Masons use the word *IAOM* to identify each other.
art
http://en.wikipedia.org/wiki/You_Bet_Your_Life
<<You Bet Your Life is an American quiz show that aired on both radio
and television. The most well-known version was hosted by Groucho Marx
of the Marx Brothers, with announcer and assistant George Fenneman.
Some show tension revolved around whether a contestant would say the
"secret word", a common word REVEalED to the audience at the show's
outset. If a contestant said the word, a toy duck resembling Groucho
with a mustache and eyeglasses, and with a cigar in its bill,
descended from the ceiling to bring a $100 bill. A cartoon of a duck
with a cigar was also used in opening title sequence. In one episode,
Groucho's brother, Harpo, came down instead of the duck, and in
another, a model came down in a birdcage with the money. Marx
sometimes slyly directed conversation to encourage the secret
word to come up. The duck was also occasionally replaced
with a wooden Indian figure.>>
-------------------------------
The Masonic Secret Word:
<<The Word (always capitalized) is so secret that
initiates are taught it one letter at a time. First they
learn A, then O, then M, and finally I. The Word is *IAOM* .>>
-------------------------------
[M]ithras
[O]siris
[A]donis / [A]tis
[I]esus
-------------------------------------------------
___ <= 15 =>
__Q V I C K N {A} T V R E D I D E
W H O S E N {A} M E D O T H D E
_-C K Y S T O [M] B E F A R M O R
_ E T H E N C [O] S T S I E H A L
_-L Y T H E H- [A] T H W R I T T L
__E A V E S L_ [I] V I N G A R T B
_ V T P A G E T O S E R V E H I
_ S W I T T
http://mh.cla.umn.edu/ShakTrin.html
--------------------------------------------------
___ <= Sonnet 72 / 7 =>
T h e n n i g a r d t r
u t h w o u l d w i l l
____i n g l y i [M] p a r t O
___ l e a s t y [O] u r t r u
_ e l o u e m [A] y s e e m
____e f a l c e [I] n t h i s
That you for loue speake well of me vntrue,
My name be buried where my body is,
And liue no more to shame nor me,nor you.
For I am shamd by that which I bring forth,
And so should you,to loue things nothing worth.
-------------------------------------------------
Twelfe Night, or, What you will.
(Folio 1, 1623) Act II, scene V
Maluolio : I may command where I adore,
. but silence like a Lucresse knife:
. With bloodlesse stroke my heart doth gore,
. M.O.A.I. doth sway my life.
Fabian : A fustian riddle.
Sir Toby : Excellent Wench, say I.
Maluolio : M.O.A.I. doth sway my life. Nay
. but first let me see, let me see, let me see.
Fabian : What dish a poyson has she drest him?
Sir Toby : And with what wing the stallion checkes at it?
Maluolio : I may command, where I adore: Why shee may
. command me: I serue her, she is my Ladie. Why this is
. euident to any formall capacitie. There is no
. obstruction in this, and the end: What should
. that Alphabeticall position portend, if I could make
. that resemble something in me? Softly, M.O.A.I.
Sir Toby : O I, make vp that, he is now at a cold sent.
Fabian : Sowter will cry vpon't for all this,
. though it bee as ranke as a Fox.
Maluolio : M. Maluolio, M. why that begins my name.
Fabian : Did not I say he would worke it out,
. the Curre is excellent at faults.
Maluolio : M. But then there is no consonancy in the sequell
. that suffers vnder probation: A. should follow, but O. does.
Fabian : And O shall end, I hope.
Sir Toby : I, or Ile cudgell him, and make him cry O.
Maluolio : And then I. comes behind.
Fabian : I, and you had any eye behinde you, you might see
. more detraction at your heeles, then Fortunes before you.
Maluolio : M,O,A,I. This simulation is not as the former:
. and yet to crush this a little, it would bow to mee,
. for euery one of these Letters are in my name.
----------------------------------
http://askville.amazon.com/signs-symbols-handshakes-Freemasons-order-...
The Secret Grip of a Master Mason:
It's a regular handshake, except that you press your thumb against the
base joints between the index finger and middle finger of the man you
are shaking hands with. It looks pretty much like any other handshake;
only the men shaking hands can feel the difference. The correct
response is to ask if this grip has name and then "syllable it" with
the shakee until the password of a Master Mason is arrived at.
The Secret Password of a Entered Apprentice
The password of the 1st degree, or the 'Entered Apprentice' degree is
'Boaz'.
The Secret Password of a FellowCraft
The password of the 'Second Degree', or 'Fellowcraft Degree' is
'Shibboleth'.
The Secret Password of a Master Mason:
'Tubal Cain' is the password of a Master Mason, which is the 'Third
Degree'. Some of the more obtuse and perverse masons wear a tie
stickpin or lapel pin called "Two Balls and Cane" in the sicko shape
of a phallic cane with a "ball" on either side of it. We don't imagine
they let their wives in on this one, apparently they are told to tell
them if they ask about it that it has something to do with Golfing!
"Brotherly Love" don't you know. See the last section below for who
Tubal-Cain was, and what that says about the nature of Freemasonry .
The Substitute Word of a Master Mason
During the blood chilling initiation of "being given the third
degree", the candidate is told the "Master's Word" has been lost and
instead a "substitute word" is whispered into his ear, "Mah Ha Bone".
