Unveiling 1

"A circle traced by the end of a rotating arm."

The term γράφω graphó evolved from the original meaning of "scratch" or "mark" (Il. 6.169) to represent creating lines, drawings, and figures, including maps (Hdt. 4.36), geometric shapes (Euc. Post. 3; Archim. Sph.Cyl. 1.23), and curves generated by motion (Arist. Mech. 848b10; Archim. Sph.Cyl. 1). Its mathematical and artistic applications highlight its role in depicting forms and diagrams. This is the word from which we get "graphics."

Aristotle's Mechanica (848b10) and Archimedes' On the Sphere and Cylinder (Book 1) pertain to the use of the verb γράφω in the context of geometry and mechanics, emphasizing its role in generating or describing mathematical figures and motion.

1. Aristotle's Mechanica (848b10):
   In Mechanica, Aristotle discusses the principles of motion, including how lines or curves are generated by the movement of points. The verb γράφω here describes the act of "tracing" or "drawing" such figures, illustrating the geometrical understanding of motion, where a moving point leaves behind a visible path, such as a circle traced by the end of a rotating arm.

2. Archimedes' On the Sphere and Cylinder (Book 1):
   Archimedes frequently uses γράφω to describe the process of generating geometric figures through motion. For example, in On the Sphere and Cylinder, he examines how a point moving in specific ways can describe a curve or a surface, such as a sphere or a helix. The term underscores the dynamic creation of figures in the study of geometry and mechanics, linking abstract motion to visible forms.

These usages highlight the transition of γράφω from its basic meaning of "scratch" or "mark" to a sophisticated technical term in Greek mathematics and mechanics. It conveys the idea of "drawing by motion," foundational in describing geometric constructions and the relationship between algebraic and visual representations.

The Asia

Would anyone have thought that these words needed interpretation, especially considering the core theme of Revelation is symbolic imagery and prophetic concealment? No one did, and perhaps this is because of certain deeply embedded inclinations against the feminine paradigm? It goes without saying that the elevation of the feminine is one of the most taboo and sacriligious things in all the world's major religions, and this is as deeply embedded as the sacred texts of said religions are fortified toward the masculine. When it comes to Babylon "the Great Harlot" the scholars are quick to accept the symbology without question. Why? Because she's bad. But when it comes to such symbology as "the Asia Titaness" it scarcely even crosses their minds—minds which have already decided that the feminine is basically "responsible for the fall of mankind." And perhaps the feminine is responsible for the fall of mankind, considering the Great Harlot who "sits over many waters." But if so, perhaps equally, the feminine is also responsible for mankind's rebirth?

The Book of Revelation opens with the address:

“John to the seven assemblies that are in the Asia” (Rev. 1:4)
Greek: Ἰωάννης ταῖς ἑπτὰ ἐκκλησίαις ταῖς ἐν τῇ Ἀσίᾳ

This is traditionally taken as a geographical reference to the Roman province of Asia (modern western Turkey), where the seven churches—Ephesus, Smyrna, Pergamum, etc.—were located. However Revelation is overtly symbolic and allegorical throughout. The reader is explicitly told (1:1) that the content is conveyed "in signs" (ἐσήμανεν).

In Greek mythology, Ἀσία (Asia) is not just a place but a Titaness, a female divine personification, often regarded as the eponymous matron of the region.
She is:

• Daughter of Oceanus and Tethys (a sea-born lineage),

• Sister to other personified elements (Doris, Europa, Thrace, etc.),

• Sometimes wife of Iapetus, mother of Prometheus and Atlas—thus a matriarchal figure at the root of civilizational myth.

This is crucial: to say “Asia” in the 1st century CE is not only to invoke a province—it is to invoke a name freighted with mythic, matriarchal, and symbolic possibilities.

Romans 16:5

Notably, the phrase “firstfruit of the Asia” (ἀπαρχὴ τῆς Ἀσίας) carries quite a semantic weight favoring a divine referent over a mere geographic sense, particularly in literary or religious contexts where ritual offerings or symbolic “first fruits” hold significant meaning.

• ἀπαρχή (firstfruit, first sacrificial offering):
  This term inherently invokes ritual or sacrificial connotations, typically directed towards a deity or divine figure rather than a land or political entity. When one speaks of “firstfruits,” it is usually understood as an offering made to a god or goddess. (cf. LSJ ἀπαρχή)

• Implications of “Firstfruit of the Asia”:
  To say “firstfruit of the Asia” can symbolically signify:

  • The initial or premier offering to the Titaness Asia, acknowledging her divine role and patronage over the land and its produce or people.

  • The origin or primordial essence deriving from the Titaness, possibly referencing her offspring or the beginnings of peoples or gifts associated with her domain.

The translation of ἀπαρχή (aparchē) as “convert” in Romans 16:5—as commonly rendered in modern English Bibles (“first convert in Asia to Christ,” etc.)—is not even remotely accurate. It's a boldfaced change rather than a faithful rendering of the actual Greek:

"a first convert in Asia to Christ" 

vs.

"a firstfruit offering of the Asia into Christ" (the real verse)

When I don't understand something enigmatic, and decide instead to hack up small elements of a verse, am I really showing myself trustworthy? If one cannot be trusted with the small, can he be trusted with the great?

