Me neither, here's His answer though. There is a fundamental truth being delivered to the world through a message that is undeniable and resounding in everything we are—everywhere we look. The true nature of our existence is that we have been created in a virtual world whose purpose—the Holy Purpose of Creation is to build Heaven.
That might not sound so profound, but when you look around and see the Gates, when you see Microsoft and you see Seagate as clues that we are in a place of learning and understanding the inner workings of the place we called Heaven before it was Home.
There’s a map to freedom’s shore, to the end of disease and the end of hunger … eventually to immortality and to … to fun; I still am pretty sure.
I should have something decent written for tomorrow's "for he so loved the world" (that he postponed taxes another month?) day, I'm trying to weave the "gaminess" of the "Geninxboxdock Whisky" where now I wanna say "there's a genie in the Xbox do see the key!" with the obvious character clues of Gilgamesh and Demosthenes ... probably without mentioning Inanna and DumbyouZida which you can see in the family-decision-tree of those Gods. Indiana Jones though... and the temple of what it takes to be the Father of modern "final frontier" colonization connecting Zephram Cockran to Robert Goddard whose name does appear to be correctly read in no other way than "God is the road" and that's probably got something to do with the key to Asgard and ...
I really want to move forward ... if someone can explain to me why the entire world appears to unanimously feel that if I had enough money to put an ad in ... say The Atlantic or something; that would be detrimental to the fictitious alien race called the Silence depicted in Dr. Who--if you haven't seen it; now is a good time to really get the imagery that there is an alien influence in your minds, keeping you from speaking frankly, from communicating humanely and from really "getting the gist," that overcoming this barrier is going to make the world a better place very quickly because we can, and we should, and we want to... at least I'm pretty sure that's what we want. Need feedback, need public discussion, need to see that we are approaching a sort of "precipice" except there is no fiery lake or bottomless pit--what we are approaching is the Singularity, and it's inevitable--just as it's inevitable that it will have a positive impact on our world and our way of life--all the more positive as more people participate in directing the course of our future. That's what this is, it's a revolution of direction--and the faster you start to see that you need to talk to the world; the better.
Anyway I'm going to do a detailed explanation of the "hey guys, I like to start with saying d minus o is eleven" key, and my personal history of Revelation tying to it--because I really think that it's a screaming lit sign that we are in the Matrix and that it must not be clearly understood ... as exactly that ... a message from the Matrix fundamentally altering the basic foundation of our existence for the better ... just as soon as it's acknowledged.
I'm going to continue my little "walk through" and I think I can make a short "pamphlet" maybe like "Common Sense" suggesting exactly how the end of land scarcity, power scarcity, and the end of most diseases (followed "ylckuiq" by the end of aging and death) are good first giant leaps towards Heaven or utopia or Atlantis or whatever you want to call the destination that is dictated to the chosen--to you--by fate and destiny. See clearly there is a conversation about DNA and reproduction looming just over the bright shining first rays of the horizon that is demanding that we see not working to end Cancer and AIDS is not an option, nor is it an option to end "birth."
I hate to break it to you but doing nothing is not an option either. We must move forward with acknowledgement of the truth, and while "Hi-V these AIDS will help us see" that we're right as rain and that conversation or maybe just courage to speak will start the "ball rolling" on this ending Hell ... thing.
I'm pretty sure you guys also see "press and release" tying to free speech and democracy; and participation... we have a clear path, special "intel" coming from website names here like the loss knol voat; see "null vote" and how it connects to "empeopled." Creating a working prototype to show how "blockchain" is a divinely given name for a way to block the chain of censorship held in the hand of the angel of Revelation 20:1 is not a difficult task--it's fucking insane that nobody is calling or emailing me to work on that. I mean, it's "destiny" and "inevitable" that there should be many start up competitors to fight the censorship on Reddit (et al, they are glowing to show the chain to you) and ... hello?
Soo here's YMIR, c as "why am I here?"
