje, Wit, Blauw or Oranje, Blanje, Bleu, from French: Orange, Blanche, Bleu

The Origin of Red, White and Blue in Flags36

Charles W. Stewart, superintendent of naval records and library of the United States Navy Department, suggested to trace the origin of the colors used in the national flag of America back to the clothes of blue, scarlet and white of the Hebrew priests and the curtains of blue, purple, scarlet, and fine-twined linen at the Tabernacle. These colors of the Hebrew Tabernacle have been taken over by the early Western Church for its own and given to all the nations of western Europe for their flags37.

Paradigm #4 Red, White and Blue in Flags refer to the Bible

The colors red, white and blue in flags seem to be correlating to the Biblical symbolic colors red, white and blue. The clothes of blue, scarlet and white of the Hebrew priests and the curtains of blue, purple, scarlet, and fine-twined linen at the Tabernacle may have inspired the royal and political leaders to choose these biblical symbolic colors for their flags. A number of translation errors (translating the Greek word 'huakinthinos' for blue to yellow) may have caused misinterpretations of the symbolism resulting in the usage of yellow in some of the European flags.

36 This report document some notes to the Biblical Origin of the Red, White and Blue by Reginald H. W. Cox, based on the Source: 'Wake Up!' magazine, November/December 1992 37 Notes to the Biblical Origin of the Red, White and Blue

Paradigm #5 The Royal Robes

In analogy to the flags the royal garments may have been chosen to correlate to the Biblical symbolic colors red, white and blue. The Hermetic Codex describes a number of Frankish, Saxon and German emperors, kings and dukes who dressed themselves in purple, red, white and blue 38. Anglo-Saxon and Dutch royals probably copied the purple, red & blue burial garments for their ancestors buried at Widukind's Tomb, at Fontevraud Abbey, respectively Roermond. Emperor Charlemagne is being crowned at a solemn ceremony on Christmas Day, AD 800, by Pope Leo at Rome. The Pope is wearing a purple garment, Charlemagne is dressed in blue and the surrounding persons are wearing purple, blue or red robes39. Otto I (the Great), Roman emperor (962-973), wearing garments in red, blue and golden40. Henry II (9731024), called the Holy or the Saint, was the fifth and last Holy Roman Emperor of the Ottonian dynasty, from his coronation in Rome in 1014 until his death a decade later. His garments are orange and blue with red & blue decorations.41 Conrad II (c. 990 June 4, 1039) all persons are wearing red, blue and purple garments .. Holy Roman Emperor from 1027 until his death. 14th century miniature of Conrad II. 42 Conrad III (1093 15 February 1152 in Bamberg) the first King of Germany of the Hohenstaufen dynasty. (miniature from the 13th century) . The Garments are in red, orange and blue43. Widukind at his Tomb at Enger (early 11th Century, colors reconstructed according to a description made 1578 by Reinerus Reineccius) 44 Barbarossa and his sons King Henry VI (left) and Duke Frederick VI (1155 - All dressed in red & blue garmentsin the Welf Chronicle )45 The British Plantagenet royals, buried at Fontevraud Abbey (Henry II46, and his wife Eleonora, King Richard I "The Lionheart", Isabella of Angouleme) have been buried in blue and orange-red garments. Henry VI (Roman-German emperor, 1190-1197) in a blue garment and red-purple overcoat47 Roman-German Emperor Frederick II (king between 1212-1250 and emperor 1220-1250) wearing a red overcoat and blue robe. Count Gerard of Gelre (1240) and his wife Margaretha of Brabant, buried at the abbey of Roermond (Netherlands) are wearing red, white and blue garments.

Apart from these royals God, the holy family, some of the apostles (except Judas 48 and St. Peter49) and the saints preferably have been depicted with the biblical symbolic colors red, blue 50, and purple.

38 39 40 41 42 43

See the details in Notes to the Biblical Origin of the Red, White and Blue reference: Red and Blue in the Middle Age reference to: Blue and Red in Medieval Garments reference to: Blue and Red in Medieval Garments reference to: Blue and Red in Medieval Garments reference to: Blue and Red in Medieval Garments 44 Source: Westfalian History - reference: Widukind's Tomb 45 References to: A compact Overview of Bipolar Symbolism and Blue and Red in Medieval Garments 46 Henry II, 5 March 1133 6 July 1189), ruled as King of England (11541189) 47 Reference: Blue and Red in Medieval Garments 48 Yellow for Judas 49 Yellow for Saint Peter 50 respectively yellow if the artist misinterpreted the translation blue as yellow

Paradigm #5 Red, White and Blue in royal robes refer to the Bible
In analogy to the flags the royal garments may have been chosen to correlate to the Biblical symbolic colors red, white and blue. The clothes of blue, scarlet and white of the Hebrew priests and the curtains of blue, purple, scarlet, and fine-twined linen at the Tabernacle may have inspired the royal and political leaders to choose these biblical symbolic colors for their garments, which have been documented in a great number of artworks. A number of translation errors (translating the Greek word 'huakinthinos' for blue to yellow) may have caused misinterpretations of the symbolism resulting in the usage of yellow in some of the European robes.

