[monks]

Huinesoron...thanks for taking the time mate.

It's almost as if you believe I plucked the numbers out of thin air. haha There is a sentence on my homepage which you need to take into account. "The above sequence of events did not chance out of thin air. I chanced upon the material and made connections while doing other Tolkien research."

The silver sixpence.

Remember our last conversation?..in that I said:

"And here's the twist. It's not as simple as left and right assignments because left and right swap over during the narrative. The narrative is defined by the underlying geometry. And the most thorough expression of that is in the courses of the sun and Moon. The courses of the Sun and Moon describe two spirals around each other- the two trees entwined around one another in the Wedding poem and the two spirals in the essay and in the illustration 'Before' etc. See etymology of 'twine'. When they spiral they alternate each between the left and right hands. And both exhibit characteristics of the left and right hands at that time. In this way both male and female are fallen- and both take turns in dominating the other. Hence the two Rs (wrath) back to back in the monogram. The Sun dominates during the day. The Moon dominates during the night. And that finds geometric expression in 'being on top' -'most high' (as God is described in the Rabinnic commentaries) and being 'eldest'- in the West (being the first to begin the book of Genesis- see the contest between alef and bet: bet won that one -just like the left hand of Ilúvatar is created first in the Music). While the Sun is in the sky the Moon is travelling under. Vice versa for the Night.

That's why Melkor is characterized as 'He Who Arises in Might'. This is the geometric language which incorporates proximity and facing, up/down, east-west (eldest). While both male and female are fallen, in Tolkien's geometry, the ultimate origin of the discords, the strife, in with the male right hand- Melkor. Tolkien being graceful and putting Edith above him and before him. And that agrees with the Loathly Lady theme."

I have to say that I never knew the sixpence was silver. But that works fine in my theory. If the sixpence is silver and round, it would symbolize the swap mentioned above. The female taking on the 'male' role. Keep reading..I talk about circle and square symbolism. The Syx Mynet poem is about the wife dominating the husband. That's the joke. It's about the husband taking all of his money home to his wife and he ends up broke. When the Sun or moon (wife or man) dominates the other they seize both hands, gold and silver (round equates to gold, see below). The symbolism of this is underpinned by the geometry and the hands symbolism (homepage). If it is silver and round it both male (silver) and female (round) as you've stated yes. I'll explain. As I've said previously in my last post on here, everything is assigned to the left (opposite) and right (adjacent) and the hypotenuse. Left = Edith-Goldberry-Time-gold-Sun-circle etc. Right = Tolkien-Bombadil-Space-silver-Moon-square etc.

For an explanation of 'hands' see the homepage on the hands of Ilúvatar sequence which is where the geometry of left right, woman-man is created. That later manifests as Illuin, Ormal, Sun. Moon, Two Trees, etc etc. When they 'seize both hands' that symbolizes that they command and silence the voice of the other in the relationship and it's symbolized by a 'gender swap'- but it's fundamentally a right-left swap which manifests as a gender swap in the relationship terms. Ilúvatar's final command in the Music hands sequence is to override all others in authority and he raises both hands. You also see it in Iglishmek, the two raised fingers, the command of 'listen!'. You can also see it in Galadriel's objection to Sauron- it's referred to 3 times in relation to Galadriel. That's the whole symbolism on the West Gate that I pointed out in my previous post on here and the essay. We see the male seizure of the female role in the North Gate too -Anárion Sun (female) and male...Sun-son...again the homopheme I mentioned and the source in Haggard's She 'The Royal Son of the Sun'. There in the North Gate we have two males representing what should be a female and male. In order to function, the DOOR (North GATE) requires male and female in harmony. See what I've said elsewhere on here. The seizure of both hands by the Moon at the West gate (North and West gates = same gate remember) which is then rebelled against by the Balrog who represents his wife Edith (hence the imagery on the West Gate and Seth's anagram 'Held left wing'). The joke is 'who wears the trousers' in the relationship. It's about domination. That's the underyling symbolism of Tolkien's rather odd conversation about 'pants' in the Notion Club Papers. The silver sixpence is the dominating female wearing the trousers. It's the female seeking sovereignty in the Loathly Lady theme. And you can see sixpence is mentioned again twice by Tolkien to Kilby..it's almost as if he's hinting to him...yaknow ...and Kilby sensed it haha and coined his words for Tolkien 'contrasistency'.

"He told me more than once how his grandfather, I think it was, could write the Lord’s Prayer on a sixpence when he was over ninety."

6 and 9 again...

'More than once' mind you...wink..And then we see it in the corner of the box in Smith of Wooten Major.

But in one compartment in the corner he discovered a small star, hardly as big as one of our sixpences, black looking as if it was made of silver but was tarnished.


That domination and battle of the sexes can be seen in the West and North Gates. The male silences the female and you get the asymmetry of the two left spirals on the West Gate paired with the asymmetry on the North Gate- because they are two sides of the same gate. The bit in the middle is Rhovanion- the grey twilight world -like the place beyond the wardrobe in C.S. Lewis' Narnia books. Here's the basic outline of the geometry of The Lord of the Rings:

