The Seven Eyes of God

This page is an introduction to the advanced constructs that follow. It is required reading if you intend to delve further into the geometry of the luchot. As for the "Seven Eyes," one has only to search the internet to find thousands of erroneous explanations. There is at least  one site that provides reliable information1. This post will provide among other things, an explanation of the terminology within the framework of the measure and geometry of the luchot or primordial torah. 

We will start our explanation with a brief story about the ARI (Rabbi Yitzchak Luria). There was no one like the ARI since the days of Rabbi Shimon bar Yochai. The ARI overflowed with Torah. After spending years in isolation on the banks of the Nile River in Egypt, he  returned to Safed for the sole purpose of teaching Chaim Vital. The ARI you see, was the gilgul of R. Shimon bar Yochai, and Chaim Vital was the gilgul of his son, Rabbi Eliezer.

The ARI's disciples were all giluglim of Rabbi Shimon's disciples. So when the ARI would meet with his disciples in the cave at Meron (where Rabbi Shimon bar Yochai had met with his disciples) he would seat them according to that of their predecessors. The ARI sat in Rabbi Shimon bar Yochai's place. Chaim Vital would sit in the seat of his son, Rabbi Eliezer, and Rabbi Binyamin Cohen would sit in the seat of Rabbi Abba. The remaining seven disciples would sit in the places of the "Seven Eyes of God," where they had been seated in their previous gilgul.

As you may have guessed, the ten disciples and their arrangement correlate with the ten sephirot, the three 'upper' being Chochmah, Binah and Daat/Keter, and the seven 'lower' being Chesed, Gevurah, Tiferet, Netzah, Hod, Yesod and Malchut, all of which are a reflection of a larger reality.




In the meantime, the purpose of this post on 'the Seven,' is to show how these elements converge to 'create' the sequence of words in the Torah; that the sequence (text) is of divine origin; and that the permutations and combinations of its letters that convey the narrative (story) are all a direct function of the geometry and measure (numbers) of a certain SaPphiRe cube: SePhaR (number) SePheR (text) and SiPpuR (story). The significance has already been explained in the post on the sapphire cube. Here we note also the additional connection between the SePhiRot and the geometry of the SaPiR / SaPphiRe 'stone'. 

This cube goes by many names. It has been called the foundation stone [of the world] or the cube [of creation]. Sometimes it is referred to as the cube of metatron (the mem-tet angel). It is the sapphire brick under the throne of God (the original cubic form of the two tablets) before it was divided and brought down by Moshe as the shnei luchot. This was the primordial torah that God "looked into" before creating the world.

Its measurements are well known and we've already discussed them at length in previous posts where we generally refer to them as 'the combined cubic form of the luchot' or 'the cubit-cubed'. We prefer this terminology in order to emphasize the importance of its mathematic properties and the various units of measurement defined by its characteristics. All are a function of the number and nature of the letters in God’s Name.  

This signature geometry is in fact the foundation for a complex mathematic system that ultimately defines everything in the universe (hence the term foundation stone). You might say it is the chemistry of creation. We've already demonstrated how the specific measure of these tablets and their geometry defines aspects of physics, celestial dynamics, biology, and even the history of mankind. In this post we will endeavor to show that it also gives rise to the sequence of letters and words in Torah. At the same time we'll provide a reason for the minor variations in the sequence of its letters that ultimately take three forms: Ashkenazic, Sephardic and Yemenite. We here posit that all three originate in a fourth version, which is the divine or primordial form in the geometry itself (this will be examined in part two of this post).

The above assertions are rather easy to demonstrate using simple models. Please keep in mind as we present this information, that our underlying purpose is to connect the dots back to their point of origin, which is the signature geometry of God’s Explicit Name, a Name which is said to rule the universe. It's interesting that the Name is said to rule. We will explain how and why by modeling the geometry insofar as the dots, the lines, and the faces are concerned, in order to substantiate the principle. The end result is proof of intelligent design, but more specifically, it is proof that the design was signed, sealed and delivered, quite literally, by the Architect of that system.

In addition to what we have said above, the signature geometry provides us with a glimpse of how everything works behind the scenes. It is a small window into a reality that our sages calledthe workings of creation” (natural knowledge that can be acquired by understanding the geometry). The “workings of the merkava” (divine knowledge of how the letters of God’s Name connect to this geometry) is a secret that is revealed only in certain circles.