Paradigm #6 The Vowels are religious symbols

An Evolution of Divine Names51
G. R. S. Mead (1863-1933) suggested the divine name may originally have been a pure chain of vowels such as Ieou. In various parts of Anacalypsis Godfrey Higgins (1771-1833) juxtaposes the following names, with the implication that they should be regarded as virtual identities. Chronologically the evolution may have followed a pattern from the longest (JEHOVA) to the shortest names (I): 1. The name JEHOVA or JEHOVAH. This is generally explained as deriving from the Tetragrammaton, made pronounceable by interspersing the Masoretic vowel-points from Adonai: thus JeHoVaH. We have already heard Eusebius say that the Jews expressed the name of God with the seven vowels. Higgins also quotes scholars who suggest that the Bacchantes' cry "EVOHE!" derived from the very same word. 2. IEOU may have been an alternative spelling for JEHOVA, in which an H- and an Acharacter have been skipped. 3. The Tetragrammaton IHVH, iod-he-vau-he, which the ancients wrote and pronounced variously JAHO, JEVO, and sometimes IAOU, is lAO or IEU plus the definite article. This is none other than the Juve of the Etruscans, from which the Romans took their Jove; Jupiter then being of the same family, with piter, "father," added. The same name is heard in India, where the devotees of Krishna sing "JEYE! JEYE!" 4. The three-lettered name lAO, which the Greeks considered to be the name of the Jewish God. In Hebrew it is the letters iod-he-vau. 5. The two-lettered name IE, equally referring to "the selfexisting Jah or Jehovah" (cf. Psalm 68:4 in the English Psalter which names God as "JAH"). This name also appears as the EI on the sanctuary of Apollo at Delphi. Early Greek writing, Higgins explains, could read from right to left, hence the EI is indeed IE - and by implication IHVH is the Sun God. 6. The one-lettered name I as denoting IHVH, ultimately reducible to his first letter. At the introduction of the shortest one-lettered divine name (I) which had been named by Dante 52, the androgynous character of IHVH had to be abandoned. One-lettered names probably may have been chosen to identify a monotheistic deity. The corresponding one-lettered Ego-pronouns have been identified as Y 53 in medieval English, respectively I in German and modern English. The Y-character may have been considered as a combination of I and a superimposed V, symbolizing an androgynous element.

Joscelyn Godwin
In 1991 Joscelyn Godwin published a remarkable theory in The Mystery of the Seven Vowels in which she documents the relations between the vowels and planets, tones, songs,colors, Gods and other religious mysteries.

51 Source: The Mystery of the Seven Vowels 52 See appendix I: Adamic Language 53 See for details: The Wycliffe Bible

The most important conclusion is the analysis of the divine name, which seems to have been designed as a set of pure vowels. As a remarkable fact Joscelyn Godwin does not include the Egopronouns in the overview, although the Ego-pronouns in in great number of languages also belong to the words, which have been designed as sets of pure vowels.

Diaus and Diu

PIE-language and PIE-religion applied a standard name Diaus for their creator god, whose name included the symbolic image (iau) of the first human being54. The symbolic image (IAU) consisted of a leading character I symbolizing the male 55 and a trailing character U symbolizing the female 56 half. At the central position a vowel A had been installed to symbolize the divine joint57, which reunited the male and female halves. In Provencal and French Diaus has been transformed to Diu.

Rashi and Rashbam

Both the most respected rabbis Rashi58 and Rashbam living in medieval France - expressed the idea of moulding human beings iu like coins from a divine hologram59 Diu. Strange as it may seem, the most respected medieval Bible interpretor and commentator Rahsi describes the androgynous creation legend in creating a singular being which was both male and female and which was subsequently divided into two beings just like Adam Cadmon. His grandson Rashbam repeated Rashi's idea: God included the woman in the man and separated them later.

The central vowels

Originally the central character had been restricted to A, but in later eras the vowels E and O have been added60, which allowed the divine names to interchange the central characters A, E and O. Some of the PIE-peoples considered the central vowel as sacred and did not allow to speak or write down the central character. Others refused to document any of the equally sacred vowels. These omissions veiled the symbolism in the divine names and the original unifying force of a common PIE-religion and -language. The central character E is still available in Provencal and French (in the divine name Dieu), whereas in Italian (Dio) and Spanish (Dios) languages a central character O has been chosen.

54 55 56 57 58 59

See for details : The Hermetic Codex Probably represented by a red color Probably represented by a blue color Probably represented by a purple color as a 50%-50% mixture of red and blue RAbbi SHlomo Itzhaki from the Greek, hlos whole + graf writing, drawing 60 Das Runen Wrterbuch by Udo Waldemar Dieterich (1844) who describes I, U and A as the fundamental alphabetic characters (page VI).

The vowel E of the Word Ei Engraven Over the Gate of Apollos Temple
Plutarch61 describes the vowel E of the Word Ei Engraven Over the Gate of Apollos Temple at Delphi, which has been explained as a monotheistic concept Thou art one, resembling the biblical response I Am that I Am to Moses, when he asked for God's name (Exodus 3:14). At Delphi a golden character E has been spent by empress Livia62, the wife of Augustus Caesar. The brazen character E has been spent by the Athenians, but the first and oldest of all, which is the wooden one, they call the ei of the Sages, as not being of any one, but the common dedication of them all.

Massey's simplified Explanation63

But why so difficult if Massey explains IE as another coding name for IAU64: It is the religious community, not the race, that will account for the Jews who emigrated to the ends of the earth, and for the names of the Jewish god, who was the Egyptian Iu, Phoenician Iao, Hebrew Iah, Assyrian Iau, Egypto-gnostic Ieou (greater and lesser), Chinese Iaou, Polynesian Iho-Iho, Dyak Iaouh, Nicobar Islands Eewu, Mexican Ao, Toda Au, Hungarian Iao, Manx Iee, Cornish Iau, Welsh Iau (greater and lesser), Hebrew IaoSabaoth, Chaldean Iao-Heptaktis, Greek Ia, and IE65, Latin Jupiter and Jove. We may already have noticed that most of these names consist of a series of vowels66. The word El was found at the top of a list of gods as the Ancient of gods or the Father of all gods, in the ruins of the royal archive of the Ebla civilization, in the archaeological site of Tell Mardikh in Syria dated to 2300 BC. According to church fathers of early Christianity, El was the first Hebrew name of God. Is Epsilon a symbol for the divine name El?

