Illuminatus. Illumine Not Us.

There is a basic understanding in various Masonic circles that words have layered levels of definitions. This means that there are the profane definitions, the ones that can be found in any given set of dictionaries on the language, and then there are the more occulted definitions that are held in confidence and passed with knowing winks amongst the Initiated who were behind the crafting.

For example. The Letter L is EL. EL is "the", and "los" is "the", and "los" is "sol", so how is El "the" when transposed back into English?

T = 4 = 10
H = 8 = 36
E = 5

(T*H)+E = (10*36)+5 = 365 = SOL = 3650 = SUN = 365

This is a very basic demonstration of "transpositions and modifications" utilyzing what could be regarded as "esoteric Baconian ciphers", wherein the "esoteric significance" is being passed on from "one race to another". In truth, languages as Spanish and English are using, essentially, identical letter sets, and since the "letters" comprise the primary philosophical basis point, one should assume that the elite behind Spanish were every bit as focused on encoding the larger philosophical construct based on "the 26".

An example of a hidden meaning in a word might be that of "COACH". The operative letter of COACH is the Letter H (ACH), so the prefix to the word is that of "CO" "ACH", wherin H is Pi is "MAN", and so a "CO" "ACH" is someone who is working on behalf of the "ACH", or the "man", for "man" is 13/1/14 is Pi. Many words have these forms of gematria riddles. When the "ACH" is transposed to Spanish, the word for "man" becomes "muchACHo" as masculine and "muchACHa" for feminine. It makes one think that the fabrication of such words are as self evident "jokes" and "puns" when set back against English.

That there was cooperation between various languages and that this cooperation was controlled through small bands of Initiates is inferred in a work called "Traces of a Hidden Tradition in Masonry and Medieval Mysticism, by Isabel Cooper-Oakley, [1900], at sacred-texts.com. In a chapter entitled "The Troubadors", we find the following references to core esoteric significances being split and divided into fragments and then released into various languages. The reference given here is that of "triple languages".

"It is always the case that these importers of the triple language are divided into three bands, having each their own idiom; to one was allotted the south of Europe, to another the north, to the third the part of Asia and of Europe occupied by those who are now called Greeks, quos nunc Græcos vocamus, as if they did not bear this name ages ago. But let us explain: here it is a question of the refugees of the sect, of the Sinon of the party, whom we have seen so ill-treated in hell, who are also spoken of in the Monarchy under the name of Greek pastors. These hold to white and yellow, as one of the aspects of Lucifer; they have one foot on the European soil of the Catholics, the other on the eastern land of the Manicheans, and, which is very disturbing, they understand for the most part the artifices of the conventional vocabulary. The three idioms were then subdivided in each of the regions mentioned; but those of the north, such as the Hungarians, Slays, Teutons, Saxons, and English kept the monosyllable is as the sign of their common origin. For the rest of Europe there was a third idiom, "though it may not be perceived that it is triple, licet nec videatur trifarium." Among the inhabitants of this region, "some say, as affirmation, oc, others oil, and others again si; that is to say, Spaniards, French, and Italians. But what proves the common origin of their idiom is that they use some of the same words to express many things, such as Dieu, ciel, amour, mer, terre, vivre, mourir, aimer, and others besides. [God, heaven, love, sea, earth, to live, to die, to love.]"

The Language of the Birds

The term used to describe the symbolic means by which the Ancients encoded their "omnific Word" and underlying philosophy has come to be known as "the Language of the Birds". Essentially, "the Language of the Birds" is akin to the roving "tale tellers" of old. Examples of this are as the Rishis of India, those who sang the Kalevala of the Fins, the Poetic Eddas of Northern Europe, etc. The knowledge was encoded and weaved into the fabrics of the songs and poems and plays.

It is no small wonder that with the rise of "Setian worship", loosely associated as "Abrahamic worship", the war of the Illuminatus became between those of the "Oral Traditions" and those of "the Written Traditions". This is a loose definition, but one that bears itself out as one begins to understand the underlying dynamics at play within the higher Initiatory systems.

The "Language of the Birds" can best be seen as the conglomeration of the world's "folk tales". Within the world's folk tales is a larger, global, woven tale that hints at the fall of the human race, a loss of knowledge, and oft contains warnings from a spiritual and pragmatic persective such that mankind can raise itself back up by turning away from the very forces that brought about this fall.

The "language of the birds" can be understood to the totality of the philosophy as it has been encoded into letters, numbers, sounds, symbols, allegories, etc. The term "language of the birds" is derived from a Russian folk tale called "Language of the Birds", wherein we read,

'"How I wish I could understand the meaning of the different songs of all the birds! I would give half my wealth to the man, if only there were such a man, who could make plain to me all the different songs of the different birds."

"Ivan took notice of these words and no matter where he went, no matter where he was, no matter what he did, he always thought of how he could learn the language of the birds."

The "birds" we may liken unto that of the Bards, the Troubadors, the Rishis, and all the other "minstrels" and "players" through time who have encoded the wisdom of "the Goddess". What Ivan is looking for is someone versed in the various code sets of the different languages such as to be able to understand the totality of the language. These languages consisted of Hermeticism, Alchemy, Astrology, Tarot, Qaballa (in its purest sense and not the current "Jewish" sense), etc.