http://www.thewindrose.net/blogs/a-r..._of_galadriel/

The 'gender swap' is most obvious in the Witch-king and Eowyn thread. The Witch-king is a witch (female) and also a king (male). The etymology of witch gives Old English wicce "female magician, sorceress," in later use especially "a woman supposed to have dealings with the devil or evil spirits and to be able by their cooperation to perform supernatural acts," fem. of Old English wicca "sorcerer, wizard, man who practices witchcraft or magic,". Eowyn, is a female masquerading as a male. They are inversions of one another: female-male, male-female. This phenomenon of a 'gender swap', is hinted at in the fact that those two figures have a confused gender, and just so happen to share a fate that is inextricably entwined by a prophecy. In addition, a further correlation between the two can be seen in the fact that Éowyn means "Horse-joy" or "lover of horses" in Old English. In Anglo-Saxon glossaries, wicca renders Latin augur (c. 1100), and wicce stands for "pythoness, divinatricem." In the "Three Kings of Cologne" (c. 1400) wicca translates Magi:Þe paynyms ... cleped þe iij kyngis Magos, þat is to seye wicchis. The glossary translates Latin necromantia ("demonum invocatio") with galdre, wiccecræft. The Anglo-Saxon poem called "Men's Crafts" (also "The Gifts of Men") has wiccræft, which appears to be the same word, and by its context means "skill with horses." Do you think all of that is merely coincidental? Of course it isn't. The two characters display a confusion in their genders, their God ordained roles, which are laid out in the hands sequence of Ilúvatar. More correctly, it is a confusion in their handedness because the meaning of the word gender as indicating 'sex', is a modern one. Gender is from the stem of Latin genus (genitive generis) "race, stock, family; kind, rank, order; species,". Tolkien is using it to describe 'order': the God ordained order of the left and right hands. The left hand comes first in the hands sequence of Ilúvatar, and is the eldest. And we should also note that Glorfindel's prophesy is framed in terms of involving the 'hand', which is central to what I'm saying about handedness here. "He will not return to this land. Far off yet is his doom, and not by the hand of man will he fall." In the fulfillment of the prophesy, what happens is, the woman, Eowyn, the Sun, after initially in her confusion desiring to be the male Moon in the south, is raised back to her rightful place in the north, and the Witch-king falls from the north back into the south at the bottom. It's an inversion of position and that's why Tolkien pairs the fate of the two.

The inversion between Eowyn and the Witch-king becomes more apparent if you look at the etymology of the word 'skill', from skill with horses'.

skill (n.)
late 12c., "power of discernment," from Old Norse skil "distinction, ability to make out, discernment, adjustment," related to skilja (v.) "to separate; discern, understand," from Proto-Germanic *skaljo- "divide, separate" (source also of Swedish skäl "reason," Danish skjel "a separation, boundary, limit," Middle Low German schillen "to differ," Middle Low German, Middle Dutch schele "separation, discrimination;" from PIE root *skel- (1) "to cut." Sense of "ability, cleverness" first recorded early 13c.

And discernment is directly from Latin discernere "to separate, set apart, divide.

In Tolkien's symbolism this is the opposite of the love and joy of Eowyn's name. In Tolkien's planar language separation and division is represented as the distance between two planes. The greater the discord, the greater the distance between those two planes. The discords of Melkor in the Music of the Ainur created the diverging planes of the triangle in the first place. The length of the hypotenuse here is a measure of the separation between the Man and the Woman. Ilúvatar raised his hands in response to the discords of Melkor. His hands being the two planes of the opposite and adjacent, woman and man. That discord created the division and separation between woman and man and the battle of the sexes. The measure of that discord is in the length of the plane of the hypotenuse as I state on my homepage and in the quote from it below. How 'long' that plane is is how much they 'long' for each other, to return to unity. It's a word game. The point at which there is no division or longing is the point at which Man and Woman are in perfect unity (consonance) at the two hearts in this geometry. That's the love and joy that Eowyn seeks in Eowyn's name. But there's a problem with Eowyn too- a problem that's an inversion of the problem with the Witch-king. The problem with her is 'desire' for the wrong thing, which expresses itself in both her masquerading as a male and her desire for Aragorn. Her problem is longing in the opposite sense to the Witch-king. The Witch-king seeks separation, which, in his geometric language = an increase in the length of the hypotenuse. Eowyn seeks unity with the wrong thing- which in the geometric language turns out to be unity with herself a decrease in the length of the hypotenuse.

Eowyn seeks to be a male. By desiring that she is casting herself as the right hand in the south beneath the Moon in the north. And this is why Aragorn raises her up. His raising her up is an expression of this moving her from the south up to the north to her rightful place in geometric terms. Ultimately she couples with Faramir. Faramir is the younger of the Boromir-Faramir pairing. His role is also confused by Denethor as I discuss in my essay 'The Turn in Practice'. Denethor reverses the handedness of the two sons. Faramir is the younger stern right hand, the male Moon, the sword. But Denethor, in his confused state, thinks that Boromir is the stern one, because he is the 'eldest' of the pair. Again the ongoing theme of primacy and being eldest. And to him that wrongly equates to being stern (which we find is the attribute of the right hand in the hands sequence of Ilúvatar: "Then again Ilúvatar arose, and the Ainur perceived that his countenance was stern; and he lifted up his right hand,"). No, Boromir is the eldest, the left hand, the Sun, the shield. And this confusion plays out in Denethor's deployment of the pair in his strategy against Sauron as I discuss. So, at the end the Eowyn and Faramir pairing restores them both to their rightful roles, Eowyn the left hand, the elder, and Faramir the right hand, the younger. During the writing of that essay I made several predictions inline while writing it. For more information see the quote below on 'longing' and my homepage.

And here's the source of the confusion and decline that Tolkien incorporates systemically into his works:

woman (n.)
"adult female human," late Old English wimman, wiman (plural wimmen), literally "woman-man," alteration of wifman (plural wifmen) "woman, female servant" (8c.), a compound of wif "woman" (see wife) + man "human being" (in Old English used in reference to both sexes; see man (n.)). Compare Dutch vrouwmens "wife," literally "woman-man."

The wife, the woman is perceived in the language as 'woman-man'. That's the same phenomenon we see in the Witch-king and Eowyn pair and in the Loathly Lady theme where the man casts the woman as a man- her role, her femininity is considered to be not adequate somehow. She is perceived as a threat. As a result we see her appear with the man on the left side of the cliff face (see essay). And the result is the Balrog. In effect what Tolkien is saying is that in calling the female a 'wo-man' we are calling them a man. And he is saying that that confusion in the language begins in the spiritual confusion in the Fallen World, a confusion regarding the nature of woman and man in God's ordained plan, which leads to all manner of problems including broken marriages and 'She That is Fallen', the disrespect of Womankind. In Tolkien's system that manifests as a confusion of handedness, 'gender' in its original non-sexual sense. And finally that leads to Shelob, Her Ladyship. Again, the World is a medieval symbolic landscape where the inner spiritual reality is the real one. That inner fear gives rise to the the horrors of the incarnations of the Balrog and Shelob.

If we look at 'wife' we find that wife was considered inadequate and altered:

wife (n.)
Middle English wif, wyf, from Old English wif (neuter) "woman, female, lady," also, but not especially, "wife," from Proto-Germanic *wīfa- (source also of Old Saxon, Old Frisian wif, Old Norse vif, Danish and Swedish viv, Middle Dutch, Dutch wijf, Old High German wib, German Weib), of uncertain origin and disputed etymology, not found in Gothic.