61 E - of the Word Ei Engraven Over the Gate of Apollos Temple at Delphi 62 58 BC-AD 29 63 English and Globish - Optimized Linguistic Designs 64 From: Ancient Egypt The Light of the World (Vol. 1-page 501) by Gerald Massey 65 This probably correlates to the word EI and the letter E at Apollo's temple as described by Plutarch in Of the word EI engraven over the gate of apollo's temple at delphi. - The Morals, vol. 4 see the details and the image in : E - of the E-symbol Engraven Over the Gate of Apollos Temple at Delphi 66 E - of the Word Ei Engraven Over the Gate of Apollos Temple at Delphi

Dante Alighieri
Dante Alighieri in his De vulgari eloquentia suggests that the name El was the first sound emitted by Adam: While the first utterance of humans after birth is a cry of pain, Dante assumed that Adam could only have made an exclamation of joy, which at the same time was addressing his Creator. In the Divina commedia, however, Dante contradicts this by saying that God was called I in the language of Adam, and only named El in later Hebrew, but before the confusion of tongues (Paradiso, 26.134).

Divina commedia - Paradiso, Canto XXVI67

This is Dante's text, in which he applies I and El in Italian text68: La lingua ch'io parlai fu tutta spenta innanzi che a l'ovra inconsummabile fosse la gente di Nembrt attenta: ch nullo effetto mai razonabile, per lo piacere uman che rinovella seguendo il cielo, sempre fu durabile. Opera naturale ch'uom favella; ma cos o cos, natura lascia poi fare a voi secondo che v'abbella. Pria ch'i' scendessi a l'infernale ambascia, I s'appellava in terra il sommo bene onde vien la letizia che mi fascia; e El si chiam poi: e ci convene, be, ch l'uso d'i mortali come fronda in ramo, che sen va e altra vene. 124 'The tongue I spoke was utterly extinct 125 before the followers of Nimrod turned their minds 126 to their unattainable ambition. 127 'For nothing ever produced by reason -128 since human tastes reflect the motion 129 of the moving stars -- can last forever. 130 'It is the work of nature man should speak 131 but, if in this way or in that, nature leaves to you, 132 allowing you to choose at your own pleasure. 133 'Before I descended to anguish of Hell, 134 I was the name on earth of the Sovereign Good, 135 whose joyous rays envelop and surround me. 136 'Later El became His name, and that is as it should 137 for mortal custom is like a leaf upon a branch, 138 which goes and then another comes.

Jupiter
The supreme Roman god was Iuppiter (Jupiter), whose name shares the Indo-European root *Iou ( dyeu) with the Greek Zeus (dyeus) and the Sanskrit dyaus (the sky). Although the early Roman gods were in some senses personal, they were generally not anthropomorphic. Originally the Roman deity Iuppiter applied a central character O. Iuppiter originated as a vocative compound of the Old Latin vocative *Iou and pater ("father") and came to replace the Old Latin nominative case *Ious. The Indo-European core *iou has also been explained as supreme justice69 and as a joint in uniting the people and the human matrimonial couples, symbolized by joining the male (I) and female (U) elements70. Matrimony has been considered a sacred act, performing a re-uniting of the separated halves of a man. These religious symbols have been encoded in the divine names, in the corresponding personal pronouns of the 1st person singular and in some other important words like justice, joints, etcetera.

67 68 69 70

Source : Divina commedia - Paradiso, Canto XXVI A Short History of Language *ious, from Proto-Indo-European *yAus- (ritual purity; supreme justice). Source justice Details are documented in: The Keywords in God's Name

The YHVH-entry at the The Mesha Stele

The Mesha Stele (in the 19th century also named the "Moabite Stone") is a black basalt stone bearing an inscription by the 9th century BC ruler Mesha of Moab. The inscription was set up about 840 BC as a memorial of Mesha's victories over "Omri king of Israel" and his son, who had been "oppressing" Moab. It bears the earliest known reference to the sacred Hebrew name of God - YHWH - and is also notable as the most extensive inscription ever recovered that refers to ancient Israel (the "House of Omri"). In fact we do not need a full knowledge of Hebrew language to identify the letters I, V and H in the name of Yahweh (IHVH respectively YHVH). The photographs, the inscription and translation are to be found in Wikipedia's entry Mesha Stele. The interesting line is line #18, which according to the Mothers of Reading suggest to read the letters I and V (or U) as special antipodes I-U in the old religion. This idea may play an important role in our history as the name YHWH is the first piece of evidence for the thesis of interpreting the letters I and V (or U) as special antipodes in the old religion. These letters I and U have not been derived from YHWH and may be found in other divine names: Jupiter, Dyaeus and in an overwhelming number of other religious names.

Paradigm #6 The vowels I,A,U,E,O are religious symbols 71

PIE-language and PIE-religion applied a standard name Diaus for their creator god, whose name included the symbolic image (iau) of the first human being72. The symbolic image (IAU) consisted of a leading character I symbolizing the male 73 and a trailing character U symbolizing the female 74 half. At the central position a vowel A had been installed to symbolize the divine joint75, which reunited the male and female halves. Originally the central character had been restricted to A, but in later eras the vowels E and O have been added76, which allowed the divine names to interchange the central characters A, E and O. The Mesha Stele also reveals the name YHVH which according to the Mothers of Reading suggest to read the letters I (respectively Y) and V (or U) as special antipodes I-U in the old religion. Therefore the vowels are religious symbols, representing the male (I), the female (U) and the androgynous elements (A, E or O) in the creation legend.