Certain circles? Interesting phrase! It refers to small groups of people. However, since the glimpse that we are about to provide is in the form of the geometry mentioned above, we will start "in the beginning" with the genesis of geometry, which is a simple circle





A circle consists of one line and one face2. You might say it is the ultimate geometric expression of one. The square, in contrast, consists of four lines and four points. It is the basic geometric expression of four, like the four observable dimensions of space-time or the four forces of quantum mechanics.

If you draw a circle inside a square, it touches the lines of the square in four places. The geometry of one (the square) as it pertains to the other (the circle) can be expressed as a function of this ratio which is 'four-to-one' (the total number of lines being five). This is not unlike a universe of five dimensions where four are observable, and one is concealed (four-to-one). 

The concealed dimension is a spiritual dimension that involves good and evil, although the concept can be described in several ways, like knowledge of God or lack thereof. It cannot be seen directly, but it may be perceived as a reflection, for example, by observing behavior.




You may have noticed that 'duality' is a potential within each geometric set. We generally refer to 'duality' in terms of male or female, since the concept deals with polar opposite characteristics. Duality does not require every trait to be the exact opposite of its counterpart. It is sufficient that one or more defining characteristics are of an opposing nature.

The circle is a good example as it consists of a line and a face. There is duality since one half has substance (the line) and the other half does not (it is the absence of any lines). One is therefore the opposite of the other. Duality. The square also has this potential within its geometric characteristics. It has four lines and four points. In the case of the circle and the square, their 'potential' is not fully realized until their respective geometry is divided in half, at which point each half is identical (total opposites in every way). The potential becomes actual duality!

You will see in the paragraphs ahead, how the marriage between the geometry of a circle and a square, define the sequence of letters and words of the written Torah, but we begin here with the basics.

Thus far, we've discussed only two-dimensional geometry. We live in a universe that has three dimensions of space. In three dimensions the circle is a sphere and the square is a cube. Just as the marriage between the two-dimensional geometry of a circle and the two-dimensional geometry of a square can be expressed as a ratio, so too can the marriage of their three-dimensional counterparts. 

A sphere has one surface. A cube has six surfaces. The surface of the sphere touches the surface of the cube in six places. The simple geometric marriage (the ratio between their respective surfaces) is six-to-one. This ratio is a natural function of the geometry, and not an arbitrary number. 



 

It is an intrinsic aspect of its three-dimensional characteristics. A moment ago we mentioned duality. When the three-dimensional brick under the throne was divided and brought down by Moshe, the event was an echo of the moment in time when the duality of the universe was established, a reflection of the primordial mathematic reality that pre-existed creation, a reality where past, present, and future exist simultaneously (geometry being a constant). The six-to-one ratio is an example of a primal constant.

As a primal constant in the geometry of the luchot, its connection to the "Seven Eyes of God" in the lower seven sephirot should be all the more obvious. The first six are Chesed, Gevurah, Tiferet, Netzah, Hod, and Yesod. These six connect with the letter 'Vav' of the Tetragrammaton which has a gematria of six. The seventh is Malchut, which is connected to the letter "Heh," the ratio being six-to-one.  

If you've read the essential constructs on the primordial torah then you already understand  the significance of the six as it pertains to the measure of the luchot. You now know why the cube is divided by six in the first place, rather than some other number. It is a function of the ratio between its most basic elements, a ratio that is a fundamental constant in the signature geometry. Six thus becomes (and is) the cube root of the primordial torah, with a volumetric measure of 216 cubic handbreadths (six-cubed) where each half of its dual nature emerges from 108 cubic handbreadths

This set of numbers is the basis for subsequent measurements in the physical universe. The relationship between one thing and another originates in the sphere and the cube (or geometry of this primordial torah). Examples are everywhere. The diameter of the moon is 2,160 miles (each radius being 1,080 miles). It's circumference is 10,800 kilometers. The circumference of the earth is 21,600 nautical miles, a function of the 21,600 arc-minutes in the measure of the circumference around the sphere within a cube. The volume of the planet earth becomes 108 times 10-to-the-10th power in cubic miles (these are all accurate to within .001 percent of actual measurements). Each is a function of this natural ratio in the geometric marriage and each is a reflection of a larger reality that can only be perceived through the lens of this very special 'cube' and the nature of its geometry! Moreover, insofar as this connection is concerned, we've just scratched the surface. The numbers are all a function of the convergence between the geometry and measure of one unique cube [of metatron/creation](luchot/tablets) or whatever you wish to call them.