Apparently felt as inadequate in its basic sense, leading to the more distinctive formation wifman (source of woman). Dutch wijf now means, in slang, "girl, babe," having softened somewhat from earlier sense of "bitch." The Modern German cognate (Weib) also tends to be slighting or derogatory; Middle High German wip in early medieval times was "woman, female person," vrouwe (Frau) being retained for "woman of gentle birth, lady;" but from c. 1200 wip "took on a common, almost vulgar tone that restricted its usage in certain circles" and largely has been displaced by Frau.

The increasing discords can be seen in charting the shift from 'wife' to 'woman' and then the progressively derogatory sense applied to the meaning of 'woman'.

And Tolkien also makes the statement that 'hands are cleverer than feet'. Superficially we might regard that as a positive statement about hands. It's the opposite. The hand is the instrument of the will in the world, and those wills are fallen. The hands are instruments of division.

clever (adj.)
1580s, "handy, dexterous, having special manual ability," apparently from East Anglian dialectal cliver "expert at seizing," perhaps from East Frisian klüfer "skillful," or Norwegian dialectic klover "ready, skillful," and perhaps influenced by Old English clifer "claw, hand" (early usages seem to refer to dexterity). Or perhaps akin to Old Norse kleyfr "easy to split," from Proto-Germanic *klaubri‑ from PIE root *gleubh- "to tear apart, cleave." Extension to intellect is first recorded 1704.

In the etymology of clever above we see 'to differ'. The Loathly Lady motif is driven by the inability of the Man, the right hand, to understand the different role of the Woman, the left hand in God's ordained order. Their difference becomes a problem for the man. They 'differ' becomes a differing of opinions in the domestic sense, in the dialectic. That inability to understand God's order, was created by the discords of Melkor. Not coincidentally you'll also find the meaning 'to divide/separate' in the etymology of demon: from PIE *dai-mon- "divider, provider" (of fortunes or destinies), from root *da- "to divide.". The Devil divides and separates all.

The fact that Tolkien chose the humble Hobbits to overthrow the tyrant king Sauron is related to the fact that they have such oversized feet! Their oversized feet is a statement about their inherent natures. The World is a symbolic landscape and exterior realities are an incarnation of the inner spiritual reality. The Noldor's, Fëanor's and Saruman's skill is likewise a statement about their inherent wilful natures. More generally, the World is inherently fallen and all things that are made involve destruction much like the tree when it grows divides and separates its branches. When we 'cleave to' we also must 'cleave'.

That sequence of 'gender' confusion running throughout the Akallabêth has its final and loudest beat with the seizure of the sceptre from Miriel by Ar-Pharazôn. It is corrected by the Quest of the Lord of the Rings. Aragorn's part involves the Star of the North which derives from Silmarien in the Akallabêth. The Witch-king being a fallen Númenorean is a further link between the two narratives. The derivation of the Star of the North from Silmarien symbolizes the restoration of the Sun (female) to the north, her rightful place at the top of the map. That's the same thing as moving her from the right hand (male) to the left hand (female) a 'gender' swap in the original sense. A reordering. The name Ar-Pharazôn incorporates 'AR' - the Sun. He has taken on a female name. 'Golden' refers to the Sun- the language gets confused and Ar-Pharazôn no longer understands what the language means. (More discussion required though- alchemical change of light into the metal gold). As I say in my essay, the characters and the World becomes disoriented by the Discords and the lies of the Enemy. They can no longer tell which way is up/down or their right from the left. That translates as a gender swap because the genders are the the left and right hands of Ilúvatar. That disorientation proceeds in 3 stages otherwise known as THE TURN. The final stage is language. This is the stuff I found 15 years ago that I mention at the top of my homepage.

So, that's why TAR changes to AR. The last beat of that change and confusion ends with Ar-Pharazôn but it begins from the outset and manifests in numerous ways during the entire decline of the Line of Kings. Tolkien incorporates the TURN in the narrative process. I've already stated on here that the letter 'T' is beth, bet, the female, the birch from his monogram (tree language Beth-Luis-Nion). J is the oak. In other words we see a loss of the female from the language in some way. Well...if we want to talk about it further T is the female, she is first in the word 'TAR'. Alef the letter A, the male, is second. When the letter T is removed and we move to AR, then alef the male becomes first. And that's the whole contest between alef and bet being eldest and most high. That's the reordering of the left and right hands, the genders. AR symbolizes the angry female, the consuming devouring Sun. The Loathly Lady. The disorientation is the point of the decline of the Line of Kings. And understanding that led to prediction #31. That in the line of Isildûr there would be either 26 or 27 successive figures with names beginning with the element 'AR'. See my point regarding the correspondence between the steps of Orthanc and the Line of Kings. I've already stated on here that 'Mazarbul' renders as 'Maze-AR (sun)-bull. It also led to other predictions including Prediction #35 "That the split of the light from the tree would occur at the 5th ruler of Númenor." In this diagram of the Line of Kings you can see how the language changes are inextricably linked to the narrative and you can see Tolkien's numerology at work once again. And in that diagram you can see Silmarien, and why that obscure character from the Akallabêth is so important in providing the Star of the North. She helps restore the light back to the tree which was lost at that juncture. What do I mean by that? The tree is the maze. That's why we see the stars among the branches of the tree in this image. And the maze manifests as the genealogical tree and other things such as the maze-ar-bull. That's why Tolkien provided the genealogical trees- as a vehicle to explore the maze and change in the narrative and language over time. The division and separation in the branches of the genealogical trees is an expression of the original discords of Melkor in the Music. The tree is the Music of course. The symbolism in the names, and the inherent numerological meanings reflect the narrative and vice versa in a cyclical progression through the Histories. And that observation roundly trounces any criticism -so called- regarding Tolkien's 'whimsical' inclusion of them in his works. The stars are the guiding stars through the maze. The guiding stars are female and they are the same stars in this image of the dialectic guiding through the Door.