All of this knowledge and more would be, essentially, "suffocated" as Setian dominance began to prevail over the various arts. As the "mysteries" began to be "committed to writing", it was an acknowledgement that the "war" between the Setian forces was being won against "Osirian/Isis" Initiatory systems, and so the committing of the folk tales to writing, coupled with one final push to mold the letters and the language to the "design of the Word", was done so as to preserve the underlying philosophy directly into the language we now call "English".

The "church" was established. What was "iglesia", or "church" in Spanish, would become "inglesia", or English, the same, while the home of they who dwelt in the land of the ice (the North) would build their dome shaped "igloos". The transpositions and modifications could be said to be "EVErywhere".

The Veil of Isis was "the Language of the Birds" all the same.

The Hidden Code of Illuminatus

From a purely technical sense, the primary code of the Illuminatus is "Pi". The phrase "In God We Trust", for example, is a multi-dimensional word to represent this core foundation. To begin, we can say that GOD = 7+15+4 = 26 weeks = the Diameter in Time of the Earth around the Sun, which is thus a "Pi proportion". The word is far more textured than such, however.

Since we know that the digits of Pi in use are the first 32 decimal digits -

3.14159265358979323846264338327950...

There is a song by an artist called Andrew Bird called Masterfade that hints at this Pi proportion. The lyrics mention the Pi Proportion very clearly as well as a numerical basis to reality.

if the green grass is 6 the soybeans are 7
the junebugs are 8 the weeds and thistles are 11
and if the 1's just hold their place the 0's a smiley face
when they come floating down from the heavens

The fact that Pi is the Key, or "1's" and "0's", should be seen as being a basic building block of the Illuminatus system. It makes sense, then, as a "test" against such a theory, that the very word ILLUMINATUS would encode Pi in a very acute and unique way, which of course, it does.

By analysing the word Illuminatus, we can see that the word is rich in "Roman Numberals".

I, L, L, M, I

By converting these letters back to "1's and 0's", we reveal the following formulation:

I = 1
L = 50
L = 50
M = 1000
I = 1

By adding the (50+50), or the (L+L), we can convert the "50's" back to 1's and 0's as the sum of 50+50=100. This then creates the following number:

I = 1
L+L = 100
MI = 1001

When we set these back against themselves, we create the following:

I(L+L)MI = 11001001 = 11.001001

Why is this a critical number set? Because 11.001001 is equal to Binary Pi. It is up to you to determine if a system wholly predicated on Pi preserves for itself the very presentation of Binary Pi when the word is ciphered from its letters back to its numbers.

This example provides you with another key point. Words are crafted to encode particular realities relative to the Construct. In the case of the word "ILLUMINATUS", we can remove all the Roman numbering, thus revealing Binary Pi, and then we are left with the following "letters/digits".

UTANUS

Hence the usage of the word ILLUMINATI and ILLUMINATUS has distinct concious variations, including as used here. Robert Anton Wilson, author of the "Illuminatus Trilogy", clearly uses the keyword ILLUMINATUS, while many another authors can be found to use the word ILLUMINATI. Why the difference? Simple. Gematriatic construction can and does often play a critical role or key.

In the word ILLUMINATUS, we can easily craft Binary Pi, leaving us the letters UTANUS, while in the word ILLUMINATI, we are left with the letters UNATI. From here, you may infer various links.

UNATI, for example, may be the primary underlying source for "United Nations", or the mechanism and vehicle through which so many dark Occultists seek to create and manifest their "One World Government", while in the letters UTANUS, a simple formula can be derived.

U divided by U is 1, and thus creates an A. So if we rewrite the formula as follows:

NAT(U/U)S = NAT(A)S = SATAN,

we can then arrive at the traditionally recognised "god" of the "Illuminatus", or "Illuminati". Once we have created the Pi Proportion (proof of hypothesis), we can then begin to decipher the phonetic equivalents.

ILLUMINATUS = Illumine Not Us
Illuminati = Illumine Not I
ILLUMINE = ILL (SICK) LUMIN (LIGHT)

A most interesting one is the term ILLUMINATUS = ELIMINATE US. Here we have a "double entendre", for is the word set intended to subliminally convey that the "ILLUMINATUS" is here to "eliminate us", or is it really a function of a command, wherin the "ILLUMINATUS", hiding deep within Setian (Judaic teachings) worship, understand at a concious level that it is they who are the problems for mankind and hence would require being "eliminated" if the world is to usher in "the 1000 years of peace" as is set in their own mythological bluepring, the "Book of Revelation".

Here is where the Isisian Codes become an intuitive tool. Are all those claims about "they are trying to genocide us" a more hidden reality within the Universe, that indeed there are and remain a force on this planet so dangerous and so out of touch with reality that it will do anything to preserve its own pre-eminence even to the point of creating the conditions necessitating the removal from a "Universal Sense" of this energy?

Hence even as it screams "they are trying to annhilate us and drive us back into the sea!", that indeed, this is not what is in motion but what is needed to become in motion so as to cleanse the earth of they who have stolen the Mysteries and userped them for their own dark needs?

So even as they declare "Illumine Not Us", they too are the ones who promote the idea of "genocide" and "never again" to preclude their losing their status of "kings on Earth"?

In a world at war with the Tearor, those in the light should be able to see the inverse duplicity of the phrases in play.