The point is that the marriage between a sphere (like the planet earth) and the cube that surrounds it (like the geometric expansion of this particular cube) is significant and warrants further study. The ratio resulting from this marriage, six-to-one, is not merelynatural function of the signature geometry. It is a constant that regulates certain aspects of space-time. The world, for example, was created in six days, or 6,000 years depending on how you look at it mathematically. The opposing 'one' (in the six-to-one relationship) is the geometric origin for the requirement of one day's rest (shabbat) to follow the previous six, or one millennium to follow the previous six. It also alludes to the consciousness of the man (Adam) who was created on the sixth day, and to the restoration of his original level of consciousness on the seventh during the millennial shabbat (six plus one). Please read the next sentence slowly: The restoration of this original level of consciousness will result from, and is entirely dependent upon an understanding of God's Name (His Real Name) and the mathematic system at the heart of His creation, along with the letters and words of Torah that flow from its primordial geometry.

Before delving further into specifics, it is important to emphasize that the word 'cubit' (which is a unit of measure) is not derived from just any cube. It is derived from the 'cube' that was the subject of this original measurement. Please take a moment to contemplate this. If you stop and think about it, you have to ask yourself the question, "why would a specific unit of measure find its origin in the geometry of a cube," unless it was the measure of a specific cube (i.e. 'the' cube, that was the mathematic 'foundation stone' of the universe). That is why we call a cubit, a cubit. It is the measure of one specific cube, a cube that is the geometric origin of the universe, a 'mathematic oracle' that reflects the nature of the letters of God's Name, a system that gives rise to the universe and rules that govern such things as the laws of physics that conform to this signature geometry. There is simply no way around it. The only real question is how do we perceive and appreciate its many details?   
 

The best way that I know is to look at the world is through the prism of the sapphire foundation stone. Since the marriage in the geometry of this cube and 'it's sphere' define a six-to-one relationship, we merely divide each of its elements by this ratio to see the "royal hand of the King" in action. Try it. Start by dividing a cubit (the measure of the luchot) by this ratio and you get the ancient measurement of a handbreadth (there are six handbreadths in a cubit). The geometry defines the unit of measure. This is why there are six handbreadths in a royal cubit. Both the cubit and the handbreadth are primary units of measure in the King's imperial system that is dependent upon this geometry.  

The sphere within the cubit is no less significant. When its circumference is divided by six, the result is sixty degrees. Its linear measure is roughly 274mm, which is the length of the original royal foot (as opposed to the modern international foot). Just as the sphere is the opposite of the cube that surrounds it, so too the linear measure of the foot-length is the opposite of a hand-breadth. There are six "faces" on the cube too. The foot is one sixth the circumference of the sphere and the hand-breadth is one sixth the measure of the cube that surrounds it.  

Faces? Hands? Feet? All are anthropomorphic representations of the King's (royal) system of measurement to which the world is subject. In essence, the royal "Hand" of God (or other aspects) that rule the universe, are seen in the measure of that universe (this will all be recognized in due time). Just how deep does this rabbit-hole go? The word for deep in Hebrew is Omeq (עמוק) which has a gematria of 216. Coincidence?

You may have noticed, the full circumference of the sphere in this cube is Pi 'royal' Cubits, or six feet (a fathom) which is a specific measure of depth, like the word for "deep" in Hebrew. The six-foot circumference of the sphere/circle in this particular cube is exactly 72 original royal inches (274 mm in terms of the original 'royal' measure of a foot - slightly more for the modern international foot). Divide the three-dimensional sphere into six parts (like the six faces on the cube or the six handbreadths of its linear measure) and you get a total of three such circumferences, or 3 x 72 = 216. Sound familiar? What was the word for deep? What is its gematria? The measurements of the foundation stone are a reflection of the Triad Havayah of 72. Divide the 'sapphire brick' in half (as it was when brought down by Moshe) and each 'half' of the circumference of the sphere becomes three feet, which is of course the measure for a yard

The English word for this six-foot circumference is a fathom, as mentioned above, which is a specific measure of depth and while there is no Hebrew equivalent, it would/could be spelled (with three root letters) Peh Tav Mem-Sofit (פתם) which has a gematria 80+400+600 (with the final mem as 600). This equals 1080. Remember the 3 circumferences of 72 inches above with a total of 216 royal inches? The total circular measure of these three circumference in degrees is 360 times the 3 or 1080 degrees. Wait a minute! Wasn't this the gematria of the Hebrew letters that spell fathom (פתם)?

