THE FOUR HORSEMEN OF THE APOCALYPSE

compiled by Dee Finney

8-16-09 -  THE FOUR HORSEMEN OF THE APOCALYPSE

DREAM -  I was working on a computer program, rearranging the events of the Book of Revelation.  I was certain I had them correct but they were no longer in the order in which they appear in the Bible.  The events were arranged in four columns with about 21 events in each column.

I woke up, went to the bathroom, and when I went back to bed, I fell instantly asleep.

I was now in 'preaching' mode - a little timidly because my news was so over the top, I didn't know who to tell first that the Four Horsemen of the Apocalypse were not going to arrive in the same order as in the Bible.

As it turned out, I was with a group of people, and I was about to tell one of them my news, when a very large, tall priest walked in. I was sitting on the sofa, about to look at the Sunday comic section of the newspaper but I set them aside when the priest walked in front of me.  He was the one I decided to make my announcement to first.  Naturally, he was very familiar with the Bible, especially the book of Revelation.  I just came right out and told him that the Four horsemen of the Apocalypse were not going to arrive in the order they are in the Bible because 'something' had already happened - something very black.  In my mind, I was seeing a school blown up and burned to the ground and many children had been killed.

Other people were now gathering around, who were going to be participating in a pageant based on the Book of Revelation, so the men had hair, beards, and clothing to match the characters of the Bible,  The women were dressed like angels in long gowns, with huge silver wings on their backs, and their singing voices matched their characters -  when they sang, they sounded like angels as well.

Their arrival stopped my preaching and discussion for the moment with the priest, but he  was going to be hanging around to discuss my pronouncement when I made it to the others.

A young blonde man with short fly-away curls on his head was perfect for the part he was going to play, and I showed him on a screen the guy who had played his part the year before in the pageant -  blonde - fly-away curls and he danced and sang like no one else.

unknown model: picture by Scott Davey
Location:  Smeeth, Kent

At that point, one of the men with a goatee type beard and mustache, dropped into a chair in the doorway, and I looked at his leg because he was in pain, and the bone in the front of his leg was broken off right above his foot. His shin bone was broken.  I told him that I was sorry that he couldn't be in the pageant as he was going to have to go to the hospital and I would drive him. 

I could hear other people talking about cleaning up the kitchen, which I knew had to be done and it was my job, but this bearded man had to go to the hospital.

This is Don Diamont from The Bold & The Beautiful Television show.

As it happened, the man with the broken shin bone did the driving and I sat in the back seat along with a woman who refused to be left behind.  We both got into the car through the back right side window which was either rolled down or missing.  She was a bit older than me, so I helped pull her inside once I was sitting on the seat. I noticed she had a bright yellow blouse on.

So, we started driving up hill on the nearby roadway and at an intersection, we stopped at the first crossroad and on the other side of the road, facing toward us, was a man in a shiny red convertible who had a similar beard to the man I was with.  He looked over at us accusingly and started backing his bright red shiny convertible car back up the hill toward a workshop at the top of the hill on his side of the road.  I immediately thought we were in trouble for having done something wrong.  I was feeling guilty as sin and I didn't know what  I had done wrong. 

We were driving forward up the hill and we couldn't take our eyes off the bright red car with the bearded man and he had his eyes on us the whole way as well.

We stopped at an Inn across the street on the right from where the bearded man was at his workshop and went inside.  The place was built of stone and was very old and there were drawings in charcoal on the walls.

The other bearded man came in and greeted my friend with the broken shin bone and called him "Captain".

My bearded friend asked him, "How did you know my name?"  and the other bearded man pointed to a drawing on the wall of a hand with scarring right above the wrist, showing a nail sticking out, and he said, "That drawing!  Your scars are the same as mine!"  and he showed us his wrist and he had the scars from the same type of square nail where he had been nailed to the cross too.

 

Jesus Christ Superstar
from the movie

A Physician's View of the Crucifixion of Jesus Christ
 CBN.com ^ | 4-11-04 | Dr. C. Truman Davis
 

Posted on Sunday, April 11, 2004 4:57:17 PM by truthandlife

WARNING: MATERIAL IN THIS ARTICLE MAY BE UNSUITABLE FOR YOUNGER CHILDREN. PARENTAL DISCRETION IS ADVISED.

About a decade ago, reading Jim Bishop’s The Day Christ Died, I realized that I had for years taken the Crucifixion more or less for granted — that I had grown callous to its horror by a too easy familiarity with the grim details and a too distant friendship with our Lord. It finally occurred to me that, though a physician, I didn’t even know the actual immediate cause of death. The Gospel writers don’t help us much on this point, because crucifixion and scourging were so common during their lifetime that they apparently considered a detailed description unnecessary.

So we have only the concise words of the Evangelists: “Pilate, having scourged Jesus, delivered Him to them to be crucified — and they crucified Him.” I have no competence to discuss the infinite psychic and spiritual suffering of the Incarnate God atoning for the sins of fallen man. But it seemed to me that as a physician I might pursue the physiological and anatomical aspects of our Lord’s passion in some detail.

What did the body of Jesus of Nazareth actually endure during those hours of torture?

This led me first to a study of the practice of crucifixion itself; that is, torture and execution by fixation to a cross. I am indebted to many who have studied this subject in the past, and especially to a contemporary colleague, Dr. Pierre Barbet, a French surgeon who has done exhaustive historical and experimental research and has written extensively on the subject.

Apparently, the first known practice of crucifixion was by the Persians. Alexander and his generals brought it back to the Mediterranean world — to Egypt and to Carthage. The Romans apparently learned the practice from the Carthaginians and (as with almost everything the Romans did) rapidly developed a very high degree of efficiency and skill at it. A number of Roman authors (Livy, Cicer, Tacitus) comment on crucifixion, and several innovations, modifications, and variations are described in the ancient literature. For instance, the upright portion of the cross (or stipes) could have the cross-arm (or patibulum) attached two or three feet below its top in what we commonly think of as the Latin cross. The most common form used in our Lord’s day, however, was the Tau cross, shaped like our T.

In this cross, the patibulum was placed in a notch at the top of the stipes. There is archeological evidence that it was on this type of cross that Jesus was crucified. Without any historical or biblical proof, Medieval and Renaissance painters have given us our picture of Christ carrying the entire cross. But the upright post, or stipes, was generally fixed permanently in the ground at the site of execution and the condemned man was forced to carry the patibulum, weighing about 110 pounds, from the prison to the place of execution.

Many of the painters and most of the sculptors of crucifixion, also show the nails through the palms. Historical Roman accounts and experimental work have established that the nails were driven between the small bones of the wrists (radial and ulna) and not through the palms. Nails driven through the palms will strip out between the fingers when made to support the weight of the human body. The misconception may have come about through a misunderstanding of Jesus’ words to Thomas, “Observe my hands.” Anatomists, both modern and ancient, have always considered the wrist as part of the hand.

A titulus, or small sign, stating the victim’s crime was usually placed on a staff, carried at the front of the procession from the prison, and later nailed to the cross so that it extended above the head. This sign with its staff nailed to the top of the cross would have given it somewhat the characteristic form of the Latin cross.

But, of course, the physical passion of the Christ began in Gethsemane. Of the many aspects of this initial suffering, the one of greatest physiological interest is the bloody sweat. It is interesting that St. Luke, the physician, is the only one to mention this. He says, “And being in agony, He prayed the longer. And His sweat became as drops of blood, trickling down upon the ground.” Every ruse (trick) imaginable has been used by modern scholars to explain away this description, apparently under the mistaken impression that this just doesn’t happen. A great deal of effort could have been saved had the doubters consulted the medical literature. Though very rare, the phenomenon of Hematidrosis, or bloody sweat, is well documented. Under great emotional stress of the kind our Lord suffered, tiny capillaries in the sweat glands can break, thus mixing blood with sweat. This process might well have produced marked weakness and possible shock.

After the arrest in the middle of the night, Jesus was next brought before the Sanhedrin and Caiphus, the High Priest; it is here that the first physical trauma was inflicted. A soldier struck Jesus across the face for remaining silent when questioned by Caiphus. The palace guards then blind-folded Him and mockingly taunted Him to identify them as they each passed by, spat upon Him, and struck Him in the face.

In the early morning, battered and bruised, dehydrated, and exhausted from a sleepless night, Jesus is taken across the Praetorium of the Fortress Antonia, the seat of government of the Procurator of Judea, Pontius Pilate. You are, of course, familiar with Pilate’s action in attempting to pass responsibility to Herod Antipas, the Tetrarch of Judea. Jesus apparently suffered no physical mistreatment at the hands of Herod and was returned to Pilate.

It was then, in response to the cries of the mob, that Pilate ordered Bar-Abbas released and condemned Jesus to scourging and crucifixion. There is much disagreement among authorities about the unusual scourging as a prelude to crucifixion. Most Roman writers from this period do not associate the two. Many scholars believe that Pilate originally ordered Jesus scourged as his full punishment and that the death sentence by crucifixion came only in response to the taunt by the mob that the Procurator was not properly defending Caesar against this pretender who allegedly claimed to be the King of the Jews. Preparations for the scourging were carried out when the Prisoner was stripped of His clothing and His hands tied to a post above His head. It is doubtful the Romans would have made any attempt to follow the Jewish law in this matter, but the Jews had an ancient law prohibiting more than forty lashes. The Roman legionnaire steps forward with the flagrum (or flagellum) in his hand. This is a short whip consisting of several heavy, leather thongs with two small balls of lead attached near the ends of each. The heavy whip is brought down with full force again and again across Jesus’ shoulders, back, and legs.

At first the thongs cut through the skin only. Then, as the blows continue, they cut deeper into the subcutaneous tissues, producing first an oozing of blood from the capillaries and veins of the skin, and finally spurting arterial bleeding from vessels in the underlying muscles. The small balls of lead first produce large, deep bruises which are broken open by subsequent blows. Finally the skin of the back is hanging in long ribbons and the entire area is an unrecognizable mass of torn, bleeding tissue. When it is determined by the centurion in charge that the prisoner is near death, the beating is finally stopped. The half-fainting Jesus is then untied and allowed to slump to the stone pavement, wet with His own blood.

The Roman soldiers see a great joke in this provincial Jew claiming to be king. They throw a robe across His shoulders and place a stick in His hand for a scepter. They still need a crown to make their travesty complete. Flexible branches covered with long thorns (commonly used in bundles for firewood) are plaited into the shape of a crown and this is pressed into His scalp. Again there is copious bleeding, the scalp being one of the most vascular areas of the body.

