The Last Trumpet

The third woe "cometh quickly". It is passed in the dialectic process as the mark from fellowship to fellowship before one can notice it arrive. It logically opposes Christ and the Holy Spirit and is a direct result of the locust and serpent spirits: The image is set up in a form that is not immediately perceivable - but it is buried in the process itself without the participants recognising the ten kings of the image or having the discernment to recognise the sources of leaven amongst them - indeed the first is an abstraction and the second may not be even present in the room - they may be in a fellowship far away employing the same method of dialogue elsewhere.

The seventh trumpet is the "rest" state of the seven trumpets seven cycle. In corresponding the last three static subgroups to unity (those subgroups that also contain the unity element) there is the movement of antichrist in setting up the spirit of "Death". The distinction is between the valid K4 ultrafilter of;

a = 1 = [a,b,c] (static)
b = [a,d,e]
c = [a,f,g]

on the right with

a = 1 = [a,e,f] (static)
e = [a,c,d]
f = [a,b,g]

on the left

and confused or equivalent with the serpent spirits that are aligned with the last three trumpets in sequence as represented similar to;

a = 1 = [a,b,c] with [a,e,f] static
e = [a,f,g]
f = [a,d,e]

a = 1 = [a,e,f] with [a,b,c] static
b = [a,c,d]
c = [a,b,g]

These "serpents" appear to be valid in the octal - they preserve the "hail and fire mingled with blood" we saw in the first trumpet. In fact they are illegal in the automorphisms of GF(8). We saw this before in the passage of the witnesses in the "tenth part" of the city falling with the transposition (e,f) acting from the left hand as within the right. (we may exchange {b,c} for {e,f} and vice versa).

All that follows quickly is the image: The image blueprint is to ensure that the 120 possible choices of three kings from ten may be applied as pre and post multiplication as by elements of S5 on the group A5 formed from the five refining churches. (In truth they are only upon the first four churches, the fifth is under the influence of the star with the key to the bottomless pit, rather than in the Holy Spirit.)

That fallen star is properly a serpent (illegality in the octal) spirit, being "Death" (Wormwood) or properly enabling the "Hell" that follows after, (Abaddon). We see clearly the meaning of the letter of Christ's words:

Rev 3:1 And unto the angel of the church in Sardis write; These things saith he that hath the seven Spirits of God, and the seven stars; I know thy works, that thou hast a name that thou livest, and art dead. (KJV)

Now whilst the angel dwells in sardis, he is actually spiritually dead, if he rests upon his name as "angel of the church". The angel must overcome, in the same manner as all; all must exit sardis, for the text states:

Rev 3:4 Thou hast a few names even in Sardis which have not defiled their garments; and they shall walk with me in white: for they are worthy. (KJV)

So then, in obedience to the calling of grace into philadelphia from the five refining churches, one must exit sardis and the serpent spirit and move into the life of Christ as in the first resurrection. Once this one serpent is overcome, (and then they all are!) the reward is approval in Christ of the philadelphian remnant's spiritual position, having overcome the world.

With regard to the serpent spirits, there are six possible transpositions or elements of order two utilised by them in the pseudo octal, {(b,c), (d,e), (f,g), (b,c)(d,e), (b,c)(f,g), (d,e)(f,g)}. With the synthetic balance formed by the image upon the group A5 with gHg^-1 the numbering of 660 elements as calculated (from the group S6 with the source of leaven enjoined) having reduced S5 to A5 allows a possible six factorisations down to A5 from S5 using these six order two elements. They preserve the same structure of A5 on the refining churches (up to isomorphism).

Likewise the logic of the serpent spirits is in the image's amalgam as put forth by the role of the facilitator in the dialectic process. The lust of the flesh (the reduction to A5) the lust of the eyes (pre and post multiplication) and the pride of life (the process itself that absorbs the elements of S5 conjugated on A5) form 660 elements with an arbitrary choice of six states of "synthetic logic" we may add on as a final "six". Truly the beast numbers 666 here in its image, as well as in the possible variations of the pale horse or "Death". It is difficult to equivocate these two numbered cases in a 1-1 fashion or bijection, I have not tried to do so yet.

Then we may also note that 12 of the elements of S5 are not constructible by the addition of the fallen star with the key to the pit - the octal simply does not allow for them to be present as elements. The purpose of the image is to heal this with the dragons devices rather than relying on the properties of the seals or trumpets as methods. Satan can not close this system, and may not spoil the Lord's house for God is the stronger man than he.

Since those twelve elements are not plausible, we may state that in S6 there are elements of the cosets of the subgroup S4 (not a normal subgroup of S6) in S6 that are likewise not able to be constructed. There are 720/24 = 30 such right-cosets with half of their elements each that are "implausible". Is there a direct correspondence with the 30 possible octals? There are actually therefore 30 x 12 = 360 faulty elements of the image that may not be constructed. A full half of the total. The remaining elements do not form a subgroup of S6 or form A6.

We may perhaps remember that Christ put the dividing line between five wise and five foolish virgins, or that "one will be taken and the other left" with "two grinding at the mill." We do not expect half the people to leave the churches, but we may state in defence of the maths that the "spirit is willing but the flesh is weak." The image is an attempt to place the weakness of flesh into the spirit by leavening the churches with doctrine that takes the place of carnal lusts. It is actually a seduction process.

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