Oladimeji… Foretelling the future from the past
It was as a student of graphics arts at Obafemi Awolowo University, Ile-Ife that Oladimeji first had contact with Egyptian art and what he has eventually come to propound as ‘English, the Language of the Gods’. For Oladimeji, a close reading and rereading of the names of kings and the gods of Egypt yield English, or at worse, pidgin or broken English, meanings.
As an ICT expert working in cosmopolitan London, U.K., Oladimeji, over the years, has come to devote a substantial time and resources to researching what came to him as a gut feeling back at university, when the idea first occurred to him.
“The Egyptian oracles used English to communicate back in the days,” he said recently in Lagos, while making his findings known. “It is only now that we look at the names that they make sense to us. The first time I encountered Egyptian art, I had the impulse that this was English. I got to England and read up on it and had to look at what I had felt at Ile-Ife.”
The paper Oladimeji is propounding is ‘English, the Language of the Gods.’ His aim is to ‘prove that the names of the Egyptian Pharaohs and gods are English, or at worse, broken English,’ ‘to infer that encoded messages may be perceived by reading the original scripts in their proper context, using the example of English above’ and ‘to suggest that the encoded messages are relevant and meant for us in our present times.’
Oladimeji goes on to provide ample examples of his scholarly finding thus: the names of Pharaohs ‘Hatshepsut’ becomes ‘Heart-She-Shoot,’ ‘Amenophis’ becomes ‘A-Man –of-Peace’ and ‘Amenotep becomes ‘A-Man-of-Depth.’
As Oladimeji explains, “These names, when translated into English, or rather re-pronounced, we find a description of their personalities/dispositions and more. The key is in the ‘pronunciation’ or ‘sense of context’. If one looks at the original script in its proper context, it appears not only to tell a more informed social history and worldview but a prophetic story relevant to our time (ahead) and more.”
The fledgling expert on the Egypt’s oracular behaviour provides further instances that are telling and illustrative of his findings, of how the priests made oracular pronouncements from the gods in naming Egyptian gods and kings in English.
According to him, “’Thoth’, as a god known to the Egyptians, was described as ‘the inventor of writing,’ ‘the scribe,’ ‘the interpreter,’ ‘the creator of languages’ and ‘the adviser to the gods.’ In modern terms, ‘Thoth’ sounds ‘Thought’ as in ‘Thinking.’ ‘Seth’ was known as a god associated with ‘disorder,’ ‘storm’ and ‘warfare’. In today’s terms, ‘Seth’ sounds as ‘Seethe’ as in ‘anger’. Another example is the god ‘Apis,’ of a bull with a man kneeling before it, which sounds in modern times as ‘Appease’ and so on.
“Basically, I’m saying English is the secret code of ancient Egypt. I’m not saying Egyptians spoke English at that time. What this paper does is to present another layer of history that had been previously concealed. It peels open another chapter of history and ultimately proves the case of a superior intelligence and designing force.”
In the paper, Oladimeji outlines the method of Egyptian names decoded, verified and validated in English or broken English thus, “Pronunciation or re-pronouncing in English, contextualising for confirmation, that is, words or abstracts ideas, association for inter-relative confirmation, that is, names and places, cross-referencing persons/people with their history/achievements for confirmation, correlation of names with aliases, grammatical transformation, and thereafter deciphering, decomposing and recomposing for confirmation, that is, syllables, words, phrases.”
Oladimeji also provides the example of ‘Queen Tiye,’ who wore a twin uraei head-dress, noting, “This is a very symbol as Tiye (Taiye) means the first of twins in Yoruba language in Nigeria. The twin head-dress she wore was, therefore, a symbolic representation of the fact that she was a twin.”
The researcher, therefore, argues that with over 250 words from ancient Egypt easily decoded in this manner, “The place of the black man is being reaffirmed. I want to share this illumination with my people, who need this information more than Europeans, who may contradict it because they want to hang onto their superiority and cultural hegemony.
“My discovery has thrown history in disarray. Europeans don’t believe we had history. I’m opening up discussion on ancient history and the black man’s place in it. There are so many dynamics to it; it is capable of changing the dynamism of our educational orientation. I’m looking to push through with it. We don’t appreciate our blackness. Black people don’t have self-belief; this must change.”
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