English Gematria and the Book of Psalms

In another online discussion, someone mentioned the book of Psalms in the Bible and and that Psalm 117 is the middle chapter of the entire Bible. The number 117 caught my attention because it has come up a lot in my work with English gematria. Like many of the other numbers I focus on, it's a multiple of 9. So I decided to apply English gematria to the subject to see what might be revealed. I use the simple serial code of A=1 through Z=27.

Psalm 119 is the longest psalm as well as the longest chapter in the Bible. It is composed of 176 verses, in sets (or stanzas) of eight verses, each set (stanza) beginning with one of the 22 letters of the Hebrew alphabet in sequential order.

Psalm 117 is the shortest chapter in the Bible. It is also the center of the King James Version (KJV) of the Bible. The fact that Psalm 117 is the middle chapter has intrigued me since I first found out about it because of it's curious relationship to the number 9, a number that I've spent years investigating as a result of my work with English gematria.

All of the numbers in the historical canon of sacred numbers are multiples of 9. A few examples: 54, 108, 144, 153, 162, 234, 432, 576, 666. Each of these numbers can be reduced to the single digit value of 9 by cross-adding the digits. For example: 54 = 5+4=9, or 666 = 6+6+6=18 = 1+8=9.

Notice 117 fits this scheme: 1+1+7 = 9

There are 594 chapters before 117 and 594 chapters after 117.

5+9+4=18, 1+8 = 9

Using the English gematria code of A=1 through Z=26 we find this:

FIVE NINE FOUR = 144, one of the most revered of sacred numbers and it has esoteric associations with the concept of "light".

Curiously, we also find this:
NEGATIVE DARK = 117
POSITIVE LIGHT = 171 = THE PSALM OF LIGHT
Notice the rearrangement of the digits from 117 to 171.
Also of interest: 117 + 171 = 288 = 144 x 2

The chapters immediately on either side of 117 are, of course, 116 and 118.

116 + 118 = 234, the reverse of 432, another sacred number that reduces to the single digit value of 9.

If you continue this descending/ascending sequence from the center (117), you get the number 234 in every instance. For example:

115 + 119 = 234
114 + 120 = 234
113 + 121 = 234
...and so on, all the way to Psalm 150 (the final Psalm):
84 + 150 = 234

234 happens to be 9 x 26, the number of letters in our Western alphabet that is used here for the English gematria.

Now, here's something I discovered regarding Psalms 84 and 150 (the final Psalm). This has very likely never been realized before.

150 - 84 = 66, the total number of books in the entire KJV.

Here is something else I discovered concerning the 150 Psalms:

Since 150 divides evenly in half, there is no single Psalm at the center of the Book of Psalms. The center of the Book of Psalms would have to be considered as two Psalms, 75 and 76. That would leave 74 Psalms before Psalm 75, and 74 Psalms after Psalm 76. Now again, using the English gematria code of A=1 through Z=26, here's what's interesting about 74 occurring twice:

JESUS = 74
LUCIFER = 74
74 + 74 = 148 = MORNING STAR

Jesus and Lucifer are both associated with the Morning Star in the Bible (Isaiah 14:12 and Rev. 22:16).

Then, regarding the numbers 75 and 76 (the two center Psalms) we find this:

75 + 76 = 151 = JESUS CHRIST

Notice the numbers immediately on either side of the two center numbers (75 and 76) are 74 and 77. This is really interesting because:

74 = JESUS
77 = CHRIST

And again, as in the exercise above, if you carry the ascending and descending sequence out all the way to the final Psalm, the result is always 151.

73 + 78 = 151
72 + 79 = 151
etc.

I was intrigued when I learned there was a psalm missing from the Bible. It is Psalm 151. 

How's this for a synch: Using the English gematria code of A=1 through Z=26, I found this:

MISSING PSALM = 151

The number 151 is the only number I've found that is "self descriptive" using the English gematria code:
A ONE ON BOTH ENDS = 151
THE MIDDLE IS A FIVE = 151

It is also the English gematria value of following phrases:
VICAR OF CHRIST = 151 (another title for the Pope)
THE CHRIST KEY = 151
JESUS IS LORD = 151
LORD OF HOSTS = 151
CHRIST THE KING = 151
THE SACRIFICIAL LAMB = 151

Actually there is more to this number which involves the mystery of Rennes le Chateau, but I'll leave that for a future post.

As I mentioned, each set of verses in Psalm 119 begins with one of the 22 Hebrew letters in proper sequence, Aleph through Tau. Now here's something Dr. Joseph Puleo pointed out regarding Psalm 119. Puleo noted that the verse number at the beginning of each set also follows a sequential pattern if you reduce the multi-digit numbers to single digit values. Take the 3rd set of verses as an example. It begins with verse number 17. That needs to be reduced to the single digit value of 8 (1+7=8) When you list all of those initial numbers in their reduced forms, here's what you get:

1 9 8 7 6 5 4 3 2 1 9 8 7 6 5 4 3 2 1

And it just continues to get even more interesting. As mentioned at the top of this paper, there are 176 verses in Psalm 119. Now, it might seem like 176 is just a random number. Right? Well, maybe it's not so random after all:

The Psalms are songs. The word "psalm" means "songs played with a harp". So we're talking about music.

