Hinges in the Alphabet – The Special Properties of “3”

Dennis has been hard at work as always, unfortunately it means he writes less on the esoteric, but when he does; it feeds the brain and lifts the mind:

When we consider the properties of a “hinge”, it has two unique properties.  First, its center point is fixed, while its extensions are affixed to two separate planar entities.  In this way, a hinge of a door holds the door fixated at a particular location, and yet the properties of door itself are able to swing upon, the measurements of “openness” able to be equated to degrees on a compass.

Hence, a door can be opened “just a little”, a principle to denote perhaps an opening of less that 30 degrees, to being “wide open”, to imply 90 degrees or more.

A hinge, by its design, is comprised of 3 parts: the first part is the one that affixes (in general) to a stationary point, then there is the “hinge pin” that enables the movement of a third item that may be viewed as the moveable object.

A hinge, by its design, cannot open further than 180 degrees.

When we realize that the Letter H is a transposition of the Greek Letter Pi, and hence often has a hidden “P” value, the word HINGE becomes PI NGE, whereas the Pi nature of the “HINGE” becomes self evident, as does the more hidden but esoteric construction in the word PING, where a PING often involves the tapping of a fixed point or location, as in to “ping the router”.  In the case of a PING, perhaps we can view the sent signal as “the door”, the “ping” itself as the “hinge pin”, and the router and accompany network architecture as the “fixed location”.

The key issue is the special property of “3”, and ultimately, how this principal of 3 is encoded into the esoteric construction of the Alphabet.

The Alpha, Beta, Gamma and the Sepher Yetzirah

Much effort has been spent in Western mystery schools on the development and understanding of the esoteric properties of Letters.  This is largely evident in Greek (Pythagorean), as well as Hebrew (Rabbinic), wherein the fusion of Numbers and additional archetypal coding to Letters is well known and generally thought to be “understood” by many a practitioner of Qaballa.

In the Hebrew, for instance, the Letter Pei (Pi), as referenced in Mysteries of the Qabalah, by Elias Gewurz, [1922], at sacred-texts.com,

notes:

  Pei, ‏פ‎ or P, meaning the Open Mouth, Value 80.

The symbol of expression, that through which man makes himself known in the outer world, hence the literal meaning, mouth; the Second Race of Man.

The outlet; the outward and visible means for the Spirits’ manifestation.

Inner.org adds:

Souls:

  • The power of speech.
  • The 32 teeth in the mouth correspond to the 32 pathways of wisdom.

Here we can see that the Letter Pei (Pi) refers to the 32 pathways (32 decimal digits) of Pi as the totality of the Esoteric Traditions regarding “the Word”, that Pi has two primary components, an oral element in reference to speech and a fixed or formed element in the way of “the Letters”, which is the “outward and visible means” through which an outward expression may be realized through the means of Speech and Words.

Yet as we delve deeper into the Letters, we know that Letters themselves are formed through three cipher channels: Letters/Numbers/Sounds.

This reality is permanently established vis a vis the Sepher Yetzirah. At the beginning of Chapter for of the Sepher Yetzirah, it reads,

The two sounds of each letter are the hard and the soft–the aspirated and the softened. They are called Double, because each letter presents a contrast or permutation; thus Life and Death; Peace and War; Wisdom and Folly; Riches and Poverty; Grace and Indignation; Fertility and Solitude; Power and Servitude.

Here we can see references to the existence of archetypal properties of the Letters (ie., Life/Death, Peace/War, etc.) as well as an understanding of the phonetic construction of the sounds (hard and soft — aspirated and softened).

In English, simple observation reveals a mathematical construction to the phonetic placement of the sounds that make up the Alphabet, especially once the Alphabet is placed into “the Isisian Codes” cipher sequence.

The Isisian Codes, a code, really, reveals a near absolute mathematical precision to the phonetics of the English Alphabet.

At position number 3, we can see that the sounds of C and S are identical relative to their Letter Name (SEE and ESS).