After mocking Him and striking Him across the face, the soldiers take the stick from His hand and strike Him across the head, driving the thorns deeper into His scalp. Finally, they tire of their sadistic sport and the robe is torn from His back. Already having adhered to the clots of blood and serum in the wounds, its removal causes excruciating pain just as in the careless removal of a surgical bandage, and almost as though He were again being whipped the wounds once more begin to bleed. In deference to Jewish custom, the Romans return His garments. The heavy patibulum of the cross is tied across His shoulders, and the procession of the condemned Christ, two thieves, and the execution detail of Roman soldiers headed by a centurion begins its slow journey along the Via Dolorosa.

In spite of His efforts to walk erect, the weight of the heavy wooden beam, together with the shock produced by copious blood loss, is too much. He stumbles and falls. The rough wood of the beam gouges into the lacerated skin and muscles of the shoulders. He tries to rise, but human muscles have been pushed beyond their endurance. The centurion, anxious to get on with the crucifixion, selects a stalwart North African onlooker, Simon of Cyrene, to carry the cross. Jesus follows, still bleeding and sweating the cold, clammy sweat of shock, until the 650 yard journey from the fortress Antonia to Golgotha is finally completed. Jesus is offered wine mixed with myrrh, a mild analgesic mixture. He refuses to drink. Simon is ordered to place the patibulum on the ground and Jesus quickly thrown backward with His shoulders against the wood. The legionnaire feels for the depression at the front of the wrist. He drives a heavy, square, wrought-iron nail through the wrist and deep into the wood. Quickly, he moves to the other side and repeats the action, being careful not to pull the arms to tightly, but to allow some flexion and movement. The patibulum is then lifted in place at the top of the stipes and the titulus reading, “Jesus of Nazareth, King of the Jews,” is nailed in place.

The left foot is now pressed backward against the right foot, and with both feet extended, toes down, a nail is driven through the arch of each, leaving the knees moderately flexed. The Victim is now crucified. As He slowly sags down with more weight on the nails in the wrists, excruciating pain shoots along the fingers and up the arms to explode in the brain — the nails in the wrists are putting pressure on the median nerves.

As He pushes Himself upward to avoid this stretching torment, He places His full weight on the nail through His feet. Again there is the searing agony of the nail tearing through the nerves between the metatarsal bones of the feet. At this point, as the arms fatigue, great waves of cramps sweep over the muscles, knotting them in deep, relentless, throbbing pain. With these cramps comes the inability to push Himself upward. Hanging by his arms, the pectoral muscles are paralyzed and the intercostal muscles are unable to act. Air can be drawn into the lungs, but cannot be exhaled. Jesus fights to raise Himself in order to get even one short breath. Finally, carbon dioxide builds up in the lungs and in the blood stream and the cramps partially subside. Spasmodically, he is able to push Himself upward to exhale and bring in the life-giving oxygen.

It was undoubtedly during these periods that He uttered the seven short sentences recorded:

The first, looking down at the Roman soldiers throwing dice for His seamless garment, “Father, forgive them for they know not what they do.”

The second, to the penitent thief, “Today thou shalt be with me in Paradise.”

The third, looking down at the terrified, grief-stricken adolescent John — the beloved Apostle — he said, “Behold thy mother.” Then, looking to His mother Mary, “Woman behold thy son.”

The fourth cry is from the beginning of the 22nd Psalm, “My God, my God, why has thou forsaken me?”

Jesus experienced hours of limitless pain, cycles of twisting, joint-rending cramps, intermittent partial asphyxiation, searing pain where tissue is torn from His lacerated back as He moves up and down against the rough timber. Then another agony begins -- a terrible crushing pain deep in the chest as the pericardium slowly fills with serum and begins to compress the heart. One remembers again the 22nd Psalm, the 14th verse: “I am poured out like water, and all my bones are out of joint; my heart is like wax; it is melted in the midst of my bowels.”

It is now almost over. The loss of tissue fluids has reached a critical level; the compressed heart is struggling to pump heavy, thick, sluggish blood into the tissue; the tortured lungs are making a frantic effort to gasp in small gulps of air. The markedly dehydrated tissues send their flood of stimuli to the brain. Jesus gasps His fifth cry, “I thirst.” One remembers another verse from the prophetic 22nd Psalm: “My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou has brought me into the dust of death.” A sponge soaked in posca, the cheap, sour wine which is the staple drink of the Roman legionaries, is lifted to His lips. He apparently doesn’t take any of the liquid.

The body of Jesus is now in extremes, and He can feel the chill of death creeping through His tissues. This realization brings out His sixth words, possibly little more than a tortured whisper, “It is finished.” His mission of atonement has completed. Finally He can allow his body to die.

With one last surge of strength, he once again presses His torn feet against the nail, straightens His legs, takes a deeper breath, and utters His seventh and last cry, “Father! Into thy hands I commit my spirit.”

The rest you know. In order that the Sabbath not be profaned, the Jews asked that the condemned men be dispatched and removed from the crosses. The common method of ending a crucifixion was by crurifracture, the breaking of the bones of the legs. This prevented the victim from pushing himself upward; thus the tension could not be relieved from the muscles of the chest and rapid suffocation occurred. The legs of the two thieves were broken, but when the soldiers came to Jesus they saw that this was unnecessary.

Apparently, to make doubly sure of death, the legionnaire drove his lance through the fifth interspace between the ribs, upward through the pericardium and into the heart. The 34th verse of the 19th chapter of the Gospel according to St. John reports: “And immediately there came out blood and water.” That is, there was an escape of water fluid from the sac surrounding the heart, giving postmortem evidence that Our Lord died not the usual crucifixion death by suffocation, but of heart failure (a broken heart) due to shock and constriction of the heart by fluid in the pericardium.

Thus we have had our glimpse — including the medical evidence — of that epitome of evil which man has exhibited toward Man and toward God. It has been a terrible sight, and more than enough to leave us despondent and depressed. How grateful we can be that we have the great sequel in the infinite mercy of God toward man — at once the miracle of the atonement (at one ment) and the expectation of the triumphant Easter morning

FROM: http://www.freerepublic.com/focus/news/1115727/posts

 

JESUS IS MY CAPTAIN

Jesus Calms the Storm (Mark 4:35-40)

Analysis and Commentary

By Austin Cline,

    35 And the same day, when the evening was come, he saith unto them, Let us pass over unto the other side. 36 And when they had sent away the multitude, they took him even as he was in the ship. And there were also with him other little ships. 37 And there arose a great storm of wind, and the waves beat into the ship, so that it was now full. 38 And he was in the hinder part of the ship, asleep on a pillow: and they awake him, and say unto him, Master, carest thou not that we perish?
    39 And he arose, and rebuked the wind, and said unto the sea, Peace, be still. And the wind ceased, and there was a great calm. 40 And he said unto them, Why are ye so fearful? how is it that ye have no faith? 41 And they feared exceedingly, and said one to another, What manner of man is this, that even the wind and the sea obey him?
    Compare: Matthew 13:34,35; Matthew 8:23-27; Luke 8:22-25

Jesus’ Power over Nature

The “sea” being crossed by Jesus and his followers is the Sea of Galilee, so the area they are moving on to would be the present-day Jordan. This would take him into territory controlled by Gentiles, pointing to the eventual expansion of Jesus’ message and community beyond Jews and to the Gentile world.

During the trip across the Sea of Galilee, a large storm comes up — so large that the boat threatens to sink after so much water has entered it. How Jesus manages to stay asleep though this is unknown, but traditional commentaries on the passage say that he slept deliberately in order to test the faith of the apostles. If that is the case, then they failed, because they were so scared that they woke Jesus up to find out whether he cared if they all drowned.

A more plausible explanation is that the author of Mark has Jesus sleeping out of literary necessity: Jesus’ calming the storm is designed to evoke the story of Jonah. Here Jesus is sleeping because the story of Jonah has him sleeping down in the ship. Accepting such an explanation, though, requires accepting the idea that this story is a literary creation by the author and not an accurate historical narrative.

Jesus proceeds to end the storm and restore the sea to calm — but why? Calming the storm doesn’t appear to have been absolutely necessary because he rebukes the others for not having faith — presumably, they should have trusted that nothing would happen to them while he was around. So ostensibly, had he not stopped the storm they would have made it across just fine.

Was his purpose then simply to create a display of naked power in order to impress this apostles? If so, he succeeded because they appear to be just as afraid of him now as they were moments ago of the storm. It’s strange, though, that they don’t understand who he is. Why did they even wake him if they didn’t think he might be able to do something?

Although it is still relatively early in his ministry, he has been explaining to them all of the secret meanings of his parables. Hadn’t they covered who he is and what he is doing? Or if they had, do they simply not believe him? Whatever the case, this appears to be another example of the apostles being portrayed as dolts.

Returning once again to traditional commentaries on this passage, many say this story is supposed to teach us not to be fearful of the chaos and violence around us in our lives. First, if we have faith, then no harm is to come to us. Second, if you act as Jesus and simply command the chaos to “be still,” then you will at least achieve some inner sense of peace and thus be less troubled by what is occurring.

The calming of a raging storm fits with other stories where Jesus’ power is manifested against awesome, even mythic forces: raging seas, hordes of demons, and death itself. Confining the sea itself is depicted in Genesis as an aspect of divine power and privilege. It is not coincidental that the following stories of Jesus involve further instances of combating forces more powerful than what has been seen thus far.

 
SCHOOL BLOWN UP : 

Multiple schools have been blown up.  I limited my search to 2008, and 2009 because there were so many articles about the schools, some were girl's schools, some were boy's schools.  Some were co-educational schools.  Even with the limited search of the two years, there are still 176,000 pages about them.

http://www.google.com/search?hl=en&rlz=1T4PALA_enUS204US335&q=%22school+blown+up%22+2008+2009&btnG=Search&aq=f&oq=&aqi=

 
THE 21

And God said unto Moses, I AM THAT I AM: and he said, Thus shalt thou say unto the children of Israel, I AM hath sent me unto you." Exodus 3.14

The Divine Name I AM THAT I AM (GR 543) is God's memorial name unto all generations. God defined it this way so that when the Lord Jesus Christ came to earth and declared this name, there would be no question as to His identity as Almighty God.

God actually gave two names in Exodus 3.14. The long form I AM THAT I AM and the short form I AM. We have the identity:

(Ehyeh, I AM) = 21

The significance of this relation is overwhelming: The Gospel of John, the I AM Gospel lies on Spoke 21! It also integrates with the Isaiah 43 - John connection, as discussed in the Inner Wheel article The Eternal I AM. Furthermore, it integrates with the Shin KeyWord (Shem, Name)!  And beyond that, the pronoun "Asher" is synonymous with the pronomial particle indicated by the letter Shin, which is maximized on Spoke 21 in the Book of Ecclesiastes! Endless wonder! Divine Perfection!