The Secret Word:
Not to be confused with the password. The Word (always capitalized) is
so secret that initiates are taught it one letter at a time. First
they learn A, then O, then M, and finally I. The Word is *IAOM* .
You never get a straight story as to what it means. As best as anyone
can figure, it is the ineffable name of god, or some approximation
thereof. The Word (or Name) is a tongue-twister. It takes some
practice to get it right. The following pronunciation guide is
from Masonry and Its Symbols in the Light of Thinking and
Destiny by Harold Waldwin Percival:
The Name is pronounced as follows: It is started by opening the lips
with an "ee" sound graduating into a broad "a" as the mouth opens
wider with lips forming an oval shape and then graduating the sound to
"o" as the lips form a circle, and again modulating to an "m" sound as
the lips close to a point. This point resolves itself to a point
within the head. Expressed phonetically the Name is "EE-Ah-Oh-Mmm" and
is pronounced with one continuous out-breathing with a slight nasal
tone in the manner described above. It can be correctly and properly
expressed with its full power only by one who has brought his physical
body to a state of perfection... Note: this "word" or letter sequences
is very similar if not identical to the ones contained in prayers of
the Gnostics in the Nag Hamadi Library recovered from the sands of
Egypt in 1945 (not to be confused with the Dead Sea Scrolls
recovered from the sands of Judea in 1947).
The "High Sign" or Grand Masonic Hailing Sign of Distress
A phrase or gesture which is only to be used in extreme
circumstances is the Grand Masonic Hailing Sign of Distress,
or "High Sign". A Masonic defendant in court or
"caught in the pinch" might bury his head in his hands and cry,
"Oh Lord, my God, is there no help for the widow's son?"
The gesture which can accompany this is for the mason to raise his
arms over his heads in a "hands up" fashion and then lower them in
three distinct stages pivoting his arms at the elbows until they
are perpendicular to the ground keeping his palms down.
Any Mason seeing this gesture or hearing these words is oath
bound to do anything possible to save the other Mason from
danger, up to, but not including, the loss of his own life.>>
-------------------------------------------------
*MAIO* : MAY (Portuguese, Galician)
*MAIO* : MAYPOLE (Italian)
*MOIA* : SPRING (Bresciano)
-----------------------------------------------------
*MAL-VOLIO* : *ILL WILL* , *BAD FLIGHT* (Italian)
-------------------------------------------------
. Twelfth Night > Act II, scene V
.
MALVOLIO: M, O, A, I; this simulation is not as the former:
. and yet, to crush this a little, it would bow to me,
. for EVERy one of these letters are in my name. Soft!
. here follows prose.
. [Reads]
. 'If this fall into thy hand, revolve. In my STARs I
. am above thee; but be not AFRAID of greatness: some
. are born great, some achieve greatness, and some
. have greatness thrust upon 'em. Thy *FATES* open
. their hands; let thy blood and spirit embrace them;
. and, to inure thyself to what thou art like to be,
. cast thy humble slough and appear fresh. Be
. opposite with a kinsman, surly with SERVANTs; let
. thy tongue tang arguments of state; put thyself into
. the trick of singularity: she thus advises thee
. that sighs for thee. Remember who commended thy
. *YELLOW STOCKINGS* , and wished to see thee EVER
. *CROSS-GARTERED* : I say, remember. Go to, thou art
. made, if thou desirest to be so; if not, let me see
. thee a steward still, the fellow of SERVANTs, and
. not WORTHy to touch Fortune's fingers. Farewell.
. She that would alter services with thee,
. . THE FORTUNATE-UNHAPPY.'
. Daylight and champaign discovers not more: this is
. open. I will be proud, I will read politic authors,
. I will baffle Sir Toby, I will wash off gross
. acquaintance, I will be point-devise the VERy man.
. I do not now fool myself, to let imagination jade
. me; for EVERy reason excites to this, that my lady
. loves me. She did commend my *YELLOW STOCKINGS* of
. late, she did PRAISE my leg being *CROSS-GARTERED*;
. and in this she manifests herself to my love, and
. with a kind of injunction drives me to these habits
. of her liking. I thank my STARs I am happy. I will
. be STRANGE, stout, in *YELLOW STOCKINGS*, and
. *CROSS-GARTERED*, even with the swiftness of putting
. on. Jove and my STARs be PRAISEd! Here is yet a
. postscript.
.
. [Reads]
.
. 'Thou canst not choose but know who I am. If thou
. entertainest my love, let it appear in thy smiling;
. thy smiles become thee well; therefore in my
. presence still smile, dear my sweet, I prithee.'
. Jove, I thank thee: I will smile; I will do
. EVERything that thou wilt have me.
More options Jul 19, 9:30 pm
Newsgroups: humanities.lit.authors.shakespeare
From: art <acneu...@gmail.com>
Date: Mon, 19 Jul 2010 18:30:58 -0700 (PDT)
Local: Mon, Jul 19 2010 9:30 pm
Subject: Masonries symbols
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-----------------------------------------------
Masonries symbols- lifting the allegorical veil
http://tellmewhy.co.uk/masonriessymbols.htm
<<In the degree of master mason the candidate passes through a ritual
called The five points of fellowship , the ritual consists of the
candidate receiving a secret word but this information can only be
passed to him in a certain way, the candidate must stand
Five Points of Fellowship
Position Allegorical reason
"Foot to foot": To go to help your brother
"Knee to knee": Pray for your brother
"Breast to breast": Keep the secrets.