71 See: On the Symbolism of the Vowels A-E-I-O-U 72 See for details : The Hermetic Codex 73 Probably represented by a red color 74 Probably represented by a blue color 75 Probably represented by a purple color as a 50%-50% mixture of red and blue 76 Das Runen Wrterbuch by Udo Waldemar Dieterich (1844) who describes I, U and A as the fundamental alphabetic characters (page VI).

Paradigm #7 The Ego-pronouns are representing religious symbols

Morris Swadesh identified the Ego-pronouns77 (English I) as the most important word in any language78. In some PIE-languages (such as Provencal, Romansh, Sursilvan Sutsilvan ) the symbolic image (iau, ieu and iou) of the first human being is still being used as a genuine personal pronoun for the first person singular79. Originally these pronouns merely consisted of vowels symbolizing the creation of a first human being as an androgynous image (iau) of an androgynous deity (Diaus) in the most important80 words of any language. In PIE-religions the divine name has been generated by starting with a leading consonant D, Th, Z, or to be followed by the personal pronoun for the first person singular (iu , iau , iou ), to be completed by a trailing symbol (s). Sometimes the leading and/or the trailing character(s) may have been omitted. In Provencal the corresponding personal pronoun of the first person singular is iu, which completely has been included in the divine name Diu. A fine sample of these words may be found in the Provencal poem Mirio81 (1859) by the French author Frdric Mistral, in which the original pronoun iu may easily be identified. In French language the pronoun (je) lost the trailer character u. Some examples involve82: Provencal: D + iu = Diu Italian: D + i = Di Spanish: D + yo + s = Dios Portuguese: D + eu + s = Deus Romanian: Z + eu = Zeu old-German: D + ih + s = Dis83 English: D + i + s = Dis Romansh: D + jau = Diu (ideally: Djaus) Sursilvan : D + jeu = Diu Sutsilvan :D + jou = Diu (ideally: Djous or d'Iou-piter) Sicilian dialect: D + iu = Diu Old High German: Z + i(u) = Ziu, which may related the neighbouring area Sutsilvan :D + jou = Diu (which is to be located in the Alpes). Old English: T + ich = Tig, which may be related to the German pronoun ich84.

In most regions vast migration phases caused deterioration of these names, resulting in shortened pronouns, such as je instead of jeu in French language. According to the Swadesh-lists the secondly most important word is the ou or Thou-pronoun, representing You respectively U, which may also represent a religious symbol. The I-symbol represents a male and the U-symbol a female element.

77 78 79 80 81 82 83 84

Ego-pronouns are the personal pronouns of the first person singular See for details : The Hermetic Codex In English: I Morris Swadesh identified the personal pronouns of the first person as the most important word in any language in Occitan language Details: The Deity Dis in the Gallic Wars and Hieroglyphs in Indo-European Languages Dis has 53 BC been described by Julius Caesar in De Bello Gallico, Book VI- chapter 18 Similar pronouns are gothic-Dutch ik, ags. ic and Icelandic ek

Abbot lfric's85 sermon86, which has been written before 1025 is using the Old-English pronoun Ic, which is identical to the Dutch pronoun: 'Ic afandige manna heortan, and heora lendena, and lcum sylle fter his frelde, and fter his agenre afundennysse.' Translation87: 'I try the hearts of men, and their reins, and give to every one according to his conduct, and according to his own device.' In a later medieval era (in the Wycliffe Bible) the Ego-pronoun is changed to Y, which in the end will be transformed to I.

Paradigm #7 The Ego-pronouns are representing religious symbols

The personal pronouns I and You are representing religious symbols. The I-symbol represents a male and the U-symbol a female element. In PIE-languages the divine name may often be generated by starting with a leading consonant D, Th, Z, or to be followed by the personal pronoun for the first person singular, and to be completed by a trailing symbol (s).

85 Reference: Analysis of lfric's Language 86 The full texts may be found in 114 EPIPHANIA DOMINI and 115. THE EPIPHANY OF THE LORD. In "The homilies of the
Anglo-Saxon church. The first part, containing the Sermones catholici, or Homilies of lfric"

87 Translation quoted from The Making of English by Henry Bradley

Paradigm #8 Three layers of Ego-pronouns88

A substrate layer of pronouns man
There must have been a substrate layer of pronouns as defined in the Proto-European language (PIE). This substrate may be identified by the word man, which is an Ego-pronoun in Tajik ( (Man) and Persian ( - man ). In western Europe similar man-pronouns may be found in Finnish (min ), Kurdish ( mn ) and generally in all languages which are using me-pronouns such as Breton (me ), Walloon , Belgium (dji; mi 89), Cornish (my ), Estonian (mina, ma), Irish (m ), Ladin (Nones) 90(mi), Luwian, Turkey (amu, mu), Manx (mee), Old Irish (m ), Picard, Belgium (mi, fi ), Proto-Celtic (*moi ), Scottish Gaelic ( mi ), Venetian (mi), Welsh (mi, fi ). These languages are using pronouns identical to the name of the first human being man, who had been identified as the first man Mannus Tuisco's child by Tacitus (98AD). The Mannus-layer is the oldest of three layers. The man-layer may represent either an androgynous or a male (?) symbolism.

