Oahspe Study

 

PROPHECY and JEHOVIH'S SYMPHONY

 

 

 

 

 

 

Prophecy can be compared to Music. Like prophecy, music builds upon harmonizing various elements, but instead of applying this to working out cycles and probabilities, musicians create in the realm of sound, building musical compositions ranging from simple tunes to complete symphonies.

 

A young child hears a symphony for the first time, is entranced and wants to learn music. S/he begins learning to pluck out a melody, feeling a great sense of achievement; although, not yet a musician, s/he has some talent.

 

Then later the student is introduced to harmony as in different voices. The highest voice becomes the melody and the other voices become the harmony, discovering chords that sound good together.

 

Likewise, a novice to prophecy sees a pattern in a cycle, say an ode (11 years), or a hundred years and jubilates in his ability to prophecy. Yet like the young child, s/he has only found a melody line.

 

As the beginner musician learns the various elements of music, s/he grows and begins development as a musician. So the prophet looks at numerous elements such as the signs of the times; upcoming vortexya and the past vortexya; the grade of light and darkness. However, finding one element does not yet make a prophet, just as finding a melody does not yet make a musician.

 

 

 

Consider the amplitude of a 12 tone scale compared to a 24 tone scale. Say not only 3 part harmony but 6-7 part harmony. Yet to the untrained ear, the 24 tone scale may sound strange or dissonant, or even difficult to recognize as music. Beyond are even larger scales to be discovered (For example, the many sounds of the natural world at a particular time of day, and their blending together.)

 

The same type of construction happens with cycles. There are an infinite number of cycles because every single number has its own frequency, because a number has vibrated a certain number of times, just as a musician can tell whether a note is an A or a C or a G.

 

Man begins with the 5 note scale, the 6th is the octave, which number is music, which means perfect flow. Then man graduates to the 7 note scale, reaching the fullness which leads to the 8th note octave which is progression. Then the 12 note scale, with an octave of 13 which is the test. In prophecy, the cycle of 13 is a cycle relative to man. After every 13 pulses there is a change as to what is being tested.

 

 

 

So the child wants to be a musician --- where do you start? For the prophet the primary cycle is 33. That would be analogous to the C scale, being the so called natural scale.

 

Just as an unschooled listener will focus on the melody, but the trained listener/musician will hear the various melodies below the main melody, and the different instruments/voices. So it is the same with prophecy, there are different players. For example, players of grade 65 will play different to people of grade 35, just as a musician won't allocate a high note to a tuba or cello.

 

So the prophet looks for those things. So you begin with the ode - 11 year, the spell - 33 year (melody) and sweep - 100 year cycle. But you also look at the timing which is the context. The prophet is looking at Jehovih's symphony, if he sees a progression of chords, he will know what is probably coming up. If a note is coming up he can guess. But Jehovih's music is always original, so a strange note (in music called an accidental which is a note that does not belong to the scale) or a change of key can always appear. But there will always be chordal progressions in these transitions if there are going to be any. Sometimes the pattern of transition is not noticed until after the event, so even Gods can be surprised with events.

 

 

 

Both the Es man and the Beast Man can be looked at in the cycles pertaining to man. Once the three cycles are established (33, 11, 100), which cycles pertain to the es man. Then you look at the beast man, he has 1, 11, 66, 666. Both es and beast share the number 1, which number tells the vibrations that set the foundation --- even as the opening theme sets the tone and foundation of the musical composition. The es man will go a certain way from that foundation, and the beast man his way, because both will follow Jehovih's symphony according to their parts.

 

But the accidentals/dissonance comes from the beast. It is up to the es man to turn a dissonance into a consonance. Jazz musicians, like the es man, are improvisational players. They bring dissonance into consonance by transitioning to a different key, or weaving harmonizing notes into it, or repeating it to make a rhythm out of it, thus soothing it out.

 

So a prophet when he sees a dissonance, knows Jehovih will bring it into consonance. It is not only the beast man who introduces variety, the es man can put in a note that raises it at the higher spectrum, as the beast does it at the lower end.

 

The beast man sees the es man's move and digs in his heels, because he cannot follow. He wants to stop things so he can figure things out. You get a dragging at the bottom, a whirring, a scraping. But Jehovih will bring it all into consonance in a symphony.

 

 

 

Every number is a cycle, and represents a repetition of a vibration, or a repetition of multiple vibrations. Say 6 --- it has its own uniqueness. but it contains the vibrations of 1, 2 and 3; and has harmonies of 4; and is related to 5, since 5 is building toward 6.

 

Man is so immature he has to be focused, he needs to have something to follow. We can't see all the cycles, so we have been given the main ones. We are also given the cycles 1 through 121 as in Se'moin, where each number has its own voice. So we are looking at Jehovih's symphony to identify the voice. But all these other cycles are background to the main "melody line" or cycles of 11, 33 and 99.

 

The melody of the symphony is Esfoma, Daughter of Jehovih, the signs of the times. She is as a snapshot of what is occurring at the time. The voice of es man and beast man is a collective voice. And each is the collective of all es man or all beast man. And while there are many players not mentioned here, it is important to realize that God with his Holy Council brings forth the essence of Es man.

 

 

 

The student of prophecy would do well to begin his first assignment with the 33 year cycle. S/he should keep in mind that the Ode (11 years) cycle also has elements of es man and beast man. Mortal man finds the beast can be strong within him, so he tends to react with the beast and doesn't readily see the es aspect of the issue, and often dismisses it. So he easily listens to the loudest voice, and sees only the beast aspect everywhere and over reacts, becoming pessimistically oriented. Coming out of meat eating, man is still under the influence of the beast. But the prophet in Kosmon, looks at the interplay between the es part and the corporeal part. So the prophet learns to see both corpor and es, and their interactions.

 

Man has two senses es and corpor. Es has a higher and lower octave -- es indicates spirit, and of spirit there is a highest voice, and this is Es, Daughter of Jehovih. Of corpor, there is the self or beast in man which responds to corpor, but aside from that there is also the voice of Corpor, Son of Jehovih, who has his own agenda; and while Corpor may or may not answer the prayers of the beast at any given time and situation, yet Corpor does nonetheless speak at those times and situations.

 

As well as Es and Corpor, there is the in between part, which is Atmospherea. The voice of Es can be heard coming from Atmospherea, but it can also be heard, coming from Etherea. Atmospherea is the es part that man can perceive with su'is, but to perceive Etherea, requires the ethe sense. For mortal man it is hard to see Etherea, even though its effects are there. Even so, the prophecy student aims to develop these senses by following the Faithist discipline as expounded in Oahspe (herbivorous diet, cleanliness in body and spirit, righteous behavior), and further with discipline required to be a prophet of Jehovih. (See Oahspe for details).

 

 

 

 

All Oahspe references are from the Standard Edition Oahspe of 2007

 

 

 

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