"Hand to back": Assist your fallen brother, and
______________ vindicate his character behind his back,
______________ as well as before his face
"Mouth to ear": Whisper good council
Once this is done the candidate is then told
the secret word which is *IAOM*
The following pronunciation guide is from Masonry and Its Symbols in
the Light of Thinking and Destiny by Harold Waldwin Percival:
The Name is pronounced as follows: It is started by opening the lips
with an "ee" sound graduating into a broad "a" as the mouth opens
wider with lips forming an oval shape and then graduating the sound to
"o" as the lips form a circle, and again modulating to an "m" sound as
the lips close to a point. This point resolves itself to a point
within the head. Expressed phonetically the Name is "EE-Ah-Oh-Mmm" and
is pronounced with one continuous out-breathing with a slight nasal
tone in the manner described above. It can be correctly and properly
expressed with its full power only by one who has brought his physical
body to a state of perfection...
On the surface it sounds nice, brotherly love and all that.
But what is really being reviled. The five points are a symbol, this
symbol is a star, this star represents a place a being and is also an
occult key that can be used to open a door, but not a normal door this
key can be used to unlock a gateway into the extra dimensional reality
that exists in the same time space continuum as are present physical
3rd dimension but operates outside of its spear of influence. This
gate way or bridge between these two separate yet parallel realities
appears to have the physical equivalent of a two way mirror, for those
present in our 3rd dimensional reality this extra dimensional/parallel
reality remains unseen. However it would appear that our 3rd dimension
is visible but is not affected physically with or attainable by
entities that exisit in this extra dimensional/parallel reality.
To understand what is to follow you need to understand that
Ceremonial magic can be conducted externally in a defined space
or internally using the body as a vessel.
You also need to understand that this esoteric examination of the
master mason degree is not taught to initiates and that this
cabalistic and occult knowledge is known only to those masons
who are truly illuminated in an occult sence.
Freemasonry is no longer an operative art but is merely a speculative
idea until each brother, reading the mystery of his symbols and
pondering over the beautiful allegories unfolded in his ritual,
realizes that he himself contains the keys and the plans so long lost
to his Craft and that if he would ever learn Freemasonry he must
unlock its doors with the key wrought from the base metals of his own
being. True Freemasonry is esoteric; it is not a thing of this world.
All that we have here is a link, a doorway, through which
the student may pass into the unknown.
The body contains energy points or centres where are life force is
particularly concentrated these are known as chakras. Occultists
believe that these energy points can be manipulated and that this
can cause a separation of the energy/soul from the body
It is these points that are being joined when the mason
receives the secret word
As this process is happening it concentrates the bodies energy at
certain and specific points and this increases the tempo at which the
bodies energy vibrates, as it approaches the same vibratory level as
energy in the 4th dimension it can project and receive other energy
This symbol can also be used externally in ritual magic to create a
gateway between both of these two parallel dimensional realities.
But just as with any key it has to be turned. If this symbol is turned
33 degrees the same number of degrees that a candidate has to pass
through in order to reach the highest level in masonry it becomes
inverted or reversed,
“The true name of Satan, the Kabalist say, is that of Yahweh reversed;
- Albert Pike, Morals and Dogma, 3rd Degree, III - THE MASTER, p. 102
All occultists invert certain symbols and
where this is done it is used to represent Satan;
inverted pentagram and *cross*
The symbol when enacted in the ritual attempts to create a gateway
by using the energy confined within the initiate as a bridge
between these two parallel dimensional realities.
In order to understand this process think of it the same way as two
clouds rubbing together in the sky, this action creates friction which
generates electricity, when this happen in larger quantities the
atmosphere around the cloud can become charged, if enough static is
present in the atmosphere between the clouds and the ground it can act
as a conductor or bridge through which the electricity can pass from
one to the other.
When the occultist raises their conciseness/sprit/life force this
creates “static” between these two parallel dimensions.
The difference between the lighting analogy and spiritual reality is
that because there are entities that exist in this parallel dimension,
when enough “static” is placed between the occultists body and this
extra dimensional reality the bridge that is created can be crossed in
both direction.
People who have experimented with magic describe how a presence
entered into the room, this presence is entities from the 4th
dimension and these are felt because the conciseness of the initiate
has been raised and so they can begin to feel and perceive these extra
dimensional entities
By aligning the bodies’ energy points the ritual aims to tune the
energy or life force inside of the candidate to the same frequency or
vibration as that of the energy present in the parallel extra
dimensional reality.
If the initiates conciseness is sufficiently raised then is creates an
aerial that can transmit and receive energy between these two parallel
realities. If the signal that is created by the ritual is strong and
is picked up by a receiver then this creates a link between
the two in which energy can pass and flow.
Once this signal has been established the secret word is then
whispered to the mason, but if the energy of the candidate acts
as a conductor between these extra dimensional realties then
this word is actually being broadcast or transmitted.
This then poses the question who, what or where is the other reviver?