In Norse mythology, Ymir, Aurgelmir, Br
imir, or Bláinn is the ancestor of all jötnar. Ymir is attested in the Poetic Edda, compiled in the 13th century from earlier traditional material, in the Prose Edda, written by Snorri Sturluson in the 13th century, and in the poetry of skalds. Taken together, several stanzas from four poems collected in the Poetic Edda refer to Ymir as a primeval being who was born from venom that dripped from the icy rivers Élivágar and lived in the grassless void of Ginnungagap. Ymir birthed a male and female from the pits of his arms, and his legs together begat a six-headed being. The gods Odin, Vili and Vé fashioned the Earth(elsewhere personified as a goddess; Jörð) from his flesh, from his blood the ocean, from his bones the mountains, from his hair the trees, from his brains the clouds, from his skull the heavens, and from his eyebrows the middle realm in which mankind lives, Midgard. In addition, one stanza relates that the dwarfs were given life by the gods from Ymir's flesh and blood (or the Earth and sea).
In the Prose Edda, a narrative is provided that draws from, adds to, and differs from the accounts in the Poetic Edda. According to the Prose Edda, after Ymir was formed from the elemental drops, so too was Auðumbla, a primeval cow, whose milk Ymir fed from. The Prose Edda also states that three gods killed Ymir; the brothers Odin, Vili and Vé, and details that, upon Ymir's death, his blood caused an immense flood. Scholars have debated as to what extent Snorri's account of Ymir is an attempt to synthesize a coherent narrative for the purpose of the Prose Edda and to what extent Snorri drew from traditional material outside of the corpus that he cites. By way of historical linguistics and comparative mythology, scholars have linked Ymir to Tuisto, the Proto-Germanic being attested by Tacitus in his 1st century AD work Germania and have identified Ymir as an echo of a primordial being reconstructed in Proto-Indo-European mythology.
Ymir is mentioned in four poems in the Poetic Edda; Völuspá, Vafþrúðnismál,
Grímnismál, and Hyndluljóð. In Völuspá, in which an undead völva imparts knowledge in the god Odin, references are twice made to Ymir. In the first instance, the third stanza of the poem, Ymir is mentioned by name:
In the above translations the name of the location Ginnungagap is translated as "chaotic chasm" (Thorpe) and "yawning gap" (Bellows). Later in the poem, a few other references are apparently made to Ymir as Brimir and Bláinn (here anglicized as Blain):
In this stanza Thorpe has treated Brimir (Old Norse "the bloody moisture") and Blain (Old Norse, disputed) as common nouns. Brimir and Blain are usually held to be proper names that refer to Ymir, as in Bellows's translation.
In the poem Vafþrúðnismál, the (disguised) god Odin engages the wise jötunn Vafþrúðnir in a game of wits. Odin asks Vafþrúðnir to tell him, if Vafþrúðnir's knowledge is sufficient, the answer to a variety of questions. In the first of which that refers to Ymir, Odin asks from where first came the Earth and the sky. The jötunn responds with a creation account involving Ymir:
As the verbal battle continues, a few more exchanges directly refer to or may allude to Ymir. Odin asks what ancient jötun is the eldest of "Ymir's kin", and Vafþrúðnir responds that long, long ago it was Bergelmir, who was Þrúðgelmir's son and Aurgelmir's grandson. In the next stanza Odin asks from where Aurgelmir came from so long ago, to which Vafþrúðnir responds that venom dropped from Élivágar, and that these drops grew until they became a jötunn, and from this being descends the jötnar. Finally, Odin asks how this being begat children, as he did not know the company of a female jötunn, to which Vafþrúðnir responds that from beneath the ancient jötunn's armpits together a girl and a boy grew, and his feet together produced a six-headed jötunn.
In the poem Grímnismál, the god Odin (disguised as Grímnir) imparts in the young Agnarr cosmological knowledge. In one stanza, Odin mentions Ymir as he recalls the fashioning of the world from his body:
In a stanza of Völuspá hin skamma (found in the poem Hyndluljóð), Ymir receives one more mention. According to the stanza, völvas are descended from Viðòlfr, all seers from Vilmeiðr, all charm-workers from Svarthöfði, and all jötnar descend from Ymir.