The transformation of the Loathly Lady into the Lovely Lady is at the heart of many fairy-tales, the frog prince and sleeping beauty for e.g. The notion of 'transformation' takes on a geometric meaning in Tolkien's Sacred Geometry.

transform (v.)
mid-14c., "change the form of" (transitive), from Old French transformer (14c.), from Latin transformare "change in shape, metamorphose," from trans "across, beyond" (see trans-) + formare "to form" (see form (v.)). Intransitive sense "undergo a change of form" is from 1590s. Related: Transformed; transforming.

The Platonic ideal forms created in the Music of the Ainur and later the Vision (see homepage), are ever present in the language revealing the underlying true realities of the World. The transformations arising of the rotation of the Wheel of Fortune, play out in the machinery as Tolkien describes it. That machinery is geometric and indeed mathematical echoing his words to Clive Kilby in 'Tolkien and the Silmarillion' (see my essay). The Sun rotates across from the south to the north. She moves from the right hand to the left, across from one plane to the other.

At the heart of the 'epic' works of Tolkien lies something very up-close and personal. His domestic life, his marriage, and his faith, lie at the heart of the setting. The dialectic, the conversation between husband and wife and God is the true underlying reality of his works. If that seems odd, consider:

"A variety of early European vernacular stories retells the plot of a loathly lady who, in return for certain crucial information or power, demands some sign of sexual favor from the hero, and it is then transformed by the hero's compliance. In the earliest Old Irish versions, the reward for the hero's offering his favor or making the right choice is kingship or political dominance; the later medieval English versions recast the tales' setting, from the realm of epic exploits to a domestic environment of personal love characteristic or romance." (The Wedding of Sir Gawain and Dame Ragnelle, Sir Gawain Eleven Romances and Tales, ed. Thomas Hahn).

The alchemical transformation of golden light into the metal gold I mention regarding Ar-Pharazôn is what drove prediction #3 or rather validation #3 as it stands: "When I first began developing my theory on the development of his languages eight years ago, I coined the phrase 'linguistic alchemy'..that was validated when I later discovered in On Fairy Stories:"

Of course, I do not deny, for I feel strongly, the fascination of the desire to unravel the intricately knotted and ramified history of the branches on the Tree of Tales. It is closely connected with the philologists' study of the tangled skein of Language, of which I know some small pieces. But even with regard to language it seems to me that the essential quality and aptitudes of a given language in a living monument is both more important to seize and far more difficult to make explicit than its linear history. So with regard to fairy stories, I feel that it is more interesting, and also in its way more difficult, to consider what they are, what they have become for us, and what values the long alchemic processes of time have produced in them.

Precisely what I've been talking about. And any criticism of me 'breaking things' (aka 'unravelling' things) and 'leaving the path of wisdom' in my critique using the etymological study of his works (which is precisely what I've done) is risible and utterly bizarre, especially in the light that Tolkien built it all from philology and explicitly set riddles and left anagrams and acrostics etc. Etymological study is the language- PHILOLOGY (etymology gives ''LOVE of words')-that Tolkien dealt with in both his Art and in his professional work. And moreover, if Tolkien drawed a willy it was good enough for him and it should be good enough for us too. :-D And those people tend to take the line: I don't really care about the geometry and the hidden meanings and truth even if it is true. But at the same time it's also not ok for others like those people who make Hollywood films or Netflix productions based on Tolkien's works to not care about the truth. Funneeeee.

Anyway, negativity aside..moving on...the battle of the sexes here is characterized as the Woman seeking to dominate (demand Sovereignty) as per the Loathly Lady theme (Galadriel the dominant woman who seeks to rule over all if given the chance- which she refuses when she rejects the Ring) but it's not- the truth is that the male, the right hand has instigated the strife which begin at the Discords of Melkor.

This is the sixpence I believe Tolkien is alluding to which also symbolizes domination: the back to back arrangement of the two arrow heads (triangles) which symbolizes the 'battle of the sexes'. The 'half-crown' which represents Time and Space (Goldberry-Edith Bombadil-Tolkien). Two halves of one whole.The coin of most interest is the half-crown issued in 1646. The half-crown is 2 shillings and sixpence. "2 and 6". The 2 numbers of Bombadil and Goldberry. The half-crown symbolizes that they each wear 'half of a crown'. Then you see issued 12, 9 and 6 pences. Tolkien would be interested in them because of his numerological system and his symbol of the number 9 and 6 applying to the left and right hands of Goldberry-Edith and Bombadil-Tolkien. An additional point of interest would have been the fact that there were 3 sieges. The number 3 always interests Tolkien. He hints at the half-crown idea when the crown slips down over one eye of Merry. The half crown is a variant on the double crown of Egypt he references in his letters. The double crown of Egypt symbolizes the seizure of both male and female roles in the geometry I'm speaking about. Both crowns of male and female on one head; upper and lower Egypt. Upper and lower here refer to the two poles of north and south again. That seizure is the same symbolism as the female seizing both hands: that being the silver, round, sixpence. Yes, roundness very much matters, it being a geometrical form used by Tolkien in opposition to the square, c.f his heraldry.

The way the half-crown functions symbolically is that '2 and 6' = 2+6 = the 26 letters of the alphabet. That's how numerology works. The alphabet of course is alef bet which is as I've said, Bombadil and Goldberry. The alphabet itself is constructed from the two planes on the page of Time (vertical) and Space (horizontal). That's a whole other can of worms but it plays out in the Floral Alphabet rebus and as I keep saying, the letters are the material structures of the World; ideograms. And that supports the monogram reading. You can see how he experimented with orientation- language lateralization in Rumil's Sarati. To quote Tolkien Gateway:

Unlike the Tengwar and Tolkien's other Elvish alphabet, the Cirth, the Sarati is written from top to bottom, then left to right. Sarati is unusual in that it is legible if written by either hand moving in either direction, and can be mirrored.

Mirrors...orientation...hmm really? D'you see how this is all fitting together? I've already been talking extensively about the importance of mirrors and orientation in my essays 'The Hidden Imagery in the West Gate'. And alef and bet (alphabet) being the two figures of Tolkien and Edith- the same figures in the cliff face imagery. I've also mentioned the Rabinnic commentaries. In there you'll find a very similar arrangement of letters to those used in the Sarati. And you'll see the same two planar orientations and reordering I've already mentioned regards the east-west and north-south axes, left/right, up/down on the page as mentioned. In short: Time and Space.

He got the whole language and orientation idea from Egyptian hieroglyphics which he encountered at an early age according to Carpenter's biography.