The answer lies in what the symbol represents
Within masonry the pentagram symbol is referred to as the eastern
star. On the right is the emblem of the order of the eastern star,
which is the Masonic sister organisation that women can join.
The symbol is also found on the goat of medias or Baphomet this is the
creature that the templar’s were accused of worshiping and it
represents Satan. As we have already learnt it was
the templar’s who infused there teachings into masonry.
If this is true is it possible that Satan is represented inside
of the Masonic lodge and if so where or how does he fit
into Masonic teaching?
Remember that masonry owes its secrets to the kabala; kabalists
believe that this occult knowledge was given to mankind in the
ancient world by angels that had come to earth after
they had rebelled against god in heaven.
In the book of Enoch it says that the consequence of this knowledge
passing to mankind resulted in the outbreak of many wars, it says that
as a result god punished and imprisoned these angels within the earth.
These beings are now trapped as bodiless spirits inside of the
4th dimension. As this dimension is not constrained by time it
means that these entities can perceive the future to a limited degree,
in their quest for knowledge occultist attempt to contact these
entities to gain both ancient and future knowledge.
It is these same beings that witches and clairvoyants contact when
they create these gateways. The problem is that these beings are
attempting to re-enter back into our physical 3rd dimension, however
in order for them to do this there must be a bridge between these
parallel dimensional realities, the problem for them is that this
gateway can only be constructed from inside of the 3rd dimension in
one of two ways.
First; externally, in a controlled space by manipulating energy
through enactments of rituals involving certain sets of numbers letter
symbols and sounds. The second is by raising the conciseness level or
vibrational frequency of the sprit inside of the occultists own body
until it begins to separate and pass into the 4th dimension, as this
is happening because the entities that are trapped inside of the 4th
dimension are existing in the same form as the spirt inside of the
occultist it means that they can use the occultists sprit as a
conductor through which they can bridge the gap between these
parallel realities and cross over into the 3rd dimension
However as these entities are still in sprit form they can only remain
and interact inside of the 3rd dimension if they have a vassal into
which they can occupy. This is were the danger lies, the term being
out of your head is a very accurate way to describe the physical state
of someone while they are astrally projecting, throughout the duration
time of the projection the occultists body is open to possession. Many
occultist believe that there are certain things that can be done to
protect themselves from possession but to attempt to do this is like
handing a loaded gun to a child, sooner or later it is going to go
horribly wrong.
Some occultists knowingly allow there bodies to be used as vessels
by these sprits because when this happens the sprits knowledge is
transferred to the occultist who believes that they have become
empowered by it. As they seek more and more knowledge/power they
attempt to contact more powerful sprits; but with so many extra
spirits existing inside of the one vessel the occultist can be over
powered and lose control of their own body.
As many of the masonic rituals are designed to allow the inisiates
bodies to become possessed by these spirits. The question that now
needs to be asked is why and who would have knowingly constructed
these rituals for such a purpose?
Is it possible that certain masons are possessed by these sprits
and it is these entities who are controlling masonry?
A quick glance through some of freemasonry online book shops revel a
lot of literature on amongst other things automated writing, for those
of you who are unaware of what this is, it involves the initiate
placing themselves into a trace and then allowing a spirit to use
their body to write a message. With so much compelling evidence
existing inside of free masonry as to the existence of sprits and as
these entities at least from a biblical point of view were allied to
Lucifer in his rebellion in heaven. And as it is these beings that
occultists are attempting to contact for various reasons, it is now
time to ask who is the God that free masons really worship?
The answer is hidden in plain site for those who
understand the symbolic significance of the rituals;
In the ancient world the pagans would always face east towards the
sun/
light to worship their gods. This is the reason why the holies of
holies in the Jewish temple was in the west, so as to symbolise
turning away from this practise and towards worshiping god. In masonry
the candidate faces east in their temple, which in their own words is
a representation of the jewish temple in which they should face west
if they are worshiping the God of the bible. Inside of the lodge the
mason is said to be on a journey as he passes through each of the
degrees, different parts of the inside of the lodge temple represent
different stages of this journey, the direction in which the mason
travels in this search for light is towards the East.
So if at least symbolically when inside the lodge the masons are
turning there backs to god and are travelling east away from god
towards the light which as the masons say they are continuously in
search of, then it posses the question; who or what is this
light that is found in the opposite direction from God?>>
------------------------------------------
http://www.aboutfreemasons.com/
How do Masons Secretly Identify Other Masons
From About Freemasons
Jump to: navigation, search
Media:Example.oggToday, many masons can easily identify other masons.
Many masons today are proud of their fraternity and have coffee cups,
<math>cuff links, tie tins, bumper stickers, pens, paper weights,
shirts, caps, and other paraphernalia with Masonic symbols on them. Of
course, == masons may also recognize each other from local meetings
and charity work. Despite some popular perceptions, Freemasonry is
not as secretive as people think and many people discuss their
affiliations fairly openly. ' In the past, identifying other masons
was an important affair. Hundreds of years ago, masons were crucial
in creating buildings, as many buildings were made of stone, and
in building infrastructure. Free == masonry was originally an
organization for these professional artisans and membership proved
that a mason was qualified for work. However, official paper</math>
documents were not widely used and background checks as well as other
means of modern communication were obviously not available. Foremen
and employers needed to know whether a mason was qualified but masons
often traveled for work, so identifying qualified candidates was
difficult.
