ASSY & KHEPER ABSOLUTE REALITY

TWO AS ONE

Note that in Latin verbum which we translate as word, is a word that in syntax conveys an action, or a state of being (be, exist). Indeed, the very word "being", even in English, remains a verb rather than a noun. 


S, AS, ASY, ASSY or ASHY or ASIA or AISHIA is the Bronze Age name of Cyprus. It is at root the logos in triad, it is absolute reality defined in triad, as in three moments in time as one.

Aššur (Akkadian) (Ashur/Assyria, Assyrian / Aššur; Assyrian Neo-Aramaic / Ātûr), is a remnant city of the last Ashurite Kingdom. The remains of the city are situated on the western bank of the river Tigris, north of the confluence with the tributary Little Zab river, in modern-day Iraq, more precisely in the Al-Shirqat District (a small panhandle of the Salah al-Din Governorate).

The city was occupied from the mid-3rd millennium BC (Circa 2600–2500 BC) to the 14th Century AD, when Tamurlane conducted a massacre of its population.

Archaeology reveals the site of the city was occupied by the middle of the third millennium BC. This was still the Sumerian period, before the Assyrian kingdom emerged in the 23rd to 21st century BC.

The oldest remains of the city were discovered in the foundations of the Ishtar temple, as well as at the Old Palace. In the following Old Akkadian period, the city was ruled by kings from Akkad. During the “Sumerian Renaissance”, the city was ruled by a Sumerian governor.

Aššur is also the name of the chief deity of the city. He was considered the highest god in the Assyrian pantheon and the protector of the Assyrian state. In the Mesopotamian mythology he was the equivalent of Babylonian Marduk.

Aššur is the name of the city, of the land ruled by the city, and of its tutelary deity. At a late date it appears in Assyrian literature in the forms An-sar, An-sar (ki), which form was presumably read Assur. The name of the deity is written A-šur or Aš-sùr, and in Neo-assyrian often shortened to Aš.

In the Creation tablet, the heavens personified collectively were indicated by this term An-sar, “host of heaven,” in contradistinction to the earth, Ki-sar, “host of earth.”

In the Babylonian creation myth Enuma Elish, Anshar (also spelled Anshur), which means “sky pivot” or “sky axle”, is a sky god. He is the husband of his sister Kishar. They might both represent heaven (an) and earth (ki). Both are the second generation of gods; their parents being the serpents Lahmu and Lahamu and grandparents Tiamat and Abzu. They, in turn, are the parents of Anu, another sky god.

In view of this fact, it seems highly probable that the late writing An-sar for Assur was a more or less conscious attempt on the part of the Assyrian scribes to identify the peculiarly Assyrian deity Asur with the Creation deity An-sar.

Above is the Egyptian Hieroglyphic which is sounded out ASSY, with the last symbol as the deterinative, suggesting that the word designates a place, a territory. The first letter, phoneme, a feather is an A, like ALFA it defines the first moment, the beginning, the break through, the finite. The second symbol is the S, SS, Sh,  defines the second moment, in between the one and the two feathers, in motion, in space, in time, as is the copula between subject and object in a verb, that combines the first and last, or the finite with the infinite. The cause of unity. The  third letter is a Y  phonem.  Two feathers represent plurality, the last or the third moment in time; the objective in a verb; the end; the future; the infinite and eternal potential. The tree together in triad, a triliteral represent absolute reality in unity; the touch stone, the process; continues creation; existence. Ever expanding circle generated from a point.  

It is I hope obvious that AISSIA is a compound word that defines the “union” of the one and the two as the Ying and Yang, the masculin and feminine united, two as one in time. The "ss" could be pronounced "us" in Hittite or "ish" in Hebrew or as "Az".  As for the ending ya or yah, we can say that the letter Y represents the generative, or regenerative triune, the common soul, the fundamental governing principal of life, Genesis, ressurection, the eternal cycle and it is pronounced Ya. I believe El-ASH-YA simply suggests union as in the Greek Koinon, Common to all equal as in love of each other. Asha signifies a Union, a collective, a workers union. Asah in Hebrew comes a stage before Bara in that it suggests a peace, as in Shabat, before the beginning of the next creation, not only of an artist but also a reference of the artistry of the phenomenal world, the universe, as in the creation and the manifestation of life itself.

The SS, is the most ancient symbol that represents the union of complimentary yet opposing powers, like the sexes. It was drawn like a spinning swastika, in ancient art it represented unity, as does a cross and many many other graphic symbols.

It is today as much a challenge for scientists and process philosophers to define reality, existence, or life, in minimal, logical and absolute terms as it was for our forefathers. The challenge for a definition is that the word must include the idea of change, of time, because life is a process, not a fixed object or a pure substance fixed in time. “Life” like a verb, is a moving, doing thing. Like a verb it incorporates three moments, a subject, a copula and an object. Thus Ontology.

