Numerological Analyses of Names

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Remember how upset people are if we get their name wrong? To use a name, giving or receiving, is a very strong communicative link. In speech, a name comes across as a sequential sound vibration. In writing it is a strong graphic image - especially as a signature. The name is not the essence of the person, but it is a vibration we give and receive many times a day, so it is an major part of our vibrational diet.

Modern numerology evaluates the letters of our (Roman) alphabet as follows:


If your own language does not use the Roman alphabet, please see the notes towards the end of this article.

In German the ß is given a value of 2 as it represents a double "s". In Norwegian and Danish we would continue the alphabet with "æ" , "ø" , and "å" - being valued at 9, 1, and 2 respectively, but please note that the "æ" would be evaluated as 6 outside Scandinavia because it is then concatenation of "a" (=1) and "e" (=5). The Swedish â ä ö, Finnish ä ö, and Icelandic ý þ æ ö would likewise be evaluated as extensions of the Roman alphabet, despite these last three languages not using the full range of Roman letters within their native words.

Punctuation marks are each given a value of 1, except in German where the umlaut represents a missing "e" so it has a value of 5. Circumflex and cedilla in French represent a missing "s", but that values at 1 here anyway.

The underlying concept is that people energise the letters with numeric values. Numerologists do it consciously, but everybody does it sub-consciously in acknowledging the discipline of alphabetical-order. And there are a lot of people using this alphabet.

When interpreting a name...

Ask the person whose name it is to say the name slowly and clearly three times. Listen for which parts of the name they are emphasising in the sound. Then look at their signature to see which parts of the name they are emphasising in the graphic. The emphasised parts should be given more weight in your interpretation.

The first letter of the name is always interpreted as if it were emphasised. It is the first sound to hit the ear (first impressions count), and it is usually written larger than the other letters in the signature. If the first letter is a consonant, then the first vowel is also taken as being important; but if the first letter is a vowel there is no special significance to the consonant which follows it. If the name begins with two vowels making a single sound (such as "Ou" ), or two consonants making a single sound (such as " Th" ), then both are seen as being emphasised. These general rules are less important than the emphases put into the name by the person whose name it is.

Within the name, the vowels are perceived as "singing letters" which have a special resonance with the heart, and relate to how the person feels inside or sees themselves. Consonants are percussive and harder, so they relate more to the external impression projected by the person. Which letters are classified as vowels varies from language to language. The letter "W" being frequently used as a vowel in Welsh, but never in English. The letter "Y" can also vary in its function in several languages. The test is to ask ourselves "Does this letter sing?" in the context of the name - if it sings we would classify it as a vowel, irrespective of its official status in the language of the name's origin.

Which version of the name should we use?

Harold James Smith (which evaluates to 67) is seen thus by officialdom because this is the full name with which he was documented when he was born.

On his business card is printed Harold Smith (value 55) so that is the first vibration received by his prospective clients.

He signs his cheques as H J Smith (33) so that is the energy influence on his relationship with the bank.

In social situations, and to direct colleagues at work, he is Harry Smith (58). To the people close to him personally he is just Harry (34), except to his father who still calls him Harold (31). So these are the vibrational call-signs within the more personal relationships.

His wife calls him Cuddles (23).

Now what are we supposed to do when this 23-31-33-34-55-58-67 person wants to ask about the numerology of his name?

He tells us he is most likely to introduce himself as "Harry Smith" in a face-to-face situation. So that is where we start. We are likely to analyse " Harry" on its own as well, but we would not examine the surname on its own because that would be an influence on the whole family rather than the individual. We would then ask if he wanted to look into any of the specific areas wherein other versions of the name were relevant.

Example interpretation

Values of individual letters

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The frequency of occurrence is:

When he pronounces his name Harry emphasises the A (value 1) in the first name and the I (value 9) in the surname. In his signature the H of the first name is bigger than the S in the second, but the bar of the T is especially large, emphasising that letter. So we should revise the weighting of the letters.

Then the H (8) and S (1) initial letters are emphasised by normal practice, the H being the strongest as the first of all, so we revise again to:

Incidentally, we could put up the Equilibrium Bottles of the individual letters to see the Rainbow of the Name.

The individual number values are the "actors in the play" of Harry's name (see archived article for more detail) and the positions they are in are the rôles they are playing. The relationship between the actors is important, as is how well they are likely to play their rôles.

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So the actress who is the 8 is playing the rôle of the 1, because she is in first place. The 8's natural condition is to manifest the laws of the spiritual universe, but now she must portray the unity which contains the seed of everything. The fact that she has the actor who is the 1 standing next to her in support will help, as will the fact that her subconscious (base half of Bottle 8) is the same colour (blue) as the conscious aspect of the 1 (top of Bottle 1). Her direct line of descent from her origins (start at 1 and keep doubling to reach 8) gives her confidence to be the star of the show in the most powerful individual letter in the name, and for the same reason, she is likely to highlight the condition of the moment before the 1 gives birth to the 2. The fact that she can look across the stage to see her mirror image in the last position of the name will also support her. The influence she brings to Harry is help in accessing a structured depth of understanding which manifests in the impact of the first vibration.

