VaYera

This week is the  anniversary of this blog, which started with a post on Parashah VaYera. When the blog first went online, it was my intent to reveal some of the connections between the volumetric measure of the luchot and the letters of God’s Explicit Name, as well as where these numbers, sets of numbers and ratios could be found, not only VaYera but the entire Torah, and even the nature of the physical universe. Since then it has come to encompass so much more.

I remember thinking at the time, how doubtful it was that people would be interested in this sort of thing. Nevertheless, it was a work of faith and it was my hope that people would gain greater knowledge and appreciation for God’s Name and understand why it is so significant (knowing full well that to "think outside the box" would require knowledge of the mathematic and geometric constructs that are "inside a cube"). The blog has now received connections from 153 countries, and we've added topics on such matters as how the letters of the Explicit Name correlate with the speed of light, the fine structure constant in physics, and numerous other aspects of physics; also how it relates to the volumetric measure of the luchot, various systems of measurement and their origin in the cubit-cubed (luchot) and these are to name just a few. 

Those who are new to the blog should read each of the essential constructs listed in the column to the right before proceeding. These pages reveal some of the basic mathematic connections between the letters of God's Explicit Name and the multidimensional geometric characteristics of the luchot, both in the divided state and combined cubic form, along with the internal geometry that casts a shadow known as a magen david. There is a special connection between the Name, the luchot and the geometry of the magen, and together they form a unique signature. We refer to this geometry and its mathematic common denominator as the Signature of the Architect. The purpose of this blog is to show how all of these things connect, and to reveal where the signature geometry is hidden, not only in each week’s parashah, but the physics of time and space, quantum mechanics and celestial dynamics to name a few. Once you are familiar with these constructs you can more fully appreciate each post.
 
In the original post on VaYera, we pointed out that when the Divine Presence visited Avraham, Sarah was told to “take 3 measures of flour” (each being 6 ounces as is known). The combined cubic form of the luchot is of course defined by 3 “measures” of 6 and the volume of a cube that is 6 x 6 x 6 hand-breadths is 216 cubic hand-breadths which happens to be the number of letters in the Name. That’s were we ended our original explanation of where God’s Explicit Name was hidden in VaYera. However, there are actually a few more allusions that are worth mentioning. In fact, quite a few more, most of which were researched by a friend in New York.

We’ll reveal some of the brighter reflections first, starting with the sheep that Avraham gave to Avimelech in consideration of the well in Be’er Sheva. As the story goes, Avraham moves from Gerar and makes a treaty with Avimelech, king of the Philistines. The terms of the treaty involve a well they use to water their flocks. Avraham gives Avimelech livestock but then does something else. Avraham separates 7 sheep to seal the agreement. Be’er Sheva is thus established7. The name Be’er Sheva means “Well of the Oath” because the name refers to the treaty between Avraham and Avimelech, but Sheva is Hebrew for the number 7. In this case it refers to the number of sheep that Avraham gave to Avimelech to seal the agreement. Oddly enough, the text of VaYera mentions these 7 sheep 3 times in succession:

21:28 “Avraham set seven ewes”
21:29 “What are these seven ewes”
21:30 “take these seven ewes”

We’ve seen this pattern over and over again in the torah and examined the phenomena in previous posts. Is it merely a coincidence? If not, what is so unique about this pattern, that we see it in so many passages? Why are we seeing it and what significance does it hold? One example that comes to mind is when the people were camped at Gilgal. It took 7 years to conquer the Land, during which 7 nations were conquered, and then another 7 years to divide the territory among the tribes. The narrative is again characterized by 3 “measures” of 7. This is not unlike the 3 measures of 6 (above) except for the number. There is a curious similarity in the metrics but what does it mean? Is there a connection?
 
The combination of the two sets of numbers, six-cubed and seven-cubed, is a point of convergence in the geometry of the primordial torah (you'll see this modeled in a moment). However, if you've read the essential constructs, then you already know that the six-cubed is a geometric aspect of the Triad Havayah of 72 with 216 letters (six cubed = 216) and if you've read the post on the 42 Letters in Sapphire, then you know that seven-cubed is a geometric aspect of the 42 letter Name. Both six-cubed and seven-cubed are the underlying numbers specifically defining the measured geometry of the evan shetiyah (foundation stone / luchot / cube of the mem-tet angel). In a broader context, the six that is cubed, is actually a measure of three dimensional space as it pertains to the physical universe (see the post on the primordial torah and the post on the four species and the Name) and the seven that is cubed is a measure of time (as explained in the post on Behar and Bechuko-thai).

Our observance of calendar related halacha, for example, involves cycles of 7s . Halachic requirements and various events form repeating cycles of 7 that we often take for granted without contemplating the implications. However, when we examine these cycles more thoroughly, they create what amounts to a multidimensional map of our movement through time. This “map” is expressed in cycles of 7, like 7 days, 7 weeks, 7 months, 7 years, 7 millennia, 7 x 7 days, 7 x 7 weeks, 7 x 7 years etc. In essence. We can represent these cycles with a cubic matrix consisting of 6 x 6 x 6 hand-breadths delineated and measured externally, as it were, by three 7s: 7 x 7 x 7 zero-dimensional points of intersection between each one-dimensional linear hand-breadth (the total being 343 elements11). Why do we see these patterns of three 6s and three 7s in the narrative of the Torah? 

We see them because they are, in effect, the Signature of the Architect (His Name in the geometry of the stones). That Signature takes several forms, but each form is connected, be they numbers corresponding to the geometric character of the magen david with 72 triangular (or 216) corners; the internal metrics of a cube of 6 hand-breadths with a volume of 216 cubic hand-breadths; or the 2,160 degrees in its 24 corner angles, and now in the matrix of 7, defined by its external geometry, that parallels our observance of calendar related halacha. The 216 'spaces' that give rise to this point of convergence are at the heart of the geometry.

The diagram below maps the cycles of 9 (time) in two of three dimensions. We’ve shown this diagram in several other posts. However, it is particularly applicable to VaYera because the narrative contains both allusions, and then some! The “measure” of the matrix of time is 7 x 7 x 7. When you “travel” beyond 7 days (it's maximum delineated geometry) for example, you simply move up to the next higher dimension (the 8th day is on the next row etc). 

When you “travel” beyond 49 days, you do the same thing. That is, you move up to the next higher dimension (the 50th day is on the next layer in the third dimension) and so forth. Look at the diagram below and take a moment to count the lines/elements on each row (red/blue) then each layer, and you’ll understand. This is essentially how we measure time in cycles of seven, whether its 7 days (week) 7 x 7 days (or 7 "weeks" as in the counting of the omer) or 7 years (shmitah) or 7 x 7 shmitah's (7 x 7 years) or a jubilee. 

The pattern is the same. Its like a “map” for the measure of time in the physical universe where the 3 dimensions of space (expressed as 6 x 6 x 6) “move through time” (expressed as 7 x 7 x 7). The matrix of 6, or the volume of the combined cubic form of the luchot (in hand-breadths) corresponds to the number of letters in God’s Explicit Name (216). However, it is hidden (beneath the surface) in between the “spaces” of the 343 elements in the external matrix of 7 associated with the 42 Letter Name. How many spaces (cubic hand-breadths) are there? Count the cubic hand-breadths in the diagram below. There are 216 (6 x 6 x 6) just like the letters of the Name.

We've been discussing the measured geometry. However, in VaYera (among others) we see both of these measurements hidden in the narrative. The first is found in the 3 “measures” of flour that were each 6 ounces; and the second is in the measure, or number of ewes (7) mentioned 3 times. Is there perhaps another (mathematic) witness to testify to the significance?