Ymir is mentioned in two books of the Prose Edda; Gylfaginning and Skáldsk
aparmál. Ymir is first mentioned in chapter 5 of the prior, in which High, Just-As-High, and Thirdtell Gangleri (the disguised mythical king Gylfi) about how all things came to be. The trio explain that the first world to exist was Muspell, a glowing, fiery southern region consisting of flames, uninhabitable by non-natives. After "many ages" Niflheimr was made, and within it lies a spring, Hvergelmir, from which flows eleven rivers.
Gangleri asks the three what things were like before mankind. High continues that these icy rivers, which are called Élivágar, ran so far from their spring source that the poisonous matter that flows with them became hard "like the clinker that comes from a furnace"—it turned to ice. And so, when this ice came to a halt and stopped flowing, the vapor that rose up from the poison went in the same direction and froze to rime. This rime increased, layer upon layer, across Ginnungagap.
Just-As-High adds that the northern part of Ginnungagap was heavy with ice and rime, and vapor and blowing came inward from this. Yet the southern part of Ginunngagap was clear on account of the sparks and molten flecks flying from Muspell. Third assesses that "just as from Niflheim there was coldness and all things grim, so what was facing close to Muspell was hot and bright, but Ginunngagap was as mild as a windless sky". Third adds that when the rime and hot air met, it thawed and dripped, and the liquid intensely dropped. This liquid fell into the shape of a man, and so he was named Ymir and known among the jötnar as Aurgelmir, all of which descend from him. In support of these two names, Third quotes a stanza each from Völuspá hin skamma and Vafþrúðnismál.
Gangleri asks how generations grew from Ymir, how other beings came into existence, and if Ymir was considered a god. High says that Ymir was by no means considered a god, and says that "he was evil and all his descendants". High explains that Ymir is the ancestor of all jötnar (specifically hrimthursar), and that it is said that when Ymir slept, he sweated, and from his left arm and right arm grew a male and a female, and his left leg produced a son with his right leg, and from them came generations.
Gangleri asks where Ymir lived and what sustained him. High explains that the drips next produced a cow named Auðumbla. From her teats flowed four rivers of milk, and from it fed Ymir. Gangleri asks what the cow fed from, and High responds that the cow licked salty rime-stones. The first day Auðumbla licked the rime stones it uncovered that evening the hair of a man. The second day it uncovered his head. The third day a man was uncovered from the ice. This man was named Búri, and was large, powerful, and beautiful to behold. Búri had a son, Borr, who married a jötunn, Bestla, the daughter of Bölþorn. The two had three sons; Odin, Vili, and Vé. High adds that "Odin and his brothers must be the rulers of heaven and earth; it is our opinion that this must be what he is called. This is the name of one who is the greatest and most glorious that we know, and you would well to agree to call him that too".
High relates that Odin, Vili, and Vé killed Ymir, and his body produced so much blood from his wounds that within it drowned all the jötnar but two, Bergelmir, who, on a lúðr with his (unnamed) wife, survived and repopulated the jötnar.
Gangleri asks what, if High, Just-As-High, and Third believe the trio to be gods, what the three did then. High says that the trio took the body into the middle of Ginnungagap and from his flesh fashioned the Earth, from his blood the sea and lakes, from his bones rocks, scree and stones his teeth, molars, and bones. Just-As-High adds that from his gushing wounds they created the sea that surrounds the Earth. Third says that the trio took his skull and placed it above the Earth and from it made the sky. They placed the sky above the earth, and, to hold up the sky, they placed four dwarfs—Norðri, Suðri, Austri and Vestri—at its four corners. The trio took the molten particles and sparks that flew from Muspell and "they fixed all the lights, some in the sky, some moved in a wandering course beneath the sky, but they appointed them positions and ordained their courses". Third cites a stanza from Völuspá in support, stating that by ways of these sky lights days and years were reckoned and counted, and that the stanza reflects that the cosmological bodies did not know their places prior to the creation of earth.