The Number 21 is the Sixth Triangular Number, which means it is the sum of all the digits up to and including Six:

21 = 1 + 2 + 3 + 4 + 5 + 6 = Sum(6)

Likewise, Six is the Third Triangular Number:

6 = 1 + 2 + 3 = Sum(3)

And 3 is the second Triangular Number:

3 = 1 + 2 = Sum(2).

Thus, 21 is a triple triangular number:

21 = Sum(Sum(Sum(2)))

The Number 21 factors as:

21 = 3 x 7

The Numbers 3 and 7 are a kind of division of Unity in the sense of 10 = 3 + 7. They play an essential role in Creation. Most notably in the value of Genesis 1.1:

Sum Genesis 1.1 = 2701 = 37 x 73

The Number 2701 is the 73rd Triangular Number, and both 37 and 73 are prime. In fact, they are palindromic primes!

* The Number 21

I AM [Ex 3.14]

Meditation [S# 1901]

Joyful, Good [S# 3190]

Surely, Truly [Ps 23.6]

Factors: 3 x 7

Related Numbers: 37, 73, 543, 2701 **

**Anyhow, like I said, it's just a theory, but something to think about.... I think there's just too much numerical/sacred number significance to bypass this**

Further:

6-10-2004 - Meditation and channeled message by Dee:

Oh my child: Welcome to my home. You are welcome here any time. I know you have many questions, but for now we will try to share conversation without interruption. That is key.

To be clear as a channel is key - otherwise the information des not get translated correctly.

You peek out of one eye to get the words on the paper, yet the meanings will be clear even if it does not.

The answer to all questions is LOVE & LIGHT. Through LOVE & LIGHT one achieves JOY. There is no other way. 

Go and be happy. We will work on more definitive answers at another time.

Thank you for coming.

The 21

FROM: http://www.greatdreams.com/21.htm

In this instance, we have 21 events in four columns.

4 x 21 = 84

On 12-9-91, had a dream with number 84 and number 73

- DREAM - I managed an apartment building on the East side of Milwaukee with 84 apartments and I lived in #73. It was hard to distinguish #73 from #84 and a little boy showed me which door to use. Inside, it all looked familiar. Someone had tried t take my I.D. and all the proof of who I was, was strewn on top of the bed which had an orange blanket on it. I picked it all up, including some photos of people I knew and the photos became live and I became part of the photo and found myself walking from 20th St. school to my home on 16th St. I was carrying a flashlight and every corner I came to, people were offering to buy me a drink. I knew this was out of the goodness of their hearts, but I didn't drink and tried to be nice so as not to hurt their feelings. I carried a lighted flashlight to show the way and shown it on each person who called my name. The police were watching me because so many people were calling my name. As we walked up 16th St., we came to two places where drugs were stored for distribution. The officials were in charge of them. They said that they could allow booze to be stopped, but drugs is what kept our country going.

In 1999, I had a dream in which I met a woman on 84th St., who had three white children and a black child with her.  She feared that she couldn't cross a street without her children being killed.

http://www.greatdreams.com/babies.htm

This was Joe Mason's comments on the dream:

The woman on 84th Street may be a "number" clue. Notice that 84 is twice 42. As months on the Hebrew calendar, this is seven years (84 / 12). It is also 2,520 days (84 x 30), which is twice the number of days given in Revelation 11:3 and 12:14. 42 months is given in Revelation 11:2.

The Book of Daniel speaks of Nebuchadnezzar's dream of a great tree that was cut and banded, causing a period of insanity for seven years. Some say these are "Prophetic years" of 360 years each, giving a total of 2,520 years. From the fall of the Temple at Jerusalem, this is said to give the year 1914 as the beginning of the Apocalypse. 2,520 or 252 is part of the ancient "Gematria" system of the ancients. See:

CODE OF THE ANCIENTS - "THE CODE" OF CARL MUNCK & ANCIENT GEMATRIAN NUMBERS
http://www.greatdreams.com/gem1.htm

The number 84 is a key number in our "Code" group regarding our friend, James Furia's "Music Wheel."

It is similar to a "clock face," in that it has twelve major marks on the circle, representing 12 octaves. Each octave has seven notes, giving the total of 84
(12 x 7).

The woman with the three children may suggest the Trinity. The basic form, according to Helena Blavatsky, has a male, a female, and an androgen child. Often a Goddess figure is with the three Trinity aspects. There are a number of suggestions in dreams that when the heart chakra level is achieved, one is then part of the Trinity. This may be a union of the Spirit, Soul, and personality.

In the dream, your plan to make a sign for a restaurant to announce the time of the next meal, seems to represent your involvement with the "public food-for-thought," that you bring from the dream world.

 
THE SOFA

Recently, I had a discussion with another dreamer over my use of the word 'sofa' rather than the word 'couch' which is what King Solomon used in his travels. 

I stopped using the common word 'couch' many years ago, when I discovered the importance of the word 'sofa' in 'spiritual  / mystical' terms.

10-22-01 - Joe and I watched the movie video, "Joseph's' Coat of Dreams" before bed.

DREAM 1 - I was with the tribe of Joseph. The brothers decided to order a large pizza because they could divide it into 12 parts. The pizza was in the Father's extra-large freezer.

When the brothers looked into the freezer, they saw that there was a large ball of ice in it. They decided that they wanted to dump the ice ball on the ground so it would break up into crystals just so they could see what shape the crystals would take.

DREAM 2:  This took place in the same scene.

It was all iced up outside. We lived in a long-narrow apartment building.

My sister-in-law Mary seemed to be losing her mind. She wanted to buy a new sofa for her livingroom, and she gave me the large blue cushions from her sofa, which I in turn, removed the blue covering and put the cushion part into green coverings for my own sofa.

Then the landlord showed up. It was my real landlord, Earl B., but I called him George. He was quite upset about the mess with the sofa cushions between Mary and myself.

I went into the attic storage-room with George the landlord and he showed me Mary's old blue flowered sofa and the empty blue flowered sofa cushion covers and he said sternly, "If you girls would have told me that you needed new sofas, I would have done something about it."

I looked over at Mary's old blue flowered sofa. It was all worn on the front edge - way past threadbare. It was way too heavy for one person to carry too.

Then I looked over further and the brothers were lined up on other sofas where the cushions attached to them had all shrunken. Each brother had one cushion. One was actually shaped like a black dog or wolf. None of the cushions was large enough to sit on, they could only be uncomfortably be straddled. Each one was a different color and different shapes. Each one would need remodeling individually.

There was a lot of work for the landlord to do, but now I knew that George the landlord could fix these sofas if we asked him.

INTERPRETATION:  The Tribe of Joseph and the brothers is pretty obvious since we had just watched the movie. The Tribes of Joseph and the number 12 is also in the Bible and much written about.  The tribes have dispersed all over the world.  

See DIASPORA
http://www.greatdreams.com/diaspora.htm

The Word 'sofa' is similar to 'Sophia' which means 'Wisdom' , so when you dream about a 'sofa' or 'couch', whichever word you use personally, this is what it represents.

Note whether you feel comfortable on this couch, or like in this dream, the cushions were not comfortable, they could only be straddled, not sat upon comfortably.  This is important to note.  

Note that in this dream, Mary (who I believe represents the mother of Jesus) wanted a new blue sofa herself, and I just wanted her cushions, not the covering. She wanted blue and I wanted green.  Blue is a pain removing color - green is a healing color. We each have our own individual reasons why we like certain colors.

In the chakra energy centers, green is equivalent to the heart, and blue is equivalent to the throat center which gives us communication.

Note that in the dream, one of the cushions of one of the brothers looks like a black dog or a black wolf. That is really a negative connotation. One can only guess which religious belief this denotes.

George, the landlord represents God. Note that he kept the old sofas in the attic, which represents memory and higher consciousness.

SOPHIA -

It seems that once there was only the Fore-Creation, invisible, without form or gender, all-pervasive, filling the depths and heights of what was and which, desiring to manifest an inward potential gave birth to many holy dyads...that is, pairs, the first of which were the Abyss and Fore-thought. Then a desire arose in Fore-thought and it meditated on Silence who conceived and gave birth to twins: the first visible female form called Truth and the first visible male form called Mind, in turn they together gave birth to Life and Word...Life was the form-mother of the Pleroma and Word was the form-father of those manifest within the Pleroma. The Pleroma is the fullness of the spiritual world, uninfluenced by matter, energy or light.

Many other dyads were born, called Aeons, or sacred powers, the last of which was the divine Sophia, or Holy Wisdom. Of all the Aeons, the divine Sophia desired most intensely to know the origins of Her own creation, that is, the nature of the Fore-Creator. Though Mind told Her that such knowledge was impossible, nevertheless, Sophia began to search high and low, after Mind was restrained by Silence. None of the Aeons comprehended the Fore-Creation other than Truth whose perfect reflection was a transparent presence invisible to Sophia. She separated Herself from Her consort, ranged the vastness of the uncreated Immensity, and far out- distanced all the other Aeons.

Sensing her separation from the other Aeons, and lacking a clear knowledge of the Fore-Creator, She felt pain and sorrow, She wept and grieved deeply, She desired with all Her Heart to comprehend the vast, unending totality of the Fore-Creator, also called the Abyss. But the Abyss was vast beyond comprehending, and Her sorrow increased and Her passions flowed out of Her in waves and She risked utter dissolution into the Abyss as She radiated forth a turbulence into the stillness of Immensity. Then, suddenly, She encountered Horos, the Limit, Boundary, and understood that the Fore-Creation was unknowable, holy and profound, beyond the comprehension of Mind, Word or even Truth. This was the First Gnosis.

But now, the manifestations of Her intentions and passions remained as viable presences in the Immensity, they overflowed the Pleroma and began to take on a more substantive appearance. Sophia beheld these manifestations, the consequences of Her passions, and was again stirred with grief, fear, uncertainty and sorrow because She understood that these were the manifestations of Her own ignorance concerning the Fore-creation. A dim, barely light-like haze began to appear, first manifestation in the Primal Void, the concatenation of passion and desire unfulfilled, slowly evolving into manifest forms--the stirrings of light, energy and chaos.

All the Aeons together were concerned about the appearance of Chaos and so they, with the divine Sophia, prayed in depth and a new dyad was manifested: Christos and the Holy Spirit, his female counterpart. Together, they calmed the Aeons and soothed their fears, also instructing them in the unknowableness of the Fore-Creation while simultaneously revealing to them the inner unity, harmony and illumination of the Pleroma--this was the Second Gnosis. Yet, the haze and proto-forms of Chaos remained and among these emerging forms was an image of Sophia, called the Lower Wisdom, for She had divided Herself in the passion of her search and now, the Lower Wisdom abided in the midst of Chaos.

