A House is not a Home - An Insight into H:P Transpositions

Sometimes it pays to peer into traditional Americana for insights into the Construct. American Folk music can be a pretty insightful place to look, and if you can hear the subtle messages, perhaps you can gain an appreciation for what is being said such that the older music even sounds pretty good.

Actually. I am trying not to date myself.

But when I was growing up, of course I had no choice but to listen to the music of my parents. Country music was a favorite of my father, but so too was what could be termed "American Folk". A group that comes to mind here is "the Kingston Trio", a group I still listen to from time to time when I get the chance.

Two songs come to mind that sound so heavily influenced by Freemasonry that you just have to wonder.

The Lemon Tree

One song that comes to mind is "The Lemon Tree". The lyrics go like this:
When I was just a little boy, my father said to me, "Come here and learn a lesson from the lovely lemon tree.

My son, it's most important," my father said to me, "to put your faith in what you feel and not in what you see."

Chorus:
Lemon tree, very pretty and the lemon flower is sweet, but the fruit of the poor lemon is a thing one cannot eat. (Repeat chorus)

Why is this important?

Now draw from the other side of the Occult coin. Consider the Jewish occult ritual of Passover where they rededicate themselves to their daemon.

Why must we eat bitter herbs (maror) tonight?

"Three times in Scripture (Dt. 4:20; 1st Kgs. 8:51; Jer. 11:4), Egypt is called an ‘iron furnace’ which Yahveh delivered us from. An iron furnace was a furnace that was so hot, it melted iron. It symbolized the intense suffering and bitterness we felt as slaves of Pharaoh.

"In this life, before we gave ourselves fully to Messiah Yeshua, we walked in deception, confusion and the bitterness of this world. We trusted in ourselves which is a very bitter slavery to Satan.

"Now we bless Yahveh for taking us out of a life of anger and bitterness. We take and eat some bitter herbs tonight with a piece of matza to remember the life of grief, hostility and heartbreak we led before coming to Messiah Yeshua. Tears should come to the eyes, to remember the slavery and affliction of Egypt and Satan.(4) We eat it with the matza to show us that even if there is suffering in Messiah, He is always with us to temper it and us."

Of course, the whole Egyptian story is most likely a storied fairy tale (actually it is, but you know how children and their beliefs can be), so this ritual of consuming a bitter root is in direct contradiction to avoiding the eating of the "lemon tree" whose flower smells beautiful but for whom whose fruit is not possible to eat.

Because Jewish metaphysics is all about the destruction of the Osirian and Isisian (matriarchal) cultures and systems, they eat of the bitter fruit which is, of course, representative of "Jehovah/Typhon/Seth" in Western systems and yet is the "savior" of the patriarchal and destructive Setianist or Jewish systems.

Although the vampire of Jehovah/Typhon/Seth may be beautiful and sweet to behold, in truth it is a very bitter fruit to eat and cannot be eaten unless delivered with sugar (Christianity to the non-core "genetic" controlled subgroup).  The sub group which is core to a worship of this daemon eats too of "matza to show us that even if there is suffering in Messiah, He is always with us to temper it and us."

Freemasonry, a system that was preserving the Sacred Feminine, it could be said, was a system that warned against the total partaking of Jewish Setianism through a the tempering influences and worship of "CHRIST" and the positive attributes of Christianity, or those aspects of Christianity that were fused to Osirian and Isisian traits of charity and goodwill to all..

In the crafting of the word LEMON, the word LEMON simply expands to read "Le Mon", or "the One" .  From here such words as  MONSTER and MONEY may be seen to be derived, and when too fused to "lunar" or "Levantian magic", he "le Mon" was something that might smell sweet and be a delight to the soul (eye), "the le Mon, or the One" was something that simply could not be eaten as a spiritual construction.

Jewish "Setianist Priests" clearly knew and understood this Occult formula too, and so they "modified the essence of their daemon" as represented by the "bitter fruit" by adding in the matza to remind the laity that partaking of this deity is really something that comes with bitter rewards regardless, but for which would be ritualistically tempered with matza.  Hence we find the ritual to read, "We eat it with the matza to show us that even if there is suffering in Messiah, He is always with us to temper it and us."

Freemasonry would warn against any partaking of the core of the daemon. The very word LEMON, fused to a fruit that is bitter and cannot be directly eaten (even though it smelled and was delightful to the eye) was clue and insight enough.

Setianists would modify and transpose their ritual and "temper it" such as to make it intellectually and ritualistically palatable with the warning to the laity practitioner that regardless, a belief in this daemon and worship of same comes with its bitter rewards.

Tom Dooley and the Eternal Triangle

In the version released by the Kingston Trio, we find this spoken introduction:

Throughout history
There've been many songs written about the eternal triangle
This next one tells the story of a Mr Grayson, a beautiful woman
And a condemned man named Tom Dooley...
When the sun rises tomorrow, Tom Dooley... must hang...

Of course, "the eternal triangle" is the "3:4:5" triangle of the Pythagoreans, and the inherent links to Pi. In this format, we can consider "Grayson" to be Osiris, "the beautiful woman" to be Isis, and "the condemned man" to be the "savior god" as Jesus hanging on the cross. Of course, the quick intro to "the eternal triangle" is masked rapidly into the gray aspect of the song, but we find in another version by Doc Watson the following:

You dug the grave four feet long
And you dug it three feet deep;
You rolled the cold clay over her
And tromped it with your feet.

Well. If the grave is 3 feet long and 4 feet deep, what then is the hypotenuse but 5, again returning us to the "Golden" or "Eternal Triangle" encoded in subtle but different manifestations through the same song theme by the Kingston Trio?

And of course, we could always digress into the use of the word NOOSE in "hypotenuse"?

A House is Not a Home - unless there is a Family

Another bit of American that you hear little of today is the phrase "A House is not a Home without a Family". Of course, a "family" in the context the phrase was designed meant "children" in the "Leave it to Beaver" archetype.

So how does this phrase help us to understand AND reveal the Construct?

Through the use of H:P transpositions. What this means is that we substitute the H for P to better illuminate designed archetypes in words.

From a mathematical fusion, we find the following co-relations:

H = 8 = 1+2+3+4+5+6+7+8 = 36
P = 16 = 1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16 = 136

H and P are co-relationally identical in that each invokes "36". Since P is masculine, we may presume that ACH too is masculine in that H too is a representation of PI.

Since the Sum of 1:3 is 6 and the Sum of 1:8 is 36, the very sound sets of ACH, namely the letters A, C, and H, are invoking Pi, while the design of the Letter H is as the Greek Letter Pi.

H, then, is a masculine identifier.

With this in mind we may deconstruct the words HOUSE and HOME to reveal the formula "A House is not a Home with a Family (children)" as follows:

H = P = Male
O = O = Female

HO-USE = Male - Female USE

However, if a child is present, the formula is changed to read

H = P = Male
O = O = Female
ME = ME = Child (or M = unison of Male and Female as ADM and EVE, which then presumes a Child)

A "HOUSE" is something that the "male" as H/P and and femine as "O" "USE", but becomes a HOME when the child as "ME" is invoked.

In this way we may use a little Americana to reveal the hidden nature of the Construct in the language.