You may also remember, that a cube is internally defined by its five mathematic constructs that give rise to the geometry of we call the platonic solids. Divide the total measure of the above circumferences (1080) by the number of constructs within "the" cube (5) and you get 216. So again we see a correlation (or point of convergence) between the various measure of this unique cube and yet another reflection pertaining to "the depth" of the foundation stone; as well as how they connect to the nature and number of letters in God's Name; and how the Name rules the universe. The cube [of creation] (combined cubic form of the luchot / foundation stone) is the origin of the imperial system of measurement (this 'lost knowledge' is also modeled and explained in the post on the story of the cubit-cubed). 

What about metric? The ratio between the volume of the sphere to the volume of the cube that surrounds it, is what defines the metric system. This ratio is .5236-to-one (the sphere to the cube) and it is well known in mathematics. What is not so well known is that the metric system is established by measure of this one unique cube as it pertains to the ratio between its volumetric measure and that of the sphere within. The number .5236 is the rounding of the irrational number you get when you divide Pi by six: 3.14159 (to infinity) divided by 6 = .5235+ (.5236 to infinity) This is true only when the cube is the cube [of creation] (luchot). Thus the 'measure' of a meter as it pertains to the cubit-cubed, is (in metric) .5236 of a meter cubed, or 52.36 cm cubed, or 523.6 mm cubed. All of these linear measures are echos of the ratio between the volumetric measure of this one unique cube and the one unique sphere within. Please contemplate this.

The metric system, the imperial system, the circular system (360 degrees of a circle) and all of the biblical systems of measurement (examined in other posts) are a function of the geometry of the foundation stone. The knowledge of these things was forgotten after the flood when God hid Himself from mankind. That is why the measures of the imperial system have either been forgotten entirely, or distorted over the millennia, and thus different between nations today. 

God had a purpose in hiding Himself, but an explanation is beyond the scope of this post. We will only add that the "forgetting" was a miracle, in that one need only examine the geometry in order to see these things once again. How then, was it possible to forget in the first place? This itself is a great mystery.

At any rate, the purpose in clarifying all of the above was to emphasize the importance of understanding this natural ratio of six-to-one, because it brings us to the effect that it has on the letters and words of Torah. It actually creates a complex series of patterns that are well beyond the level of being (just merely) statistically significant. The fact that many of these patterns dictate the rules of physics is in itself telling (see the post on 'the speed of light' in a true vacuum [which is (6 x 6 x 6 plus 6 x 6 x 6) squared] and also 'string theory and the luchot,' as well as 'the E8 lattice') not to mention the same patterns that are found in such things as biology, chemistry, celestial dynamics and even the history of mankind (see the post on the primordial torah). You will see in a moment, some of the many specific examples of how this same sophisticated mathematic system gives rise to the sequence of words in Torah.

To reiterate and emphasize the importance of this measured geometry, we divide the cubit-cubed according to this natural ratio. It then measures 6 x 6 x 6 (model below). This of course happens to be the actual measure of the combined cubic form of the shnei luchot (two tablets) in handbreadths before it was divided and brought down by Moshe (each half being 6 x 6 x 3 as enumerated in various sources3).




The tablets, which did in fact physically exist, are a reflection of the primordial "foundation stone," which is in essence a mathematic system that defines the characteristics of the universe, its geometry pre-existing creation. Thus when God decided to create, He "looked into" this (primordial) torah. The original state of this cube [of creation] was quite literally the cosmic blueprint for the universe. It was 'signed' by the Creator, and 'sealed' by the letters of His Name in the very nature of its geometry. 

Each parameter testifies to the Creator's Real Name. We've provided additional information and a detailed explanation with models in posts like "the primordial torah" and “the story of the cubit-cubed(one of the advanced constructs). For now, it is sufficient to know that the ratio between the geometry of the sphere and the cube that surrounds it, is six-to-one, and that this ratio defines its basic parameters in terms of the three primary systems of measurement. Thus, the three dimensions of the cubit-cubed are each 6 handbreadths: 6 handbreadths high, by 6 handbreadths wide, by 6 handbreadths long (6 x 6 x 6).