Here’s where it gets really interesting. In addition to the 3 times that the "7 ewes" are mentioned in the text, the word “ewes” is spelled without a Vav all 3 times. The gematria of the letter Vav is 6. In other words, there are 3 missing Vav’s (each having a measure/gematria of 6). This again alludes to the underlying physical measurements of the luchot (6 x 6 x 6 = 216) that correspond to the Signature of the Architect, except that here the Signature is hidden in the text by virtue of the 3 missing Vav’s (6, 6 and 6). This particular allusion is a duplicate or mathematic/geometric mirror image of the allusion we previously mentioned in the 3 measures of flour that were each 6 ounces. In other words, we have two different allusions of the same thing. This is mathematically like 2 x 216. Interestingly, the luchot that were each 216 cubic hand-breadths, were ultimately brought down twice. Coincidence? I think not! Could the letters, the narrative, and the math and the geometry get anymore interconnected? Well, actually, yes, they can!

We see a tertiary reflection of these same mathematic and geometric constructs in the gematria of the word “ewes,” when it is spelled without the Vav as mentioned above. The gematria without the Vav is 722. This number is fascinating in-and-of itself because 72.2 is the current, modern measure for the clarity of sapphire, and it was said that the luchot were “like sapphire.” The fact that it is hidden in the 3 times the word “ewes,” is written without a vav (three 6s) is like a circular hidden reference to the “measure” of the cosmic blueprint (6 x 6 x 6) and also the very nature of its substance (72.2) not to mention the signature geometry (3 x 72). Still not convinced?

 We find a third virtually identical mathematic reflection in the combined gematria of the 3 ewes (when spelled without the Vav) where 3 x 722 = 2166. This numbers might at first appear to be coincidental, but look closely. The number 2166 is an integer string that reflects not only the 216 cubic hand-breadths of the luchot (and thus the letters of God’s Name) but the number 6 which is the cube root of that number as well as the measure of each dimension. The number of hidden allusions in this parashah is overwhelming.

In summary of what we have examined thus far, the events that we see in this parashah, and specifically the numbers that are revealed (as in the 7 ewes mentioned 3 times, and the 3 measures of 6) as well as their hidden counterparts (as in the gematria of the ewes spelled 3 times without a vav (6) or 216, and the combined gematria being 2166 connecting back to the Signature (of 216 letters) that is actually 6 cubed) are simply beyond the ability of any man or group of men to invent or otherwise embed in some historical narrative, even if their understanding of math and geometry had reached the pinnacle of sophistication. Rather, what we are seeing are the highly integrated components of a cosmic blueprint manifested in various events down on earth, as mankind plays out the drama of creation.

Want to see even more reflections? Sunglasses might be appropriate. The word “sheva” meaning 7, or “oath,” is part of the name of the “Be’er Sheva” (well seven) which has a gematria of 372. Look closely at that number. The string is similar to the 2166 above, except that the integer sequence "372" reflects the triad geometry of the Name: 3 x 72 = 216 (Triad Havayah of 72) and the ratio of the luchot when they are side-by-side as opposed to their ratio in combined cubic form.

 

As interesting as all of this may seem, we have really just scratched the surface. For example, the luchot were divided and brought down by Moshe. We’ve referred to them as twins throughout this blog for reasons that will be obvious to regular readers and if you take the time to go through each post you will see why. However at the same time, the twins are triplets and again, if you study the various posts you’ll understand why “the twins” and “the triplets” are really a different way of looking at the same measured geometry, the same sets of numbers, that are, in essence, descriptive of the external geometry and measure of the luchot, depending on your perspective (two-dimensional or three-dimensional). A few examples follow. 

You might think of what follows as an addendum since these examples are more complex and not always obvious. They require a certain amount of contemplation to appreciate, but the implications are fascinating . For those who want to plumb the depths of this matrix (the mathematic nature of the Primordial Torah as it pertains to God’s Name) even further, we offer the following:
 

Mathematic Patterns in Parashah VaYera
 
(Twins/Triplets: One Dimension - Two Dimensions - Three Dimensions - Four Dimensions)
(Their Shadows Below Being the Events Described in Torah)

There are many linguistic patterns of two (pairs/twins) throughout Parashah VaYera. Or to be put another way, there is an expression (a series of words) and then that expression is repeated. This is like the 2 times the luchot were brought down from Mount Sinai, or the two halves of the luchot (2 x 108 = 216) that together correspond to the letters of God’s Explicit Name.

The 2 times the luchot were brought down, and the fact that they were separated into 2 halves is best brought out in the words in 22:11(1) “...and an Angel of God called to him from Heaven and said ‘Avraham! Avraham!’”

There is a P’sik, which looks like this: | separating the 2 identical words “Avraham”. A P’sik tells the reader to pause in between the 2 words so that the 2 words are each separated and clearly heard as 2 words. This is usually used when the 2 words being separated could sound like one word, so the P’sik separates the two into 2 distinct words2. The word/name “Avraham” could obviously not be read into or confused with the next instance of “Avraham,” and therefore the P’sik is hinting to us at a different separation, i.e. the separation of the luchot when they were divided and brought down by one of Avraham's descendants (Moshe). Here, each word (Avraham) is identical, just like the 2 halves of the sapphire cube that were mathematically and geometrically identical. It is appropriate that Avraham’s name is here used to describe the luchot, as it alludes to the fact that he kept all the commandments before they were even "brought down."

The dimensions of the luchot are hidden numerous times in this week’s parashah. VaYera is the 4th parashah in the yearly cycle, and consequently all 4 primary dimensions of space-time are mirrored in the patterns of numbers found in this parashah (we'll get into this in a moment). This can be explained by the fact that the luchot are in reality the divine blueprint of creation, and so these 4 dimensions should be an integral mathematic part of the luchot. Each is found in this week’s parashah as follows.

First Dimension

There are 6 “pairs” in this parashah:

1) The 2 angels that go to Sodom;
2) Lot’s 2 daughters that are saved;
3) Moab and Ben Ammi are born;
4) Avraham and Sarah;
5) King Avimelech and General Phikhol;
6) Hagar and Yishmael.

These 6 pairs allude to each dimension of the luchot/twins. The measure of each dimension is 6 hand-breadths and so any given dimension can be represented by the number 6.

Second Dimension

There are two 3s in the linguistic structure of this part of the Torah. The first 3 are found here:

1) 18:9 “And they said, ‘...where is Sarah?’”
2) 19:5 “And they said, ‘...where are the men?’”
3) 22:7 “but where is the lamb for the offering?”

The second 3 are found here:

1) 21:33 “and there he proclaimed the Name of HaShem, God of the Universe*.”
2) 12:8 “and Avram invoked God by Name”
3) 13:4 “and there Avram invoked God by Name”


What is three opposite three? Look at the luchot along the divided side and each half is three handbreadths in length.

(*Note: This is the third time Avraham invoked God’s Name. The first 2 times are in last week’s parashah: Lekh Lekha)

The two sets of three above are like the side of the cube (or second dimension of the cube) that was "divided" when it was brought down. The cubic form was 6 x 6 x 6, but each half was 6 x 6 x 3 (times 2). Take time to contemplate the set of numbers as they apply to the geometry of the primordial torah.

The 3 times these verses ask “where” and the 3 times Avraham invokes God’s name are two distinct sets of three. The mathematic equivalent amounts to 2 x 3 = 6 and 2 x 3 = another 6, which is exactly like the second dimension of the luchot: 2 x 3 = 6 because one dimension of 6 is divided (prior to it being brought down by Moshe).