My friend and research associate, Lui DiMartino, has done some groundbreaking work establishing direct correspondences between music and sacred geometry. Much too complex to explain here. It's all detailed in his free download ebook, "Music and Numbers Through the Looking Glass" (http://missionignition.net/lui/).

Suffice to say for our discussion here, that a key component of his work is the number 9 and specifically the center of 9 which he calls the 4.5 axis. In simple terms, 9 divided in half is 4.5. That mid-point, that center of 9, is thought to mathematically represent a portal, or a point of transfer into another dimension where everything is reversed. Keeping that in mind, another key component of his work is the C-major scale and the note of F-sharp (F#). Also know that the core of his work involves the ancient concept of the "Merkaba" and it's geometric counterpart, the double tetrahedron within a sphere. As I said, I can't go into all the details about how these things fit into his theory. Just know that they are extremely significant and here's why I'm even mentioning it at all: Recall the number 176 from above? Again, using the serial code A=1 through Z=26:

FOUR POINT FIVE = 176 = A TRANSFER POINT = F SHARP IS THE MIDDLE = JESUS IS THE KEY = LUCIFER IS THE KEY = JESUS IS THE LOCK = LUCIFER IS THE LOCK

ONE HUNDRED SEVENTY SIX IS THE VIBRATIONAL FREQUENCY OF FOUR POINT FIVE = 765
765/4.5 = 170 = F SHARP IS THE KEY

JESUS AND LUCIFER ARE THE TWO KEYS = 342 = JESUS AND LUCIFER ARE THE TWO LOCKS

FOUR POINT FIVE IS THE GATE = 270 = ONE HUNDRED SEVENTY SIX

FOUR POINT FIVE IS THE MIND OF GOD = 324

THE GATE IS OPEN = 144 = THE GATE IS LOCKED = NINE IS THE KEY = THE SECRET KEY

Now, obviously, this idea of music involves the notion of tones. In the Gospel of John we find three phrases that are key to his opening statement: "In the beginning was the Word." The three phrases that appear after this opening are:

1. "The Word was with God"

2. "The Word was God"

3. "The Word was made Flesh"

Recall back at the beginning of this paper I mentioned Psalm 117 is the middle chapter of the KJV and there are 594 chapters before Psalm 117 and 594 chapters after Psalm 117. Keep that number, 594, in mind. Now, look what happens when we substitute the word "Tone" for the word "Word".

THE TONE WAS WITH GOD = 216 (2+1+6 = 9)
THE TONE WAS GOD = 175 (1+7+5 = 13, 1+3 = 4)
THE TONE WAS MADE FLESH = 203 (2+0+3 = 5)
216 + 175 + 203 = 594

That's curious enough as it is. But it gets even curiouser. Let's go back to that number 176, the total number of verses in Psalm 119:

If we divide 176 by the mystery number 9, we get 176/9 = 19.5

If you're familiar with Richard Hoagland's work (www.enterprisemission.com) with tetrahedral physics you'll be familiar with the number 19.5. When a tetrahedron is enclosed in a sphere, the corners of the base of the tetrahedron touch the circumference of the sphere at 19.5 degrees.

A merkaba is two interlocked tetrahedrons, one up, one down. The base of the upward-pointing one touches the sphere at 19.5 south of the sphere's equator. The base of the downward-pointing one touches at 19.5 north of the sphere's equator.

A tetrahedron has 4 sides. So two of them would give a total of 8 sides.
A musical octave is 8 notes.
Psalm 119 has 8 verses per set.

Is there some sort of message encoded within the structure of Psalm 119 that has something to do with tonal frequencies? Here's another little curiousity:

DOUBLE HELIX = 117 = COMMUNICATE

I can't help but marvel at how all of this seems to link together in some way yet to be explained. I feel like Roy Neary (Richard Dreyfuss) in Close Encounters of the Third Kind when he's staring at the pile of mashed potatoes on his plate and he mutters, "This means something. Something important."

Or... could it all be nothing more than a series of random coincidences? I don't think so. If anything, it seems more likely to be a function of the phenomenon of synchronicity according to the way quantum physicist, F. David Peat, views it. In the book, The Holographic Universe (by Michael Talbot), Talbot writes:

"Another physicist who takes synchronicity seriously is F. David Peat. Peat believes that Jungian-type synchronicities are not only real, but offer further evidence of the implicate order. As we have seen, according to Bohm the apparent separateness of consciousness and matter is an illusion, an artifact that occurs only after both have unfolded into the explicate world of objects and sequential time. If there is no division between mind and matter in the implicate, the ground from which all things spring, then it is not unusual to expect that reality might still be shot through with traces of this deep connectivity. Peat believes that synchronicities are therefore "flaws" in the fabric of reality, momentary fissures that allow us a brief glimpse of the immense and unitary order underlying all of nature. Put another way, Peat thinks that synchronicities reveal the absence of division between the physical world and our inner psychological reality. Thus the relative scarcity of synchronous experiences in our lives shows not only the extent to which we have fragmented ourselves from the general field of consciousness, but also the degree to which we have sealed ourselves off from the infinite and dazzling potential of the deeper orders of mind and reality. According to Peat, when we experience a synchronicity, what we are really experiencing "is the human mind operating, for a moment, in its true order and extending throughout society and nature, moving through orders of increasing subtlety, reaching past the source of mind and matter into creativity itself."