For both masons and foremen, secret symbols and means of
identification were useful. Foremen could tell by handshakes, secret
words, and other means whether a person was a mason and what degree of
qualifications that mason had. The mason would learn the secret words
and handshakes as well as the skills of the trade from a master mason.
For the mason traveling to a new place, code words and handshakes were
a way to identify other masons in the area and Freemasonry provided a
fraternity and support even when a mason traveled far from home.
Today, secret handshakes and symbols are not used to establish
qualifications for a job, but they can be used to help masons identify
each other. Through symbols and other means, masons can identify each
other and therefore feel part of a greater society or fraternity.
If a mason is in trouble, being able to ide ....they are the devil
.......fy another mason is also useful, since masons are bound
to help each other.
There are many ways that masons can identify each other. The Masonic
handshake is one popular way. There are in fact a number of Masonic
handshakes, with each degree attained in masonry using a unique and
slightly different handshake. Masons also have other special signals,
such as the Hough Signal, a signal made with the arms to indicates
distress and a request for help. Many masons also wear clothing,
accessories, or have items near them that have Masonic symbols
– such as the square and compass -- on them. This can make it
easy for other masons to identify them.
Masons also use the word *IAOM* to identify each other. This word is
secret and masons only learn it by degrees. There is a specific way to
pronounce it -- EE-Ah-Oh-Mmm – which is familiar usually only to
masons. The word is often used to refer to a higher power and because
it requires some practice to pronounce correctly is one way that
masons can identify one another; someone who is not a mason
would have trouble pronouncing the word correctly.
---------------------------------------
Art Neuendorffer
elizabeth
> --------------------------------------------------http://en.wikipedia.org/wiki/You_Bet_Your_Life
>
> <<You Bet Your Life is an American quiz show that aired on both radio
> and television. The most well-known version was hosted by Groucho Marx
> of the Marx Brothers, with announcer and assistant George Fenneman.
> Some show tension revolved around whether a contestant would say the
> "secret word", a common word REVEalED to the audience at the show's
> outset. If a contestant said the word, a toy duck resembling Groucho
> with a mustache and eyeglasses, and with a cigar in its bill,
> descended from the ceiling to bring a $100 bill. A cartoon of a duck
> with a cigar was also used in opening title sequence. In one episode,
> Groucho's brother, Harpo, came down instead of the duck, and in
> another, a model came down in a birdcage with the money. Marx
> sometimes slyly directed conversation to encourage the secret
> word to come up. The duck was also occasionally replaced
> with a wooden Indian figure.>>
Every child should have the priviledge
to be raised in a tv-free environment.
> -------------------------------
> The Masonic Secret Word:
ARTTHEMASONSDIDNOTAPPERONTHE
SCENEUNTILNEWTONANDMILTONINVENTED
THEM.
>
> <<The Word (always capitalized) is so secret that
> initiates are taught it one letter at a time. First they
> learn A, then O, then M, and finally I. The Word is *IAOM* .>>
IAMOFFMY . . .HEAD?
> -------------------------------
> [M]ithras
> [O]siris
> [A]donis / [A]tis
> [I]esus
Hey, that's blasphemous.
> -------------------------------------------------
> ___ <= 15 =>
>
> __Q V I C K N {A} T V R E D I D E
> W H O S E N {A} M E D O T H D E
> _-C K Y S T O [M] B E F A R M O R
> _ E T H E N C [O] S T S I E H A L
> _-L Y T H E H- [A] T H W R I T T L
> __E A V E S L_ [I] V I N G A R T B
> _ V T P A G E T O S E R V E H I
> _ S W I T T
>
> http://mh.cla.umn.edu/ShakTrin.html
> --------------------------------------------------
> ___ <= Sonnet 72 / 7 =>
>
> T h e n n i g a r d t r
> u t h w o u l d w i l l
> ____i n g l y i [M] p a r t O
> ___ l e a s t y [O] u r t r u
> _ e l o u e m [A] y s e e m
> ____e f a l c e [I] n t h i s
>
> That you for loue speake well of me vntrue,
> My name be buried where my body is,
> And liue no more to shame nor me,nor you.
> For I am shamd by that which I bring forth,
> And so should you,to loue things nothing worth.
That can't possibly apply to Oxford since
he left NOTHING in the way of evidence
of Shakespeare authorship.
Not One Thing.
Did you read my post on Athony Bacon's
passports as sources for the names if the
lead roles in Love's Labour's Lost?
How did Anthony get hold of Oxford's
passports?
> -------------------------------------------------
> Twelfe Night, or, What you will.
> (Folio 1, 1623) Act II, scene V
>
> Maluolio : I may command where I adore,
> . but silence like a Lucresse knife:
> . With bloodlesse stroke my heart doth gore,
> . M.O.A.I. doth sway my life.
>
> Fabian : A fustian riddle.
>
> Sir Toby : Excellent Wench, say I.
>
> Maluolio : M.O.A.I. doth sway my life. Nay
> . but first let me see, let me see, let me see.
Somebody figured out what M.O.A.I means.
It doesn't have anything to do with Masonry.
I think it was salacious.