As simple as this may sound, the nature of the geometry is far more sophisticated than it might first appear. When the marriage of two things has a ratio of six-to-one, the marriage has a total of seven elements. Moreover, when a sphere or cube is measured in terms of this natural ratio, its edges and borders are delineated by seven lines. You can see this relationship modeled below, and you will see how it defines the linguistic structure of the letters and words in the Torah as we proceed



When the cube is so divided, then all of the geometry within the cube is likewise divided. There are five unique polyhedrons within a cube that are known as the platonic solids. All of these, when divided by the natural ratio of their parents (the cube and the sphere) dictate the linguistic nature of the torah (not to mention things like biology, chemistry and the laws of physics). The internal geometry that we will use as an example (for purpose of connecting it to the text of the Torah) is the tetrahedron. Together with its polar opposite it becomes a star tetrahedron that casts a familiar shadow known as a magen david.

We will now proceed to show how this ratio effects the internal geometry within the luchot and how this geometry is in turn connected to the words of torah. For the moment, we will preface our explanation with the simple assertion that the 'three dimensions' of this geometry invariably act as a mathematic catalyst for patterns involving three 'sixes' and/or three 'seven's' in the words of Torah and the narrative of the events that play themselves out over time (the fourth dimension) which is invariably represented by a fourth six and/or a fourth seven. This is a fact that has been demonstrated so many times throughout this blog, that it would be difficult to count (the post on BeHa'alotheka is a prime example).  

In order to more fully understand this geometry, we will flatten the three-dimensionality of the tetrahedron back into two dimensions to examine its characteristics. Each face of a tetrahedron is a two-dimensional triangle, and a triangle just happens to consist of seven elements. It has three lines, three points (six male elements) and one face (the female counterpart where there is an absence of lines) for a total of seven elements. Sound familiar? The underlying nature of triangular geometry has the same ratio (six-to-one) as the marriage of the sphere to the cube, and this is before any divisions are made to its various elements. It is a natural function of its geometry, just as the ratio of six-to-one and the number seven are a natural function in the marriage of the geometry between a sphere and the cube that surrounds it.  



It gets even more interesting when a triangle is divided by the same ratio and delineated by the same number of lines as the cube. The three triangular sides on any given face of a tetrahedron are modeled below as a geometric function of this division. Note that the number of elements along each edge is six. Since there are three edges, there are three 'sixes'. Note also that the measure of each side in terms of its six triangular elements results in seven points defining each edge. Since there are three edges there are three 'sevens'.  


         300 Degrees                                                                                                 60 degrees
                                                                                                                             

                                                                 
                                                         180 Degrees

In addition to what has been said thus far, a triangle so divided has a total of twenty-one lines of delineation (three 'sevens') which are modeled below. There are seven lines at 300' degrees, seven lines at 60' degrees, and seven lines at 180' degrees (three 'sevens').  

When you count the points on both the male and female aspects of the two-dimensional geometry (the blue elements and the white spaces in between) you will find there are twenty-eight points (four 'sevens').

click to enlarge



In the paragraphs ahead we will show how these patterns expand even more in the three-dimensional counterpart of the triangle. Keep in mind as we examine the same geometry in three dimensions, that the triangle is one of four triangular faces on a tetrahedron (four 'sevens') or, depending on what part of the geometry you are examining, as many as 'four times three sevens' or four times four sevens.

You may remember that we started this post “in the beginning” with the genesis of geometry (the circle). It is now time for us to show how this tetrahedral geometry correlates with the words and letters of the genesis account of creation, beginning with the words “in the beginning...” to show you how the above geometry defines various aspects of the narrative. As we proceed, keep in mind that this geometry is ultimately a function of the 216 letters in the King's Name which defines the nature of the cube in which this tetrahedral geometry is 'hidden,' all of which constitute the signature geometry in His cosmic blueprint for creation.

The words: "In the beginning..." as you know, deal with the very beginning of creation (In the beginning God created the heavens and the earth). There were six days of creation and on the seventh God rested (seven days in the ratio of six-to-one). Hmmm... must be a coincidence.


The letters of this first ‘thought’ in torah (the first sentence) appear this way in english. However, in Hebrew the thought/sentence consists of seven words. The seven words contain twenty-eight letters (four ‘sevens’) but they preface what will culminate in a seven day period.