Third Dimension

This has already been mentioned above. God came to Avraham in the heat of the day. Avraham greets the Divine Presence, then excuses himself and tells Sarah to “...take 3 measures of flour (6 ounces) and make bread.” In this case, the 3 "measures" of 6 ounces allude to the 3 “measures” of 6 hand-breadths in the combined cubic form of the luchot and the Signature of the Architect that consists of 216 letters (6 x 6 x 6 = 216 cubic hand-breadths). 


Of course this reflection is not limited to this parashah. The same ratio was found in Mishpatim where...

           ...Moshe remains in the cloud for 6 days;
                        ...goes back and forth for 6 days taking the Torah to the people;
                           ...and where these events either...
                               ...begin or end on the 6th of Sivan depending on the source.

Here again, we see 3 "measures" of 6 allude to the signature geometry in the original combined cubic form of the luchot and its 216 cubic hand-breadths that in turn allude to the number of letters in God's Name. Their "presence" in the physical structure of the luchot is one more example of the Architect’s Signature.

Since there were 2 sets of luchot (ultimately brought down) each with the dimension of 6 x 6 x 6, there is another mention of 3 “sixes” in VaYerah.

When running away before the Destruction of Sodom (19:16), there are 3 twos:

1) The 2 angels;
2) Lot and Edith (husband and wife);
3) and Lot’s 2 daughters.
 
This can be expressed as 3 x 2, 3 x 2, and 3 x 2, or 6, 6, and 6 (as seen in the posts on Shoftim and Re’eh) . This again equates to the dimensions of the luchot in the third dimension or 6 x 6 x 6.

Dimensions of the Luchot in 1D, 2D, & 3D

Fourth Dimension

There are many twos in this week’s parashah that are a repetition of an event in history. Something happens, and then (even a very short while later) that ‘act’ is repeated. The aspect of these pairs is in the 4th dimension: Time. In this week’s parashah, time is used as a means to convey aspects of the luchot (like we see in the post on Sh’lach).

The many times that things are repeated in this parashah are hinted to in 22:15: “The angel of God called to Avraham a second time from heaven.” This is like the second time that Moshe came down with the luchot. There are many things that are linguistically repeated exactly 2 times in this week’s parashah, and each is like a reflection of the 2 (twin) luchot that were brought down twice:

18:4 “let some water be brought and wash your feet”
19:2 “spend the night and wash your feet”

18:4 “and recline beneath the tree”
21:33 “and he planted a Tamarisk tree in Be’er Sheva”

18:12 “And Sarah laughed”
19:14 “But he seemed like a jester in the eyes of his sons-in-law.”3, 4

18:2 “And he saw … and bowed toward the ground”
19:1 “now Lot saw … and he bowed, face to the ground”

18:23 “Will You also stamp out the righteous along with the wicked?”
20:4 “Will You slay a nation even though it is righteous?”

19:3 “he made a feast for them”
21:8 “Avraham made a great feast”

21:16 “some bow shots away”
21:20 “and he became an accomplished archer”3

18:2 “He lifted his eyes and saw”
22:13 “And Avraham lifted his eyes and saw”
 
Why is everything paired? Other words that are repeated in the same verse are 22:14: And Avraham called the name of that site “God will see”, as it is said to this day, on the mountain God will be seen. The word(s) “יִרְאֶה – will see” have a gematria 216, so when Avraham named the place “God will see” it had a double meaning (one that can only be appreciated with a knowledge of God's Explicit Name and also the holy language). This is the first part of the word Jerusalem. Shem had called the place Shalem, and Avraham called the place Yeru Hashem, so in deference to both great people, God combined the 2 names and called the place Yerushalayim. This is seen in the books of the Prophets and the Writings, as Yerushalayim is almost always spelled without a Yud. This depicts the combination of the 2 words: Yeru and shalem. It is pronounced “Yerushalayim” but spelled “Yerushalem.” The reader can contemplate the significance of the added Yud (with a gematria of 10) when it is enunciated (10 being an aspect of the 2 luchot in the 5 internal constructs and its 5 polar opposites).

In addition to the "will see” mentioned above having a gematria 216, we mentioned in last week's post that the Torah (in referring to Yaacov sleeping on the Temple Mount) it says: "and he awoke" which also has the gematria of 216. Both references, whether "seeing" or "waking up" have a direct connection to acquiring an awareness of God's Name.
 
Again, it is mentioned 2 times. Mathematically, this is 2 x 216 which equals 432, or the number of cubic hand-breadths in both sets of luchot (see the post on VaYikra and Tzav for a full explanation). It is also the number of drahms in a hin (a drahm being the fractional proportion equivalent to 1/3 egg) such that certain halachic observances reflect the nature of the letters in His Name.

At any rate, when Avraham did this, it was a ‘prophecy’ of sorts, for the very spot on which he performed the sacrifice, would one day be the spot for the Holy of Holy's, where the Ark of the Covenant would rest. The Ark would contain both sets of luchot, each mathematically equivalent to the Name. The gematria of “the mountain God will be seen” is 447. The full quote is “as it is said to this day, on the mountain God will be seen.” We do not say it today5, but it was by Moshe, referring to his time and generation. There were 447 years between the time Moshe died (2488) and when the Ark came to rest on the Temple Mount (2935). Therefore, Moshe was saying, “on [or in] 447 years,” the Ark would come to rest here, “and [so] on the mountain God will be seen.” At the culmination of the inauguration of the First Temple, God’s Heavenly Fire came down onto the Altar, and indeed, God’s presence was seen on the mountain that very day. From that time until its destruction, open miracles were a daily occurrence in the Temple.

Besides the repetitions and the many pairs corresponding to the 2 luchot (as seen in the above sets of 2s and 3s) the fact that there were 2 sets of luchot is also hinted to in this week’s parashah in another place. It seems there are twos (twins) everywhere you look. When Avraham is commanded to sacrifice Yitzhak, Avraham prepares for the journey and gathers 4 things (we will elaborate more fully in a moment). Altogether, the people that made the journey to the “place that God would reveal,” were 4 in number. There were Avraham and Yitzhak, who complete the journey to perform the sacrifice, and then there were Yishmael and Eliezer, who only came part of the way and remain behind with the donkey. Avraham and Yitzhak come to the place that they were shown and perform the sacrifice (eventually using the Ram that God prepared at twilight on the 6th day of Creation6). Yishmael and Eliezer do not make it all the way to the Mountain. This alludes to the Luchot. Of the 4 luchot, 2 did not “make it” to the Jewish People (the first set) but another 2 (the second set) did make it. It was Avraham and Yitzhak, the fathers of the Jewish People, that would transmit the tradition down to their descendants who ultimately received the 2 luchot that Moshe brought down. 

The 4 items that Avraham used in the sacrifice are also pairs, like so much of this parashah. They are:

1) the wood and the fire;
2) the knife and the ram (used instead of Yitzhak)

The knife slaughtered the animal; the wood fueled the fire which burned the offering. This is 2 opposite 2, which is like the first luchot (pair) opposite the second luchot (pair). These pairs are just halves of a whole (both luchot) each with 216 cubic hand-breadths that correspond to the 216 letters of God’s Explicit Name.

If anyone was to think that this was all just coincidence, there are other witnesses that can testify to this assertion. For those who are serious gluttons for mathematic punishment, we have a few more numbers:

Yitzhak is mentioned 11 times in this week’s parashah. His name comes from the word “laugh” like the word tzachak, “to laugh9,” or its derivatives. This word (not counting the 11 times it mentions Yitzhak) is found 8 times. However these 8 times are in the form of 4 opposite 4 like the 4 letters of the Tetragrammaton opposite the 4 letters of the Havayah of Adnoot. See the post on Ki Thetze where we explain how 1 of the 4 'couples' is different from the other 3. Here it is again in VaYera. One pair is different from the other three:

1) 18:12 “And Sarah laughed”
2) 18:13 “And God said to Avraham, “Why is it that Sarah laughed” ”

3) 18:15 “Sarah denied it saying “I did not laugh,…” ”
4) 18:15 “…but he said “No, you laughed indeed.” ”

5) 19:14 “But he seemed like a jester in the eyes of his sons-in-law.”3

6) 21:6 “And Sarah said “God has made laughter for me…” ”
7) 21:6 “…whoever hears will laugh for me.”