"He communicated these enthusiasms to Christopher Wiseman, who was a sympathetic listener since he himself was studying Egyptian and its hieroglyphics. Tolkien also began to develop his invented languages backwards; that is, to posit the hypothetical earlier words which he was finding necessary for invention by means of organised 'historical' system. He was working on invented alphabets; one of his notebooks from schooldays contains a system of code-symbols for each letter of the alphabet."

In hieroglyphics you read in the direction that the figures face which can be from right to left or vice versa. Meaning is dependent on orientation. And we see a clear correlation between meaning, words and position/orientation in planar space in the following:

Now the Gates of Morn open also before Urwendi only, and the word she speaks is the same that she utters at the Door of Night, but it is reversed. (BoLT I)

The two gates lie at the uttermost west and east.

Back to my points in my essay regarding orientation in the hidden images of the West Gate and the two mirrors on the walls of Bag End. And the that links back into to Iglishmek 'Listen!" and to why Gandalf only remembers the words to open the door when he stops trying to 'command' them to open and sits down, listens and then sees. That's also covered briefly in the essay the Turn in Practice. You have the Speaker who has the authority and the listener. You can find that explored fully in my essays on the TURN. And the Speaker-Listener arrangement is the dialectic (conversation) of the relationship. Tolkien has something of an interest in the Ancient Egyptians and the Greeks of course- both highly influential ancient cultures. The very first piece of analysis I ever did was on Tolkien's modeling of many of the characters in the Line of Kings on the figures in the 18th Dynasty of the Ancient Egyptians. Tar-Palantir I recall is Akhenaten. Again, as always happens, I found the reference in his letters to the Upper and Lower Crowns of Egypt after I worked on that. Ever the way. :-D That was by accident and I mention that on my homepage at the opening. It'll go up on my site at some point but it probably needs a bit of a spit and polish. Perhaps more spit than polish lol.

Regards Bombadil and Goldberry. They cannot properly function without each other. It's a metaphor for their marriage. Time and Space. Think of it idiomatically as 'his other half' or 'his better half'. Tolkien represents this half-crown dependency in Bombadil's feather in his hat and Goldberry's belt. Goldberry as Time is weather: water and air (wind). Bombadil's feather is a weather vane with which he orients in Time, in the World via Goldberry: Browne's kingfisher in the wind. Bombadil is Space: fire and earth. He orients Goldberry in Space by setting the Circle around which the winds are arranged much like in the winds that were arranged around ancient maps. That's the belt. Goldberry is those winds. Think of their relationship as Yin-Yang. The spots in that symbol are the hat and belt. And yes you have the Classical 4 elements which appear in Plato's The Republic and lots of other medieval sources- and that supports what I previously said about the One Ring being the Ring of Earth. Their dependence extends further. Tolkien maps the human senses to the planes of the triangle. As I say, he maps EVERYTHING to his Sacred Geometry. See my homepage. Goldberry cannot see very well without Bombadil and Bombadil cannot hear very well without Goldberry. That's why Bombadil keeps asking 'can you hear me'. He is sight, she is hearing. And that's why we get Amon Hen and Amon Lhaw. Each on either side of the North Gate and each therefore equates to the left and right hands in the geometry: Time and Space, Goldberry-Edith and Bombadil-Tolkien. Tolkien assigns the sense of smell to the plane of the hypotenuse. He uses a word play pun on 'hypo-nose'. Under the nose. The Nazgûl dwell on the plane of the hypotenuse and that's why they smell and sniff. They exist on the grey plane between Time and Space. I'll cover that in depth on my website.

You can see the symbolic landscape really obviously in one of Tolkien's earlier designs for the map of Middle-earth. Orientation again is key and determines whether the face is smiling or a gaping hellish mouth. No one arranges mountains like that unless it is a symbolic landscape. That sets the course for the rest of his maps. They get more sophisticated. You can see how sight and hearing are on opposite sides of the map. The centre line of orientation runs down the middle along the west-east axis and equates to the hidden stone heart in the rock in the West Gate which functions similarly for orientation. So we have hearing to one side and sight to the other side of that line just like Amon Hen and Amon Lhaw. For a collection of my research on the symbolic map of The Lord of the Rings see here.

The forget-me-nots. Well the memory functions in Time and Bombadil needs a lot of help with that because he is Space and his wife is Time. It's a clever husband-wife conceit. That's why he forgets the oars when he goes boating. When Bombadil goes boating it's Tolkien rebelling against his domestic duties and all of the pressures around him from various sources. The going down the river is a metaphor for going drinking. Wine is language. Therefore drinking is indulging in his Art and philological nonsense. He uses the same conceit in 'I have a briny notion' and 'down where the dream fish go' in the N.C.P. It's the put upon husband in I Love Sixpence 'going down the pub'. That's why Bombadil forgets his oars because he has temporarily spurned his wife Goldberry. He struggles to orient in time. That's the husband-wife metaphor for him being unreliable and for e.g, forgetting their anniversary.

I could go into the narrative of the Old Forest (I wrote well over a hundred pages to the Bombadil riddle solution over the last few years- to appear on my site soon) sequence but suffice to say it ends with Bombadil and Goldberry being reunited after strife (they are arranged back to back as stated, hence the Newark lozenge half-crown "2 and 6 pence"). That reunification is symbolized by the opening of the Door to rescue the hobbits (their children). At that moment Tolkien tells us that Bombadil is wearing hat and all and you see Goldberry, the rising Sun behind him. Their alignment with the Door in both position and their timing with the rising Sun represents their mutual orientation in both Space and Time. And to echo everything else I've said on here umpteen times already, the Door opens when the male and female are in harmony. And the 'Door' to the Barrow opens.

And to further underscore the asymmetry present in the North and West gates. The Gate is the Door remember. I said that it needs male and female in harmony to function properly. Has anybody ever noticed how Frodo both sees and hears on top of Amon Hen, the Hill of Seeing? That's the asymmetry- the seizing of both roles by the male, on the one side of the geometry. That asymmetry manifests in the two spirals of the same direction in the West Gate, the two left hands raised by the Argonath, and the two male statues representing the male and female Moon and Sun. And that's the same thing as a silver round sixpence. Silver (male), round (female) 6 pence. Her number is 6. The woman seizing both hands, both sides of the geometry. The wife dominating the husband or so the claim goes in the Loathly Lady literature.

