The Mysteries of the Symmetries
Was the alphabet designed or was it merely the product of random events?
We are taught that each letter corresponds to a particular sound. But that is not exactly true. For example, the letter c can sound like k or sound like s. The letter a can sound like the letter u (e.g., up and append). We have letter combinations known as digraphs that also represent sounds that are represented by other letters; for example, the f sound in some words is spelled as ph (e.g., pharmacy) while in other words it is spelled as gh (e.g., laugh). We also have a strange spelling rule that dictates that a y followed by an s must be converted into ie (except in some words, like mystery). While it is possible to explain why some of these phenomena occur, one cannot help but feel that there is a lot of chaos connected with the English language and the Latin alphabet associated with it.
But what if there is much more order than one realizes within the alphabet? What if the apparent randomness is merely an illusion, that there are patterns within the alphabet that prove that it was designed with extreme care?
The first pattern I discovered was when I arranged the 26 letters of the alphabet into two sets of 13 letters. I noticed that the middle letter in the first 13 letters was the letter G, which I understood referred to God. I then noticed that the middle letter in the last 13 letters of the alphabet was the letter T, which I understood symbolized the cross of Jesus. I also saw the number 13 as significant because Jesus had 12 disciples, and Jesus was the focus (the center) of their attention. So the number of letters and their placement, with G and T in the center of both sets, appeared to make sense.
Of course, the position of the letter G and the letter T within the Latin alphabet, along with the number of letters, could have happened purely by chance. The equivalent of the Latin letter T (known as Tau), for example, was the last letter of the Hebrew and Phoenician alphabets.
The second pattern I discovered was that the last seven letters of the alphabet each had a phonetic match within the first seven letters of the alphabet.
Curiously, the matches that I found were not sequential. While I searched for a possible explanation for the randomness, I found none. So there seemed good reason to believe that the correspondence was possibly coincidental.
The third pattern I discovered was that the first six letters of the alphabet corresponded phonetically with six letters in the second half of the alphabet beginning with the letter O. What was significant with that correspondence was that the corresponding letters in both sequences were in the exact same order. The probability of the order being identical is 1/720, which suggested that the order was likely not random.
What puzzled me was that the second set of letters was broken into two sets of three letters. The division of the second set into two sets of three appeared somewhat odd to me. However I did note that the two letters between the two sets, R and S, derived from two closely related and extremely important Egyptian symbols: the Eye of Ra (represented by the letter R) and Wadjet (represented by the letter S). So, while I did not understand the reason for the insertion of those letters, the insertion did appear to have a purpose behind it.
Shortly after discovering the third pattern, I realized that the following letters could be pronounced as Christ:
What was odd about that observation was that the letter Q (known as qoppa or qof) was actually dropped from the standard Greek alphabet. So while one can read the name Christ from letters contained within the Latin and Semitic alphabets, the name Christ cannot be seen within the alphabet for the language from which the word originated. It was as if the qoppa had intentionally been dropped from the Greek alphabet in order to hide the name.
As astounding as the first 4 patterns were, perhaps the most remarkable pattern came to light after a 10-year old girl brought to my attention that the words dry and arid appeared to her to be mirrors of each other. That got me to thinking about the symmetry of the letters themselves. It then occurred to me that six out of the last eight letters in the alphabet were all symmetric along the vertical axis while six of the first eight letters were asymmetric along the vertical axis.
What was even more remarkable was when I finally arrayed the first eight letters above the last eight letters. I discovered that the first set consisted of the six asymmetric letters that were bookended by two symmetric letters representing similar sounds. The second set of letters consisted of six symmetric letters bookended by two asymmetric letters that represented similar sounds and appeared to be mirror images of each other.
It was obvious to me that the pattern I was observing was absolutely, without any question, intentional. But the pattern still raised a few questions for me. The six inner letters of each 8 letter set both contained three of the corresponding letters within the third pattern (D E F and T U V). However, the position of the three letters within the inner six letters appeared to be completely arbitrary.