8) 21:9 “Sarah saw the son of Hagar … mocking10.”

All mentions of “laugh” are grouped as “couples,” except for the ones in 19:14 and in 21:9. This 1 couple is different from the other 3 (the nature of which is discussed at length in "The Marriage of the Letters"). Sarah is directly involved in the 3 instances in chapter 21. This then separates the latter 4 instances of the word “laugh” into 3 that Sarah was involved in (chapter 21) and 1 that she wasn’t. Again, 1 “couple” is different from the other 3 couples. 

This is also like the geometry of a tetrahedron (an internal mathematic construct within the combined cubic form of the luchot) where 1 point is in a different dimension than the other 3 points. All are interrelated. There are 2 tetrahedrons in a star tetrahedron (three-dimensional magen david) and so there are 4 points opposite 4 points (but again, of the 4 couples, 1 is different from the other 3). This pattern is well worth contemplating because it is a mathematic mirror image of the marriage between the letters in God’s Name. For example, a star-tetrahedron has 72 triangular corners (72 x 3 = 216). The star has an opposing tetrahedron and there are actually 108 on one tetrahedron and 108 on the other, just like the luchot. The mathematic characteristics of the magen david can be found in the 3 pairs of “laughs” that are directly related (1 & 2, 3 & 4, 6 & 7) and the pair that does not have anything to do with the others (5 & 8). This is just like the star tetrahedron that is a geometric reflection of God’s Name. There are 3 + 1 opposite 3 + 1, like the points of a star tetrahedron (the necessity of breaking the pairs into slightly different forms hints to the nature of the letters in God’s Name as found in the geometry of the star tetrahedron like the differences in the groups of 7 that were seen in the post on Re’eh). The mathematic substrata in the Torah is very precise in this regard and cannot be attributed to accident, coincidence, or engineering, except for that intended by the Architect Himself, whose Signature is so deeply hidden beneath the surface.
  

Opposing Tetrahedrons

 

Combined Tetrahedrons into Star-Tetrahedron

The first group of 4 (in the above verses) is 2 opposite 2 like both sets of the luchot. And since one of the “tetrahedrons” (the top one) is created using those same verses, this hints to the fact that a star tetrahedron is one of the 5 mathematic constructs in the sapphire cube, from which the luchot were “carved” (divided when they were brought down by Moshe).

To summarize the number of times the 2 sets (of luchot) are alluded to in this week’s parashah:

1) 2 mentions of the 6 x 6 x 6 (dimensions of the luchot) in the 3 measures
    and the mention of 3 twos
2) 2 mentions of “God will see”
3) 4 people that were on the journey to the Akeidah
4) 4 items used in the Akeidah
5) 2 groups (of 2) of laughter when Sarah heard she was to have a son
6) Using the 4th dimension to embed dimensions of the luchot
7) This is the 4th parashah in the yearly cycle
8) The 8 pairs of repetitions (like 8 directions of 4 dimensions) or 8 x 2 (16)

To see the significance of the 8 times the 2 sets of luchot are mentioned in this week’s parashah, see the post on BeHar & BeChukothai previously mentioned.

One more allusion to God’s Explicit Name is hidden in this parashah near the very end where Avraham is informed that his brother Nahor has 12 sons. These 12 sons also became tribes or nations. This is the first mention of the 4 groups of 12 tribes. The 4 groups are:

1) 12 tribes of Nahor (mentioned here in Parashah VaYera);
2) 12 tribes of Yishmael (mentioned in next week’s Parashah Chai Sarah);
3) 12 tribes of Esav (mentioned in Parashah VaYishlach);
4) 12 tribes of Israel (Parashah VaYechi)

There are 4 “twelves” like the number of oxen, rams, sheep, and goats that were burnt offerings in Parashah Naso. The 12 x 12 x 12 x 12 = 20,736 which is the 96th multiple of the number of letters in the Name, 72 x 3 (216) x 96 = 20,736. The star tetrahedron also has 12 small faces on one tetrahedron, opposite 12 on the other, and considering the two sets of luchot that were brought down, the total number of small faces takes the form of 12, 12, 12 and 12 (four 12s). In other words, the patterns within the narrative appear to originate in the mathematic and geometric nature of the cosmic blueprint or primordial torah (the cubit-cubed).

Parashah VaYera thus has numerous witnesses to the Signature of the Architect: The dimensions of the luchot in all 4 dimensions of our universe; Avraham’s name for Jerusalem; everything involved in the Akeidah of Yitzhak; the outer matrix (three 7s) that conforms to the cycles of 7 x 7 x 7 in calendar related halacha and the inner/hidden matrix of 6 x 6 x 6 that is in fact the actual "measure" of the shnei luchot (both found embedded in this parashah as we've also seen in many others); the ‘8’ “laughs” that are 4 opposite 4 where 1 couple is different from the other 3; and last but not least, the first of the 4 twelves. All point to the highly integrated components of a cosmic blueprint manifested in various events down on earth, as mankind plays out the drama of creation.

Once again, the Jewish people are central to this plan. The people of Israel are the builders and those that seek to delegitimize Israel or, God forbid, destroy it altogether, are actually fighting God Himself who devised the plan in the first place and is orchestrating its fulfillment.

______________________

Footnote 1 – The chapter and verse is 22:11, or 2 & 2 and 1 & 1 or 2. This would signify that 2 times, 2 and 2 (luchot) were brought down, and that each time, they were really 1 and 1, or 2 halves. There are lots of twos in this Parashah.

Footnote 2 – Like in 18:15, “כִּי | יָרֵאָה - Ki YaRe’ah – for she was frightened”. If there was no P’sik, then when reading it fast it would morph into Kire’ah, which would mean “like she saw”, which would make no sense in the narrative.

Footnote 3 – Although these are not the same words in English, in Hebrew, they are the same root word.

Footnote 4 – Although there are many other instances of the word “laugh” in the Parashah, they are all in regard to Yitzhak, except for Lot’s sons-in-law laughing. Therefore, I chose to pair the 1st laugh of Sarah (which has to do with Yitzhak) with the laughs of Lot’s sons-in-law. We will mention the other laughs later on in this post.

Footnote 5 – Although we do say it nowadays every morning during Shacharit, and have in mind that when Mashiach comes, once again “God will be seen on the mountain”, the verse does not say “Ad HaYom HaZeh”, which would mean, “even until today” (our times). It says “Asher YayAmer HaYom”, “as it is said this day”, meaning in Moshe’s days. When the Anshei Kenesses HaGedolah formulated the prayers, and aptly decided to include the Akeidah in the Shacharit prayer, this is after the fact.

Footnote 6 – See the post on BeHa’alothekha for the meaning of this source 6.

Footnote 7 – Yitzhak would live in Be’er Sheva most of his life.

Footnote 8 – He built the first wall of Jerusalem in the year 2473 from Creation.

Footnote 9 – Tzachak, “to laugh” is gematria 198. 216 – 198 = 18. 18 is gematria “Chai – life”. It is a known fact that those who laugh more live longer. By combining life (18) with laughter (198) you get the 216 letters of God’s Explicit Name, showing that God has a hand in your laughter (and should extend your life).

Footnote 10 – These words, also, are the same Hebrew words.
 