The diamond shape of the Newark half-crown is the 'stone'. It symbolizes two arrow heads facing away from one another. Arrows (as in bows and arrows) have a geometric function in his works. Helpful diagram here. Imagine two triangles facing away from one another, back to back. The converse is if they are facing towards on another which produces the Dagaz rune, The door- we can call it for simplicity's sake, the 'X', and indeed Tolkien also uses the gyfu (gift) rune X in a similar fashion. Observe the gyfu rune which Tolkien has tried to line up with the megalithic Door and the Dagaz rune in the dust jacket design of the Hobbit. The Door is the way to higher and lower rational planes. The Door includes sex because it is all fundamentally about Tolkien's marriage to Edith. Hence the figures on the West Gate.

The Door symbolizes the union of man and woman (Moon and Sun) which occurs briefly at twilight, when both are in the sky at the same time and neither is 'above' the other. Neither is dominating the other. When visualized as arrow-heads, the '><' shape is the converse of the diamond <>. Dagaz is man and woman pointing towards one another, turned towards one another, in harmony. Orientation is key. The courses of the Sun and Moon oscillate between turning towards each other and away from each other. An expression of the ups and downs of the relationship, the vicissitudes of life. In musical terms, since this is the Music, a constant movement between tension and resolution. It's the Music of the Spheres.

Regards the Door. http://www.thewindrose.net/hello-world/beforedagaz/

See my homepage regarding an instance of the practical application of my theory.

http://www.thewindrose.net/hello-wor...it_dustjacket/

And here's another coincidence (not logged as a 'validation', I've had too many of them to keep up)...I'd already worked out that Dagaz was the two wings of male and female from the fact that the etymology of door gives us the notion that it's suggested that the earliest doors consisted of two halves which would swing in opposite directions (saloon doors) hence the opposite spirals of 6 and 9.

door (n.)
"movable barrier, commonly on hinges, for closing a passage into a building, room, or other enclosure," c. 1200, a Middle English merger of two Old English words, both with the general sense of "door, gate": dor (neuter; plural doru) "large door, gate," and duru (fem., plural dura) "door, gate, wicket." The difference (no longer felt in Old English) was that the former came from a singular form, the latter from a plural.

Both are from Proto-Germanic *dur-, plural *dures (source also of Old Saxon duru, Old Norse dyrr, Danish dr, Old Frisian dure, dore, dure, Old High German turi, German Tr). This is from PIE root *dhwer- "door, doorway."

Middle English had both dure and dor; the form dore predominated by 16c. but was supplanted later by door. The oldest forms of the word in IE languages frequently are dual or plural, leading to speculation that houses of the original Indo-Europeans had doors with two swinging halves.

Then I found the two wings hidden in the picture.

http://www.thewindrose.net/angelwings3/

I'd looked at that picture loads of times and never saw it. The wings are the source of the Seth anagram 'held left wing' and the 'left wing' of the cloak of the Lovely Lady in the cliff face. Left wing = female. Riddle =...Balrog identity and lots of other things. Hammond and Scull had already pointed out the hidden butterfly wings in the picture Undertenishness.

The two spread wings is the same symbolism as the Balrog spreading both of its wings because that is the same symbolism as Ilúvatar raising both of his hands in a command. Conversation over. Do what I say. And the Door is the door of death at which point you have no choice but to submit to the will of the Creator. It instills the fear of what lies beyond it if you have no Faith in God. Hence The Paths of the Dead. The lies of the Devil create the fear and the apparition.

That butterfly in Undertenishness is Dagaz which not coincidentally goes between the Two Trees...Sun and Moon...female and male, Time and Space. And again you see the diamonds. This conception of the door led to prediction #24 That each of the Seven Stars in the Valacirca were butterflies.

Conversely, the diamond and the two arrows facing away form one another represent the left and right hands of woman and man turned away from one another just like in the West Gate cliff face hidden imagery. That symbolizes separation in spirit which occurs at the Discords of Melkor. Tolkien took this geometrical idea from The Republic: Plato and the back to back creation of Adam and Eve from the Rabinnnic Commentaties on the Talmud. You can see the triangles on top of the spirals in Wickedness.

http://www.thewindrose.net/blogs/the...ing-2/spirals/

You can see the diamonds in a number of places in The Book of Ishness where he worked his geometry out. For starters in the floor and the architecture of the arches here:

http://www.thewindrose.net/blogs/the...ing-2/spirals/

And a back to back separation in spirit = diamond (stone)= "wickedness". Naturally. The back to back creation of Adam and Eve is used as a metaphor by Tolkien to express the 'fallen nature' of the World, which are inherent in the relationship of Tolkien and Edith (Adam and Eve). They are by their natures turned away from one another. Harmony between the male (Moon) and female (Sun) occurs briefly at twilight. The rest of the time there exists increasing or decreasing states of discord. Discord leads to a desire of one person in the relationship to dominate the other. Domination is indicated by who is 'on top', higher up in the sky. During the Day the Sun dominates the moon as he travels under her under the world. During the Night the Moon dominates the Sun similarly. Peak of dominance is reached at Noon and midnight.

The 'stone' (diamond) is the heart turned to stone- which you see in the bottom of the West Gate hidden in the rock. The elf-stone is the 'antidote' to that. A living stone.
The male is dominant by default after the Discords of Melkor and the misplacement of Illuin and Ormal in the wrong places (north and south reversed). The male is represented by the square- see Tolkien's heraldry. And again, the circular sixpence you mentioned would be the female taking on the role of the male. The female is the circle and silver is male. So the silver (male) round (female) sixpence is the same idea as Illuin being placed in the north.