This Lower Wisdom desired to return and be united with Her own Higher Self, rather than remain trapped in Her passions and desires and when She felt the emanations of the Holy Spirit and the Christos, when they manifest their healing and harmony within the Pleroma, She began to seek a way to return to the primal harmony and illumination of the Second Gnosis. And when Lower Wisdom discovered that She was bound by Limit and could not return or ascend to the Pleroma, She once again grieved and sorrowed. And from this second grief, from the waves and energy of that sorrow, the first material substances began to form, divide and align themselves in patterns of light, dimness and darkening matter. Then the Aeons together ask the Christos to assist the Lower Sophia and He manifested in the lower world of proto-matter as Yeshu'a, and soothed Her and comforted Her and revealed to Her all the many luminous beings that manifested in the Void as their spiritual companions.

But the proto-matter of the Void was now mixed with passion, desire and sorrow, and the luminous lights of the Void were the spiritual presences inherent to the newly forming matter, inherent to each and every elemental substance, the combinations and the consequent appearances. Thus the spiritual qualities of matter are the inherent emanations of Wisdom stimulated through the manifestation of Christos and the Holy Spirit. And Wisdom was reunited with Her own Higher Self, and perceiving the holiness of the manifestation, and seeing clearly both the psychic and material character of those manifestations, gave birth to one last entity--called "Father of the Material Realm" or the Maker and creator of the Lower Visible Realms.

This Father God created then, seven realms, each more material than the last, until finally this human world was formed and the beings of this world rose and walked, crawled or flew through the skies. But the Father God was vain and jealous, angry and forbidding, not knowing the power of the higher Aeons, nor of the Pleroma, nor even of his own Mother, the Divine Sophia. And when the Divine Sophia instructed him and opened his mind to Truth, he was amazed and refused to divulge these mysteries to those of his own creation. Being a god of the material, social and psychic order, it was not possible for him to be a teacher of the higher mysteries, and Sophia was dismayed by his wrath, anger and jealousy. So when he created the first human beings, She was there and secretly, without his knowing, She gave to them the gift of the Holy Spirit as a divine spark in every human heart.

And it is said, that in the Garden of Eden, created by the lower Father God, that Eve was the manifestation of the Lower Wisdom and that the serpent or snake of the tree, was actually the Christos who urged Eve to eat the Fruit of the Tree of Knowledge that she might attain the true Gnosis or knowledge of her origins and realize the Higher Sophia in perfect illumination and bliss. But the Father God, discovering that this secret teaching was disturbing his supremacy in the lower realms grew angry and cast them out of the garden and into the suffering of the world. Yet each and every descendent has this spark and the potential to recover the true Gnosis.

It is also said that it was for this reason that the Christos manifest as a human being, to bring the gift of the Holy Spirit, in all its female power and capacity, to liberate those who cast free from the illusions of the material and psychic realms and to ascend through visions of power and knowledge to the Higher Gnosis, to reunite the lower and higher self, to attain to visionary truth and perfect transparency. The Divine Sophia is the manifest presence of that vision, and this tale, one of Her symbolic forms. And the snake, an image of Higher Wisdom, is a true teacher that reconciles the desires and passions of knowledge with higher insight, overcomes the limitations of a jealous and demanding lesser god and transmits the teachings of the Divine Sophia. In this way, it is said, the faithful attain peace and the passionate, union, holiness and joy.

*******

Let those who have ears, hear. May the Divine Sophia inspire our understanding and our prayers ascend to the threshold of the true awakening.

Zos Imos

FROM: http://www.greatdreams.com/sacred/mary-sofa.htm
 

 
THE REVELATION

Four Horsemen of the Apocalypse

 
Victor Vasnetsov, Four Horsemen of the Apocalypse (1887)
 

The "Four Horsemen of the Apocalypse" is a term used to describe four horsemen that appear in the New Testament of the Christian Bible in chapter six of the Book of Revelation, which describes an apocalyptic vision. Although scholars disagree as to what exactly each horseman represents, the four horsemen are often referred to as Conquest, War, Famine, and Death. Summoned and empowered by God as part of the opening of the seven seals, the horsemen contribute to the widespread destruction that takes place in Revelation as part of the end of the world.

Horses and their riders

Name Horse Rider Power Original Greek Description
Conquest White Carries a bow (old Latin translation is standard) Is given a Crown, goes forth conquering[1] To kill with the beasts of the earth. ίππος λευκός (híppos leukós), [The] White Horse
War Red Carries a sword To take peace from the earth, and let men kill one another. To kill with the sword. ίππος πυρρός (híppos purrós), [The] Red Horse
Famine Black Carries a balance (weighing scale) To bring famine (drought?). To kill with hunger. ίππος μέλας (híppos mélas), [The] Black Horse
Death Pale green or pale Death Followed by Hades, kills with death[2] ίππος χλωρός, θάνατος (híppos khlōrós, thánatos), [The] Pale Horse

 White Horse

See also: White horse (mythology)
The first horseman as depicted in the Bamberg Apocalypse (1000-1020)
I watched as the Lamb opened the first of the seven seals. Then I heard one of the four living creatures say in a voice like thunder, "Come!" I looked, and there before me was a white horse! Its rider held a bow, and he was given a crown, and he rode out as a conqueror bent on conquest.

— Revelation 6:1-2 NIV

The white horse of the apocalyptic four may represent polar qualities of evil or righteousness, depending on interpretation. The German-language Lutheran Stuttgarter Erklärungsbibel sees him as civil war and internal strife.

As evil

The other three horsemen represent evil, destructive forces, and given the unified way in which all four are introduced and described, it may be most likely that the first horseman is correspondingly evil.[3][4] Some interpret the rider of the white horse to be the Antichrist, or a representation of false prophets, citing differences between the white horse in Revelation 6 and Jesus on the white Horse in Revelation 19. Revelation 19 Jesus has many crowns, but in Revelation 6 the rider has one.[5] In Revelation 19, the rider on the horse is depicted as "The Word of God". The rider of the white horse may represent the second coming of Christ during which the end of the world/judgment day would occur. He may also just represent judgment of the living and the damned.

Irenaeus, an influential Christian theologian of the second century, was among the first to interpret this horseman as Christ himself, his white horse representing the successful spread of the gospel.[4] Various scholars have since supported this theory, citing the later appearance, in Revelation 19, of Christ mounted on a white horse, appearing as as The Word of God. Furthermore, earlier in the New Testament, the [Book of Mark] indicates that the advance of the gospel may indeed precede and foretell the apocalypse.[4][3] The color white also tends to represent righteousness in the Bible, and Christ is in other instances portrayed as a conqueror.[4][3] However, opposing interpretations argue that the first of the four horsemen is probably not the horseman of Revelation 19. They are described in significantly different ways, and Christ's role as the Lamb who opens the seven seals makes it unlikely that he would also be one of the forces released by the seals.[4][3]

Besides Christ, the horseman could represent the Holy Spirit.  The Holy Spirit was understood to have come upon the Apostles at Pentecost after Jesus' departure from earth. The appearance of the Lamb in Revelation 5 shows the triumphant arrival of Jesus in heaven, and the white horseman could represent the sending of the Holy Spirit by Jesus and the advance of the gospel of Jesus Christ.[6]

Red Horse

The second horseman as depicted in a thirteenth-century Apocalypse manuscript
When the Lamb opened the second seal, I heard the second living creature say, "Come! Then another horse came out, a fiery red one. Its rider was given power to take peace from the earth and to make men slay each other. To him was given a huge sword.

— Revelation 6:3-4 NIV

The rider of the second horse is often taken to represent War. His horse's color is red, or, in some translations, specifically a "fiery" red. This color, as well as the rider's possession of a large sword, suggests blood to be spilled on the battlefield.[4] The second horseman may represent civil war as opposed to the war of conquest that the first horseman brings.[7][4]

 Black Horse

The third horseman as depicted in the Angers Apocalypse Tapestry (1372-82)
When the Lamb opened the third seal, I heard the third living creature say, "Come!" I looked, and there before me was a black horse! Its rider was holding a pair of scales in his hand. Then I heard what sounded like a voice among the four living creatures, saying, "A quart of wheat for a day's wages, and three quarts of barley for a day's wages, and do not damage the oil and the wine!"

— Revelation 6:5-6 NIV

The third horseman rides a black horse and is generally understood as Famine.[4] The black colour of the horse could be a symbol of the dead. The horseman carries a pair of balances or weighing scales, indicating the way that bread would have been weighed during a famine.[7]

Of the four horsemen, the black horse and its rider are the only ones whose appearance is accompanied by a vocal pronunciation. John hears a voice, unidentified but coming from among the four living creatures, that speaks of the prices of wheat and barley, also saying "and see thou hurt not the oil and the wine." This suggests that the black horse's famine is to drive up the price of grain but leave oil and wine supplies unaffected. One explanation for this is that grain crops would have been more naturally susceptible to famine years than olive trees and grapevines, which root more deeply;[7][4] the statement might also suggest a continuing abundance of luxuries for the wealthy while staples such as as bread are scarce, though not totally depleted.[7] Alternatively, the preservation of oil and wine could symbolize the preservation of the Christian faithful, who used oil and wine in their sacraments.[4]

Pale Horse

The fourth horseman as depicted in the Bamberg Apocalypse (1000-1020)
When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, "Come!" I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.

— Revelation 6:7-8 NIV

The fourth and final horseman is named Death. Of all the riders, he is the only one to whom the text itself gives a name. Unlike the other four, he carries no weapon or other object; instead he is followed by Hades.

The color of Death's horse is written as khlôros (χλωρóς) in the original Koine Greek, which is often translated as "pale", though "ashen", "pale green",[2] and "yellowish green"[7] are other possible interpretations. The color suggests the sickly pallor of a corpse.[8][4] The natural colors of horse coats that could be indicated include dun, palomino, buckskin, or one of several color variants with dilution genes.