Footnote 11 - The phrase “...and God said,” which are the words used to describe how God created the physical universe, has a gematria of 343. It is significant not only for what is nigleh (or revealed to us) in the creation of the physical universe and in our halachic observance, but also for what is nistar or hidden just beneath the surface. 

Footnote 12 - The Divine Presence was in Avraham’s tent (alluded to in the 3 measures of 6). It is worth noting that the bread Sarah was told to prepare was never served. The reason generally given is that Sarah either became niddah while preparing the bread, or that it was Pesach and Sarah inadvertently left it to sit for too long, and so it became leaven. In either case, it could not be eaten. However, the 3 measures of 6 ounces that allude to God’s Name indicate that the Divine Presence was in Avraham’s tent. When Avraham excused himself from the Divine Presence and told Sarah to make bread, it was for the Divine Presence, not Avraham’s other visitors. This bread is not eaten in the Divine Presence (witness the Showbread in the Beit HaMikdash). Thus it was not served.

 

Lehk Lehka

In this post we will show how the events in Lehk Lehka combine with those of Beresheit and Noach to cast perfectly symmetric shadows that correspond to the letters in God’s Name. Its a bit complicated and so this post is not recommended for everyone. You may wish to skip over it and read some of the other posts. Those who want to delve more deeply into certain types of patterns and peel back the layers of reality that hide the process, will have to contemplate what is presented here, to fully appreciate the connection these things have to the Name. I can only say that it is well worth the effort and that diagrams will be presented to help visualize the connections.

Before getting into this, we should mention for those who are new to this blog, that each of the essential constructs listed in the column to the right should be read first, before proceeding with any given post. These pages reveal some of the basic mathematic connections between the letters of God's Explicit Name and the multidimensional geometric characteristics of the luchot, both in the divided state and combined cubic form, along with the internal geometry that casts a shadow known as a magen david. There is a special connection between the Name, the luchot and the geometry of the magen, and together they form a unique signature. We refer to this geometry and its mathematic common denominator as the Signature of the Architect. The purpose of this blog is to show how all of these things connect, and to reveal where the signature geometry is hidden, not only in each week’s parashah, but the physics of time and space, quantum mechanics and celestial dynamics to name a few. Once you are familiar with these constructs you can more fully appreciate each post.

This particular post is not recommended at all unless you have a working knowledge of kabbalah. It's not necessary to fully understand it. However, you should at least be familiar with its terminology. We would also emphasize, at this point, that this post is offered solely to help the reader see the beauty in the mathematic symmetry of the creative process as it pertains to God's Name. It is otherwise quite complex.

We’ll start by looking at each element of the creation process using terminology that is generally reserved for the design and construction of a building. These elements include:

• The Architect (God)
• The Blueprint (Luchot/Torah)
• The Rungs of the Ladder (Sephirot))
• Building Blocks (Letters of Creation)
• The Building Itself (The End Result)

The first element in the process is the Architect Himself and He does not change. However, our knowledge of God may change, as well as our understanding of His Name. Human consciousness1 is a function of this knowledge and understanding.

The second element in the process is the Architect’s blueprint. It does not really change either, but different parts of it are being implemented in different places at different times. Our perception of it is dependent on “when” and “where,” so even though it does not change, our knowledge of it can change, and so can our understanding of its content. Human consciousness1 is once again a function of this knowledge and understanding.

The third element in the process are the rungs of the ladder employed by the builders (sephirot). These things are quite mysterious and we won’t get into their mechanics, except to say that we can perceive them in different ways and so they can appear to be in different places and positions with respect to one another (which is why they are often depicted differently) and so they too appear to change, although their function does not. The sephirot are perhaps best described as the way that God interacts with His creation. Human consciousness1 is a gift that is dependent on the way we interact with our Creator.

The fourth element in the process are the building blocks of creation (letters). The letters do not change either, although they can have different forms (so they can be written and pronounced differently). The letters are constantly being combined and permuted. Creation is an ongoing process that will be completed within 6 days (6,000 years). Human consciousness1 is highly dependent on these letters (not to mention the words and sentences they create which effect how we think) and they are specifically a function of understanding what is written in the Torah.

The fifth and last element in the process are the end result of the building process (what is being built) and events below that are the result of the four previous elements. All bear witness to His Name.

To briefly summarize these elements: 1) The Architect and His Signature; 2) His blueprint or luchot; 3) the "tools" or sephirot by which He interacts with the creation process; 4) the letters of creation that together define reality and dictate causality; and 5) the events and characteristics of the things that unfold over time (essentially the history of mankind).

There are in addition to these elements, multiple dimensions or phases through which they are perceived. So each of these components (or our perception of them) evolves over time. It is important to emphasize however, that time does not exist above (for the Architect) who sees the end from the beginning. Therefore, it only appears to evolve, to those of us down below who are subject to space-time. We will examine that evolution as it appears to us within our reference frame, because that is where the mathematic symmetry can be found connected to its source above. Let's take a closer look at each of these elements. Then we'll take a look at their mathematic symmetry.

The first element: We’ll start with the first element of the creation process, which is the Creator. The architect is of course unchanging. It is only our understanding of Him, His Name, His plan and that expectations that He has for man (our understanding of these things) that evolves over time. Those who wish to know God, should first know His Name2. That understanding has many dimensions. We will review four.

• The first dimension: In the Torah we see God’s Name as a one-dimensional string of letters. Specifically, a one-dimensional string of 216 contiguous letters (linguistically divided into 3 sentences of 72 letters). Most people read over these letters and do not even see the Name because it is hidden within the narrative (or story) in the verses. It’s there, but it remains hidden within the limitations of one-dimensional space. Man however, has the option of wanting to know God, and so He provides the means, but to know God you have to know His Name, and just as God is without beginning or end, so too is His Name. Moreover, just as God Himself transcends the limits of any given dimension, so too does His Name. It is certainly not limited to one-dimensional space. Enter the second dimension...       

• The second dimension: To perceive God’s Name in two dimensions, we permute the letters (as is known) into triplets. This written form of the Name was revealed by R. Aryeh Kaplan as 9 triplets on 8 lines (9 triplets on 8 lines = 216 letters). This is like the walls of the Ark of the Covenant that were each 9 hand-breadths high on the outside, 3 layers thick (gold-wood-gold) and 8 hand-breadths high on the inside (as explained in the post on Terumah). It's also like the mathematic structure of the Menorah (as depicted by the Rambam). The menorah's structural geometry is essentially a two-dimensional representation of the letters (you will not see this connection in most depictions of the menorah). The 9 triplets on 8 lines is also the two-dimensional metric geometry for the ten vectors of five-dimensional space (that can be perceived more accurately in three dimensions as the shape and form of a star tetrahedron with 9 triangular corners on 8 faces). Take time to contemplate the implications. Each higher level of perception is hidden from the level below. For example, when we look at the 216 letters in two dimensions (as 9 triplets on 8 lines) they are no longer hidden (as they were in the one-dimensional string of letters in the Torah) and take on a unique form that can be more easily perceived. We call this form the "Triad Havayah of 72” because it consists of 72 letter groups consisting of triplets. In this "higher dimension" (the second dimension) we can go beyond merely reading over the hidden letters of God’s Name and actually see them, even though (in two dimensions) our sight is still somewhat limited. However, it is at this level we can begin to perceive its mathematic and geometric characteristics, and with this perception, we can now begin to understand its significance, and how its letters 'rule' the universe. We can, for example, begin to see how it connects with space-time (as described in Metzora) quantum mechanics (as described in Ki Thetze) particle physics or string theory (as mentioned in Sh'lach) celestial dynamics (as described in BeHa’alothekha) and so forth; but it doesn’t end there either. Enter the third dimension....