What was strange to me was that the other ten letters of the alphabet (I through R) appeared to have been left completely out. I thought surely there had to be some secret pattern lurking in those letters as well, but nothing jumped out at me right away. However, thinking about the idea of alternating letters, I soon realized that the ten letters divided into 3 sets: 2 sets of letters containing 4 letters each, and one set of 2 letters.
|I J||K L M N||O P Q R|
The second set of four letters easily could be seen to represent all possible combinations of the same basic form (either an O or an o) with either a vertical and/or diagonal line attached.
The first set of four letters had a similar combinational pattern as the second. The letters consisted of either one or two vertical strokes. Attached to or connecting the vertical strokes was either a V-shape or a single line.
The first set of four letters also involved a rotation of the v-shape or attached line. The magnitude of rotation however is not consistent, being 45 degrees in the L-N pair, but 90 degrees for the K-M pair.
The final pair of letters consisted of a basic line-shape that is either not terminated or is terminated by a u-shape or v-shape.
A mystery still remains as to what the significance of these groupings is. It does seem plausible that the single I-J pair is symbolic of the soul, as the letter I, the ninth letter in the Latin alphabet, is related to Greek theta (Θ), which was understood to be related to the soul.
The last pattern I have observed to date was evident in the first eight, lower case letters. I noted that every other letter had a "riser" that extended beyond the midway point of the text line.
All but one of the first eight letters do not extend below the text line. The sole letter that breaks the rule is the letter g.
A related pattern was then found in the last eight, lower case letters of the alphabet:
Note that all of the last eight letters in the alphabet, except for 2 letters, extend neither below the text line or above midpoint of the text line. The two letters that break the pattern are t and y.
As stated in Chapter 1, the letter t symbolizes the cross, the letter y can be seen as the body of Jesus on the cross, and the letter g refers to God.
After looking at all of the patterns I have found, I find it difficult to entertain the idea that any one of them is purely random. The first, fourth and seventh patterns have obvious religious overtones. Pattern 5 was also cleverly engineered into the design of the alphabet for reasons that were not immediately apparent to me.
Eventually, however, I did realize that there was a message hidden within the sixteen letters of the fifth pattern. It was clearly a religious message that was specifically related to Christ.
The first eight letters, in fact, refer to death.
|out of within||opening||change||body||out of||hand related||great change||breath|
The second set of eight letters refers to resurrection.
|reversing changes related||later movement related previous movement|
|reversing changes related||cross||origin||movement||movement after movement||surface movements related changes||within out of||God|
This message is even more obvious when we substitute QRST for ST in the last line.
|Christ||origin||movement||movement after movement||surface movements related changes||within out of||God|
Could this message possibly be random?
Perhaps then we might want to take another closer look at the first pattern, where both God and the cross are the focus. If we read starting from the letter G out to the letter A, we get a message:
|great change||hand related||out of||body||change||opening||in front|
Now here is something that is truly remarkable: The letter D is related to the letter T phonetically, and the letter T represents a stake in the ground. Thus we can say that a stake is "ground related" and that, therefore, the ground is "stake related". Substituting "stake related" in the above message for the letter D, we get an even clearer message:
|great change||hand related||out of||stake related||change||opening||in front|
A similar message is evident when one reads from the letter G out to the letter M.
|great change||surface related||within||change related surface||surface movement related||surface||liquid related|
Both messages appear to describe Jesus being nailed to the cross.
The second set of thirteen letters can be seen to provide similar messages. In fact, the messages communicated by the last 13 letters appear to relate to what happened after Jesus was nailed to the cross.
|stake||related changes||liquid movement||change movement||shaft||after||related|
|that||origin||movement||liquids related||cross||within out of||change related/movement above/after movement below related|
Note that both the nails and the lance of Longinus pierced the flesh of Jesus.
Since I wrote the above, it also became clear that the same sound pattern was repeated four times in the alphabet:
In each case a vowel is followed by variant of b/v, which is then followed by a variant of k. Note that, in the above table, a pre-w Latin alphabet is assumed.
The last two rows can also be seen as being preceded by d and t, which are similar accoustically, thereby resulting in a 4-letter pattern in each of those cases.
Curiously, the pattern does not hold for the letter k:
This particular pattern does not appear to have any symbolic meaning but instead appears to reflect how the alphabet was originally conceived.