Gangleri comments that what he has just heard is remarkable, as the construction is both immense and made with great skill, and asks how the earth was arranged. High replies that the world is circular, and around it lies the depths of the sea. Along the shore the gods gave land to the jötnar. However, on the inner side on earth they made a fortification against the hostility of the jötnar out of Ymir's eyelashes. This fortification they called Midgard. Further, they took Ymir's brains and threw them skyward, and from them made clouds. Another two stanzas from Völuspá are cited in support.
Later in Gylfaginning High explains the origin of the dwarfs. High says that after Asgard had been built, and the gods assembled on their thrones and held their things. There they "discussed where the dwarfs had been generated from in the soil and down in the earth like maggots in flesh. The dwarfs had taken shape first and acquired life in the flesh of Ymir and were then maggots, but by decision of the gods they became conscious with intelligence and had the shape of men though they live in the earth and in rocks". Stanzas from Völuspá consisting of dwarf names are then provided to show the lineage of the dwarfs.
In the book Skáldskaparmál poetic means of referring to the sky are provided, some of which relate to the narrative in Gylfaginning involving Ymir, including "Ymir's skull" and "jötunn's skull", or "burden of the dwarfs" or "helmet of Vestri and Austri, Sudri, Nordri". A portion of a work by the 11th century skald Arnórr jarlaskáld is also provided, which refers to the sky as "Ymir's old skull". Later in Skáldskaparmál poetic terms for the earth are provided, including "Ymir's flesh", followed by a section for poetic terms for "sea", which provides a portion of a work by the skald Ormr Barreyjarskald where the sea is referred to as "Ymir's blood".
Both the names Aurgelmir and Ymir appea
r in a list of jötnar in the Nafnaþulur section of Skáldskaparmál.
Theories and interpretations
As Gylfaginning presents a cohesive narrative that both quotes stanzas from various poems found in the Poetic Edda (as outlined above) as well as contains unique information without a provided source (such as Auðumbla), scholars have debated to what extent Snorri had access to outside sources that no longer survive and to what extent he synthesized a narrative from the material he had access to.
Regarding the situation, scholar Gabriel Turville-Petre comments (1964) that "at the beginning, according to Snorri's text of the poem, there was nothing but a void, although according to other texts, the giant Ymir existed already then. Considering how Ymir (Aurgelmir) was said to have taken shape, both Snorri and the Vafþrúðnismál, we may think that Snorri followed the better version of Vǫluspá" and, regarding Snorri's account of the cosmogenesis in general, that "from these sketches of the poetic sources from which he chiefly drew it is obvious that Snorri described several incidents which cannot be traced to them, at least in their extant forms". Turville-Petre cites Snorri's account of Auðumbla as a prime example, noting Indo-European parallels (Persian and Vedic) and parallels in the Egyptian goddess Hathor.
Scholar Hilda Ellis Davidson (1964) comments that "the original form of the creation myth in the north is not easy to determine. Snorri knew of at least three separate accounts".
Tuisto, parallels, and Proto-Indo-European religion
In the 1st century AD, Roman historian Tacitus writes in his ethnographic work Germania that the Germanic peoples sing songs about a primeval god who was born of the Earth named Tuisto, and that he was the progenitor of the Germanic peoples. Tuisto is the Latinized form of a Proto-Germanic theonym that is a matter of some debate. By way of historical linguistics some scholars have linked Tuisto to the Proto-Germanic theonym *Tiwaz, while other scholars have argued that the name refers to a "two-fold" or hermaphroditic being (compare Old Swedish tvistra, meaning "separate"). The latter etymology has led scholars to a connection to Ymir on both linguistic and mythical grounds.