Incidentally, the circle and square of female and male are represented by the two sets of 4 dots in Tolkien's monogram. I told Priya Seth this as she mentioned it in her book. A line can be drawn between them which is the hypotenuse of the triangle. The line goes through the centre of the two Rs- where they join- which are back to back, just like Adam and Eve in the Rabinnic commentaries (Zohar) and just like the stone/diamond arrangement in the geometry. I'll say it again, this is because the letters represent the material structures of the World- both in his monogram and in his alphabets (including the Cirth and Sarati). The two Rs symbolize Tolkien and Edith. 'Squaring the circle' becomes an expression for the male turning the circle of the woman into a square (male). It is of course impossible and hence we get the battle of the sexes. The male tries to turn the circle the female into the male the square (see Loathly Lady theme in my essay) and that's why we see the figures on the left side of the west gate as stated in that essay. His fear of her treats her like a male rival and she is the hag who only wants to rule- which is really what he wants to do. It's borne of confusion caused by the Discords. Only God can achieve the squaring of the circle. That can be found in the two hearts in the illustration 'Eeriness'. The two hearts represent the male and female (square and circle). At the origin (God) at the right angle at the top of the triangle unity is achieved. That right angle is the door to higher rational planes and ultimately the door into the Afterlife. That equates to the position of the flame on top of his monogram which is the Door through which we enter the Afterlife. Compare the geometry: draw the line of the hypotenuse between the two sets of 4 dots in the monogram. Then draw a line at right angles to that going through the corner angle (as already stated = the door) in the letter 'T' in the monogram. Why is it a 45 degree angle though? Because the world rotates 90 degrees between Day and night and Night and Day (Spindle of Necessity revolving around the axis mundi of polaris). At the brief point of twilight it has rotated 45 degrees and The DOOR opens, the road between Time and Space opens, the same road the wizard is on in Eeriness. Tolkien indicates the hypotenuse by the ray of sunlight in his drawings. It's difficult to visualize it I know, so if you want me to explain more let me know.
You can see Prediction #29 deals with this theme of the squaring the circle. This one is logged as a validation. http://www.thewindrose.net/predictions/

Tolkien Prediction #29.

That ‘squaring the circle’ is incorporated into Tolkien’s symbolism and geometry. In Tolkien’s (sacred) geometry the Square = Male. The Circle = Female as is evinced in his heraldic designs. The process and symbolism of ‘squaring the circle’ can be found in his geometry in a number of places. I stumbled across Hippocrates’ moons and immediately recognized the design for Luthien. . From this I’m beginning to formulate an understanding of the role of the moon and its phases in The Lord of the Rings.

http://www.thewindrose.net/hippocrates/

Luthien was his wife Edith of course which brings us back to the relationship. And in the Lunes we see the moon once again.

And while we're at it, the silver sixpence is the same idea as squaring the circle. It's an attempt to do the inverse, to circle the square because the female is dominant in the 'I Love Sixpence' poem. The female (number 6) tries to impose the circle (female) on the square (male, silver). It's discordance. But really it is an attempt to square the circle because it's the woman trying to be the man (in the marriage)- you can flip the meaning both ways. It's the woman trying to wear the trousers, hence the pants conversation in N.C.P. There's actually more to it than that, but there ya go...

You can see two things in the Newwark:

"Siege money or money of necessity was minted in Newark-on-Trent in 1646 during the third and final siege (1645–1646) — the last year of the First English Civil War. To meet need for money, the besieged Royalists set up a mint that manufactured lozenge-shaped coins — half-crowns, shillings, ninepences, and sixpences."

Seige and Necessity- see Spindle of Necessity from Plato which Tolkien based his system on on my homepage. By the way I'd already identified his system as the Ananke of Plato BEFORE I found his statement in his letters about it.

"But since the author if it is the supreme Artist and the Author of Reality, this one was also made to Be, to be true on the Primary Plane. So that in the Primary Miracle (the Resurrection) and the lesser Christian miracles too though less, you have not only that sudden glimpse of the truth behind the apparent Anankê2 of our world, but a glimpse that is actually a ray of light through the very chinks of the universe about us." Letter #89 To Christopher Tolkien

BOOM! And the necessity of taking his money home to his wife in Syx Mynet (I love Sixpence). That's how he incorporated it- 'necessity' is his obligation to his wife and family which he struggles with because he wants to be an artist. In the Spindle you have the courses of the Sun and Moon, female and male which swap their handedness as stated. And in their courses you have 'the battle of the sexes'. Hence 'civil war' and siege.

In siege you see 'seat', 'throne' after the seat throne I point out in the hidden imagery in the West Gate- see essay. That symbolizes male domination as stated.

siege (n.)
early 13c., "a seat" (as in Siege Perilous, early 13c., the vacant seat at Arthur's Round Table, according to prophecy to be occupied safely only by the knight destined to find the Holy Grail), from Old French sege "seat, throne," from Vulgar Latin *sedicum "seat," from Latin sedere "to sit," from PIE root *sed- (1) "to sit." The military sense is attested from c. 1300; the notion is of an army "sitting down" before a fortress.

Civil war is from Homer polemos epidemios, again early Classical education at St Edward's in Greek and Latin.

In Greek mythology, Polemos /ˈpɒlɪˌmɒs/ or Polemus /ˈpɒlɪməs/ (Greek: Πόλεμος Pólemos; "war") was a daemon; a divine personification or embodiment of war.
In Aristophanes' Acharnians, it is reported that Polemos is banned from parties for burning vineyards, emptying the wine and disrupting the singing. He is set in opposition to Dicaeopolis, who profitably champions peace and longs for marriage with Diallage, "Reconciliation".

https://en.wikipedia.org/wiki/Polemo...al%20discourse.

And there you have the marriage theme and the source of 'we are fond of parties' in the Bombadil riddle sequence. Polemos is one of the influences for the spirit of Melkor. 'Disrupts the singing'...Melkor in the Music of the Ainur anyone? And in 'polemos' you can make the leap to the two 'poles' of north and south of Illuin and Ormal.
You'll see that the etymology gives us something quite unexpected:

party (n.)
c. 1300, partie, "a part, division, section, portion," a sense now obsolete; also "physical piece, fragment; section of a book or treatise," from Old French partie "side, part; portion, share; separation, division" (12c.), literally "that which is divided," noun use of fem. past participle of partir "to divide, separate" (10c.), from Latin partire/partiri "to share, part, distribute, divide," from pars "a part, piece, a share" (from PIE root *pere- (2) "to grant, allot").

To divide, separate which is the 'default' state of the marriage (back to back) and why we get the Old Man Willow and the Barrow Wight (I can explain if you want). When looking at the etymologies always use the earliest definition because Tolkien is using English from the time it was all set- 5000 years ago or earlier. Very occasionally he will use a later one for a reason.