Remember the 'sevens' in the tetrahedral geometry above? Of course you do. What you may not know is that these unique patterns of seven are embedded within the linguistic structure of the entire Torah as it pertains to specific subject matter. They can be found as a series ofsevens,” or “seven times seven,” or “seven opposite seven,” or two 'sevens,' three ‘sevens,’ four ‘sevens’ or five ‘sevens,but in each case the sets of seven are hidden in very specific segments of text dealing with specific narratives. The patterns are deeply embedded. Some are so complex and intricate that it would take a computer to generate this level of sophistication (we'll provide some examples as we proceed). 

The 'phenomenon' is not something that can be fabricated or cleverly assembled by an ordinary author, simply to create a narrative. It is far too precise. In each case, the numbers and sets of numbers are indicative of the natural ratios in the geometry of the foundation stone. In this post we will limit our explanations to the patterns of seven, because we have thus far been focused on this particular set. However, there are many others that are equally fascinating. So just how deeply are they embedded in the linguistic structure of the Torah?  

Those first seven words: “In the beginning God created the heavens and the earth” are just the beginning of the creation account. The full account and the description of this seven day period are found in Bereishit/Genesis 1:1 - 2:3, where additional sets of seven are hidden. For example, in the balance of the text, the word “earth” is mentioned seven times. So now we have seven words, seven days, and seven 'earths,' or threesevensalong with the twenty-eight (four 'sevens') in the number of letters in the first seven words, as the subject matter expands (that's seven 'sevens'). There is an addendum at the end of this two-part post that lists each reference, for those who wish to examine the text for themselves.

In this very same segment of text, all of the above 'sevens' are juxtaposed against the word for God (in the form of Elohim) which is mentioned thirty-five times (that's five ‘sevens’). These references are also listed in the addendum. 


Remember the male and female components in the tetrahedral geometry mentioned above? When a tetrahedron is divided like the cube that surrounds it, the number of tetrahedral 'elements' (or the sum of those that precede it) add up to multiples of seven. All six layers of the tetrahedron delineated by the seven lines of the cube that surrounds it, are modeled below. Is there a facet of this geometry that is characterized by 21 elements (three 'sevens') or 28 elements (four 'sevens') or 35 elements (five 'seven's') or 77 elements (eleven 'sevens'? We will answer that question in a moment. In the meantime, the model below shows a tetrahedron that has been divided according to the divisions of the cube that surrounds it (6 handbreadths by 6 handbreadths x 6 handbreadths).
 


The six layers of this tetrahedron are individually modeled below so that you can see the dynamics of the geometry. The blue triangular areas are the male elements and the white areas are the female elements (the spaces in between).

The Six Layers of the Tetrahedron
(divided like the handbreadths of the luchot that surround it)


When you examine each layer individually and in combination with one another, you end up with a series of patterns that consist of sevens or multiples of sevens resulting from the sum of previous layers (each is shown in the table below). Remember also, that the triangle is a natural function of seven in that it has seven elements. So the geometry of the tetrahedron together with its polar opposite (the star tetrahedron) have a very special geometry, especially when that geometry is defined by the marriage between the combined cubic form of the luchot and the sphere within, 'measured' as it were, by the letters of God's Name. 

The numbers of male and female elements in the above tetrahedral matrix, and the numbers in the marriage of both sets are listed below. Note that in addition to the lines of delineation being a function of seven, the number of elements themselves are also (either) a multiple of seven, or the preceding sets of layers inevitably add up to a multiple of seven:

The Table of Male and Female Elements
 (in the Layers of the Tetrahedral Geometry)


In addition to the elements themselves that are listed above
there are the twenty-one (21) lines of delineation (three 7s) on each face
and the twenty-eight (28) points (four 7s) between the male and female elements
on any given level of any given face


The four 'sevens' in the lines of delineation along with the two 'sevens,' three 'sevens,' four 'sevens,' five 'sevens' and eleven 'sevens' in the multiples of its elements, are all unique to this geometric "system" that is ultimately defined by the measure of the luchot. At the same time, it is an intrinsic function of the (star) tetrahedron or 'magen david' within the combined cubic form of the luchot (the heart of the luchot) which is comprised of triangular faces consisting of seven elements.

Notice also, we have now answered the above question about twenty-one elements (three 'sevens'); 28 elements (four 'sevens'); thirty-five elements (five 'seven's') and 77 elements (eleven 'sevens') in the geometry that here corresponds to the same sets of numbers. The thirty-five times that God (as Elohim) is mentioned has its counterpart in the total number of elements on the female side of the equation. The male side of the equation adds another three 'sevens' to the mix.