The verse beginning "they were given power over the fourth of the earth" may refer solely to Death and Hades, or it may summarize the roles of all four horsemen; scholars disagree on this point.[3]

Interpretations

Preterist view

Albrecht Dürer's woodcut depiction, The Four Horsemen of the Apocalypse (1498)

Many modern scholars interpret Revelation from a preterist point of view, arguing that its prophecy and imagery apply only to the events of the first century of Christian history.[7] In this school of thought, Conquest, the white horse's rider, is sometimes identified as a symbol of Parthian forces: Conquest carries a bow, and the Parthian Empire was at that time known for its mounted warriors and their skill with bow and arrow.[7][4] Parthians were also particularly associated with white horses.[4] Some scholars specifically point to Vologases I, a Parthian shah who clashed with the Roman Empire and won one significant battle in 62 CE.[7][4]

Revelation's historical context may also influence the depiction of the black horse and its rider, Famine. In 92 CE, the Roman emperor Domitian attempted to curb excessive growth of grapevines and encourage grain cultivation instead, but there was major popular backlash against this effort, and it was abandoned. Famine's mission to make wheat and barley scarce but "hurt not the oil and the wine" could be an allusion to this episode.[7][8] The red horse and its rider, who take peace from the earth, might represent the prevalence of civil strife at the time Revelation was written; internecine conflict ran rampant in the Roman Empire during and just prior to the first century CE.[7][4]

Other interpretations

Each new century, Christian interpreters see ways in which the horsemen, and Revelation in general, speaks to contemporary events.  Some who believe Revelation applies to modern times can interpret the horses based on various ways their colours are used.[9] Red, for example, often represents Communism, Black has been used as a symbol of Capitalism, while Green represents the rise of Islam. Pastor Irvin Baxter Jr. of Endtime Ministries espouses such a belief.[10]

Not all interpretations agree that the horsemen are associated with contemporary events. One interpretation suggests that the horsemen are each associated with one of the first, four opened seals.[11] The white horse represents the first seal in which the city of Enoch[12] is established in righteous conquest. The red horse represents the second seal in which bloodshed and wickedness reigns. The black horse represents the third seal in which famine, plague, and pestilence take hold of the world. The pale horse represents a time of escalated death and destruction. Further interpretation by scholars suggests that each horse represents a given time: the time of Enoch, the time of Noah, the time of Abraham, and the time of Christ.

Yet another interpretation is that the horsemen are directly picturing events in the immediate history of the Roman Empire following the first century. The White Horse would represent the time of Trajan of Crete where the bow was the weapon of fame as opposed to the Roman sword; his reign along with the four following "Good" emperors of Rome were the time of conquering and victory. But the Red horse arises with Commodus, who began a series of blood shed and civil war in the empire, 32 Emperors and 27 pretenders in 92 years. The Black Horse speaks of a time of famine and great poverty. Beginning with Caracalla Rome became a land of taxation, the Emperors became more and more ostentatious their taxation took the life from the Empire. These next years were accompanied and followed with the Pale Horse of death, who brought a time of sword, famine, war, and wild beasts eating the starving, a time when whole cities the Empire were left deserted because of the civil unrest. Thus all the Horsmen have ridden.

One interpretation is that the Four Horsemen are the Four Beasts mentioned in the visions of The Book of Daniel, representing four kings (or kingdoms), the last of which devours the world. This view is further reinforced by the resemblance of the four beasts of Daniel to the four beasts that surround the throne that call out 'come and see' as each seal is opened and each rider goes forth. The more conventional integration of this portion of Daniel with Revelation, however, is that the eleventh king (arising in the fourth kingdom) is the Antichrist.

Some equate the four horsemen with the angels of the four winds.[13] (See Michael, Gabriel, Raphael, and Uriel, angels often associated with four cardinal directions)

Another challenged interpretation is that the white horse represents foreign warfare or conquest ("went forth conquering, and to conquer"), the red represents civil war or domestic strife ("that they should kill one another"), the black represents famine ("A measure of wheat for a penny, and three measures of barley for a penny; and see thou hurt not the oil and the wine"), and the pale represents pestilence or disease in its various forms ("to kill with sword, and with hunger, and with death, and with the beasts of the earth").

Another interpretation is that the rider on the white horse is the Holy Spirit being sent forth into the world after the death of Jesus. That the Fiery Red horse represents the blood shed and the slaying of the Christian martyrs (starting with the stoning of Stephen in Acts 7:54-8:1). The Black horse represents the scattering of the Jewish nation during the time of the Roman Empire, in 70 AD. the Pale horse represents the Islamic nation (with direct correlation between the rider's name being Death and Hell followed with him [Revelation 6:8]).[14]

 Pestilence, War, Famine, and Death

This interpretation rearranges the order in which the horsemen arrive to end the world, and a slight change to their personae. Pestilence is portrayed as a distinct entity, separate from Famine, and takes Conquest's normal place in the lineup.

The first horseman to appear is Pestilence, who rides upon a white horse. Pestilence conquers the nations of the world, subjugating them to demonic powers of the world. In the wake of Pestilence comes War, riding a large, wild red horse and wielding a tremendous sword symbolizing continuing war over the domination of the world, killing millions in his path with his sword. In the wake of War, due to immense destruction because of War and Pestilence, is Famine. Famine is portly — riding upon a black, sickly  horse — representing gluttony and hunger. And in the wake of Famine, comes the pale rider, Death. His horse is stark pale. He is followed by Hades and carries the remaining souls to their final destinations.[15]

It is this interpretation which is most commonly used as the basis for pop culture's uses of the Four Horsemen concept.

 Other Biblical references

Zechariah also sees four horses (Zech 1:8-17, 6:1-8). During this, first comes the Red, then Black, then White, and finally the "Grisled and Bay" (the Pale Horses by implication). They are referred to as "the four spirits of the heavens, which go forth from standing before the Lord of all the earth." Zechariah's horses differ from Revelation's in that their colors do not seem to indicate or symbolize anything about their characters; also, the horses in Zechariah act as sentries, not as agents of destruction or judgment.[4]

Zechariah's imagery probably influenced John, the author of Revelation, in the way he depicted the four horsemen.[8][4] Also, flying or heavenly horsemen featured in other mythology, both Jewish and Gentile, of the first century.[8]

  Christianity portal

 References

  1. ^ http://www.biblegateway.com/passage/?search=Revelation%206&version=9;
  2. ^ a b "Revelation 6:8". Biblos. http://bible.cc/revelation/6-8.htm. Retrieved 2009-07-08. 
  3. ^ a b c d e Beale, Gregory K. (1998). The Book of Revelation: A commentary on the Greek text. Grand Rapids, Michigan: Wm. B. Eerdmans Publishing Company. pp. 375. ISBN 080282174X. [1]
  4. ^ a b c d e f g h i j k l m n o p q Mounce, Robert H. The Book of Revelation (New International Commentary on the New Testament. Grand Rapids, Michigan: Wm. B. Eerdmans Publishing Company, 1997. 140 [2]
  5. ^ McNeely, Darris. "Visions of Judgment: The Horsemen of Revelation", The Good News, January/February 2004 vol. 9, num. 1.
  6. ^ Vos, Brian D. "The Four Horsemen of the Apocalypse", The Outlook, June 2006 vol. 56 no. 4, pp 16-20.Outlook Article - The Four Horsemen of the Apocalypse
  7. ^ a b c d e f g h i j Morris, Leon (1987). The Book of Revelation (Tyndale New Testament commentaries) (2nd ed.). Grand Rapids, Michigan: Wm. B. Eerdmans Publishing Company. pp. 100-105. ISBN 0-8028-0273-7. 
  8. ^ a b c d Case, Shirley Jackson. The revelation of John: a historical interpretation. University of Chicago Press, 1919. 261-263. [3]
  9. ^ Humphries, Paul D. (2005). A Dragon This Way Comes. Mustang, Oklahoma: Tate Publishing. pp. 13-85. ISBN 1-59886-06-1-5. Lay summary. 
  10. ^ Baxter, Irvin. "Arafat and Jerusalem: The Palestinian Perspective". Endtime Ministries. http://www.endtime.com/magarchive.asp?ID=20. Retrieved 2006-12-05. 
  11. ^ Draper, Richard D. (1991). Opening the Seven Seals: The Visions of John the Revelator. Deseret Book. pp. 62–68. ISBN 0-87579-547-1. 
  12. ^ Moses 7:19 SELECTIONS FROM THE BOOK OF MOSES CHAPTER 7 (December 1830)
  13. ^ Robert Smith (1998). "Apocalypse". http://books.google.com/books?id=JXzMmkE3qhoC&pg=PA40&lpg=PA40&dq=%22four+horsemen%22+%22four+angels%22. 
  14. ^ "The Approaching Apocalypse". http://theapproachingapocalypse.com/archives/68. 
  15. ^ The Four Horsemen of the Apocalypse
Retrieved from "http://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse"
 
THE WHITE HORSE
 

In 1999, I had these visions:

July 3, 1999

VISION I

I lay in the bed in the dark . . . awake, yet seeing somehow, thousands of white horses, with warriors dressed in white, riding in straight rows, like on a road, eight wide. They were riding down the front of my face from the top of my head. I could not recognize faces, nor race . . . it was all white.

VISION II

I lay in the bed in the dark . . . awake, yet seeing somehow, thousands, upon thousands of white horses, with warriors dressed in white, riding eight abreast in straight rows, like on a road. It was as if these horses were on two screens of television, one screen on each of my thighs, moving upward from my knees towards my body. These horses and riders too, were not recognizable as any particular race of people. Everything was white. I was afraid to move . . . afraid that if I moved that it would all disappear. Yet, it went on and on . . . endlessly. Finally, I had to move. However, it didn't end when I rolled over. The thousands of white horses with their riders continued to ride upward from my knees towards my body. There was no stopping them.

REVELATION 9:16 "And the number of the army of the horsemen were two hundred thousand thousand; and I heard the number of them."

(This is 200 million)

See: Revelation 9:16

See: Dreams of the Rider on the White Horse

 
THE BLACK HORSE

LIBRA (The Scales)

SKY PHOTO

LIBRA START CHART

There are other Biblical verses that tie in, in my way of seeing things. In Genesis 8:21, the Lord said in his heart, ". . . for the imagination of man's heart is evil from his youth; . . ." This is why He brought on the flood. Proverbs 21:2 says, "Every way of a man is right in his own eyes, but the Lord weighs the heart."

Revelation 6:5 says, ". . . And I saw, and behold, a black horse, and its rider had a balance in his hand

The scales have been identified as formerly being Chelae, the claws of the Scorpion of Babylonian astrology. Some identify Libra with the Egyptian god Osiris as the scales he uses to weigh the souls of the dead. Another link of this constellation has been made with Julius Caesar who was praised for his clemency and justice. When a comet appeared in July 44 B.C., four months after his murder, it was thought that his spirit was ascending to take its place in the heavens.

Libra is often less explained in mythologic terms, but rather in astronomic. It is thought that the scales represent the equal length of nights and days during the autumnal equinox, which occurs while the sun is in this sign.

Claws and Scales

Libra lies between Scorpius and Virgo. Once long ago the area occupied by Libra was seen as comprising the claws of the scorpion Scorpius. After about the first century B.C.E. this constellation has become associated with the Balance Scales.

The Scales of Justice

The constellation of Libra is sometimes seen as the Scales of Justice. This leads to an association with the constellation of Virgo, who has been identified with Astraea or Dike, the Goddess of Justice. It is the Goddess who judges the souls of men after their death by weighing them in her balance.