Anyway, Art, the Catholics have always
been opposed to Masonry. In the 19th
century midwest the Masons and Catholics would take turns stringin'
each other up
or ridin' each other out of town on a rail
(whatever that means).
Oh my god, that's disgusing.
> It looks pretty much like any other handshake;
> only the men shaking hands can feel the difference.
That's even worse.
> The correct
> response is to ask if this grip has name and then "syllable it" with
> the shakee until the password of a Master Mason is arrived at.
If you're going to post stuff like this put
BARF ALERT
in the header.
This is the reason that women are not
attracted to secret societies. Can you
even imagine a woman putting her thumb
up against the base joints between the
index and middle finger of another woman?
After a couple of beers I could prolly do it
with a guy, that would be funny, but I could
not do the secret Masonic handshake with
another woman.
I feel nauseated just reading it.
Mark Houlsby
Now you know how the rest of us feel about
your posts.
Guess how many mistakes there are in
the message to which this is a reply.
Hint: the first one is that you mis-spelt:
"privilege".
Such thoroughness. Such attention to detail.
It's really quite breathtaking.
art
>> --------------------------------------------------http://en.wikipedia.org/wiki/You_Bet_Your_Life
>
>> <<You Bet Your Life is an American quiz show that aired on both radio
>> and television. The most well-known version was hosted by Groucho Marx
>> of the Marx Brothers, with announcer and assistant George Fenneman.
>> Some show tension revolved around whether a contestant would say the
>> "secret word", a common word REVEalED to the audience at the show's
>> outset. If a contestant said the word, a toy duck resembling Groucho
>> with a mustache and eyeglasses, and with a cigar in its bill,
>> descended from the ceiling to bring a $100 bill. A cartoon of a duck
>> with a cigar was also used in opening title sequence. In one episode,
>> Groucho's brother, Harpo, came down instead of the duck, and in
>> another, a model came down in a birdcage with the money. Marx
>> sometimes slyly directed conversation to encourage the secret
>> word to come up. The duck was also occasionally replaced
>> with a wooden Indian figure.>>
elizabeth <messageform...@yahoo.com> wrote:
>
> Every child should have the priviledge
> to be raised in a tv-free environment.
Elizabeth is my "George Fenneman."
> art <acneu...@gmail.com> wrote:
>>
>> -------------------------------
>> The Masonic Secret Word:
elizabeth <messageform...@yahoo.com> wrote:
>
> ARTTHEMASONSDIDNOTAPPERONTHE
> SCENEUNTILNEWTONANDMILTONINVENTED
> THEM.
BULLSHIT.
> art <acneu...@gmail.com> wrote:
>>
>> <<The Word (always capitalized) is so secret that
>> initiates are taught it one letter at a time. First they
>> learn A, then O, then M, and finally I. The Word is *IAOM* .>>
elizabeth <messageform...@yahoo.com> wrote:
>
> IAMOFFMY . . .HEAD?
PROBABLY.
> art <acneu...@gmail.com> wrote:
>>
>> -------------------------------
>> [M]ithras
>> [O]siris
>> [A]donis / [A]tis
>> [I]esus
elizabeth <messageform...@yahoo.com> wrote:
>
> Hey, that's blasphemous.
Oxford as MAR-L.O. was accused of same.
elizabeth <messageform...@yahoo.com> wrote:
>
> That can't possibly apply to Oxford since
> he left NOTHING in the way of evidence
> of Shakespeare authorship.
>
> Not One Thing.
elizabeth <messageform...@yahoo.com> wrote:
>
> Did you read my post on Athony Bacon's
> passports as sources for the names if
> the lead roles in Love's Labour's Lost?
Doesn't Derby possess the most
significant passports by far?
(And we know that he was busy penning plays.)
> art <acneu...@gmail.com> wrote:
>>
>> -------------------------------------------------
>> Twelfe Night, or, What you will.
>> (Folio 1, 1623) Act II, scene V
>
>> Maluolio : I may command where I adore,
>> . but silence like a Lucresse knife:
>> . With bloodlesse stroke my heart doth gore,
>> . M.O.A.I. doth sway my life.
>
>> Fabian : A fustian riddle.
>
>> Sir Toby : Excellent Wench, say I.
>
>> Maluolio : M.O.A.I. doth sway my life. Nay
>> . but first let me see, let me see, let me see.
elizabeth <messageform...@yahoo.com> wrote:
>
> Somebody figured out what M.O.A.I means.
> It doesn't have anything to do with Masonry.
> I think it was salacious.
I'll bet it isn't as good as my discovery.
There is surprising little written about
the whole issue considering. Usually, cryptograms
are give more attention; e.g.:
----------------------------------
http://en.wikipedia.org/wiki/Variations_on_the_name_%22Abegg%22
<<The Variations on the name "Abegg" in F major is a piece (theme with
variations) for piano by Robert Schumann, composed between 1829 and
1830 and published as his Opus 1. The name is believed to refer to
Schumann's fictitious friend, Meta Abegg, whose surname Schumann used
through a musical cryptogram as the motivic basis for the piece. The
name Meta is considered to be an anagram of the word "tema" (Latin).
