Why did they do it?

No doubt one of the things the Sphinx is waiting for, ready to wait another eternity, is that people who approach it do approach it from the standpoint that its builders were cleverer than we are, "cleverer" not in the ordinary cunning sense of the word, but in (Man #8/chair)-ratio sense, etc. , cleverer in the full Work meaning of the word. Once this view of the matter is accepted and to some extent understood, some conclusions are inescapable.

As to the container of the idea itself, the builders chose aesthetically perfect geometry, endowed with manifold mathematical beauty (golden means and so on) which alone could be much expatiated upon. That's why even the cross-section alone produces rather agreeable impression: it can be shown easily that if the pyramid is goldmean-ish as to its surface then the cross-section is goldmean-ish in its sides too. Then, outer side triangles ('walls') will also be goldmean-ish, only in another sense, in their heights.

One point worth mentioning is certainly that if we think the floor square made up of 4 equal (square) tiles, taking tile side (half base side) as a unit, equations (mostly routine pyhtagorean squaring of triangles) take the simplest form, and the height of the pyramid (straight ray), side height, and length of pyramid's main skew edge (there are four of them main rays of course) are found to correspond to points 3,6,and 9 of the enneagram. Also, whole-number solution 84 (tile dim.), 107 (height), 136 (side height) and 160 (edge) meet the circle geometry pretty accurately, except the exaggerating 160, which, when applied, would give inclination of the slope 51^{o54" instead of usually used 51o51". By "circle geometry" I mean for example how 136/84 enters close, 600ppm-close correspondence to them dimensions of the circle with radius equal to height of the pyramid. It is easy to find this information elsewhere if you are interested. Now if you want - in fact you need it if you want to further pursue the inquiry - some feeling of appreciation of these 'facts', you should spend some time with them pictures and numbers and books on elementary mathematics and calculators and special software and pencil and what not.}

Note that until now we have only considered shape, and, without getting into business of the dimensions of the building themselves, tried to create tools for eventual understanding of the underlying idea: through the mathematics of the pure shape. But, if we decide to begin with The Great Pyramid with the side of 230m, I forget the decimals, we will find, using quite elementary methods developed and explained in previous posts, that source of light (perhaps incoming ray splitting) at the top would well resonate with the edges, emitting violet light, reaching the ground, creating secondary sources, and resonate with the ground square sides at similar violet emittance while taking blue hue. Triangles would be dark in the middle, only the eight edges of the pyramid would glow in violet/blue light. But, if we somehow would be enabled to perceive an octave higher, somehow crossing the blackout area between violet and red, we would discover that side heights - this is where the inscribed cone is showed on the outside - are, without doubt, red. There is tighter orange cone inside it, yellow one, green and so on towards the vertical middle, where greenly colored ray (perhaps the one which at splitting directly hit the earth) represents pyramidical height itself. (Other, smaller pyramids give other lengths and therefore other colors.)

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It is there to remind us of something. We have become experts in outer clothing, experts of shape and detail. But every symbol, cross, enneagram, pyramid, whatever of this kind, must have been handed on to be connected with idea to burn, as it were, the idea which is not to be forgotten into the mind of the would-be individual. In this Work, perhaps not so obviously, the secret of accessing symbols' meaning is revealed. If symbol has no or wrong or too superficial meaning it is of no use or tragically brings about quite another result than that for which it was designed. Symbols are obviously 'power toys', even for the more adept ones, and the first step towards their unfolding is recognizing that what they mean is primary and not how they look. The very existence of it all means - for those not eternally-stupid - that people are APT TO FORGET and that the higher beings think that this is 1. not necessary; 2. not desirable. 3. Higher being(s) do/did something about it as well.

There is universal symbolics of the four animals, four elements and so on. On the floor, there is sufficient number of 'I's. No Steward/Master/Deputy Steward circle or whatever other circle far away here. Here we are expressly, intentionally shown something fifth. In general, this shape must have to do with the way from Man #4 to Man #5, and relation between man #4 and Man #5. Chambers something connected with Higher Centers. Entire thing in its precision and beauty telling us something about what attitudes when looking at things or doing something are worthy of emulation. About the power of qualitative, psychological approach. About the thing that the big practical principles must be given shortly, simply and gracefully, otherwise they become the limiting factor. Seen as a mountain, it has formidable slope inclination. Must be carefull not to fall.

O. seems to try to laugh out the guys with their almost English inches and royal cubits and astronomical extrapolation of the building right now still travelling highways from Sirius to Orion's double hubblepubble. O. states that he knew to some extent why the whirling dervishes did it but also that it cannot be told. Right. We are lucky he didn't say that it cannot be known.

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