FOR COMPARISON'S SAKE SEE BLACK ELK'S PROPHECY BELOW

THE PROPHECY OF BLACK ELK

Black Elk's Great Vision

I read Black Elk Speaks around October, 1990. I had some dreams about it, and a number of coincidences happened. I came to see his great vision as having many similarities to the Book of Revelation. The part that seems to correlate to the heart chakra symbolism is on pages 32-33. He was only nine years old, when he fell unconscious for some two weeks. The vision was very extensive, and he never forgot any part of it. Below is an excerpt from the book. At this point in his vision, he is riding his horse in the storm clouds. There are twelve horses with riders from each of the four directions. The black horse riders are from the West, the White horse riders are from the North, the red horse riders are from the East, and the Yellow horse riders are from the South.

"Now the earth was bright again as we rode. I could see the hills and valleys and the creeks and rivers passing under. We came above a place where three streams made a big one - a source of mighty waters - and something terrible was there. Flames were rising from the waters and in the flames a blue man lived. The dust was floating all about him in the air, the grass was short and withered, the trees were wilting, two-legged and four-legged beings lay there thin and panting, and wings too weak to fly.

Then the black horse riders shouted 'Hoka hey!' and charged down upon the blue man, but were driven back. And the white troop shouted, charging, and was beaten; then the red troop and the yellow.

And when each had failed, they all cried together 'Eagle Wing Stretches, hurry!' And all the world was filled with voices of all kinds that cheered me, so I charged. I had the cup of water in one hand and in the other was the bow that turned into a spear as the bay and I swooped down, and the spear's head was sharp lightning. It stabbed the blue man's heart, and as it struck I could hear the thunder rolling and many voices that cried 'Un-hee!,' meaning I had killed. The flames died. The trees and grasses were not withered any more and murmured happily together, and every living being cried in gladness with whatever voice it had. Then the four troops of horsemen charged down and struck the dead body of the blue man, counting coup; and suddenly it was only a harmless turtle."

FROM: http://www.greatdreams.com/alignment.htm

The story of Black Elk and the reasons for the ceremony he had to perform to duplicate his vision occurred after Crazy Horse's Death when Black Elk was 15 years old..  I'm going to put a link to the site which publishes the book, as this is a very long tale how Black Elk comes to perform the ceremony after a great fear overcomes him - many years after having his vision.

http://www.firstpeople.us/articles/Black-Elk-Speaks/Black-Elk-Speaks-Grandmothers-Land.html

It is amazing that Black Elk was able to remember his vision with all the details and do the ceremony exactly as his vision when he was 19 years old.

This is the index to the book written by John Neidhardt for Black Elk, because Black Elk never learned to read or write.  Nerertheless, he was an amazing visioonary.  Black Elk's vision was very much like the Four Horsemen of the Apocalypse.
 

 

FROM: http://www.aaronc.com/REVELATI/theorev.htm

The Consecutive View or Telescopic View of the book of Revelation sees the judgments as occurring one at a time throughout the Tribulation Period -- that is, 21 individual judgments from God in consecutive order. The Telescopic View understands the seventh seal to include all seven trumpets, and likewise that the seventh trumpet includes the seven bowls or vials.

Each individual judgment may end when the next begin, or each may continue until the end of the Tribulation and the return of Christ. The Telescopic view seems best, since the seventh seal simply introduces the seven trumpets:

(1) and the seventh trumpet covers the rest of the judgments. The seven bowls are called the seven last plagues.

(2) and will apparently occur in rapid succession at the end of the Tribulation.

(3) Mathematics also points to the Consecutive and Telescopic Views of judgments. In the seals a fourth of all things are taken, in the trumpets a third are taken and in the final judgments all are taken or one half of the original. If one fourth of the original things on earth were affected by the seals, three fourths were not, and in the trumpets, one third was affected, which also equates to one fourth of the original things. If God knows His fractions, then the consecutive view is correct.

The Book of Revelation builds heavily upon the Book of Daniel in the Old Testament. Many symbols introduced in Daniel are repeated and further clarified in Revelation. A full understanding of Revelation is impossible without an accurate understanding of the prophecy of Daniel. Although there are very few quotations, allusions to Old Testament images and prophecy appear throughout Revelation. Of the 404 verses in the book, 265 verses contain lines that allude to some 550 Old Testament references.

 
FROM:  http://www.prophecyclub.com/july00/2.html

"Revelation Chart" as contained in the Daniel & Revelation
 Please "Maximize" your browser window for best presentation of the chart.
 

First Seal

White Horse
Antichrist has Bow, Crown, Conquering.
REV 6:2

Second Seal

Red Horse
Takes peace, receives sword.
REV 6:4

Third Seal

Black Horse
Pair of balances
Days work / pay
hurt not the oil / wine.
REV 6:5-6

Fourth Seal

Pale Horse
Death / Hell followed
1/4 Earth population killed by sword,
hunger / death / beasts.
REV 6:8

Fifth Seal

Souls slain for Word / Testimony.
White robes given.
REV 6:9

Sixth Seal

Earthquake
1. Sun darkened
2. Moon as blood
3. Stars fall
4. Heaven departs as scroll.
Wrath of Lamb
REV 6:12

Seventh Seal

Angel throws fire to Earth
REV 8:5

Angel w/little book sets right foot on sea, left foot earth, cries time no longer
REV 10-1-4
Light Water Seed Sky Animals Man Rest

First Trumpet

Hail / fire / blood
1/3 trees burned, & all green grass.
REV 8:7

Second Trumpet

Burning mountain cast into sea.
1/3 sea became blood
1/3 ships destroyed
1/4 sea creatures die.
REV 8:8

Third Trumpet

Wormwood star falls poisons 1/3 rivers / fountains. Many die.
REV 8:10

Fourth
 Trumpet

1/3 of sun, moon, and stars are darkened.
REV 8:12

1st Woe
Fifth Trumpet

Bottomless pit opens: locusts sting like scorpions Men cannot die, tormented five mos.
REV 9:1-11

2nd Woe
Sixth Trumpet

Four angels loosed in Euphrates slay
1/3 of men. 200,000,000 horsemen.
REV 9:13-17

7th Trumpet

Mystery of God finished,
John eats "the little book".
REV 10:7-10

Kingdoms of this world become kingdoms of our Lord / Christ.
REV 11:15-16

Michael stands up books opened many sleep in earth awake to everlasting life / shame.
DAN 12:1-2

First Vial

Noisome and grievous sore upon men with the mark of the beast, and which worshipped image.
 REV 16:1

Second Vial

Sea; became as blood of a dead man: / every living soul died in the sea.
REV 16:3

Third Vial

Rivers and fountains of waters; became blood.
REV 16:4

Fourth Vial

Sun; scorched men with fire they repented not to give him glory.
REV 16:8

Fifth Vial

Seat of beast /
full of darkness.
REV 16:10

Sixth Vial

Euphrates; dried up for kings of the east. Unclean spirits like frogs come out / dragon / beast / false prophet gather to Armageddon
REV 16: 12-14

Seventh Vial

It is done!
Babylon given his wrath.
every island fled away, mnts. not found 114 lb hail.
Rev 16:17-21

 

FROM TIM LAHAYE: http://www.schoolofprophecy.com/left_behind.html

While the desire for peace clings to the deepest crevice of the human heart, the prospects for global destruction are far greater than the prospects for global peace. Undoubtedly, men will continue to strive for peaceful solutions. But beyond the attempts at peace is the final holocaust. Those who are left behind after the Rapture will face a terrible future.

The Final Blast

The Bible predicts the final devastation in “one hour” (Revelation 18:10) of the prophetic “Babylon,” the symbolic name for the kingdom of the Antichrist. The Bible says, “All your riches and splendor have vanished, never to be recovered” (Revelation 18:14). Even the merchants and sailors will not come near this land, but will “stand far off, terrified at her torment,” and crying out, “In one hour such great wealth has been brought to ruin” (Revelation 18:15, 17).

The apostle Peter provides an even more vivid description of the final blast that shall devastate this planet when he warns, “But the day of the Lord will come like a thief. The heavens will disappear with a roar; the elements will be destroyed by fire, and the earth and everything in it will be laid bare” (2 Peter 3:10).

The Seven Trumpets

John’s description of the trumpet judgments (Revelation 8:2-11:19) sounds very similar to a global holocaust. The entire planet will be affected by massive destruction, loss of life, and human suffering. The chaos that results will destabilize both the global economy and the world government predicted in chapter 13.

The seventh seal of the scroll is finally opened in Revelation 8:1. The imagery that follows, including the half hour of silence, follows the liturgy of the Jewish temple services. After the sacrificial lamb was slain, the altar of incense was prepared. Two of the priests would go into the holy place and take the burnt coals and ashes from the golden altar and relight the lamps of the golden candlestick. One priest filled the golden censer with incense, while the other placed burning coals from the altar into a golden bowl. Deep silence fell over the temple during this solemn ceremony.

The angel offers the “prayers of the saints (believers)” from the golden censer (8:3). Then he filled the censer with fire from the altar and “cast it into the earth” (8:5). This initiates the conflagration that is about to engulf the planet.

John the revelator paints a picture of global devastation. He sees the vegetation burned up, a mountain of fire falling into the sea, stars falling from heaven and the darkening of the sun by a thickened atmosphere. It is no wonder that he hears an angel flying through heaven shouting, “Woe, woe, woe, to the inhibiters of the earth” (8:13).

Trumpet 1: Hail and Fire

The results of this destruction are so vast that one-third of all the trees and all the grass on the planet burn up. John provides no explanation of how this will occur. One gets the impression that he watched this future destruction in utter amazement.

The fact that the Bible predicts a massive global conflagration at the end of human history, coupled with the fact that we live in a time when such a catastrophe is humanly possible, ought to be a wake-up call to everyone!

Trumpet 2: Ocean Fireball

Next, John describes a large fireball (“mountain burning with fire”) falling into the sea, polluting one-third of the oceans and destroying one-third of the ships. The reference to the “ships” seems to imply military targets, but no other details are given. The parallel second bowl judgment is also poured out on the sea but results in the destruction of all sea life (Revelation 16:3).

Again, a destruction of such massive proportions was unknown in the first century. The greatest devastation John could possibly have been familiar with was the eruption of Mount Vesuvius in A.D. 79. It completely destroyed and buried the city of Pompeii with molten lava and even destroyed a few ships in the Gulf of Naples. But what the revelator describes here goes far beyond that and looks forward to a time of unprecedented catastrophe.

Trumpet 3: Polluted Water

The devastation of the seawaters is followed by the pollution of the fresh waters. The “rivers” and “fountains” (springs) of water are polluted by a falling star called “Wormwood.” Leon Morris notes that “wormwood” was a bitter substance, but was not poisonous. It is most likely that John merely uses this term to describe the bitter pollution of nuclear radioactive fallout.

It is obvious in the passages that describe the trumpet and bowl judgments that John struggles, even though inspired, to find first-century words to describe these future events-the likes of which he has never seen. Terms like “mountain of fire” and “falling star” certainly come close to a description of nuclear fireballs.