At position number 4,we find two of the 4 dentals, the D (DEE) and T (TEE).  In this case, the “D” is clearly the softened sound while the T aspirated, or hardened sound.

At position number 6, we have the two labials, the F (EF) and the V (VEE), wherein the V is the softened and the F is the aspirated, or hardened.

However, we must keep in mind that the Alphabet is a sophisticated set of interlocking cipher patterns.  These cipher patterns are equally a part of basic cryptology.  The At Bash Cipher, for instance, simply renumbers the Alphabet, setting the Z at 1, the Y at 2, and X at 3, and so forth.  Once can visualize this on an esoteric construction in many ways, but a good way to visualize this form of cipher pattern is to draw mental circles in one’s mind with the MN, or 1314, located in the center.

It is views as follows:

Another interlocking cipher pattern is known as the “Ach Bi”, the name again being taken from “contemporary Kabballah”, or as used in Rabbinical Kabballah as a means of reference.

In the Ach Bi, the Alphabet is divided in half and then the beginning of the sequence is mirrored against the last digit/letter of the sequence.

In this cipher, an A is mirrored against an M and hence each has a value of 1, and this is carried through to the Letter G, which has no mirror and is numbered at 7, while on the second half of the Alphabet, the Letter N is mirrored against Z, the O against Y, etc.  Hence, in an Ach Bi Cipher Pattern, the Letters A,M,N, and Z all have a number 1, the Letters B, L, O, and Y each have values of 2, with the pattern being carried out until one arrives at both G and T, wherein the G and the T are located position 7.

The Ach Bi is viewed here:

For an idea as to how the Ach Bi is used in an esoteric sense, one can watch the video “The Esoteric Tale of Humpty Dumpty”:

The Special Properties of “3”

However, there remains a riddle relative to the various interlocking ciphers, and that has to do with the Letter G.  This is so because within English, the Letter G is located at number 7, while in the Greek, and its antecedent, Hebrew, the Letters “Gamma” and “Gimel” are each located at number 3.

From a “qaballistic” perception, there must be some form of transposition within the larger “Construct” to account for the special properties of G.  This is due to the recognition of “Principles of Hardness and Softness”.

This “Principles of Hardness and Softness” appear in what is essentially a linear representation when the Alphabet is STOPPED at OP and shifted at Q back to 1 to form the Isisian Codes.  D is soft, T is hard, F is hard and V is soft.  See and Ess are essentially equally, although S is regarded as the hard letter and letter C is considered the soft due to the hard ending of S and the open “E” of the letter C.

However, the Letter C has two sounds and each is essentially independent of the other.  The Letter C is both hard and soft within itself.  C as in Circle is soft, while C as in Candy is hard.  The important element of the C is within its hard form, which is a hard Cuh, as in “cuddle”.

Within the Principle of Models of Hardness and Softness, the Letter C(uh) is hard, while the soft is not really S (ESS) as in Circle, as this is a wholly different sound set compared to the hard C(cuh) as in Cuddle.  The soft form of the Cuh is the sound Guh, hence C and G share design parallels for part of the G is the very C itself.

We then must turn our attention to the various cipher pattern, but in particular, the Ach Bi Cipher.

In the Ach Bi Cipher there are 4 “3’s”.  These are the Letters C, K, P,and X.

The Letter P is clearly not a part of the phonetic family of C.  However, what is evident is that the letters K and X equally share the same phonetic value of C as 3.  In the case of the Letter X, it is both 3 in the At Bash and the Ach Bi.  Hence, just as C contains within itself sounds of both S and hard C (cuh), so too does the Letter X.

The Letter X is indeed a composite sound of the Letters C, K, and S (EKS = X).  Words, therefore, should reflect this phonetic pattern.

EXAMPLE is an EXAMPLE of a HARD X.
XYLOPHONE is an example of a Soft S (Z)

In this manifestation, we find that the Letter S, then, aside from always being present in the Hard X, but also can be present as a soft form X (XYLOPHONE) in such words as DESIGN, wherein the S takes on a softening within its own design.  Hence the word SAMPLE reveals a hard S while DESIGN reveals a SOFT S that approaches the sound within the Letter Z.