An intermediate androgynous layer ieu, iau respectively iou

The substrate may have been covered in some areas by pronouns ieu, iau respectively iou and their derivatives, including abbreviations. In Europe some dialects and languages in the remote mountainous areas still conserve the original form of the European Ego-pronoun in the threefold vowel-combinations ieu, iau respectively iou, which as IU-Symbols refer to the androgynous core in the series IU-piter, Dieu, Diu, Diou, Dio, Dios, Dievas, IHVH, etcetera. In a singular case (the Sardinian dialect Campidanese) the Ego-pronoun du is identical to the divine name Deu. For example the inhabitants of the small village Villar-St-Pancrace in the West Alpes between Grenoble and Torino near Brianon are using a strange Ego-pronoun iu m, respectively m iu 91. Simultaneously they are using a Creator God's name Diu92. Please note the remarkable inclusion of the Ego-pronoun iu inside the Creator God's name Diu. The local dialect of the 1500 villagers, who name themselves Viarans or Vialan, however cannot be considered as an etymological island and must be seen as a special varaint of the Occitan, French or just any other Indo-European language. In fact Italian and Spanish languages apply the same rules between the Ego-pronouns and the according divine names, e.g. in Italian Dio = D + io, respectively in Spanish: Dios = D + yo + s, in which we will need a trailing character s. In Sicilian the Ego-pronoun iu has been included in the divine name Diu.

The top layer Yod for the Indo-European Pronouns

As a third evolutionary step the first character Yod of the IU-Symbols has been chosen to represent the Ego-pronoun, resulting in (e.g.) the old-German Ego-pronoun Ih and English Ego-Pronoun I (Yod). According to the same formula the old-German (Ih) and the English Ego-Pronoun (I) refer to the deity Dis-pater, who around 50 BC had been identified as the Celtic creator-God by Julius Caesar. In later years the divine name Dis has been replaced by God (Yod).
88 See for details: Etymology of the Ego-Pronoun (I) 89 For pronouns, the first one given is for the one doing the action (eg: dji magne = I eat), the second, for the one target of the action (eg: avou mi = with me). 90 Die bndnerromanischen Idiome im Vergleich 91 Patois of Villar-St-Pancrace : Personal pronouns: Cas sujet Cas rgime atone tonique direct indirect Sg. 1p a (l) iu m, m iu 2p t, t t, t t 3p M u(l), al ei(l) s lu ei F eilo la eilo N o, ul, la - lu - Pl. 1p n* n* 2p * v* v* 3p M (z) s l* i F eil (eilaz) l* eil 92 See the dialect's lexicon : Lexique de mots en patois

Mixed formulas may have been applied to correlate the divine name with the pronouns, e.g. in Walloon , Belgium, in which the divine name Diu may be related to the pronoun dji and the ancient pronoun mi 93 corresponds to the substrate man-layer. The Yod-layer, which represents a male symbolism, may have been introduced to replace the androgynous intermediate IeU-layer.

Paradigm #8 Three layers of successive Ego-pronouns

Three layers of successive pronouns (Man-Ieu-I,Yod) may be identified in IE-languages, which all symbolize the creation legend of a first human being. The Ieu- and Yod-layers may probably have been influenced by the Hebrew religion at Abraham's contact to the Indo-European migrations. The divine name IHVH corresponds to the Ieu-core in the second layer of the pronoun's evolution. The Yod-layer probably corresponds to the first character of the divine name IHVH, respectively IU-piter, etc. The pronouns' evolution does not correspond to the evolution of the divine names, which causes irregularities in the relations between Ego-pronouns and divine names94.

93 For pronouns, the first one given is for the one doing the action (eg: dji magne = I eat), the second, for the one target of the action (eg: avou mi = with me). 94 See the overview in table in the document The Hieroglyphs in the Ego-Pronoun

Paradigm #9 - Interpreting the Kylver rune-stone

The Kylver stone

95

The Kylver stone is a Swedish runestone which dates from about 400 CE notable for its listing of each of the runes in the elder futhark. The Kylver stone was found during the excavation of a cemetery near a farm at Kylver, Stnga, Gotland in 1903. The stone was a flat limestone rock used to seal a grave and the runic inscription was written on the underside, and could therefore not be read from above. The dating of the stone from 400 CE is based upon the archeological dating of the graves. The Kylver stone was removed from Gotland and brought to the Swedish Museum of National Antiquities in Stockholm where it is not currently on display (2008). The Wikipedia-entry Kylver stone interpretes the Kylver stone as follows: [f] u a r k g [w] h n i j p z s t b e m l d o with the a, s and b runes mirrored horizontally compared to later use, and the z rune upside down. The W-rune and the Z-rune are rather unclear. After the last rune follows a spruce- or tree-like rune commonly believed to be a stacked Tiwaz rune. Another interpretation is that it is a stacked bind rune combining six Tiwaz runes used to invoke the god Tyr and four Ansuz runes to invoke the sir for protection. At a separate space the word sueus is inscribed. The meaning of this latter palindromic word is unknown, but it is assumed to be associated with magic. One possible suggestion presented by Marstrander is that it is a magical writing of the word 'eus' (the nominative form of the word horse) starting from the e and writing either way. However, this suggestion has been criticized as being "linguistically impossible" for that time period. The small inscription also uses the younger futhark version of the s-rune96.

Paradigm 9 - Interpreting the Kylver rune-stone

The first letter cannot be read as an F, but is to be understood as an I. There is no sign at all for the two parallel strokes of the F-symbol. This modification of the interpreted text would start the alphabet with most sacred letters in Germanic religion: I, U and , which have been used to define the oldest Creator-god Tuisco97 in the neighboring Celtic regions. In fact I, U and are the standard religious symbols for a long list of divine names Dyaus, IU-piter, IHVH, Tuisco, aUI, etc.98

95 The Keystone to Religion - Interpreting the Kylver rune-stone 96 Wikipedia's interpretation 97 Tuisco is the ancient Celtic Creator-God as documented by Tacitus in Germania (in 98AD), which had been almost forgotten by his people 98 Dyaus' Legacy - A Quest for the Origin of Religion

Paradigm #10 - Naming Conventions for Locations99

Tuiscoburgums
Civilizations devoted their rivers, mountains, passes and cities to their principal deities and their most important sources of wealth. The settlements devoted to German deities were Duisburg and Doesburg, which both had been named Tuiscoburgum after the ancient creator god Tuisco. A great number of other locations has been identified as devoted to divine concepts such as Donnersberg (Donar's mountain), Woensel (Wotan's soul), etc.