We will now show how these patterns continue to define the linguistic structure in the events pertaining to Abraham (Abram before God added a letter to his name). The contiguous stream of letters in this specific part of the narrative (Bereishit 12:1 - 13:18) contains twenty-one references to "Abram" (three ‘sevens’). In that same body of text, the word for “the land” (haaretz) that God gave to Abram is mentioned seven times. That’s a total of four ‘sevens’ in the same body of text.

Flashback to the geometry above: when each side is divided by the natural ratio between the geometry of a sphere to the cube that surrounds, it divides the geometry of its internal constructs, including the tetrahedron, and so each of its three/triangular sides are then delineated by seven (that's three ‘sevens’). The triangle however, also has seven elements as previously mentioned (that’s a total of four ‘sevens’) and the total number or points on the male and female elements of tetrahedral geometry is also twenty-eight (four 'sevens'). The set of numbers in the narrative is the same as that in the geometry. 

Remember how many words there were in the first thought? Seven. Remember how many letters in that thought? There were twenty-eight letters (four ‘sevens’). You should notice that the one set of seven (the words) was different from the other four 'sevens' (the letters). How many primary mathematic constructs were there in the cube? There were five, but one (the tetrahedron) was different from the other four, because it was its own polar opposite. Both the number and sets of this number are natural facets of the geometry in the foundation stone. 

The events surrounding the flood are no less a function of this geometry. Noah is told to take seven "pairs" of every clean animal (seven “pairs” in the form of seven males opposite seven females). The narrative is divided into three logical sequences: 'before' the flood; 'while' the waters rise, and 'after' the waters reach their maximum . These three logical segments are found in three chapters 6, 7 and 8 (Bereishit 6:9 - 8:14). The words for “all flesh” (that became corrupted) is mentioned seven times in the first two (before and during the rise of the waters). These sevens stand opposite the seven plus seven times that “the ark” is mentioned in those first two. That's three 'sevens' as shown below:

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When we examine the third logical sequence (when the Ark floated on top of the water, and when the water reached it's maximum level so the earth was completely covered) we find  seven additional references to the Ark floating above, opposite seven references to "the earth" which was covered below. See table:



The total number of sevens in this 'destruction' sequence (five 'sevens') is the same as the total number of times that God (Elohim) is mentioned in the creation sequence, so we have five 'sevens' opposite five 'seven's'. Notice here we find five 'sevens' twice in the elements of the tetrahedral geometry (see the Table of Male and Female Elements in the Tetrahedral Geometry) where we find five 'male' sevens in the geometry opposite the five 'female' sevens. Keep in mind that a cube is also characterized by five internal mathematic constructs with five polar opposites. These five constructs and their five opposites are a static aspect of cubic geometry. The five 'male' sevens opposite the five 'female' sevens in the tetrahedral geometry within, are a function of the cubes internal characteristics, and together with its division being a function of its six handbreadths delineated by seven lines, the two constitute a point of convergence between the geometry and the measure of this specific cube, and only this specific cube.

With this we end part one of our post on: "the Seven Eyes of God." Part II (which is in the process of being written) will provide many additional examples of this particular geometry and an addendum with a list of the actual references for those who wish to examine them in detail. 

Since Part II (of the Seven Eyes) is still being written, the next page in the sequence of essential constructs is: The 1820 'Paths' in the Magen David.

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Footnote 1 - www.inner.org

Footnote 2 - A circle consists of one line and one face. It also has one male component (the line) and one female component (the face which is the absence of any lines).

Footnote 3 - The size and shape of the luchot are derived from the talmud and based on the dimensions of the ark. This is why the redactors of the “the last gate" (Bava Batra 14a)[5] concluded that each tablet was 6 x 6 x 3 handbreadths (tefachim in Hebrew). Other expositors argue over the measurements because, they either wish to obscure secrets of a divine nature, or they simply do not understand the significance of the geometry. Some errantly conclude that each half was a cube, when in fact it was the cube that gave rise to each half. You cannot divide a cube in half and get another cube. Geometry doesn’t work that way. Instead of taking time to understand the underlying geometry of the primordial torah, they focus instead on the words that result from that geometry and miss the point entirely.

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