There are several ways of dealing with larger numbers. The simplest is to "reduce" the number to a single digit by adding the number's digits until there is only one left. For instance 197 reduces to 17 (=1+9+7) which in turn reduces to 8 (1+7). The 197 would then be interpreted as if it were an 8.
What is actually happening there is that we are classifying 197 among a very large group of numbers, all of which reduce to 8. The sequence would begin 8, 17, 26, 35, 44, 53, 62, 71, 80, 89...
The classification can be refined by being aware of the "reduction route". Our example 197 reduced to 8 via the 17, so would belong in the sub-category of 17 and exhibit a "seventeen-ness" in its character.
The technique works, so far as it goes, but each of these numbers is different.
The immediately obvious alternative is to use the Aura-Soma Equilibrium bottles as a complimentary vocabulary to understand the number, if the number is within the range of bottles which have been born. This works perfectly for either absolute number, such as a date, or for any number which has been generated using modern numerology. Some care needs to be taken if the number has been generated using any other system (eg: Hebrew, Greek, Runic, or the Traditional European System), the bottle's message will still be valid, but it is likely to be at a deep or subtle level. Whereas within the Modern System of numerology, the Equilibrium Bottles are a natural vocabulary, with truth at all levels - including the obvious.
Here are two other methods we can use to interpret multi-digit numbers - the meditative and the theatrical.
Any number can be treated as a meditation. Feel how the concept symbolised by final digit manifests within yourself, visualise how the properties of the rest of the number manifest in the universe, and meditate on how these two concepts are brought into harmony.
So, for instance, to gather the meaning of 43, feel how creativity (3) manifests within yourself, visualise how stability (4) is manifest in the universe, and meditate on bringing your creativity into harmony with the stability of the universe. We have used only one-word " meanings" for the digits in this example, but in practice one would gather all information on the relevant digits before beginning the meditation.
For a three digit number such as 528, the 8 within you comes into harmony with the 52 in the universe. So you may need to meditate on the 52 alone first, before moving on to the 528.
The four-digit 6715 would take a little longer, starting with 67, then 671, and finally seeing 6715 as the 5 within you harmonising with the 671 in the universe. Beyond three digits this procedure becomes rather cumbersome, so we need an alternative technique to deal with very large numbers.
In any technique for dealing with higher numbers, other than reduction, we will encounter the zero. The first time this happens is in the 10. Ten is called the number of meditation because it the receptive quiet space (0) within the individual coming into harmony with the unity (1) of the universe.
In order to perceive zero accurately, it helps to remember that Hebrew and Greek have no symbol for the zero. So in calculations they would leave an empty space where we would put our symbol "0". The empty space is more eloquent, as there really is nothing there. A nothing which might receive anything.
The final technique here suggests treating the digits of any number as the actors in a play.
Call to mind two people who you know, but do not know each other. You know you could write a play about how they would interact if they met. We use the same technique- regarding the individual digits as if they were people who epitomised their number's characteristics and archetypes.
The meaning of a thing change according to its position. A knife on a table at mealtime means food is expected. A knife under a pillow has a different meaning. So the interpretation of a digit varies according to its position within a number. Each digit is an actor, and its position is the rôle it is playing.
We need to get to know the individual digits very well before we can use this technique fluently, but the process of practicing helps to achieve that.
Examples of actors in the play: (These examples are machine-generated random numbers.)
The actress who is the 8 is playing the rôle of the 1 because she is in the first position. Makeup and wardrobe departments will have to work hard to make her look like him. She is the star of the show - because in the natural sequence of numbers from 8000 to 8999 she is on the stage all the time. She, who is the embodiment of all spiritual law and the finite reflection of zero and infinity, must portray the original seed energy of the unchanging unity. Can her strict framework encompass his independence?
The actress who is the 6 joins the play in the main supporting rôle, playing the part of the 2. In a way, she is playing her grandmother, but both are ageless. The 6 will feel comfortable in this rôle- Venus imitating the Moon; Love showing the universal Mother. So she will be free to give the starring 8 the support needed for that more difficult acting, but will she want to? The relationship between the 1 and the 2 who are being portrayed is fundamental to the whole sequence of number; but what is the personal relationship between the two actresses? Will the law (8) inhibit Venus (6), or will Love (6) provide a beautiful environment in which the law can be expressed mercifully?
The actor who is the 1 is playing the rôle of the 3. Will his majestic style need to be suppressed? No. The third position may be junior in the theatre, but Apollo is playing Jupiter here. The creativity and growth of the 3 can be dramatic. Will he hog the limelight by trying to show off to the 8 and the 6, or will he allow his dignity to radiate his support for them?
The actress who is the 4 is playing herself in the 4th position. The fact that she is in a four-digit number also makes her feel at home. So her work is easier than that of the other players. She is on the stage only briefly- succeeding the 3 and preceding the 5- but because she has just entered the play, the mind of the audience is with her as she assesses her relationship with the other three characters. Her stability will calm the actor who is the 1 to stay within his rôle as the 3. She has a natural affinity with the 8 who is the star, so she helps to make this act (8614) of the greater play (zero to infinity) a success.
Reducing 8+6+1+4 = 19, and 1+9 = 1 tells us which reduction family the 8614 belongs to, so it may help us to design the scenery on the stage.
Here are some examples of special features in our theatre of numbers:
The 6 and the 2 stand together while the 8 in the fourth place must show how she feels about being alone on the other side of the zero's empty space. The director may ask the set designer to decorate the space, perhaps with a hint of water (3rd element) as a four-digit number could be seen as an expression of the four elements.
When there is clear pattern or symmetry within the number, it should be allowed to influence the plot of the play.
A decimal point within a number forms an obstacle on the stage, which is likely to create an "us and them" situation between the actors. According to who the actors are, you may (or may not) choose to restrict freedom of dialogue between the two groups.
For fractions we can use an Elizabethan theatre, which has a gallery as part of the stage (as in the Romeo and Juliet balcony scene). For interpretation, note that the upper number is being divided, and the lower one is doing the dividing. So that passive/active relationship must show in our script.
Next month we will look at how we can use numerology to see additional information in an Aura-Soma four bottle reading.
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This month's question is:
What do you feel about the numbers 123 and 231- individually and/or comparing them?
Send your answer to firstname.lastname@example.org if you would like to. A future feature will publish some of the answers of the widest general interest- with your name credited to honour your copyright.