Trumpet 4: Polluted Air

The fourth trumpet sounds and the air becomes polluted (perhaps with nuclear fallout). The sun, moon, and stars are “darkened” for one-third of the day. While this may refer to an eclipse, it seems more likely to refer to some cosmic destruction of the atmosphere.

In the judgment of the fourth bowl (16:8-9), the sun “scorched” people as a result of this pollution. The implication is that the ozone layer of the atmosphere has been severely damaged and people are suffering from radiation poisoning. However one interprets this event, it is obvious that it is life-threatening.

Trumpet 5: Demon Invasion

The plagues of locusts described in the Apocalypse represent a demonic invasion of earth. The creatures are depicted as having been imprisoned in the abyss. They are released by divine permission and torment unbelievers -- those who do not have the “seal of God” (9:4). Whether these demonic creatures inhabit human bodies is not fully clear. The reference to the “shapes of the locusts” (9:7) seems to indicate some kind of weaponry.

The locusts are personalized as a military-like force led by one called Abaddon (Hebrew, “destroyer”). To make sure his readers understand, John adds the Greek equivalent: Apollyon. Both names carry the same designation: “one who destroys.” He is symbolically depicted as the leader of fallen angels in the bottomless pit.

Trumpet 6: Deadly Attack

The voice instructs the angel with the sixth trumpet to release the “four angels which are bound in the great river Euphrates” (verse 14). Since they are bound, they must be fallen angels or demons. Their release is by divine permission only and is intended to allow them to function as agents of God’s wrath.

While some prefer to view this invading horde as demons, I believe they are an actual army. The battles that follow involve killing men, and the attackers are described as men (verses 16-18). The weapons with “breastplates of fire” could well be modern weapons. The “breastplates of fire” and the “fire and smoke” that shoot out of both ends of these vehicles certainly sound like tanks, airplanes or some modern weaponry.

If John really saw the future, including the great end-time wars, he would have witnessed things he could hardly understand, let alone describe. Tanks, guns, flamethrowers and laser beams all fit these possible designations. While the horde of demons is unleashed to torture and afflict men, the horde of soldiers is unleashed to attack them as well.

Trumpet 7: Final Victory

From this point on, everything follows in rapid succession. These five verses (15-19) are among the most dramatic verses in the Bible. There is no greater statement of triumph in all of Revelation, with the possible exception of 19:11-16, where Christ actually returns to earth to reign and rule.

The typical pattern of the Apocalypse is to show the big picture followed by snapshots. First the panorama, then the close-ups. I believe that is what we have in 11:15-19. We must take seriously the proclamation of final triumph in these verses. They look all the way down the canyon of eternity to the final victory at the end of the tribulation. At the same time, they give us the overview of what it will be like to be left behind.

 

 

FROM:  http://www.parentalguide.com/Documents/Bible_Prophecy/Revelation_Introduction.htm

 

    Rev 1:19. 

THINGS WHICH THOU HAST SEEN.

    Rev 1:19. 

THE THINGS WHICH ARE.

    Rev 1:1.

THINGS WHICH MUST SHORTLY COME TO PASS.

    Rev 4:1.

THINGS WHICH MUST BE HEREAFTER.

    Rev 1:19.

THE THINGS WHICH SHALL BE HEREAFTER.

 

THE SEVEN SEALS

1.

 

Rev 6:1,2.

 

The white horse. The Antichrist comes forth. He had a bow, but no arrows are mentioned. A crown was given to him. He went forth conquering and to conquer.

2.

Rev 6:3,4.

The red horse. War. To take peace from the earth and that they should kill one another. He had a great sword.

3.

Rev 6:5,6. 

The black horse. Famine. A day’s wages for a day’s food. Hurt not the oil and the wine.

4.

 

Rev 6:7,8.

 

The pale horse. Death. One-fourth of the earth’s population is killed. Hell followed with him. Kill with the sword, hunger, death, and the beasts.

5. 

Rev 6:9-11.

Martyrdom. Them that were slain for the Word of God and for their testimony. They are given white robes.

6.

 

Rev 6:12-17.

 

Great earthquake. The sun became black, the moon as blood, and the stars of heaven (angels) fell. Heaven departed as a scroll. Every mountain and island were moved. Multitudes hid. The great day of His wrath is come.

7.

Rev 8:1. 

Silence in heaven about the space of half an hour.

THE SEVEN TRUMPETS

1. 

Rev 8:6,7. 

Hail and fire mingled with blood. Third part of trees burnt up. All green grass burnt up.

2.

Rev 8:8,9.

A great mountain burning cast into the sea. Third part of the sea became blood.

3.

Rev 8:10,11.

A great star from heaven fell upon the third part of the rivers and fountains of waters. Star called Wormwood.

4. 

Rev 8:12.

Third part of the sun, moon, and stars smitten. The day and night shone not for a third part of it.

5.

 

Rev 9:1-12.

 

First woe. Locusts. A star from heaven (an angel) was given the key to the bottomless pit. The pit opened. Locusts came upon the earth. They hurt (or sting) men for five months that do not have the seal of God in their foreheads.

6.

 

Rev 9:13-21. 

 

Second woe. Loose the four angels bound in the river Euphrates. The army of the horsemen was two hundred million. Third part of mankind were killed by these. People repented not. Second woe is past-ref Rev 11:14.


 

Rev 10:7; 
11:15-19. 

 

Third woe. When he shall begin to sound, the mystery of God should be finished. The kingdoms of this world are become the kingdoms Of our Lord. He shall reign. Thy wrath is come. The temple of God opened in heaven. Lightnings, voices, thunderings, an earthquake, and great hail.

 

THE SEVEN VIALS

1. 

Rev 16:2.

Sores. Noisome and grievous sores upon them that had the mark of the beast and worshiped his image.

2.

Rev 16:3.

Sea as blood. The sea became as the blood of a dead man. Every living soul in the sea died.

3.

Rev 16:4.

Fountains blood. The rivers and fountains of water became blood.

4.

Rev 16:8,9.

Great heat. Vial poured out upon the sun. Men scorched with great heat.

5.

Rev 16:10,11.

Darkness. The kingdom of the beast was full of darkness; they gnawed their tongues for pain.

6.

Rev 16:12.

The Euphrates River dried up.

7.

 

Rev 16:17-21.

 

 

It is done. Voices, and thunders, and lightnings, and the greatest earthquake. Jerusalem was divided into three parts. The cities of the nations fell. Every island fled away. The mountains were not found. There was great hail.

THE SEVEN BLESSINGS OF THE REVELATION

    BLESSED IS HE THAT READETH, AND THEY THAT HEAR THE WORDS OF THIS PROPHECY, AND KEEP THOSE THINGS WHICH ARE WRITTEN THEREIN: FOR THE TIME IS AT HAND-Rev 1:3.
    AND I HEARD A VOICE FROM HEAVEN SAYING UNTO ME, WRITE, BLESSED ARE THE DEAD WHICH DIE IN THE LORD FROM HENCEFORTH: YEA, SAITH THE SPIRIT, THAT THEY MAY REST FROM THEIR LABOURS; AND THEIR WORKS DO FOLLOW THEM-Rev 14:13.
    BEHOLD, I COME AS A THIEF. BLESSED IS HE THAT WATCHETH, AND KEEPETH HIS GARMENTS, LEST HE WALK NAKED, AND THEY SEE HIS SHAME-Rev 16:15.
    AND HE SAITH UNTO ME, WRITE, BLESSED ARE THEY WHICH ARE CALLED UNTO THE MARRIAGE SUPPER OF THE LAMB. AND HE SAITH UNTO ME, THESE ARE THE TRUE SAYINGS OF GOD-Rev 19:9.
BLESSED AND HOLY IS HE THAT HATH PART IN THE FIRST RESURRECTION: ON SUCH THE SECOND DEATH HATH NO POWER, BUT THEY SHALL BE PRIESTS OF GOD AND OF CHRIST, AND SHALL REIGN WITH HIM A THOUSAND YEARS-Rev 20:6.                        
    BEHOLD, I COME QUICKLY: BLESSED IS HE THAT KEEPETH THE SAYINGS OF THE PROPHECY OF THIS BOOK-Rev 22:7.                    
    BLESSED ARE THEY THAT DO HIS COMMANDMENTS, THAT THEY MAY HAVE RIGHT TO THE TREE OF LIFE, AND MAY ENTER IN THROUGH THE GATES INTO THE CITY-Rev 22:14.

 

THE WHITE RAIMENT AND ROBES OF THE REVELATION

    THOU HAST A FEW NAMES EVEN IN SARDIS WHICH HAVE NOT DEFILED THEIR GARMENTS; AND THEY SHALL WALK WITH ME IN WHITE: FOR THEY ARE WORTHY. HE THAT OVERCOMETH, THE SAME SHALL BE CLOTHED IN WHITE RAIMENT-Rev 3:4,5.
    I COUNSEL THEE TO BUY OF ME GOLD TRIED IN THE FIRE, THAT THOU MAYEST BE RICH; AND WHITE RAIMENT, THAT THOU MAYEST BE CLOTHED, AND THAT THE SHAME OF THY NAKEDNESS DO NOT APPEAR; AND ANOINT THINE EYES WITH EYESALVE, THAT THOU MAYEST SEE-Rev 3:18.
    AND ROUND ABOUT THE THRONE WERE FOUR AND TWENTY SEATS: AND UPON THE SEATS I SAW FOUR AND TWENTY ELDERS SITTING, CLOTHED IN WHITE RAIMENT-Rev 4:4.
    AND WHITE ROBES WERE GIVEN UNTO EVERY ONE OF THEM; AND IT WAS SAID UNTO THEM, THAT THEY SHOULD REST YET FOR A LITTLE SEASON, UNTIL THEIR FELLOWSERVANTS ALSO AND THEIR BRETHREN, THAT SHOULD BE KILLED AS THEY WERE, SHOULD BE FULFILLED-Rev 6:11.
    AFTER THIS I BEHELD, AND, LO, A GREAT MULTITUDE, WHICH NO MAN COULD NUMBER, OF ALL NATIONS, AND KINDREDS, AND PEOPLE, AND TONGUES, STOOD BEFORE THE THRONE, AND BEFORE THE LAMB, CLOTHED WITH WHITE ROBES, AND PALMS IN THEIR HANDS. AND ONE OF THE ELDERS ANSWERED, SAYING UNTO ME, WHAT ARE THESE WHICH ARE ARRAYED IN WHITE ROBES? AND WHENCE CAME THEY? AND I SAID UNTO HIM, SIR, THOU KNOWEST. AND HE SAID TO ME, THESE ARE THEY WHICH CAME OUT OF GREAT TRIBULATION, AND HAVE WASHED THEIR ROBES, AND MADE THEM WHITE IN THE BLOOD OF THE LAMB-Rev 7:9,13,14.
    AND TO HER WAS GRANTED THAT SHE SHOULD BE ARRAYED IN FINE LINEN, CLEAN AND WHITE: FOR THE FINE LINEN IS THE RIGHTEOUSNESS OF SAINTS-Rev 19:8.
    AND THE ARMIES WHICH WERE IN HEAVEN FOLLOWED HIM UPON WHITE HORSES, CLOTHED IN FINE LINEN, WHITE AND CLEAN-Rev 19:14.