The word ASSY, like the Egyptian word for the Scarab, KHEPER at root KPR, is also a causative verb, a designer word, a formulaic expression of the same idea attempting to define reality. Kheper, translated to English suggests transformer, governor, the becoming. Kheper was represented by a scarab and associated with the concept of creation. A solar deity linked with the dawn, the dusk, birth, life, death (life in the underworld) and rebirth. An exoteric earthly symbol connected to Ra, the solar deity, the divine embodiment of the sun born each dawn; reached its peak at noon, its death after dusk and reborn with each new dawn. Kheper can also be understood to mean “transforming” or “metamorphosing”. A powerful exoteric symbol associated with the idea of the eternal, the idea of resurrection. This logos referred to what we today understand as the idea of “The Absolute Reality” or “the mediating principle.” The mediating principal in triad, the infinite transcendent and the finite. The Creation, “That which was is and shall be”.

This idea, this concept of “Being” and “Becoming” was expressed in the XIIIth century by Thomas of Aquino as "One can be substituted by being". It is a fact that in Hebrew the verb “to be” is spelled “Yahweh.” The idea here is also of "being coming into being”.

Simply put, the root GBR/KPR is life/existence defined as a dynamic process of self-becoming and being. The word is god and god a verb and both the word ASSY and KHEPER are abstractions of this idea comming from different languages.  

The Kheper is often depicted in the form of a man having a scarab beetle for a head, this scarab as emblem among ancient nations compounded the belief and claim that life is self-begotten and self-produced. It is stated that Atum/Ra (the Sun God, the supreme deity) originated from himself, not from any other being. A "magical papyrus" from the late period (c 300 B.C.E.) has Ra saying: “kheper-i kheper kheperu kheper-kuy m kheperu n Khepri kheper m sep tepy.” Which translates "When I had come into being, being came into being, and all beings came into being after I came into being."

At the time of the Egyptian New Kingdom (1539-1070 BC), the funerary texts from the papyri portrayed the scarab as the symbol that gave meaning to the assumed creative force behind all existence. In the XVIIIth dynasty Queen Hatshepset declared herself to be "the creator of things which come into being like Khepera," Scribes were exceedingly fond of playing upon the word which was used as a noun, adjective, verb as well as a proper name."

In Egyptian every instance and variation of the ending of the word Kheper appears in various modulations in the opening line of a creation story found in a papyrus known as “Knowing the Modes of Re and Overthrowing the Serpent of death Apophis.” This mantra is of self-creation and it reads: “Kheper-i kheper kheperu kheper-kuy n kheperu m khepra kheperu m sep tepy.”

It is to this notion that we owe the myriads of scarabs which have been found in tombs of all ages in Egypt. The idea was one that was exported and universally accepted as true. From 1550BC on, during the middle kingdom the Idea of the creative god as Kheper was supreme. It spread abroad around the costal settlements Mediterranean, the Greek islands and many costal settlements in Asia Minor, Phoenicia, Syria, Cyprus and beyond.

Ra was the almost universally-worshipped king of the gods and all-father of creation. As sun god, he was said to command the chariot that rode across the sky during the day. Ra is the most central god of the Egyptian pantheon. Ra was the sun, heaven, kingship, power, and light. Ra a “He” was the patron of the pharaohs and of many Kings. Ra’s hieroglyphic can mean Day, as in light, as in now, today, the present moment, or “That which is”. It was the most powerful symbol of life’s victory over death. "He flieth like a bird; he alighteth like a beetle upon the empty throne in thy boat, O Ra."


The seat of Khepera was in the boat of the sun, and the pictures which present us with this fact only illustrate an idea which is as old, at least, as the Pyramid of Unas.

Translated, it is the self-created god's assertion of his metamorphosis and how the changes Ra has wrought within itself are directly responsible for the change in everything. A basic reading of Kheper is “I became and the becoming became. I became by becoming the form of Khepra, the god of transformations, who came into being in the First Time.”

Variations on the kheper mantra can be found in documents as old as the Pyramid texts (approx. 2500 BCE).

The ka is usually translated as "the double", it represents a person's double, exact twin. It is what we would call in abstract a body. The ka was said to be created at the same time as the physical body. It is the imagined double of the real thing, an abstraction. 

The Ka, the Ba and the Ra are the syllabic form of the root KBR. Early in Egyptian conceptualization the scarab beetle came to represent our abstract idea of the body, the soul and the spirit.

I believe the “Ba” to be the soul that the ancient Egyptians linked to the “Ka” the idea of the body. The Ba, (soul) rising from the Ka, (body) becoming KaBa, (body&soul) on its journey to its final destination, its objective Ra, (spirit).