The actor who is the 1 plays the rôle of the 2 as he is in the second position. The great male archetype plays the great female archetype, so again we are taken back to the moment when the 1 gives birth to the 2, The first two letters of the name have this in common, so they work well together. Again there is a shared blue between Bottle 1 (the actor) and bottle 2 (the rôle). The actor here will need to search for a gentle receptiveness which is not natural to him - helped by the influence of the female 8 star standing next to him. This is the first "singing letter" (vowel) and the actor-1 has a powerful voice. The conjoined "HA" of the first two letters gives the sound of breath, avoiding any harshness in the vowel.

Next we have the actor who is the 9 playing the rôle of the 3. As 9 is 3x3 this work will come easily to him. When we shake Bottle 3 we get the top colour of Bottle 9, and they share the same base colour. The 3 is creativity - the child of the 1 and 2, born neuter and becoming hermaphrodite, but usually portrayed as male externally. The 9 will need to move away from his natural inner quietness in order to show the full power of the 3. This is enabled by the fact that 9 is the strongest of all the individual vibrations within the name.

Now the last actor's twin brother (another 9) is asked to show us the stability of the 4. The 4 is not intrinsically in harmony with the 9, and they have no Bottle colours in common, so this actor has the most difficult job so far, thus may feel the least comfortable. Although he is supported by the adjacent 9's presence, the grounding of the name through the four elements is weak. One would hope that two 9s standing together might feel confident enough to reveal their inner mystery, but we may see only rare glimpses of that.

Finally in the first name we have the actor who is the 7 playing the rôle of the 5: spirituality playing communication. The 7 is perhaps the most reserved of the actors, so the style of communication would be subtle. Let's hope the 7 can learn to dance a bit? The common yellow in the upper parts of Bottles 5 and 7 will offer a well-lit bridge of harmony between actor and rôle, so we should see the result as specifically the communication of knowledge rather than anything else. As the 7 is the triumph of spirit over matter, the influence on Harry is to help open a 'phone line into spiritual knowledge - in a climate created by all the previous letters, especially the two 9s of mystery. It is the 9 who probably best understands the 7. Whilst the letter Y is usually classified as a consonant, it has the sound here of a singing-letter so we must classify it as a vowel with internal resonance.

We now have a picture of the group of actors playing the first name, their relationships with their rôles and with each other. Given an awareness of the space between the names. We would then examine the second name using the same techniques.

After completing both names we would also see a large number - 81,997,014,928 - which we could analyse like any large number, as shown in a previous article (see archive). Notice the introduction of the zero for the space between the names. However, that would be much less important than either the actors concept, or the accumulated value work which follows below.

The progressively accumulated values of the letters give us the script of the play which the actors are performing.

Total Accumulation of all letters

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89182734 3539485058

So the script of the play is:

the arrival of the star of the show (as is always the case), giving a monologue of how she sees her rôle of 1 from the inner viewpoint of the 8.
the 8 and 1 dialogue in the rôles of 1 and 2 great archetypes. Together they make 9 which shows mystery within the Crystal Cave (Bottle 9) to the audience through this dialogue. The plot could require the 8 (yellow over blue) to be " shaken" in some way to make the green of Bottle 9's base.
double 9, so the same song gets louder. The Turning Tide (Bottle 18) shows its Egyptian heritage under the Moon, and the story of 9's mystery is retold in an older setting. The 2 in 9x2=18 brings a receptive feminine strength to the script of this section.
triple 9, now Robin Hood's assertiveness is required by the script. This phase of the play will be full of action, but there are two other factors at work: (a) the Greeks said that a number reaches its perfection in its cube, so here we seek perfection of the 3's creativity; and (b) the number 27 is called The Sceptre, which is an authority symbol when giving laws. So Robin Hoods hard work and stamina are being put to a very specific purpose in this part of the script.
The Birth of Venus. Love is born in the mental-air and emotional-water in the foam at the edge of the sea. Harry is a male name, but its final purpose is to give an energy which enables the birth of a goddess. This is what all those 9s were working so hard towards. And 34 is the ninth (so 9 again) in the Fibonacci sequence of numbers which relate to natural growth and to perfect proportion.