Equally, the Letter G has properties that are uniquely distinct, wherein G has a “soft sound” as in “germ”, and in this case, a hard sound as in “grand”.  From the G sound as in “germ”, the shape of the mouth and tongue is virtually identical to the compound sounds of CH and SH.  Hence words as “germ”, “shorn”, and “churn” are all sounds that working off of the Letter/Number 3.

The Letters that are fused to the Number 3 are indeed nearly all (save for P) phonetically interconnected.

C as CABLE as K is KATIE is as X is EXTRA, all hard forms of C with added “S” located within the X (EKSTRA = EXTRA).

Hence, with all these various examples, it should be abundantly clear that the “esoteric principles of models of hardness and softness”are not so much an esoteric principle, but rather a well developed and rational observation of the sounds that make up our Western speech/word patterns.

The Letter C and 3 as an Occulting Sequence

An additional power within the Letter C is contained within its design.  The Letter C is really derived from a sphere being C-OVER-ED.

This basic reality always implies 3:

The original light source, the body that is being C-OVER-ED, and the position from which the phenomena if viewed.

Applying this concept back to the Letters, then, there should be equivalent representations of sounds being occulted, or hidden (removed) as a process of invoking the Letter.

Our “3’s”, again, are C, S, K, X, G and P.

Just as the Letter C is a glyph derived from the principle of a sphere being C-OVER-ED, the Letters that denote the Number 3 are statistically prevalent in words that involve silent enunciation of letters.  Perhaps it is within this principle that the Letter P is able to share some esoteric equivalencies.

For instance, the Letter C disappears in such words as SCENT, SCENE, and SCINTILLATE, while the Letters G and K disappear in such words as KNOWLEDGE and GNOME,.  The Letter P will disappear when invoked with the Letter S at the beginning of a word (PSYCHE) while the Letter H can disappear when invoked with the Letter C (CHOIR, CHORUS).

A cursory check of English vocabulary will reveal much regarding this archetypal concept.  That is not to say that other letters do not too disappear, but one should study the disappearance for any philosophical or potential esoteric constructions.

The Letter C and Number 3 as the Hinge Letter/Number

I equate the Letter C as “a hinge” specifically because it is the anchor point upon which two great esoteric traditions are fused.  In this scenario, perhaps we can equate the Letter/Number 3 as the Hinge Pin itself.

At the Letter C, or 3, the Letter G or Gimel, fuses or is hinged to the English mystery traditions. The English Alphabet is as the fixture upon which the hinge is affixed, while the 3, or Letter C, is fused to the Letter/Number 3 of the Alpha – Beta – Gamma traditions, and the later Alef – Beit – Gimel rabbinical systems.

Perhaps this is what is being said in the design of the traditional number 3.  By its very design, it is silently sitting, telling you that the 3 is both 3 (C/S) and 7 (G) equally.  The Hebrew G sound comes to be at 3 within the English through a knowledge of esoteric crafting of words revolving around the phonetic values contained within the Letter C (3).

C at 3 is fixed.  Gimel at G(7) moves.  The hinge is at 3.

Perhaps this is what is silently being said in the design of the Letter 3.  It silently reminds us that under some conditions (systems), the Letter C is both 3 (C/S) and 7 (G).

The English Esoteric System is considered the fixed position precisely due to the precise nature of the Number 3 set against the phonetics of the Alphabet.  It is impossible to deny that the Letters C, S, which are located at number 3, share a phonetic equivalency.  The number 3 is the hinge, for at the number 3, we find also the K and the X.

The design of K and X hint at a “hinge” type of property and a mirror type of property equally. Both of these properties are contained with the design of the “simple piece of hardware called a HINGE” in its crudest fabrication.

Yet there is one more “3” to be spoken of, and that is the Letter L.

It is a Square.  It is an inverted T.  It indeed, could also be a HINGE, but precisely how and why such would be so is a story is for another day.

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