• The third dimension: When the luchot were divided and brought down by Moshe, we were not only given the opportunity of perceiving God’s Name on a more lofty level, but how these letters define various key aspects of biology, chemistry and celestial mechanics. In this form we also know what He expects of mankind (as in halacha). Through the 304,805 letters of Torah we gain additional awareness of God’s Name; His plan; and His expectations. Three dimensions? How? In one dimension, any given dimension (of the luchot) is merely 6 hand-breadths, like the number of days in creation (to unfold over 6 thousand years). In two dimensions (when they are side-by-side) they are 6 x (6 + 6) or 72 square hand-breadths, its depth (or triplets) being hidden within the limitations of two-dimensional space. However, in three dimensions they are 6 x (6 + 6) times 3, or what amounts to 72 x 3, which of course is 216 cubic hand-breadths, but from this "height" we can perceive the 216 letters in three dimensions (see the model below). This is very much like human consciousness. It reaches ever-greater levels as the number of facets increase. Contemplate this. There are 70 facets of the Torah. The receiving of the luchot (that mathematically and geometrically reflects the letters of God’s Name) provides us with a paradigm shift in relative consciousness, and that consciousness by the way, need not be limited to Israel. It has affected every nation on earth (over the millennia) to varying degrees and in varying ways. However, Israel was/is in the direct path of this reflection and has received the brightest light and gained the greatest awareness of God; His Name; plan; and expectations. Again, it doesn’t end with three dimensions. Knowledge and understanding are not instantaneous. They are achieved over time. 

The Shnei Luchot (Side-by-Side)

6 x 12 (72) times 3 = 216

         Enter the 4th dimension....

• The fourth dimension: The fourth dimensions is time. After the exodus, Israel’s level of awareness increased again, this time to four dimensions as depicted in the structural geometry of, for example, the altar of incense (representing service to God) see the model below. The Jewish people were on their way to Israel to build the Temple, through which all men could recognize their Creator. On the way they built a Tabernacle. Its structural geometry was a mirror image of God’s Name as seen in the post on VaYakhel. The altar however, took this reflection to the next level (into the fourth dimension). It was 1 cubit, by 1 cubit, by 2 cubits, or what amounts to two “cubes” (stacked on top of each other) that are each 6 x 6 x 6 hand-breadths. Two cubes side-by-side are often used to depict what is called a hypercube (3 dimensions of space moving through 1 dimension of time). In this case, the “hypercube” (altar) not only represents how the letters of God’s Name oversee “movement” through the three dimensions of space, but how they guide the process of creation as time progresses (moves forward) where time is the 4th dimension. Each cubic half of the altar reflects the mathematic nature of the 216 letters (and also the luchot that were brought down twice over time ~ two times a cubit-cubed). That is how and why (through service to God as specified in Torah) we can gain an even greater knowledge and awareness of God as time progresses. The altar of incense was the exact same size as both sets of the luchot in their combined cubic form (two cubes that were each 6 x 6 x 6 hand-breadths) which is mathematically and geometrically identical to the cosmic blueprint that "defines" the three dimensions of space and the (one) dimension of time.

The Altar of Incense

Golden Altar

(Both the upper half and the lower half were one cubit-cubed)

This evolution of awareness of God’s Name as explained above, can be thought of as a program running parallel to each of the other elements at any given moment in time on the cosmic clock where each and every tick is specified in the blueprint (luchot). To see how this works, lets take a look at the second element and its various dimensions, or in this case phases (time related implementation).

The second element: The second component of the creation process is the blueprint (luchot) previously mentioned. The combined cubic form of the luchot has 5 internal mathematic constructs3, but each construct has a polar opposite, so the constructs (internally) take the form of 5 opposite 5. This is like the 10 commandments on the 2 tablets when they are divided and brought down by Moshe (5 opposite 5) that will be discussed momentarily. Together these constructs define the edges, borders and faces of the combined cubic form of the luchot, that in turn reflects the nature of the 216 letters in the Name of the Architect (6 x 6 x 6 = 216). This is how 5 opposite 5 is related to 6 x 6 x 6. One pertains to its external (revealed) metrics, and the other to it's internal (hidden) metrics. If you find any of this hard to follow, we will model it in a moment, to show in practical terms how it shapes reality (the history of mankind and specifically the Jewish people).

• Phase one: In the first phase of the creation process, the luchot are not yet divided (not yet brought down by Moshe) and so we perceive these 5 mathematic constructs and their opposites as part of the internal cubic structure of the undivided (foundation) stone under the throne (Mishpatim) that is, in essence, "the" underlying mathematic system that was just as "true" before creation, as it is "true" during creation (His [primordial] torah being a "true" mathematic representation of reality). The letters are 6 x 6 x 6 (216) but without duality a male-female universe cannot exist (we explained this division in more detail in Ki Thetze). Without actual “duality” (physical separation of the male/female components) the vessels that are needed to interact with creation (or sephirot that we’ll discuss in a moment) cannot hold or transmit the light. So while the 5 constructs in dual form exist in potential, within the blueprint, they are not physically separated into male and female halves until 'Moshe divides them' (a real-world physical reflection of what actually happened above, outside of space-time) and brings them down, at which point it becomes possible to transmit this light (knowledge of God and His Name) to the world that is inside of space-time. These constructs by the way, have their counterpart in the 5 string theories that are reconciled by dual resonance (as mentioned in Sh'lach). Enter Phase 2.... 

• Phase 2: In this phase the cubic form is physically divided in half (the luchot are brought down by Moshe with 5 commandments on one half and 5 on the other). In this form, the sephirot that are integral to the blueprint (luchot) can go forth as 5 opposite 5 (male-female form) and now contain the light without shattering as explained in Sefer Yetzirah. That is, human consciousness can form an attachment to “the Architect” (man can now see the light and have knowledge of God and His Name). The shnei luchot (two tablets) are in essence twins, a two-dimensional (or male-female) reflection of the Architect’s Name in as many dimensions. The knowledge of God and what God expects of man are part of this light that can now be attached to or become part of human consciousness, but only after the blueprint (cubic form of the luchot) is “divided” and brought down by Moshe, which is again a reflection of a process outside of space-time. Contemplate this (you will see the elements and their symmetry modeled in the paragraphs ahead). In this male-female form, the effects of the sephirot are (still) somewhat limited. They can hold the light (knowledge of God) but cannot necessarily transmit that light (convey knowledge of God to others). Enter Phase 3...