However, there are many doubts about the name of Schumann's friend,
Meta Abegg. Another suggestion is Pauline von Abegg. Apparently, when
he was twenty years old, Schumann met her and dedicated this work to
her, as witnessed in e.g. Clara Schumann's edition of her husband's
piano works. The first five notes of the theme are A-B-E-G-G (the B in
German usage, corresponding to the English B-flat). This use of pitch
names as letters was also used by Schumann in other compositions, such
as his Carnaval.>>
----------------------------------
elizabeth <messageform...@yahoo.com> wrote:
>
> Anyway, Art, the Catholics have
> always been opposed to Masonry.
The is no proof that Edward de Vere was a Catholic.
In any event, the M.O.A.I./I.A.O.M. references to Masonry
does not imply that de Vere was a Freemason any more
that the Rossencraft/Guilderstone references in
_The Tragicall Historie of Hamlet Prince of Denmarke_
By William Shake-speare, (1603) imply that
de Vere was a Rosicrucian or Freemason.
http://etext.lib.virginia.edu/toc/modeng/public/ShaHaQ1.html
Edward de Vere was rather a Knight of Malta who
was bullied by Rosicrucians & Freemasons as
represented by Rossencraft/Guilderstone
>> The Secret Grip of a Master Mason:
>
>> It's a regular handshake, except that you press your thumb against the
>> base joints between the index finger and middle finger of the man you
>> are shaking hands with.
elizabeth <messageform...@yahoo.com> wrote:
>
> Oh my god, that's disgusing [sic].
--------------------------------------------
Disguise, v. t. [OE. desguisen, disgisen, degisen, OF. desguisier, F.
déguiser; pref. des- (L. dis-) + guise. See Guise.]
1. To change the guise or appearance of; especially, to conceal by an
unusual dress, or one intended to mislead or deceive.
Bunyan was forced to disguise himself as a wagoner. Macaulay.
2. To hide by a counterfeit appearance; to cloak by a false show; to
mask; as, to disguise anger; to disguise one's sentiments, character,
or intentions.
All God's angels come to us disguised. Lowell.
3. To affect or change by liquor; to intoxicate.
I have just left the right worshipful, and his myrmidons, about a
sneaker or five gallons; the whole magistracy was pretty well
disguised before I gave them the ship. Spectator.
--------------------------------------------
> art <acneu...@gmail.com> wrote:
>>
>> It looks pretty much like any other handshake;
>> only the men shaking hands can feel the difference.
elizabeth <messageform...@yahoo.com> wrote:
>
> That's even worse.
That's homophobic, elizabeth.
(Don't forget that Bacon was gay.)
> art <acneu...@gmail.com> wrote:
>>
>> The correct response
>> is to ask if this grip has name and then "syllable it" with
>> the shakee until the password of a Master Mason is arrived at.
elizabeth <messageform...@yahoo.com> wrote:
>
> If you're going to post stuff like this put
>
> BARF ALERT in the header.
That's homophobic, elizabeth.
(Don't forget that Bacon was gay.)
elizabeth <messageform...@yahoo.com> wrote:
>
> This is the reason that women are not
> attracted to secret societies. Can you
> even imagine a woman putting her thumb
> up against the base joints between the
> index and middle finger of another woman?
>
> After a couple of beers I could prolly do it
> with a guy, that would be funny, but I could
> not do the secret Masonic handshake with
> another woman.
>
> I feel nauseated just reading it.
That's homophobic, elizabeth.
(Don't forget that Bacon was gay.)
Art Neuendorffer
Mark Houlsby
> > art <acneu...@gmail.com> wrote:
> >> --------------------------------------------------http://en.wikipedia.org/wiki/You_Bet_Your_Life
>
> >> <<You Bet Your Life is an American quiz show that aired on both radio
> >> and television. The most well-known version was hosted by Groucho Marx
> >> of the Marx Brothers, with announcer and assistant George Fenneman.
> >> Some show tension revolved around whether a contestant would say the
> >> "secret word", a common word REVEalED to the audience at the show's
> >> outset. If a contestant said the word, a toy duck resembling Groucho
> >> with a mustache and eyeglasses, and with a cigar in its bill,
> >> descended from the ceiling to bring a $100 bill. A cartoon of a duck
> >> with a cigar was also used in opening title sequence. In one episode,
> >> Groucho's brother, Harpo, came down instead of the duck, and in
> >> another, a model came down in a birdcage with the money. Marx
> >> sometimes slyly directed conversation to encourage the secret
> >> word to come up. The duck was also occasionally replaced
> >> with a wooden Indian figure.>>
> elizabeth <messageform...@yahoo.com> wrote:
>
> > Every child should have the priviledge
> > to be raised in a tv-free environment.
>
> Elizabeth is my "George Fenneman."
>
Can't you find a better facsimile?
> > art <acneu...@gmail.com> wrote:
>
> >> -------------------------------
> >> The Masonic Secret Word:
> elizabeth <messageform...@yahoo.com> wrote:
>
> > ARTTHEMASONSDIDNOTAPPERONTHE
> > SCENEUNTILNEWTONANDMILTONINVENTED
> > THEM.
>
> BULLSHIT.
>
NO WORSE THAN THE BULLSHIT YOU POST.
> > art <acneu...@gmail.com> wrote:
>
> >> <<The Word (always capitalized) is so secret that
> >> initiates are taught it one letter at a time. First they
> >> learn A, then O, then M, and finally I. The Word is *IAOM* .>>
> elizabeth <messageform...@yahoo.com> wrote:
>
> > IAMOFFMY . . .HEAD?