The burning vineyards references Brandywine- brandy being 'burned wine'. This helps identify Bombadil with Melkor. And by that I mean Bombadil is the right hand in the geometry, the male. And that is in fact Tolkien. And Bombadil is Tolkien because.. well...Bombadil speaks nonsense and Tolkien's private symbolism was described by his friends as nonsense..(see Kilby's Tolkien and the Silmarillion), the obsessive words games and philological opacity to the layman. Language is wine to Tolkien as we know from his letters. So you can see how we can begin to identify Bombadil with Tolkien. If you look up the word 'benjamin' which is perhaps suggested in 'Ben-Adar' you find:

Benjamin
masc. proper name, in Old Testament, Jacob's youngest son (Genesis xxxv.18), from Hebrew Binyamin, literally "son of the south," though interpreted in Genesis as "son of the right hand," from ben "son of" + yamin "right hand," also "south" (in an East-oriented culture). Compare Arabic cognate yaman "right hand, right side, south;" yamana "he was happy," literally "he turned to the right."

The right was regarded as auspicious (see left and dexterity). Also see Yemen, southpaw, and compare deasil "rightwise, turned toward the right," from Gaelic deiseil "toward the south; toward the right," from deas "right, right-hand; south." Also compare Sanskrit dakshina "right; south," and Welsh go-gledd "north," literally "left."

And I'd already identified Bombadil as the right hand in the geometry BEFORE I found that. A very good bit of supporting evidence that is too. And it reflects the north-south confusion because Bombadil should be in the south as the right hand as stated in that etymology. It doesn't conflict with Seth's anagram- in fact it only makes Tolkien's anagram all the more impressive adding the additional constraint of 'ben'. So if 'ben' is 'son', then we can again see the homopheme play from Lit and Lang on 'sun' and 'son' which we find in the name of Anárion 'Sun-son' and from Haggard's 'She', 'Royal Son of the Sun'. And that links the 'Royal' to Tolkien's interest in the Newark coins- it being the Royalists holed up in 3 sieges, and the half-crown of Tolkien-Bombadil and Edith-Goldberry. The link between the two is further stressed by the fact that the Farthings of the Four Farthings are coins and coins usually have the monarch minted on them. Bombadil and Goldberry are that monarch, albeit one that is characterized as most often divided against itself. So Bombadil's claim to being Eldest is his claim to be the Sun, the left hand which agrees with the etymology above and my statements regarding the mix up of the positions of Illuin and Ormal. That claim is replicated in the 'sun-son' homopheme motif in the North Gate influenced by 'She' and Gandalf's 'Wielder of the Flame of Anor' -etymologically 'ruler' of the Sun. Gandalf is Tolkien of course.

And you can find the brandy bottle in Seth's analysis of Goldberry as the flowers. Her analysis as I wrote to her, is correct on all counts. WTG. Brandy refers to sex.
And this whole subject leads back to my remarks about Old Man Willow and the Barrow Wight. Those two figures represent the utterly fallen states of Bombadil and Goldberry. Bombadil and Goldberry represent the fallen natures of Tolkien and Edith. And those two figures are the end result of the separation of the two and the final breakdown of the marriage and the destruction of the family. The hobbits in that sequence symbolize their children and both of those figures try to kill them. The fact that the two figures are at the polar opposite ends of their domain reflects my statements on my homepage:

"The measure of this divergence between the opposite and adjacent is clearly the plane of the hypotenuse. I also said that the geometry is the marriage of Tolkien and Edith under God. We can go much further in our understanding of the relationship as geometry. For instance, Tolkien puns on the word ‘longing’ to indicate a parallel between the length of the hypotenuse: how long the hypotenuse is, and how much longing there is between the planes of the opposite and adjacent, Edith and Tolkien. The length of the hypotenuse is a measure of desire, appetite. Again, to reiterate what I said previously: ‘Tolkien represents these [tension and resolution] geometrically as the distance of the spatial separation of planes. The greater the separation between planes, the greater the dissonance in the Music.’ The greater the separation, the greater the length of the hypotenuse. Yearning and longing is salved by union. And we find that union is achieved by following the Straight Road to the Door. In Fig.1. the guiding star is found at the Door. And in the etymology of ‘desire’ we find ‘craving, yearning’, long for, wish for’."

The two scenes of Old Man Willow and the Barrow occur at their most extreme distance apart. Spatial separation = spiritual separation. And that relationship between spiritual distance and spatial distance is also found in the two hearts in Eeriness where the squaring of the circle occurs at the origin with God as stated. And the two come together in the middle of their domain at the house which is on the very edge of the Barrows Downs. That's where we witness the scene around the table. The table is the exact centre of their World. That scene is the Music of the Spheres (Sun and moon, Time and Space).

Old Man Willow is Tolkien completely left to his own devices without Edith and he has becomes a creature of pure language, the philologist lost in his Art and nonsense. The Barrow Wight is Edith inflicting a suffocating love of her children, a possessiveness on her children and will not allow them to leave their domain, imprisoning them in her tomb-like 'womb' of the barrow. And again you can see her two raised arms just before the hobbits leave her...the same hands symbolism I keep referring to.

"they saw Goldberry, now small and slender like a sunlit flower against the sky: she was standing still watching them, and her hands were stretched out towards them. As they looked she gave a clear call, and lifting up her hand she turned and vanished behind the hill."

The sunlit flower being the Day's Eye, the daisy as I point out in the letter M of the floral alphabet rebus in the next post below.

Returning to the Newark. In the Newark you see 12, 6 and 9 in the numerology of those coins. All central to the two spirals of left and right hands in the geometry. You also see the leopard. The leopard was a symbol of infidelity/adultery. That also comes into play and it's why Tolkien mentioned pard in his poem 'The Cat' 'the pard dark-starred'. The dark star here is the tarnished star of Smith and Wooten Major. All the same symbolism. The reason the sixpence is in the corner of the box, and why Tolkien tells us it is, is because it symbolizes the star in the corner angle in the geometry. All corners in Tolkien refer to this geometry- for e.g The Naith- see my geometry above for The Lord of the Rings, again here.

Here's the star in the corner:

http://www.thewindrose.net/blogs/a-r...nsdialectic-3/

It's getting real late here...I'll take another looksy tomorrow at your replies...Ta.