Amber and tin

Amber and tin may have represented the mayor prehistoric trading goods from the North & East Sea. Archaic Achaean legends, such as Apollonius Rhodius' Argonautica refer to amber as an element which had been found on the earliest expeditions.

Bernstorf (1400 BC)

A settlement dated in the period of the 12 th German king following Tuisco (king Baier, 1489-1429 BC)100 has been excavated near the Bavarian town Bernstorf101, where a considerable amount of golden decorations and amber pieces have been found. Two of these amber pieces had been carved to be used as stamps102, revealing a Mycenae-like face and some characters respectively a set of pictographic symbols.

Heuneburg / Pyrene103
The Heuneburg is a prehistoric hillfort by the upper Danube, located at a location at which the Danube may be shipped by small vessels. Heuneburg is considered one of the most important early Celtic centres in Central Europe. Apart from the fortified citadel, there are extensive remains of settlements and burial areas spanning several centuries. The first settlement on the site dates to the Middle Bronze Age (15th to 12th century BC). At this time, the main plateau was fortified with a massive ditch-and-bank enclosure, including a wooden wall. The settlement was abandoned at the beginning of the Urnfield period. The citadel was reoccupied and refortified around 700 BC; adjacent areas were occupied at the same time. The complex developed briskly, and by 600 BC, the Heuneburg was one of the key centers of power and trade in Celtic/Halstatt Southern Germany. Major changes in internal structure occurred around that time.

Earliest amber finding locations

The earliest surveys may have been concentrated on the nearest amber finding locations, which have been identified in Italy, in Yugoslavia and in the Pyrenees. These locations have been documented by Plinius the Elder104. Plinius menions the islands named "Electrides105", to which the Po-river carries amber. These islands however already seem to have disappeared at the time Pliny investigated the legends.
99 See for details: The Amber Road 100Details see: Reconstruction of the PIE-History 101 Bernstorf = Amber-village 102 See the photographs at the Bernstorf-homepage 103 Informations and photographs have been provided by Wikipedia's entry: Heuneburg 104 source: Book xxxvii. The natural history of precious stones. From Pliny the Elder, The Natural History, John Bostock, M.D., F.R.S. H.T. Riley, Esq., B.A. London. Taylor and Francis, Red Lion Court, Fleet Street. 1855. 105 Greek: Amber Islands

Some of these trading routes may have used the Danube river towards the northern part of the Adreatic Sea. As rivals the Achaeans and the Trojans probably started a battle to control the dominion over these trading routes. After the Trojan War the surviving Trojans did escape to Carthage and subsequently to Rome, where they reorganized the global trading system. Most of the trading covered thousands of miles from the North and from the Baltic Sea towards the Mediterranean Sea, for which several routes had been used.

The Greek and Roman expeditions

At the northern coast line of the North Sea the Glaesaria / Electrides-isles have been reported by Pliny. The Greek explorer Pytheas from Massila traveled from 350 to 320 BC During his journey he came to an amber island in the North Sea that he called Abalus. Its inhabitants were said to use amber instead of wood as fuel and to sell it to their neighbors, the Teutons. Other scholars such as Diodorus Siculus name this island Basilia, Abalcia, Balcia, Glesaria and Glaesaria. During the era of Emperor August in which Jesus Christ was born -, the East Friesian island were called "Electrides", named after "Electron", which is the Greek word for amber. Anyone using the expression "amber land" did not refer to the Baltic Samland (located in modern Russia today), but to the Frisian coast. The summit of amber trading and probably Roman power and luxury occurred at the time of emperor Nero. The Romans sent armies to conquer and control amber-producing areas. The Emperor Nero was a great connoisseur of amber. During his time, according to the Roman historian Pliny, the price of an amber figurine, no matter how small, exceeded the price of a healthy slave.

The Hanseatic League

The ancient Germans burned amber as incense, so they called it 'bernstein', or 'burning stone'. Clear colorless amber was considered the best material for rosary beads in the Middle Ages on account of its smooth silky feel. After the Roman era the trading system collapsed and in the Middle Age had to be rebuilt by the Teutonic knights and the Hanseatic League. The Teutonic knights controlled the trade, and unauthorized possession of raw amber was illegal in most of Europe by the year 1400. Medieval amber finding locations in France may have been named Amfrevilles, which are to be identified at the borders and estuary of the river Seine.

The Amber-Trading-Routes of the Hanseatic League 106

High tolls had to be paid at the village Ammerstol (Theloneum de Ambers) which has been a medieval tax-station, at which the merchants had to pay taxes. The nearby village Groot-Ammers seems to be a neighboring town related to tax-paying. Most of the historical details for these taxes may probably be derived from the correspondence of Hildenbrand Veckinchusen.

