Egyptian Artifact, Scientific Paradox, Writer's Brain

I’ve been researching the Emerald Tablet. In short, it is an historically documented tablet that tracks back to the Egyptians, allegedly authored by Thoth, a.k.a. Hermes Tristmagistus, in a mysterious period named the ‘Zep Tepi’ that occurred prior to a great cataclysm. The Zep Tepi refers to a time where god like beings came to earth and made Egypt their base of operations. Thoth, the Egyptian God of Science, was part of that landing party.

The Tablet has bas relief info carved onto it’s surface, and is a rectangular affair similar to a green, translucent crystal like an Emerald. Thus the name. It is the cornerstone for Hermetic Magic. Basically, the 13 bits of info give instructions to harmonize the Macrocosm (World of Diety: BIG) and the Microcosm (World of Man: Small), and has been a mainstay in Alchemy across cultures and through the centuries. Man and God are in some ways oppositional, as is Earth and Fire, Above and Below: yet this text teaches the way to harmonize the two, creating a unified consciousness that possesses ultimate power and the keys to operating creation.

The Tablet was hidden by Thoth prior to this great cataclysm, to keep it safe. Arabic, Egyptian and Hebraic schollars all attribute the tablet to cultural specific mythic figures, but the strongest body of evidence still points back the Egyptians and perhaps, the founding Aliens.

Enter science.
Physics seeks to describe the universe, a.k.a. the cosmos. There is one branch that approaches it from the Macrocosmic perspective: Albert Einstein’s Theory of Relativity, which looks as stars, galaxies, and the like. The other branch approaches it from the Microcosmic perspective: Quantum Physics, which looks at the smallest of the small particles such as atoms and molecules and such. Macrocosm, Microcosm, and never the twain shall meet. Science has been seeking in vain a Unified Field theory. String Theory may be that unification of the two. String Theory proposes the idea of multiple layers of dimensions, many realities, infinite creation. Now science is in a duel, challenges laid at the feet of String theory to proof out, or get out.

Back to the tablet.
Thoth hid it to keep it safe. It leads me to surmise someone was after it, and would either destroy it or use it in a way it was not intended, or should not be used. So, it has power. Because it unites the two levels of existence into one, describes the way to know the secrets of creation of the universe: ie: the operating manual and guide to the life, the universe and everything. Which is what the Unified Field theory should be. So let’s say you had the instruction manual that blended science and magic (and we know that science reaches a point where it is so advanced it becomes indistinguishable from that called magic). You could do some serious things with that information. Good reason to keep it hidden. Good reason to search for answers. Is science, in searching for Unified Field Theory, and attempting to prove or disprove String Theory, reverse engineering the Emerald Tablet?

Why are the letters raised on the tablet and not engraved? Might engraving damage the crystalline structure, or injure information contained inside the body of the tablet? What’s really contained in that tablet? Surely more than just the letters on the body. At the time of it’s creation, the structure, a crystalline green stone, was not the preferred nor popular method for recording information. Indeed, no where else in time and history does that method ever become popular. Emeralds, we now know, can be used in industrial lasers. And, crystals, we know, can be used to modulate and transmit sound energy, as well as light.

What if Thoth’s Emerald Tablet was indeed the blending of the Macro and Microcosm, and did contain what we are looking for: ie: The Idiot’s Guide to the Physics and Operation of the Universe, with forwarding chapter on the fluid nature of time, and trans-dimensional travel. Maybe Thoth was not an alien, but an earth resident of the future, coming to the past to hide information that either damned the earth, or, like Excalibur and King Arthur, would one day be needed, and thus preserved and ready when the time arrived? What if Thoth was an alien, and hid information that showed the way to pass from dimension to dimension. While trans-dimensional travel has promise on the surface, the conservation of energy/matter theory shows that at a deeper level it poses danger. Matter can neither be created nor destroyed, merely changed. That’s it. Can’t take it out of the universe, or put extra in. Kind of gives the infinite a limit, in a way. So what if you cram in extra, or take out some from one dimensional universe? I’m not sure, but I doubt it would be good.

The Tablet, the notion of taking two and making something larger than the sum of one and one in the blending of them, they all play out in Nobody’s Hero. Not necessarily as outlined above, maybe not even in the expected way, but they are foundations to the subtext, and the overt plot. But exploring them has lead me into murkier thoughts about my writing, and the many paths that can branch from one single point. The blending of fire and earth, a mutable element and a fixed element, made me think about the twists a story can take, not so much in plot, but, in form.

The Eternity Covenant series is written as category romance (Immortal Protector and Nobody’s Hero). That’s brain waves transferred into words. What form might it take if I took out the romance, or toned it down, and made it more urban fantasy? Have I shifted dimensions at that point? What might it do to the original intent of the story? Not that I want to change it. I don’t because I’m happy with it Immortal Protector as is, and I’m forging ahead into Nobody’s Hero, telling the story in the parameters of the category romance format. But it was a funny idea, and one that held me for a while. I almost wanted to write both books from multiple angles, to see how each would come out and what elements played out as critical from permutation to permutation.

This is how I know I’m weird. And this is how I know I’m a writer. Because this rattles around in my head all too freely, and I’m not even considering calling a therapist.