• Phase 3: In this phase we see the third dimension of the luchot (there is a third aspect to human consciousness). That is, we understand the importance of implementing its instructions (halacha or observance of the laws that it commands). In the third dimension we have not only a separation between male and female, but balance between the two halves (the sephirot depicted in three columns). Human consciousness is now fully prepared to recognize God’s Name and what God expects of man. So the light (genuine knowledge of God) can now be transmitted and conveyed to others (specifically by our setting an example that is itself dependent on our halachic observance). We can see the "why, when, and where" of this reality, when the Torah acknowledges a shift in the consciousness of Yaacov, after sleeping on Har HaBayit (the 'when' and the 'where'). It continues with "and he (Yaacov) awoke" (וַיִּיקַץ) from his sleep. The deeper implication is that when "the sleeper awakes" he acquires 'awareness,' which is an aspect of consciousness. True human consciousness is the awareness of God and His Name. After sleeping on Har HaBayit, Yaacov acquires awareness, and reaches the pinnacle of human consciousness. How do we know? The gematria of "and he awoke" is 216, which is the number of letters in the Explicit Name of the One (God) that comes to awaken man (adam/mankind) who is collectively asleep (the consciousness of man has yet to become collectively aware of this Name or that its letters actually 'rule' the universe in one form of another). Just as the gematria of the phrase: "and he awoke" is 216, so too is the volumetric measure of the (foundation) "stone" (combined cubic form of the luchot) by which all men are measured. Until man can perceive this larger reality, he is said to be asleep. He continues to sleep because God hides Himself. He even hides the fact that He hides Himself. Yet He is there, peering from behind the lattice, to see if man will 'see' Him. How did Yaacov perceive God's presence? When he (Yaacov) awoke, he said "HaShem (the Name) is definitely in this place" (אָכֵן יֵשׁ יְהוָה בַּמָּקוֹם הַזֶּה) and I did not know it (וְאָנֹכִי לֹא יָדָעְתִּי)." The gematria of the first sequence of letters is 612, which is the inverse integer sequence of 216. The text continues with the second sequence of letters "and I did not know it" (וְאָנֹכִי לֹא יָדָעְתִּי). That is, "I did not know" that HaShem was in this place, because He hid Himself. The gematria of "and I did not know it" is also 612 and again the inverse. This was his moment of awareness (when the hidden was revealed). The cosmic blueprint (luchot) would be given to his descendants, and ultimately brought down twice (216 + 216). Man's consciousness (a form of light) is found in the true speed of (primordial) light, which was/is (216 + 216) squared, or 186,624 miles per second (see the post on the Speed of Light for a more detailed explanation). Without this consciousness (light) man is asleep, which is the inverse of being consciously aware of something. The sum of all three (of the above) gematrias' is 1,440 (2 x 72 'tens') like the measure, in hand-breadths, of the two walls in the Tabernacle surrounding the Holy of Holies. The third wall (another 72 hand-breadths) came to reconcile the difference (VaYahkel) making the combined length of the walls in this portion of the Tabernacle (3 x 72 or 216 hand-breadths) reflecting once again the letters of God's Name. All three of these 'witnesses' (216, 612, 612) are hidden just beneath the surface of the text and become the 'mouth' of the two or three witnesses required to determine such matters. What witness? The luchot in two or three dimensions. When does this shift in Yaacov's consciousness occur? After sleeping on Har HaBayit. Where does this shift occur? On Har HaBayit. Why does it occur? Because the purpose of creation is to awaken the soul of man to an awareness of God, and the larger reality, that God (by way of the 216 letters in His Name and its abbreviated forms) "rules" over everything; that He has expectations of man (laws/halacha) that are basically the common sense basis of peace and prosperity; and that these expectations must be acknowledged and accepted by all men, as the guiding principles of a free and orderly society. This will eventually occur, within the 6 thousand year allotted period. 

Notice how our perception of each component in the creative process evolves over time beginning with the awareness of the Architect’s Name (the nature of that Name and how it is hidden in one, two or three dimensions along with the significance of its letters). However, notice also how this awareness runs parallel to the state of the blueprint (luchot) at any moment in time as in: its combined cubic form; its divided or twin form, divided into male and female counterparts; or its triad form (as triplets) hidden in the third dimension.

The third element: The third component of the creative process is the sephirot and as you may suspect, it too parallels the evolution of the first two components. The third component is/are the sephirot.

• Phase 1: In the first phase, the aforementioned luchot were one and not yet physically separated (divided) so the sephirot (not yet male or female) descend in a single column and cannot hold the light of the Ein Sof, let alone transmit that light. This results in the shattering of the vessels (a real-world reflection of this is seen when Moshe shatters the luchot/tablets).

• Phase 2: In phase two however, the aforementioned luchot are brought down again. The sephirot conform to this new configuration, and so they are brought back, this time in male-female form as 5 opposite 5 (Sefer Yetzirah). One is a mirror image of the other, both reflecting their role in the geometry of the 216 letters that started the process.

• Phase 3: In phase three, the sephirot are depicted in three columns (three-dimensions) male and female along with “balance” between the two (a middle column). Without this balance the world(s) would merely be destroyed over and over again because of the attribute of justice overcoming the attribute of mercy. But with this center column (balance) the world can survive and come to know God and His Name (the Signature of the Architect and all that it entails). How is this done? It's done through the fourth element.

The fourth element: The fourth element you will recall is (are) the letters of creation that form and create the reality that surrounds us (you may have a flashback here to a scene in a movie about "The Matrix"). We will only say that 5 of these letters take one form when they appear in the middle of any word combination, and a different form when they are at the end of any word (letter combination). In other words, they are 5 opposite 5 just like the sephirot before them, that were also 5 opposite 5 (Sefer Yetzirah); and these were like the shnei luchot (two tablets) before them with their internal mathematic constructs that were/are also 5 opposite 5. The symmetry is very precise. The job of "engineering" the universe, or any part thereof is specified in terms of varying levels of tolerance that can best be described as acceptable limits in the ratio between the attribute of justice and that of mercy, allowing the world to continue until such time as an "adjustment" becomes necessary. 

All of these elements, regardless of their place and position at any given moment in time, are reflections of one another, and of the Architect’s Name. But how does all this translate into human events, the 5th element?

The fifth element is the shadow below (actual events in the history of mankind). Witness "the Flood," or the "40 years in the wilderness" to name a few of the "adjustments" mentioned above. These are “shadows” cast by all the other elements (the Architect, His blueprint, sephirot and letters). That is, the shadows of these things are the events that happen over the 6,000 years of creation, as the world works toward the culmination of the process (tikkun/rectification). Let's look at some of these shadows (events) and compare them to their point(s) of origin above (the previous 4 elements).

• Phase 1: In phase one, the letters of God’s Name are a perfect unity (as God is a perfect unity) and so, the “brick under the throne” is not yet divided into male and female halves. There is no duality. A universe with male-female characteristics (good and evil) must exist before this light can be discerned. This is evidenced in the 10 sephirot that are not yet divided into 2 columns (male and female / 5 opposite 5) and cannot contain the light and so they shatter. The reflection down below, is seen as the rise of 10 pre-flood kings who are collectively unable to convey the knowledge of what God expects of man to their respective generations. Their world is destroyed, like the 10 sephirot that are their counterparts above, and like the luchot (blueprint above the sephirot) with 10 commandments that were shattered by Moshe etc. Each is a reflection of one or more characteristics of the preceding elements (the larger reality). Each is merely the same shadow, at a different moment in time. The diagram below graphically illustrates this process, the evolution of its components and the beauty and symmetry of the creative process is quite remarkable because the dots always connect back to the letters of God’s Name.

• Phase 2: In this phase the letters are seen in the division of the luchot as twins (described in the posts on Toldot and VaYeshev). This division has its origin in the division resulting in the letters of the Tetragrammaton opposite those in the Havayah of Adnoot (the primary abbreviations of what would otherwise be incomprehensible). The sephirot now come forth in 2 columns (5 opposite 5) and the earthly "kings" below manifest the same way. That is, 5 "kings" arise, that reign before the dividing of the continents and then 5 more "kings" arise, and reign after the "dividing" of the continents. The events below are a mirror image of their counterparts above (the luchot and sephirot that are both "5 opposite 5"). Although what we are seeing is really a reflection within a reflection, since it actually flows from the 216 letters that define the two halves in the first place, each being 6 x 6 x 3 hand-breadths (108 cubic hand-breadths) in the now divided form of the blueprint/luchot. The significance of this (and the symmetry) was especially evident in last week's post on Beresheit and Noach where these numbers and patterns were found in the reign of the pre-flood kings. God has hidden Himself from the casual observer, but it's as though He has challenged everyone else to open their eyes, and to come and find him.

Now, open your eyes and see how the realm above shapes and defines the realm below:

(click to enlarge)
 
The Geometry of Creation

(the symmetry and its implications must be contemplated)

Notice that Parashah Beresheit is a mirror image of the 1st phase and that Parashah Noach is the mirror image of the 2nd phase (we’ll get to Lehk Lehka and phase 3 in a moment). 