106 Details: The Amber-Trading-Routes of the Hanseatic League

The correspondence of Hildenbrand Veckinchusen

A documentary movie Terra-X, Die Deutsche Hanse. Part 2107 documents the life of the trader Hildebrand Veckinchusen108, whose biography had been reconstructed from approximately 500 letters and several notebooks. These letters109 which are now stored in Tallinn are available in a Wikisource. Around 1400-1410 Hansa-traders are using a trading route leading from the East Sea port Lbeck by Bruges (Belgium), Augsburg and the Brenner-pass to Venice. Their main trading goods are amber, textiles and furs. In order to evade the Venetian traders, who held offices at Bruges, twelve traders, including Sivert and Hildebrand Veckinchusen, at the beginning of the 15th century initiated a direct trading contact to upper-Italy. They named the trading society the venedyesche selscop, the Venetian association. For security reasons the society's members transported their trading goods overland. In Venice they bought their goods, such as spices, sugar, Brazilian timber, alum, Frankincense (incense), etc. to sell these at the markets of Flanders, England, the Holy Roman Empire and Scandinavia. On the other hand they sold amber rosaries and raw amber, textiles and furs to Venice. By 1409 the trading position of Venetian association developed prosperously, but for Hildebrand Veckinchusen the decline may have started at 1414. Traditionally the trading had been protected by the Teutonic Knights, but at the Battle of Grunwald or 1st Battle of Tannenberg (fought on 15 July 1410) the knights had been defeated. This lost battle severely influenced power of Prussia and the trading position of the Hansa.

Reconstruction of the Hanseatic trading route

The trading route as sketched in the documentary has been drawn in a Google-map Hanseatictradingroute from Lbeck straightaway to Ammerstol (a toll-station for amber-trading up to 1400) and Bruges and from Bruges by the Ardennes, Bernkastell towards Bruchsal via the Rems-valley towards the river Brenz, passing Augsburg, Ammersea (Ambersea), Oberammergau (Amberdistrict), Barm-sea, Ammersattel (Ambersaddle), Innsbruck, Brennerpass, and the Brenta-river to Venice. An alternative route leads from Bernstadt towards Innsbruck revealing the stations Fernpass (Bernpass), Fernstein (Burning stone Amber) and Fernsteinsee (Bernstein-sea Amber-sea). The words Bern and Ammer (Amber) refer to the burning stone amber. The towns, lakes and mountain-passes probably received their names a long time before the trading era 1400-1410. Of course the trading route between Bruges and Venice had been in use before 1400 and after 1410. An overview of these routes has been documented in the German manuscript Der Brenner Codex die Bernsteinstrae. Hildebrand Veckinchusen used a route which had been in use for centuries before he started theVenetian association.

107 Terra X, 08.05.2011 19:30 (in German language) 1081370 - 1426 109 in Low German language

Black Amber
Black amber (jet) has been found in Whitby. The black mineraloid, jet, the fossilized remains of decaying wood, specifically that of the Monkey Puzzle Tree, is found in the cliffs around Whitby, and has been used since the Bronze Age to make beads and other jewellery. The Romans mined jet extensively, and Whitby jet was at the peak of its popularity in the mid-19th century, especially after it was favored as mourning jewelery by Queen Victoria when she went into mourning after the death of Prince Albert. Black jet may also have been influenced the naming of some towns such as Ravenscar. Several Raven-based names have been identified on a line from the isle of Man towards Whitby. Most of the yellow succinum-amber may already have been exhausted at the time of the Roman empire.

Paradigm #10 - Naming Conventions for Locations

Civilizations devoted their rivers, mountains, passes and cities to their principal deities and their most important sources of wealth. The settlements devoted to German deities were Duisburg and Doesburg, which both had been named Tuiscoburgum after the ancient creator god Tuisco. Most of the famous early settlements have been devoted and named to yellow (succinum) and black (jet) amber trading. Examples110 for amber trading towns are Ammerstol111, Bernkastell, the river Brenz, Ammersea (Ambersea), Oberammergau (Amber-district), Barm-sea, Ammersattel (Ambersaddle), Brennerpass, and the Brenta-river, Bernstadt, Fernpass (Bernpass), Fernstein (Burning stone Amber) and Fernsteinsee (Bernstein-sea Amber-sea).

110 See for details: The Amber Road 111 Ammerstol has been a Dutch toll-station for amber-trading up to 1400

Paradigm #11 The words Day and night include some sacred vowels
Vowels have been recognized as the sacred symbols in Indo-European and other languages. In her paper The Mystery of the Seven Vowels (1991) Joscelyn Godwin correctly describes various religious symbols hidden in the vowels of ancient languages112. The number of vowels may vary between three (I, A, U), five (I, A, U, E, O) or seven (I, A, U, E, AE, O, OO), or even more. The most important conclusion is the analysis of the divine name, which seems to have been designed as a set of pure vowels. Godwin quotes the most interesting series listed by Godfrey Higgins in the one-vowel name I, the two-vowel name IE / EI on the sanctuary of Apollo at Delphi, the three-vowel name lAO, the fourvowel name IEVE, in which U and V are equivalent and the multi-vowel name JEHOVA . The "unpronounceable Name - IHVH" was the vowel combination IAOUE. Not pronounced, but breathed. That is uttered without closing the mouth. Its Latinised form of course is IAO - YO-WEH, or Jove. In parallel to the divine names (which often start with a consonant D or Th) most of the modern Ego-pronouns113 however are purer series of vowels than the divine names themselves. Many Ego-pronouns are correlating to the corresponding divine Creator names and Joscelyn Godwin's as well as Godfrey Higgins' rule may preferably be applied for the Ego-pronouns instead of the divine names. A closer inspection of the Genesis-objects reveals a more fascinating idea: the vowel-cores for some objects, which have been created at the very first days of Genesis also seem to correlate to the corresponding Ego-pronouns. These correlations seem to indicate a series of words that have been designed according to the creation legend. These correlations may be illustrated by some tables for several Indo-European languages in the document The Reconstruction of Some Original Ego-Pronouns. According to these investigations the Ego-pronouns originally may have been designed as pure series of vowels. Initially the word Ego may have been designed as eio or eiu, which had been derived from Deios or Theios, respectively Deius or Theius. These Ego-pronouns served as the vowel-cores for the divine names, which in contrast to the pronouns needed leading and trailing consonants. As a rule a leading D and a trailing s had to be applied to generate a divine name. The initially in Genesis created objects (such as the day and the night, as well as the rain) included a number of similar (equally sacred) vowels. In English Day and Night may be considered as special words, designed for the Genesis-process as positive elements. Day and Night have been designed to contain the ay-sequence of the Egopronoun. In the English word Night the ay-sequence of the Ego-pronoun will only be identified in the pronunciation spelling for night. In Mediterranean (French, Occitan and Romansh) languages the sacred vowels may have been ordered in a reversed sequence (ui instead of iu) in the words (French: nuit) for the night, probably to indicate the negative character of the night's darkness. The evil however is relative and may be good for the opposite side.

