© Gunnar Tómasson

16 January 2016

Update 23 August 2016.

Introduction

A close friend of my parents [Guido Bernhöft] was a very senior member of the Masonic Order in Iceland. I once told him briefly about my work on Creation Myth aspects of the Augustan-Saga-Shakespeare Authors of Rome in the 1st century B.C., 13th century Iceland and Shakespearean England. On one occasion I told him briefly about my research and noted that certain aspects of Mozart’s opera, The Magic Flute, struck me as familiar in that respect. He then said something to the effect that “it is all there”.

Today, some 30 years later, it occurred to me to check out the final, climactic scene of The Magic Flute for possible evidence of enciphered “hidden poetry” on the essential themes of ancient Creation Myth. In the Augustan-Saga-Shakespeare tradition, key aspects of such “poetry” are typically enciphered at Alpha and Omega of complete texts on such themes.

The final scene is in two parts, with the action moving into the Temple of the Sun after the Three Ladies and Monostatos agree “to surprise them [and] wipe the bigots from the face of the earth with burning fire and strong sword”. They then make “an offering of their vengeance” to the Queen of the Night amidst “thunder, lightning, tempest” – and all of a sudden the “strength [of the forces of the Night] is shattered, destroyed, [and they] are all plunged into eternal night” – and disappear.

Update

The Great Instauration, 651496¹

and

I. Die Zauberflöte – The Magic Flute²

(Final scene, Part One)

418456

   9918 = (Monostatos kommt.

10257 = Die Königin und die Drei Damen

13739 = kommen von beiden Versenkungen;

16391 = sie tragen schwarze Fackeln in der Hand.)

Monostatos:

12779 = Nur stille, stille, stille,

12521 = Bald dringen wir im Tempel ein.

Alle:

12779 = Nur stille, stille, stille,

12521 = Bald dringen wir im Tempel ein.

Monostatos:

12984 = Doch, Furstin, halte Wort!

17265 = Erfulle – dein Kind muss meine Gattin sein.

Königin:

16347 = Ich halte Wort; es ist mein Wille,

13027 = Mein Kind soll deine Gattin sein.

Drei Damen:

12885 = Ihr Kind soll deine Gattin sein.

21624 = (Man hört dumpfen Donner, Gerausch von Wasser.)

Monostatos:

18080 = Doch still, ich höre schrecklich Rauschen,

15696 = Wie Donnerton und Wasserfall.

Königin, die Damen:

16607 = Ja, furchterlich ist dieses Rauschen,

14273 = Wie fernen Donners Widerhall!

Monostatos:

14352 = Nun sind sie in des Tempels Hallen.

Alle:

15962 = Dort wollen wir sie uberfallen –

12981 = die Frömmler tilgen von der Erd’

18790 = Mit Feuersglut und macht’gem Schwert.

Drei Damen, Monostatos:

12383 = Dir, grosse Königin der Nacht,

13768 = sei uns’rer Rache Opfer gebracht.

23958 = (Man hört der starksten Akkord, Donner, Blitz, Sturm.)

Alle:

22786 = Zerschmettert, zernichtet ist unsere Macht,

17100 = Wir alle gesturzt in ewige Nacht!

   6683 = (Sie versinken).

418456

II. Die Zauberflöte – The Magic Flute

(Final scene, Part Two)

201755

24848 = Sogleich verwandelt sich das ganze Theater in eine Sonne.

11893 = Sarastro steht erhöht;

19275 = Tamino, Pamina, beide in priesterlicher Kleidung.

21519 = Neben ihnen die agyptischen Priester auf beiden Seiten.

10162 = Die Drei Knaben halten Blumen.)

Sarastro:

18040 = Die Strahlen der Sonne vertreiben die Nacht,

18799 = Zernichten der Heuchler erschlichene Macht.

Chor:

10284 = Heil sei euch Geweihten!

9996 = Ihr dranget durch Nacht.

8459 = Dank sei dir, Osiris,

8740 = Dank dir, Isis, gebracht!

8417 = Es siegte die Starke

10087 = Und krönet zum Lohn

12922 = Die Schönheit und Weisheit

   8314 = Mit ewiger Kron’.

201755

I + II + III = 418456 + 201755 + 31285 = 651496

III. It is all there.

31285

Part One

1654 = ION

3412 = Platon

4946 = Socrates

11359 = Snorri Sturluson

9814 = Sturla Þórðarson

   100 = THE END

31285

Part Two

9322 = William Shakespeare

1000 = Light of the World

-4000 = Dark Sword – Don Quixote de la Mancha

7936 = Edward Oxenford

10594 = Sir Francis Bacon, Knight

6433 = Cid Hamet Benengeli – “True” Author of Don Quixote³

31285

Part Three

4000 = Flaming Sword – Cosmic Creative Power

22631 = Ok stattu fram meðan þú fregn; sitja skal sá er segir.