>
> PROBABLY.
>
DEFINITELY. BUT THEN...SO ARE YOU.
> > art <acneu...@gmail.com> wrote:
>
> >> -------------------------------
> >> [M]ithras
> >> [O]siris
> >> [A]donis / [A]tis
> >> [I]esus
> elizabeth <messageform...@yahoo.com> wrote:
>
> > Hey, that's blasphemous.
>
> Oxford as MAR-L.O. was accused of same.
>
Well, he's long dead. So who cares?
No, he's dead. The dead have no titles.
> (And we know that he was busy penning plays.)
>
Was busy. Was. He's dead.
>
>
> > art <acneu...@gmail.com> wrote:
>
> >> -------------------------------------------------
> >> Twelfe Night, or, What you will.
> >> (Folio 1, 1623) Act II, scene V
>
> >> Maluolio : I may command where I adore,
> >> . but silence like a Lucresse knife:
> >> . With bloodlesse stroke my heart doth gore,
> >> . M.O.A.I. doth sway my life.
>
> >> Fabian : A fustian riddle.
>
> >> Sir Toby : Excellent Wench, say I.
>
> >> Maluolio : M.O.A.I. doth sway my life. Nay
> >> . but first let me see, let me see, let me see.
> elizabeth <messageform...@yahoo.com> wrote:
>
> > Somebody figured out what M.O.A.I means.
> > It doesn't have anything to do with Masonry.
> > I think it was salacious.
>
> I'll bet it isn't as good as my discovery.
>
Define "good". Define "discovery".
> There is surprising little written about
> the whole issue considering. Usually, cryptograms
> are give more attention; e.g.:
> ----------------------------------http://en.wikipedia.org/wiki/Variations_on_the_name_%22Abegg%22
>
> <<The Variations on the name "Abegg" in F major is a piece (theme with
> variations) for piano by Robert Schumann, composed between 1829 and
> 1830 and published as his Opus 1. The name is believed to refer to
> Schumann's fictitious friend, Meta Abegg, whose surname Schumann used
> through a musical cryptogram as the motivic basis for the piece. The
> name Meta is considered to be an anagram of the word "tema" (Latin).
> However, there are many doubts about the name of Schumann's friend,
> Meta Abegg. Another suggestion is Pauline von Abegg. Apparently, when
> he was twenty years old, Schumann met her and dedicated this work to
> her, as witnessed in e.g. Clara Schumann's edition of her husband's
> piano works. The first five notes of the theme are A-B-E-G-G (the B in
> German usage, corresponding to the English B-flat). This use of pitch
> names as letters was also used by Schumann in other compositions, such
> as his Carnaval.>>
> ----------------------------------
>
> elizabeth <messageform...@yahoo.com> wrote:
>
> > Anyway, Art, the Catholics have
> > always been opposed to Masonry.
>
> The is no proof that Edward de Vere was a Catholic.
>
The is the definite article. It's no proof of anything.
> In any event, the M.O.A.I./I.A.O.M. references to Masonry
> does not imply that de Vere was a Freemason any more
> that the Rossencraft/Guilderstone references in
>
> _The Tragicall Historie of Hamlet Prince of Denmarke_
> By William Shake-speare, (1603) imply that
> de Vere was a Rosicrucian or Freemason.
>
> http://etext.lib.virginia.edu/toc/modeng/public/ShaHaQ1.html
>
So not much then.
> Edward de Vere was rather a Knight of Malta who
> was bullied by Rosicrucians & Freemasons as
> represented by Rossencraft/Guilderstone
>
Well, he's long dead. Hardly makes any difference now.
Yes, Lizzy is hilariously incompetent. She makes even me look good.
> > art <acneu...@gmail.com> wrote:
>
> >> It looks pretty much like any other handshake;
> >> only the men shaking hands can feel the difference.
> elizabeth <messageform...@yahoo.com> wrote:
>
> > That's even worse.
>
> That's homophobic, elizabeth.
> (Don't forget that Bacon was gay.)
>
Was gay. Was. He's long dead.
> > art <acneu...@gmail.com> wrote:
>
> >> The correct response
> >> is to ask if this grip has name and then "syllable it" with
> >> the shakee until the password of a Master Mason is arrived at.
> elizabeth <messageform...@yahoo.com> wrote:
>
> > If you're going to post stuff like this put
>
> > BARF ALERT in the header.
>
> That's homophobic, elizabeth.
> (Don't forget that Bacon was gay.)
>
How could we forget that? You mentioned it just now.
> elizabeth <messageform...@yahoo.com> wrote:
>
> > This is the reason that women are not
> > attracted to secret societies. Can you
> > even imagine a woman putting her thumb
> > up against the base joints between the
> > index and middle finger of another woman?
>
> > After a couple of beers I could prolly do it
> > with a guy, that would be funny, but I could
> > not do the secret Masonic handshake with
> > another woman.
>
> > I feel nauseated just reading it.
>
> That's homophobic, elizabeth.
> (Don't forget that Bacon was gay.)
>
Copy and Paste works well, doesn't it?
> Art Neuendorffer
Mark Houlsby