112On the Symbolism of the Vowels A-E-I-O-U 113 The Ego-pronoun is the personal pronoun of the first person singular (I)

Paradigm #11 The words Day and night include some sacred vowels
In analogy to the divine name and the Ego-pronoun some initially in Genesis created objects (such as the day and the night,as well as the rain) include a number of sacred vowels. In the English word Night the ay-sequence of the Ego-pronoun will only be identified in the pronunciation spelling for night. In Mediterranean (French, Occitan and Romansh) languages the sacred vowels may have been ordered in a reversed sequence (ui instead of iu) in the words (French: nuit) for the night, probably to indicate the negative character of the night's darkness.

Paradigm #12 Genesis has been used to design a language114

Some of our Languages, Religions and Names are very old indeed. Even if we are unable to date their origin we might be able to find out which of these originated first and we expect to find an answer to this question by analyzing some of the remaining sources. Language of course started as a spoken medium, for which in a strict sense no clear evidence is to be expected. Our ancestor's languages however may be reconstructed by linguistic comparisons, resulting in an Indo-European prototype115 language. At the other side we will inspect the relative age of religion and names, both of which which may be compared to linguistic elements. The main source of religion is the Bible, which in analogy to language is expected to have started as a spoken medium. Which of these, PIE or the Bible, is the elder of both? The following essay investigates the words used to describe the first day's creation in which day and night have been divided. In itself already formulated as an impressive process the linguistic power has been enhanced by the usage of specially designed words. These words for day and night seem to have been designed for the special Genesis-description. The sequence of the vowels and the choice of vowels has been selected to contain the vowels of most important word of any language (the Ego-pronoun116). In fact the word day even includes the complete Ego-pronoun. And in a number of languages the word god is equivalent or similar to the word day. If a great number of Indo-Europeans have been using these especially designed words for the Egopronoun, God, day and night we may have to admit that they have known the Genesis-contents for the creation phase of the first day. This insight however would put the Genesis-legend in a new position at the very beginning of the creation phase for the Proto-Indo-European language. The oldest Indo-European Ego-pronouns are man-pronouns, which seem to correlate to a Genesis legend, in which "Man" is created. From here the word "man" has been used as an Ego-pronoun. The Ego-pronouns jau, jeu, and jou seem to be genuine forms for the replacement design of a successor Ego-pronoun for man, generated according to the same Genesis legend, in which "Man" has been created male (i or j) and female (u) simultaneously in order to be split in two halves. In the genuine representations jau, jeu, and jou the male and female elements will still be recognizable as androgynous structure. The deteriorated, modern forms of the Ego-pronouns (the English I, the French je, the Italian io, the Spanish yo, the abbreviated forms iu, eu, and ja and the iu, eau variants) might be categorized as the top layer for the Indo-European Pronouns. They still will be recognized as vowelcombinations, but the androgynous structure largely has been lost. The Ego-pronouns jau, jeu, and jou will also be found as core-elements in the divine names Djau, Djeu, and Djou, respectively Djaus, Djeus, and Djous, or their abbreviated variants iu-piter, IHVH (IHUH), etc. In order to generate divine names from Ego-pronouns we may add a leading D and (if needed) a trailer letter s. The words for day and night seem to belong to the generation of the Ego-pronouns jau, jeu, and jou, which must be considered as more modern than the man-pronouns.
114 Languages, Religions and Names (Which of these, the Proto-Indo-European language or the Bible, is the elder of both?) 115The Proto-Indo-European language (PIE) is the reconstructed common ancestor of the Indo-European languages, spoken by the Proto-Indo-Europeans. 116 The Ego-pronoun is the personal pronoun of the first person singular (I)

The man-pronouns will also have been designed according to a corresponding Genesis legend, but these words may have belonged to a predecessor population, which eventually used the same or a similar Genesis legend. The Ego-generations jau, jeu, and jou may have replaced the man-pronouns in an emigration of nations. The words for day and night, which are including elementary Egopronoun-cores such as "iour" (French: "jour" = "day") and "nouit" (French: "nuit" = "day"), must have been designed along with the predefined "iou"-core, which needed to be reversed to be included in "nouit".

Paradigm #12 Genesis has been used to design the PIE-language

These considerations suggest to consider the Ego-pronoun-generations jau, jeu, and jou along with their corresponding divine names Djau, Djeu, and Djou, and the previously reconstructed day/night-words such as "iour" (French: "jour" = "day") and "nouit" (French: "nuit" = "day") as a coherent set, which had been designed according to an already existing Genesislegend, in which a first "Man" has been created as an androgynous person, to be symbolized by the names and the ego-pronouns "Man", or jau, jeu, and jou. This may be the proof that the previously quoted Genesis fragment has been used to design the language and is older than the discussed languages themselves.