(cf. LSJ, DGE, Bailley, Wikipedia Asia Oceanid)

Πάτμος (Patmos) is one of the islands in the Aegean Sea, specifically part of the group known as the Sporades. The term "Sporades" (σποράδες) comes from the Greek word meaning "scattered" or "distant," reflecting the islands' dispersed locations. The Sporades include notable islands such as Skiathos, Skopelos, Alonissos, and Skyros. Patmos, a key island in this group, is historically significant and is mentioned by ancient Greek historians like Thucydides.

Many Aegean toponyms come from pre-Greek languages, and Πάτμος could have originally had a non-Greek etymology that was later reinterpreted or phonetically adapted within Greek. Absent of any attested etymology, we can only rely on its components to derive any intended/encoded meaning:

1. In many Greek words the segment "πατ" is a reduced form of πατήρ, meaning “father.” Classical Greek compounds such as πατριάρχης (patriarch), πατρίς (fatherland), and πατρῐκός (of one's father), clearly display this derivation, reflecting an Indo-European root that connotes ancestry or origin. Other words show a derivation from πατεω (to tread) such as πατ-ησμός (treading on), or πατ-ητής (one who treads grapes).
2. The ending -μος in Ancient Greek commonly appears both in adjectives and in nouns derived from verbs, serving distinct but related functions. In adjectives, -μος frequently marks third-declension forms, often describing qualities or states, such as ἄφιμος ("strong") or κράσιμος ("well-mixed, temperate"). These adjectives function descriptively, modifying nouns to indicate inherent properties. In contrast, when -μος appears in noun formations, it typically derives from verbs and denotes an action, result, or state associated with the verb’s meaning. Examples include δεσμός ("bond, fetter") from δέω ("to bind"), νόμος ("law, custom, usage") from νέμω ("to distribute"), and τρόμος ("trembling") from τρέμω ("to tremble"). These noun formations often capture either the process or the outcome of an action, distinguishing them from adjectives, which primarily function as descriptors. While the -μος ending is not as systematically productive as others like -σις (which often forms action nouns), it remains a significant morphological feature, contributing to a range of common Greek terms that persist in later linguistic developments.

Added to this is the NT attestation of the feminine πατρίς patris (fatherland) Strong's Greek #3968. This may also explain why the Ancient Hebrew for the plural "fathers" is in the feminine אבוֹת abot. 

The association of Ephesus with a "bee" or a "city of the Mother Goddess" is rooted in the city's ancient religious traditions, particularly its connection with the worship of the goddess Artemis, who was later syncretized with earlier Anatolian mother goddess figures. Here is a more detailed exploration of these concepts:

1. The Bee Symbolism:

• The Bee as a Sacred Symbol: In Ephesus, the bee was a significant symbol, often associated with the goddess Artemis. Artemis of Ephesus was distinct from the more widely known Greek Artemis as a virgin huntress. In Ephesus, she was worshipped as a fertility goddess, reflecting earlier Anatolian mother goddess traditions. The priestesses of Artemis were sometimes referred to as "Melissae," which means "bees" in Greek.
• The "Melissae": The term "Melissae" not only referred to the priestesses but also had a symbolic connection with the bees, which were seen as sacred creatures in many ancient cultures, including those of the Aegean and Anatolia. The bee was emblematic of industry, community, and the nurturing aspects of the goddess.
• Archaeological Evidence: The connection between Ephesus and the bee is supported by archaeological finds, including coins from the city that depict bees, often alongside images of the goddess Artemis. These coins date back to as early as the 6th century BCE.

2. City of the Mother Goddess:

• Artemis of Ephesus: The worship of Artemis at Ephesus is well-documented, and her cult was one of the most significant in the ancient Mediterranean world. The Ephesian Artemis was depicted differently from the Greek Artemis; she was often shown with multiple breasts or with symbolic elements like beehives, indicating her role as a mother and fertility goddess. This iconography is thought to be a continuation of earlier Anatolian mother goddess worship, which was prevalent in the region before the arrival of the Greeks.
• The Connection to Cybele: Some scholars suggest that Artemis of Ephesus may have absorbed attributes from Cybele, the Phrygian mother goddess who was also worshipped in Anatolia. Cybele was often associated with fertility, nature, and wild animals, much like Artemis, but her worship was more directly tied to earth and fertility, which may have influenced the depiction of Artemis in Ephesus as a nurturing, motherly figure.

Σάρδεις (Sardis) is a plural form used for the ancient city, while "σάρδης" (sardēs) refers to a type of stone, specifically carnelian. The connection between the city name and the stone suggests that the name of the city could be related to the local significance of carnelian or to the city's trade in gemstones. The term "σάρδης" highlights the city's association with the gemstone industry in antiquity.

The ῥομφαία rhomphaia was originally a "spear" and later a long, curved "sword." 

Historical accounts and linguistic sources show that it originally functioned as polearm. Rich’s Dictionary of Antiquities describes it as having a wooden shaft of the same dimensions as the iron head, similar to the Roman pilum (javelin).

Hesychius lists ῥομφαία as μάχαιρα, ξίφος, ἤ ἀκόντιον μακρόν, indicating it could be a sword, long blade, or even a javelin-like weapon. Additionally, the Dacian falx, a similar weapon, had long-handled variants used with two hands, further supporting the idea that some ῥομφαίαι were polearm-like.

Roman military adaptations against Thracian and Dacian warriors—such as reinforcing helmets—suggest that these weapons had enough length and impact force to be effective in breaking shields and armor, a characteristic of polearms and long two-handed weapons.

cf. Rhomphaia, Glaive, pilum, polearm