Then between the two names we have an interval during which the audience can absorb the message of the first name before meeting the second.

this is 5x7, so it picks up the 7 having played the 5 at the end of the first name, reminding the audience of where we left off. Kindness is now in pink over violet. The communications abilities (5) within us come into harmony with the way creativity (3) is expressed in the universe. The audience is drawn towards helping each other. There is a tetrahedron built into the stage-set because 35 is the 5th number in the solid tetrahedron sequence, which illustrates how the animal, vegetable, and mineral kingdoms are united.
3x13 so creativity (3) in change (13) manifests in violet over gold, and we allow our higher selves to be The Puppeteer (B39) guiding our current incarnations. This part of the play is set in Egypt again, as was the 18 (colour inversion). The crusade started by Robin Hood is now taken up by the Knight of Cups. The learning process is more poised and serene when led by one's higher puppeteer.
12x4 - humanity expressed in the four worlds. Our inner feeling for the spiritual laws (8) comes into harmony with the stability (4) of the universe, and we are lifted onto Wings of Healing (B48) in violet over clear. The actor who asks us to lift ourselves to this point is the 9 in the singing letter I, whose inner resonance here helps the audience to take a spiritual (violet) view of the human race (12) at all levels (4) with clarity.
a meditation (0) on the 5 of communication in the pale blue enlightenment of El Morya. The trust in the higher self shown in the 39 has now moved to a trust in the divine.
2x29, the Goddess manifests and the Pillars of the Temple are mirrored. Orion and Angelica in pale blue over pale pink, perhaps merging to a pale royal blue. The audience's inner resonance with the spiritual law (8) comes into harmony with the way communication (5) with the microcosm (5) is fulfilled by the universe. The full name begins and ends with the 8 of the H. Now we see that 8 in the context of the 58. This total vibration of the whole name invites Harry, and those who call him by this version of his name, to glimpse the temple of light which can be built within us.

In the process of gradually building up the whole value of the name, after having examined the individual digits, we arrive at the final total with a fuller understanding from which to view the overall picture. Of course we could simply add the digits and interpret the 58 alone when time constraints prohibit the fuller reading.

Now we look at the inner song of the name which resonates with the heart.

Accumulated vowels - interpreted as singing letters

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01118 88171717

We are still classifying the Y here as a vowel.

There are three notes in this song: 1, 8, and 17.

Each note is held for an equal length of time in this case, during 3 letters each.

In cases where vowel sound are held over very different spans of the name we would give differential weighting to the vowels.

The 1 contains the seed with the potential for everything, shown as blue over deep magenta, with the correct confidence of the Magician.

The song rises to an 8, which has been a strong factor in the whole name, so the inner feeling connects with the overall picture.

Finally it arrives at the 17 of the Star of Hope. Notice that 2x17=34 which was the whole value of the first name. Connecting the inner total with the whole personal part of the name shows a structural integrity through the name's vibrational influence. Also 17 is the 8th prime number, so we have another harmony with the 8 which is further strengthened by Bottle 8 shaking to the green top half of Bottle 17. The violet base of B17 echoes the violet theme in the latter half of the first name's script story.

It would not be normal practice to examine the sequence of consonants alone, but there is no reason why you should not do it if you especially need to look at external aspects.

Change of Name

When somebody changes their name, look at the name before and the name after the change to see the two different influences on them. AND look at the difference got from subtracting the number of one name from the number of the other - which will give information about the process of the change. Use the techniques shown last month (in the context of partnerships) to look at the relationship between the before and after names. There is no significance in which number is higher or lower.

If you do not use the Roman alphabet

If you are working with either a Greek or a Hebrew name, it is best to use the numerology system which is native to that language and culture, and to stay strictly within that system's own vocabulary of interpretation. The Hebrew letters clearly relate to Bottles 0 to 21 via the Tree and the Taro. The Greek alphabet covers bottles 22 to 45 inclusive. So we can bridge to the Bottles colour vocabulary in either case. Transliteration from Hebrew or Greek into the Roman alphabet takes the name out of its natural environment, so using the techniques in this article would be rather like trying to row a boat along a street.

If you are interpreting a name which would be written in the Cyrillic alphabet. Number the Cyrillic letters in their alphabetical order, just as the Roman letters were numbered in their order at the beginning of this article. Then use exactly the same techniques that have been illustrated above. The Cyrillic letters are already energised with sequential number values because so many people acknowledge and use their alphabetical order.

If you are interpreting a Japanese name. Write the name in Hiragana or Katakana characters, family name first then personal name. Work out the value of each of these characters by referring to the Romanji values at the beginning of this article (but do not write the name in Romanji as that would break up the name artificially). Then treat the Hiragana or Katakana syllables as the actors in the play. Then progressively add the accumulating value of the whole name, syllable by syllable, to create the script of the play. The basic 43 characters of Hiragana or Katakana each have values ranging from 1 to 22, so we need a wider interpretive vocabulary than the 1 to 9 which is used for western names in Romanji. Use Aura-Soma Equilibrium Bottle 1 to 22 as the easiest way to interpret the number values of each character, and use the whole Bottle range to interpret the accumulating values in the script. Please see also the third archived article here on the subject of higher numbers. There will be a future article, featuring names of numbers, which will also contain helpful information. Courses on this subject are available from Nosaka Eiko San email

For other languages:
Either use the language's own system of numerology if it has one (like Greek or Hebrew).

Or use the established alphabetical order, if there is one, to number the letters (like Cyrillic).

Or, in languages which work with whole syllables, use the same technique as for Japanese.

If you would like to ask a question about this article, please email


This month's question is:
Can you identify any well known people (present or past) whose names have a vibration which would be helpful to what the person does?

Send your answer to 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.