By way of historical linguistics and comparative mythology, scholars have linked Ymir to other primordial, sometimes hermaphroditic or twin beings in other Indo-European mythologies and have reconstructed elements of a Proto-Indo-European cosmological dissection. Citing Ymir as a prime example, scholars J. P. Mallory and Douglas Q. Adams comment that "the [Proto-Indo-European] cosmogonic myth is centered on the dismemberment of a divine being—either anthropomorphic or bovine—and the creation of the universe out of its various elements". Further examples cited include the climactic ending of the Old Irish Táin Bó Cúailnge where a bull is dissected that makes up the Irish geography, and apparently Christianized forms of the myth found in the Old Russian Poem of the Dove King, the Frisian Frisian Code of Emsig, and Irish manuscript BM MS 4783, folio 7a. Other examples given include Ovid's 1st century BC to 1st century AD Latin Metamorphoses descrip
tion of the god Atlas's beard and hair becoming forests, his bones becoming stone, his hands mountain ridges, and so forth; the 9th century AD Middle Persian Škend Gumānīg Wizār, wherein the malevolent being Kūnī's skin becomes the sky, from his flesh comes the earth, his bones the mountains, and from his hair comes plants; and the 10th century BC Old Indic Purusha sukta from the Rig Veda, which describes how the primeval man Purusha was dissected; from his eye comes the sun, from his mouth fire, from his breath wind, from his feet the earth, and so on. Among surviving sources, Adams and Mallory summarize that "the most frequent correlations, or better, derivations, are the following: Flesh = Earth, Bone = Stone, Blood = Water (the sea, etc.), Eyes = Sun, Mind = Moon, Brain = Cloud, Head = Heaven, Breath = Wind".
Adams and Mallory write that "In both cosmogonic myth and the foundation element of it, one of the central aspects is the notion of sacrifice (of a brother, giant, bovine, etc.). The relationship between sacrifice and cosmogony was not solely that of a primordial event but the entire act of sacrifice among the Indo-Europeans might be seen as a re-creation of the universe where elements were being continuously recycled. [ . . . ] Sacrifice thus represents a creative re-enactment of the initial cosmic dismemberment of a victim and it helps return the material stuff to the world".
Hilda Ellis Davidson further links accounts of the jötunn Þjazi's eyes flung into the heavens by Odin and the frozen toe of Aurvandil tossed into the sky by the god Thor, the eyes in the prior case becoming stars and the toe in the latter case becoming a star known as "Aurvandil's Toe". Davidson comments that "these myths are evidently connected with names of constellations, but the strange reference to a frozen toe suggests that there is some connexion with the creation legion of the giant that emerged from the ice".
|Wikimedia Commons has media related to Ymir.|
- Thorpe (1866:3).
- Bellows (1923:4).
- Thorpe (1866:4).
- Bellows (1923:6).
- Thorpe (1866:14).
- Bellows (1923:74).
- Thorpe (1866:15—16), Bellows (1923:76—77), and Orchard (2011:44).
- Thorpe (1866:24—25).
- Bellows (1923:100—101).
- Bellows (1923:229) and Thorpe (1866:111).
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- Faulkes (1995:11).
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- Faulkes (1998:88).
- Faulkes (1998:90).
- Faulkes (1998:155—156).
- Turville-Petre (1964:276—277) and Davidson (1990:199).
- Turville-Petre (1964:276—277).
- Davidson (1990:199).
- Adams & Mallory (1997:129).
- Adams & Mallory (1997:130).
- Davidson (1990:199—200).
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- Bellows, Henry Adams (1923). The Poetic Edda. American-Scandinavian Foundation.
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- Faulkes, Anthony (Trans.) (1995). Edda. Everyman. ISBN 0
- Orchard, Andy (Trans.) (2011). The Elder Edda: A Book of Viking Lore. Penguin Classics. ISBN 978-0-14-
- Thorpe, Benjamin (Trans.) (1866). The Elder Edda of Saemund Sigfusson. Norrœna Society.
- Turville-Petre, E. O. G. (1964). Myth and Religion of the North: The Religion of Ancient Scandinavia. Holt, Rhinehart, and Winston.