JESUS IS WHAT ACCORDING TO THE REVELATION?

    THE FAITHFUL WITNESS-Rev 1:5
    THE FIRST BEGOTTEN OF THE DEAD-Rev 1:5
    THE PRINCE OF THE KINGS OF THE EARTH-Rev 1:5
    The ALPHA-Rev 1:8
    AND OMEGA-Rev 1:8
    THE BEGINNING-Rev 1:8
    THE ENDING-Rev 1:8, or THE END-Rev 21:6
    WHICH IS-Rev 1:8, or WHICH ART-Rev 11:17
    WHICH WAS-Rev 1:8
    WHICH IS TO COME-Rev 1:8
    THE ALMIGHTY-Rev 1:8
    THE FIRST-Rev 1:11
    THE LAST-Rev 1:11
    HE THAT LIVETH-Rev 1:18
    HE THAT...WAS DEAD-Rev 1:18
    ALIVE FOR EVERMORE-Rev 1:18
    THE SON OF GOD-Rev 2:18
    THE AMEN-Rev 3:14
    THE FAITHFUL...WITNESS-Rev 3:14
    THE…TRUE WITNESS-Rev 3:14
    THE BEGINNING OF THE CREATION OF GOD-Rev 3:14
    THE LION OF THE TRIBE OF JUDAH-Rev 5:5
    THE ROOT OF DAVID-Rev 5:5
    A LAMB AS IT HAD BEEN SLAIN-Rev 5:6
    HAVING SEVEN HORNS AND SEVEN EYES-Rev 5:6
    HIM THAT LIVETH FOR EVER AND EVER-Rev 5:14
    The LORD GOD ALMIGHTY-Rev 11:17
    The KING OF SAINTS-Rev 15:3
    The LORD OF LORDS-Rev 17:14
    The KING OF KINGS-Rev 17:14
    THE LORD GOD-Rev 18:8
    THE LORD GOD OMNIPOTENT-Rev 19:6
    CALLED FAITHFUL AND TRUE-Rev 19:11
    CALLED THE WORD OF GOD-Rev 19:13
    THE LORD GOD OF THE HOLY PROPHETS-Rev 22:6
    THE OFFSPRING OF DAVID-Rev 22:16
    THE BRIGHT...STAR-Rev 22:16
    MORNING STAR-Rev 22:16

"NEW" IN THE REVELATION

    A NEW NAME WRITTEN-Rev 2:17
    MY NEW NAME-Rev 3:12
    A NEW SONG-Rev 5:9
    A NEW SONG-Rev 14:3
    A NEW HEAVEN-Rev 21:1
    A NEW EARTH-Rev 21:1
    NEW JERUSALEM-Rev 3:12
    NEW JERUSALEM-Rev 21:2
    BEHOLD, I MAKE ALL THINGS NEW-Rev 21:5

FROM: http://www.greatdreams.com/sacred/third-fire.htm

 

THE MEANING OF HEBREW SHIN

Shin (letter)

← Qoph               Shin               Taw →
Phoenician Hebrew Aramaic Syriac Arabic
Shin ש Shin ܫ ﺵ
Phonemic representation: ʃ / s
Position in alphabet: 21
Numerical (Gematria/Abjad) value: 300
Semitic abjads · Genealogy
Hebrew alphabet
(400 BCE–present)
א    ב    ג    ד    ה    ו
ז    ח    ט    י    כך
ל    מם    נן    ס    ע    פף
צץ    ק    ר    ש    ת
History · Transliteration
Niqqud · Dagesh · Gematria
Cantillation · Numeration
Syriac alphabet
(200 BCE–present)
ܐ    ܒ    ܓ    ܕ    ܗ    ܘ
ܙ    ܚ    ܛ    ܝ    ܟܟ    ܠ
ܡܡ    ܢܢ    ܣ    ܥ    ܦ
ܨ    ܩ    ܪ    ܫ    ܬ
Arabic alphabet
(400 CE–present)
ا    ب    ت    ث    ج    ح
خ    د    ذ    ر    ز    س
ش    ص    ض    ط    ظ    ع
غ    ف    ق    ك    ل
م    ن    ه    و    ي
History · Transliteration
Diacritics · Hamza ء
Numerals · Numeration
v • d • e

Shin (also spelled Šin (šīn) or Sheen) is the twenty-first letter in many Semitic abjads, including Phoenician 𐤔, Aramaic/Hebrew ש, and Arabic ﺵ (in abjadi order, 13th in modern order). Its sound value is a voiceless sibilant, IPA: [ʃ] or /s/.

The Phoenician letter gave rise to the Greek Sigma (Σ), Latin S, and the letter Sha in the Glagolitic and Cyrillic scripts (Ⱎ, Ш).

The South Arabian and Ethiopian letter Śawt is also cognate.

Origins

The Proto-Sinaitic glyph, and possibly its Proto-Canaanite descendant glyph,
 according to William Albright and Brian Colless, may have been based on the
 hieroglyph
N6
for the uraeus in Semitic called shamash "sun", ultimately reflecting
 Proto-Semitic *śamš-, with a phonetic value IPA: [ʃ].

The Phoenician šin letter expressed the continuants of two Proto-Semitic
phonemes, and may have been based on a pictogram of a tooth (in
 modern Hebrew shen). The Encyclopedia Judaica, 1972, records that
it originally represented a composite bow.

The history of the letters expressing sibilants in the various Semitic alphabets
 is a bit complicated, due to different mergers between Proto-Semitic phonemes.
As usually reconstructed, there are five Proto-Semitic phonemes that evolved
into various voiceless sibilants in daughter languages, as follows:

 

Hebrew Shin / Sin

Orthographic variants
Various Print Fonts Cursive
Hebrew		 Rashi
Script
Serif Sans-serif Monospaced
ש ש ש

The Hebrew /s/ version according to the reconstruction shown above is descended from Proto-Semitic *ś, a phoneme thought to correspond to a voiceless alveolar lateral fricative /ɬ/, similar to Welsh Ll in "Llandudno".

Sin and Shin Dot

Sin and Shin dot
שׁ, שׂ
IPA s, ʃ
Transliteration s, sh
English example sought, shot
Sin Dot Example
יִשְׂרָאֵל
The word Israel in Hebrew, Yisrael. The upper left hand dot on the Sin is a Sin dot.
Shin Dot Example
יֵשׁ
The word there is in Hebrew, yesh. The upper right hand dot on the Shin is a Shin dot.
Other Niqqud
Shva · Hiriq · Zeire · Segol · Patach · Kamatz · Holam · Dagesh · Mappiq · Shuruk · Kubutz · Rafe · Sin/Shin Dot

The Hebrew letter represents two different phonemes: an alveolar sibilant, /s/ like English a palato-alveolar sibilant, /ʃ/ like English shoe. The two are distinguished by a dot above the left-hand side of the letter for /s/ and above the right-hand side for /ʃ/.

Name Symbol IPA Transliteration Example
Sin dot (left) שׂ /s/ s sour
Shin dot (right) שׁ /ʃ/ sh shop

 Significance

In gematria, Shin represents the number 300.

Shin, as a prefix, bears the same meaning as the relative pronouns "that", "which" and "who" in English. In colloquial Hebrew, Kaph and Shin together have the meaning of "when". This is a contraction of כּאשר, ka'asher (as, when).

Shin is also one of the seven letters which receive a special crown (called a tagin) when written in a Sefer Torah. See Gimmel, Ayin, Teth, Nun, Zayin, and Tzadi.

According to Judges 12:6, the tribe of Ephraim could not differentiate between Shin and Sin; when the Gileadites were at war with the Ephraimites, they would ask suspected Ephraimites to say the word shibolet; an Ephraimite would say sibolet and thus be exposed. From this episode we get the English word Shibboleth.

 In Judaism

Shin also stands for the word Shaddai, a name for God. Because of this, a kohen (priest) forms the letter Shin with his hands as he recites the Priestly Blessing. In the mid 1960s, actor Leonard Nimoy used a single-handed version of this gesture to create the Vulcan Hand Salute for his character, Mr. Spock, on Star Trek.

In Jewish tradition the letter Shin is inscribed on the Mezuzah, a vessel which houses a scroll of parchment with Biblical text written on it. The text contained in the Mezuzah is the Shema Yisrael prayer, which calls the Israelites to love their God with all their heart, soul and strength. The mezuzah is situated upon all the doorframes in a home or establishment. Sometimes the whole word Shaddai will be written.

The Shema Yisrael prayer also commands the Israelites to write God's commandments on their hearts (Deut. 6:6); the shape of the letter Shin mimics the structure of the human heart: the lower, larger left ventricle (which supplies the full body) and the smaller right ventricle (which supplies the lungs) are positioned like the lines of the letter Shin.

A religious significance has been applied to the fact that there are three valleys which comprise the city of Jerusalem's geography: the Valley of Ben Hinnom, Tyropoeon Valley, and Kidron Valley, and that these valleys converge to also form the shape of the letter shin, and that the Temple in Jerusalem is located where the dagesh (horizontal line) is.

In the Sefer Yetzirah the letter Shin is King over Fire, Formed Heaven in the Universe, Hot in the Year, and the Head in the Soul.

Sayings with Shin

The Shin-Bet was an old acronym for the Israeli Department of Internal General Security.

A Shin-Shin Clash is Israeli military parlance for a battle between two tank divisions (tank in Hebrew is shiryon).

Sh'at haShin (The Shin Hour) is the last possible moment for any action, usually military. Corresponds to the English expression the eleventh hour.

Arabic šīn/sīn

In the Arabic alphabet, šīn is at the orignal (21st) position in Abjadi order. A letter variant sīn takes the place of Samekh at 15th position.

sīn represents /s/. It is the 12th letter of the modern alphabet order and is written thus:

Position in word: Isolated Initial Medial Final
Form of letter: س سـ ـسـ ـس

šīn represents /ʃ/, and is the 13th letter of the modern alphabet order and is written thus:

Position in word: Isolated Initial Medial Final
Form of letter: ش شـ ـشـ ـش
history • Phoenician • Aramaic • Hebrew • Syriac • Arabic
Retrieved from "http://en.wikipedia.org/wiki/Shin_(letter)"

 

 
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