4654 = Brutus

31285

Part Four

17616 = El ingenioso hidalgo Don Qvixote de la Mancha

Alpha

4119 = Ignorance

Omega

9550 = The Compleat Gentelman

31285

Part Five

1000 = Light of the World

11359 = Snorri Sturluson

The Sacred Triangle of Pagan Iceland

7196 = Bergþórshváll

6067 = Miðeyjarhólmr

3027 = Helgafell

Knowledge Increased

4000 = Flaming Sword

-6960 = Jarðlig skilning – Earthly understanding

5596 = Andlig spekðin – Spiritual wisdom

31285

***

Calculator for converting letters to cipher values is at:

http://www.light-of-truth.com/ciphersaga.htm

¹Addendum

Nicholas Rowe (1674-1718), Shakespeare‘s first “biographer“ and England‘s Poet Laureate, translated and published in 1707 a work entitled The Golden Verses of Pythagoras. The Cipher Value of the last part, which begins as follows: Man, wretched Man, thou shalt be taught to know, Who bears within himself the inborn Cause of Woe,“ is 658933.

The last line of Rowe‘s translations advises “wretched man“ to “scorn the dark Dominion of the Grave“, as in 658933 – Death/1825 – Hell/1612 – Wretched Man/Dark Sword 4000 = 651496.

As in 5656 + 129308 + 516432 + 100 = 651496, where 5656 = Anne Hathaway, 129308 = “Stay passenger etc.“ inscription at the Shakespeare Monument in Stratford‘s Holy Trinity Church, 516432 = Ben Jonson‘s “I remember etc.“ in # IV above, and 100 = The End.

Francisco Goya‘s Los Caprichos, published in 1799, comprised 80 etchings on the condition of “wretched man“. Their respective Cipher Values, 6892 and 583353, are parts of the following Cipher Sum: 7240 + 583353 + 4000 – 6892 + 63795 = 651496, where 7240 = Judas Iscariot, 4000 = Flaming Sword, and 63795 = The Workes of William Shakespeare, Containing all his Comedies, Histories, and Tragedies: Truely set forth, according to their first Originall.

In Verdi‘s opera AIDA, composed in 1871, the Cipher Values of the lyrics of the (i) Ritorna vincitur, and (ii) Triumphal March sections are, respectively, 454271 + 197225 = 651496.

² The Magic Flute – English translation

Monostatos and the Queen of the Night with her three ladies emerge from the trapdoor.

MONOSTATOS

Just keep quiet, quiet, quiet, quiet!

Soon we shall be making our way into the temple.

QUEEN OF THE NIGHT, THE THREE LADIES

Just keep quiet, quiet, quiet, quiet!

Soon we shall be making our way into the temple.

MONOSTATOS

But, Sovereign Lady, keep your word! Fulfil …

Your daughter must be my wife.

QUEEN OF THE NIGHT

I’ll keep my word! It is my will.

My daughter shall be your wife.

THE THREE LADIES

Her child shall be your wife.

MONOSTATOS

Quiet though! I hear a terrible roaring,

like the sound of thunder and a waterfall.

QUEEN OF THE NIGHT, THE THREE LADIES

Yes, this roaring is terrible,

like the echo of distant thunder.

MONOSTATOS

Now they are in the temple halls,

ALL

There let us surprise them,

wipe the bigots from the face of the earth

with burning fire and strong sword.

THE THREE LADIES, MONOSTATOS

To you, great Queen of the Night,

we make our offering of vengeance!

(Thunder, lightning, tempest)

ALL

Our strength is shattered, destroyed,

we are all plunged into eternal night!

They disappear.

Scene change. Temple of the Sun.

Sarastro, Tamino and Pamina in priestly apparel, the priests and the three boys appear.

SARASTRO

The sun’s rays drive out the night,

destroy the ill-gotten power of the dissemblers!

CHORUS

Hail to you on your consecration!

You have penetrated the night,

thanks be given to you,

Osiris, thanks to you, Isis!

Strength has triumphed, rewarding

beauty and wisdom with an everlasting crown!

³ The Authorship of Don Quixote

„It is impossible to help but notice now and then that Armado [of Shakespeare’s ‘Love’s Labour’s Lost’] is extraordinarily like Don Quixote in his consistent overestimate of himself and in his insistence on imagining himself a superhuman storybook hero. […]

„There is something rather pleasant in the thought that Shakespeare might be borrowing from Miguel de Cervantes, the Spanish author of the Don Quixote saga, since Cervantes was almost an exact contemporary of Shakespeare’s and by all odds one of the few writers, on the basis of Don Quixote alone, worthy of being mentioned in the same breath with Shakespeare. „There is only one catch, but that is a fatal one. The first part of Don Quixote was published in 1605, a dozen years at least after Love’s Labor’s Lost was written.“ (Isaac Asimov, Asimov’s Guide to Shakespeare, Avenel Books, New York, 1978, Vol, I, pp. 431-2.)

„Another curious case of cryptography was presented to the public in 1917 by one of the best of the SHAKESPEARE scholars, Dr. Alfred von Weber Ebenhoff of Vienna.  Employing the same systems previously applied to the works of Bacon, he began to examine the works of Cervantes…. Pursuing the investigation, he discovered overwhelming material evidence: the first English translation of Don Quixote bears corrections in Bacon’s hand.  He concluded that this English version was the original of the novel and that Cervantes had published a Spanish translation of it.“ (J. Duchaussoy, Bacon, Shakespeare ou Saint-Germain?, Paris, La Colombe, 1962, p. 122 – in Umberto Eco’s Foucault’s Pendulum, Harcourt Brace Jovanovich, Publishers, New York, 1989, p. 406.)