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The image on the left is the Mayan Tzolkin in grid form.
The image on the right is my Converted Tzolkin.
As mentioned in RANDOM NOTES, I took the Tzolkin matrix (13 by 20 units) in which each square is assigned a number and I replaced those numbers with the letters of the alphabet. It occurred to me to do this because the alphabet of 26 letters fit nicely with the Tolkin matrix of 260 squares. In addition to the internal letters I numbered the grid across the top and down the side,
using the series 1 thru 9.
The first thing I noticed, in my C
onverted Tzolkin, was that the word KEY appeared on the top level of the matrix under the numbers 8-9-1. Then I noticed the word KEY appeared (in tact) 9 times. The word KEY does appear again (which would make 10 instances) on level 5a but it is broken (symbolic?).
Now, if the Converted Tzolkin is placed as an overlay on top of the Regular Tzolkin we see that the word KEY, in each instance, falls into the squares numbered 11, 5, 12. That is, the K falls on square 11, the E falls on 5, the Y falls on 12. This is consistant throughout the 260 squares.
According to Jose Arguelles (The Mayan Factor), the Mayans assigned a specific meaning to each of the numbers in the series 1 thru 13 which represent the primary patterns of radiant energy (radio-pulses). It is interesting to note that the word KEY (from the Converted Tzolkin) falls on three numbers (from the Regular Tzolkin) which have very meaningful relationships with each other in terms of their assigned meanings:
The number 11 represents dissonance, randomness, and instability.
The number 12 represents the opposite, i.e., the principle of complex stability.
The number 5, which falls directly between the 11 and 12 in the matrix, represents the principle of Center. If we are to read any meaning into this at all, we might infer that the Tzolkin is telling us (in this instance anyway) that the idea of "balance" is KEY to our search for the deeper meanings of our experience in this life. The way that all works out is interesting in itself, but there is more...
The reduced alphanumerological value of the word KEY is 5 :
K= 11, E= 5, Y= 25
11+5+25 = 41
4 + 1 = 5
Actually, in the Converted Tzolkin, the word KEY (singular) is followed in each instance by the letter S, making the word plural. It is interesting to note now that the "S" in the Converted Tzolkin falls on the number 6 in the Regular Tzolkin. The number 6 represents "organic balance" (again the notion of 'balance"), and represents the HEXAGONAL ordering principle "underlying crystal and cellular structures (Arguelles, p.96). This ties in with the internal structure of the GREK-5 NUMERICAL PYRAMID which consists of 36 HEXAGONS. And this brings us full circle back to the 9-8-1, since the numeric value of each level of the GREK-5 Numerical Pyramid equals, alternatingly from top to bottom, 1, 9-8-1, 9-8-1, 9-8-1.
NOTE OF INTEREST:
As I said, when you overlay the Converted Tzolkin over the Regular Tzolkin, the word KEY, in each instance, corresponds to the numbers 11, 5, and 12.
11 + 5 + 12 = 28
This number 28 corresponds with what Arguelles calls the Loom Of Maya (an interesting pattern of symmetry which is encoded within the Tzolkin). The Loom Of Maya contains 13 sets of 4 numbers each and each set adds up to 28. The sets are:
1+7+13+7 =28
9+13+5+1 =28
4+6+10+8 =28
12+12+2+2 =28
7+5+7+9 =28
10+2+4+12 =28
4+7+10+7 =28
11+12+3+2 =28
2+11+12+3 =28
3+10+11+4 =28
4+9+10+5 =28
5+8+9+6 =28
6+7+8+7 =28
The number 28 is the number of days in a vague lunar month.
28 x 13 = 364, the number of days in a vague lunar year.
The plural form, KEYS, adds the Tzolkin grid number 6 to the series of 11, 5, 12, making 11, 5, 12, 6.
11+5+12+6 = 34 which reduces to 7.
The number 7 in the Loom Of Maya pattern of symmetry is the center column which unites the two sides of the symmetrical pattern; again, suggesting the notion of balance.
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Save $5.00!TO THE GREK-5 NUMERICAL PYRAMID
Crop Circle Correlates To Grek-5 Numerical Pyramid
TO RANDOM NOTES for bits of information related to the gematria being developed here but not yet integrated into the body text of the main pages.
Aliester Crowley and The Face On Mars
TO CHAPTER EXCERPT FROM "CONVERGENCE"