In phase 1 (Beresheit) Adam is given the role of kingship to lead/teach mankind . This one “king” who was a giant among men (speaking figuratively) and his descendants (10 kings in all) fail in their mission. Their world is destroyed and phase 2 begins.

In Parashah Noach (phase 2) the last “king” of the first phase joins with the first king of the second phase (his son Shem) and together these 2 "kings" begin to rectify the errors of the past that led to the world’s destruction. These 2 were “giants among men” in their generation (figuratively speaking) and they set the stage for 10 more generations to arise. The next 10 however are decidedly different from the first 10. Shem establishes schools to convey the knowledge of God to the post-flood generations. Enter Phase 3...

This week’s post on Lehk Lehka is a mirror image of the third phase. We saw the first phase begin with Adam (1 man). The second phase begins after the flood with Noach and Shem (2 men). Noach hands over “the mantle of shepherd kingship” to Shem and the second phase begins with 10 more generations. The third phase begins with Avraham, immediately followed by Yitzak and Ya’acov (3 men) and yet another 10 generations. A picture is beginning to emerge, and it has a distinct mathematic pattern. That picture is a shadow of the elements and the creative pattern we’ve been examining: the Architect whose Name is concealed within the dynamics of the blueprint (combined cubic form of the luchot) the sephirot and the letters; one dimensions, two dimensions, three dimensions etc.

In the first phase of human consciousness the Name is completely hidden. In the second phase it emerges but perceived as a composite of its male-female letters (as in the Tetragrammaton and the Havayah of Adnoot). In Lehk Lehka we see the beginning of the third phase where it is recognized in triad form...

Phase 3: Avraham is succeeded by Yitzak and Ya’acov and these (now three) “giants among men” (again speaking figuratively) set the stage for the nations to know God, His Name; and His expectations of man. This knowledge can now enter the world via the descendants of these 3 men.

The symmetry of this 3-step process can be seen in these three portions. Parashah Beresheit reveals the 1st phase (where the first 10 “kings” are reflections of mathematic constructs within the blueprint, sephirot or actual men). Parashah Noach reveals the second phase (where the second 10 “kings,” are reflections of the constructs within the blueprint, sephirot or actual men) and Parashah Lehk Lehka the third phase (where the reflections are again elements in the process). It is here in the third phase that  an understanding of the blueprint and its connection to the Architect’s Name takes on a third dimension, and so the sephirot are (now) depicted in three columns (by the Sages of Israel who would preserve and expand upon this knowledge). The shadow below takes the form of three “king’s” (Avraham, Yitzak and Ya’acov) who begin the next 10 generations. It is here that knowledge of God and His Name begins to spread. These patterns are unmistakable. Each phase consists of 10 generations, just like the blueprint with its 10 aspects that are 5 opposite 5, either in potential or actual duality when they are divided and brought down by Moshe. Each phase sees a further rectification of the soul as it coincides with knowledge of God. It will culminate when all the nations know God's Name, and by that we mean his real Name (as opposed to the names of false god's and rantings of foolish clerics that demand obtuse and destructive behavior from their followers). When God's real Name is accepted among the nations, then they will all come to Jerusalem on Sukkoth.

The first phase (Beresheit) is one-dimensional (beginning with Adam as 1 giant among men). The second phase (Noach) is two-dimensional (beginning with Noach & Shem being 2 giants among men in their generation). The third phase (Lehk Lehka) is three-dimensional (with Avraham, Yitzak and Ya’acov being 3 giants among men in their generation) together setting the stage for transmitting the light (a knowledge of God) to the nations. We will not delve into the fourth dimension, which is mirrored in the events surrounding the life of Yoseph (Ya'acov's son and the fourth in line of these 10 generations) as it is beyond the scope of this post. However, each is a reflection of a larger reality.

The beauty and the symmetry of the creation process is found embedded; first in the characteristics of the Architect’s Name; second in the characteristics of His blueprint; third in the characteristics of the sephirot; fourth in the characteristics of the letters; and fifth in the actual events that take place over time. Each one is a shadow of the former, and all originate with the characteristics of the 216 letters in their triad form. To perceive these things with any degree of clarity is a function/measure of human consciousness.

The diagram below is an illustration of the symmetry to help students visualize the connection between one thing and another.

(click to enlarge)

The mathematic and geometric precision of all these things is astounding, and must be contemplated to be truly appreciated. What all of this shows is that every aspect of reality; every event that takes place throughout history, is one way or another connected and that the connection invariably leads to the mathematic and geometric characteristics of the letters in God’s Name as seen in all three dimensions of the luchot. It's just that the mechanics of the process are hidden from the casual observer to allow for free will and the plan that ultimately unfolds over 6,000 years. Were this knowledge revealed in the beginning, this would not be the case. Free will would not exist, and without free will the process would collapse. 

This brings us to the paradox of free will. In a recent discussion the question was asked: if everything below is just a reflection of the plan above, then how is free will incorporated into the plan? The best way to describe the paradox is to think of a man on top of a mountain. There is a road at the bottom of the mountain that runs around to the other side where there is a bridge. The bridge however, has collapsed, and so there is no way anyone can cross it. On the other side of the mountain there is a car headed toward the bridge. The driver cannot see the bridge and does not know it has collapsed. The man on top the mountain (the dimension above) knows that when the driver reaches the bridge he will turn around and find another route. Just because the man above knows what the driver will do, does not mean the driver doesn't have free will. The driver can turn around any time he wants. It just means the driver will not do so until such time as he possesses "knowledge" of the collapsed bridge, and recognizes the need for him to "turn around," at which time his free will can be exercised accordingly. This is like repentance. It does not happen until a person has sufficient knowledge to recognize the necessity of turning from one direction, and heading in another.

The world has almost reached that point. The King’s builders (the Jewish people) have over millennia suffered at the hands of the nations who are only now beginning to realize the importance of learning truth (specifically about God) rather than promoting errant and destructive beliefs that have little or no basis in reality (although there are specific groups that are lagging far behind others). However, when the nations realize their error, the builders who know God's Name will  become the head (of the nations) and not the tail (Devarim 28:13). The nations will then send representatives to Jerusalem on Sukkoth, to celebrate their knowledge of the One, whose Name of 4 letters (in abbreviated form)  correspond to the 4 species that when held and waved in the hands are a reflection of all the letters and the luchot (see the post on the four species and the 216 letters). They will grab hold of the tzitzith of a Jew (the strands on the 4 corners of the talith that also represent these letters) and ask to be taught about the true faith in the One True God.

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Footnote 1 - Consciousness can be described many ways. Perhaps the best way is to describe it in terms of thought. A man's thoughts are a comprised of words and sentences. Consciousness is loosely related (or perhaps more than that) to the ratio between the average number of letters in any given word (used to think about something)  the number of words that are employed (in the thought process) and the time it takes to think about it. For example, the astrophysicist that contemplates planetary motion over the course of several years has a higher level of consciousness than a thug or miscreant whose vocabulary is limited to a few four-letter-words. True consciousness requires a knowledge of God’s Explicit Name. 

Footnote 2 - The average person does not want to know God’s Name, but rather to impose their (often errant) beliefs on others.

Footnote 3 - These mathematic constructs represent the nature of the physical universe (creation) in the form of 5 opposite 5. They define the geometry of 5 regular convex polyhedrons commonly referred to as the platonic solids. However, the constructs go far beyond mere geometry.

Footnote 4 - You can’t have a creation without a creator

Special thanks goes to Avraham Agassi for running the numbers (gematria) of Yaacov on Har HaBayit.