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DECIPHER MANKIND HAD 1200 YEARS YEARS TO CRACK THE CODE WE HAVE ONE WEEK LEFT Stel Pavlou Page 357 24 hours "We live in a universe of patterns. Every night the stars move in circles across the sky. The seasons cycle at yearly intervals. No two snowflakes are ever exactly the same, but the all have sixfold symmetry. Tigers and zebras are covered in patterns of stripes; leopards and hyenas are covered in pat terns of spots. Intricate trains of waves march across the oceans; very similar trains of sand dunes march across the desert . . . By using mathematics... we have discovered great secret: nature's patterns are not just there to be admired, they are vital clues to the rules that govern natural processes." Ian Stewart, Nature's Numbers, 1995
2061 ODYSSEY THREE Arthur C. Clarke 1987 Page 13 (number 0mitted) "THE MAGIC MOUNTAIN"
THE LOST WORLDS OF 2001 Arthur C.Clarke 1972 "Sorry to interrupt the festivities, but we have a problem."
Zarathustra theme to his TV audience, aboard Apollo 13 Command Module Odyssey)
THE MAGIC MOUNTAIN Thomas Mann 1924 Page 706 THE THUNDERBOLT
THE DIE IS NOW CAST NOW CAST IS THE DIE
THERE IS NO ATTEMPT MADE TO DESCRIBE THE CREATIVE PROCESS REALISTICALLY THE ACCOUNT IS SYMBOLIC AND SHOWS GOD CREATING THE WORLD BY MEANS OF LANGUAGE AS THOUGH WRITING A BOOK BUT LANGUAGE ENTIRELY TRANSFORMED THE MESSAGE OF CREATION IS CLEAR EACH LETTER OF THE ALPHABET IS GIVEN A NUMERICAL VALUE BY COMBINING THE LETTERS WITH THE SACRED NUMBERS REARRANGING THEM IN ENDLESS CONFIGURATIONS THE MYSTIC WEANED THE MIND AWAY FROM THE NORMAL CONNOTATIONS OF WORDS
THE LIGHT IS RISING NOW RISING IS THE LIGHT
--
MNEMONICS 455465931 MNEMONICS
MNEMONICS 9 6 9 MNEMONICS
ESOTERIC 51625993 ESOTERIC O SECRET I 6 SECRET 9 O SECRET I ESOTERIC 51625993 ESOTERIC
MNEMONICS 9 6 9 MNEMONICS
3THREES3 IS 3 IS 3THREES3
RE GODS NAME GODS RE RE AS IN THREE IS IS THREE AS IN RE GODS NAMES MEANS E MEANS NAMES GODS
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 175 CHAPTER 8 LULLISM AS AN ART OF MEMORY THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull. Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lull was like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art. Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.
Page 282 "By THE LADDER OF MINERVA we rise from the first to the last..."
ART AT R AT ART
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art. hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it. The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews. An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements. The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala. It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism. Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking. The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations. Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures. Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity. The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10 As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy. Page 17 The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking. And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity. The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'. Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa. The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a startingpoint. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino. Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola. It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL Page 13 An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
ABCD 1234 ABCD BCDEFGHIK 234567892 BCDEFGHIK
THREES 3 THREES
LULL 3333 LULL
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 136 Page 135 (number omitted) "No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line." "Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)" "Page 139 He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned. Awaiting damnation he calls on Christ, and there comes the famous line " See see where Christs bloud streames in the firmament.11"
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT 155 155 58595 3899121 23634 12951451 95 285 699414552 IS 9 IS 9 IS 9 IS 155 155 58595 3899121 23634 12951451 95 285 699414552 SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
THE FULCANELLI PHENOMENON Kenneth Rayner Johnson 1980 Page 263 "It will be as well to recall here what Fulcanelli's reply was when Bergier asked him what the real nature of alchemy consisted in. He said: 'The secret of alchemy is that there exists a means of manipulating matter and energy so as to create what modern science calls a force-field' This force field acts upon the observer and puts him in a privileged position in relation to the universe. From this privileged position he has access to realities that space and time matter and energy, normally conceal from us. This is what we call the Great Work.' "
The Death Of Forever A New Future for Human Consciousness Darryl Reanney (1995 Edition) Page 218 " The father of the so-called 'Copenhagen interpretation'of quantum mechanics , Niels Bohr speculated as far back as 1958 that key points in the regulatory mechanisms of the brain might be so delicately balanced that they could be affected by quantum me-chanical events. Significantly, eminent brain biologist John.C.Eccles seems to agree. As Eccles has observed : This means that the Y node choices that are almost evenly /Page 219 /balanced between two outcomes are most likely to be susceptible to quantum influences because it is only in these near-equipoise situations that the quantum flunctuations are the 'feather on the scale' that tips the balance one way or the other." Page 219"…Quantum fluctuations could also express those thoughts that come to us 'in a flash'or 'out of no where'. I wonder what role, if any, they play in intuition. It is possible that the neural centre that 'sees' unity, no matter how much it is 'perfected' by unselfishness, is incapable of determining when it will have its deeper insights. That may well still be a matter of complete chance, or, on the above hypothesis, of quasi-chance and non-causal cross-linkaging. If some Y node choices were quantum in nature, a profound and enduring link would be established between the dynamics of consciousness and the structure of the cosmos itself. It is not in the sense of a presently available scientific theory that I intuitively sense a 'rightness' in Hoyles idea but in the sense of a song of truth, an insight. It may take science years to formulate such a concept in a mathematical way that will win acceptance. Page 219 "Synchronicity refers to the apparently inexplicable coincidences that crop up from time to time. We all have experiences of this type. Page 220 For no apparent reason you may suddenly think of a friend you have not seen for years at the very moment We are getting into deep waters where ordinary experience cannot guide us. So again, as has become my habit in this penultimate Chapter, I will let a more eloquent voice speak for me. Not the voice of a scientist but a poet-writer. In her remarkable retelling of the legend of Arthur, The Mists of Avalon, Marian Zimmer-Bradley Makes her heroine, Morgan le Fay say: for this is the great secret, which was known to all educated men in our day, that by what men think, we create the world around us, daily new. With this discussion of synchronicity and self- consistency, we have arrived at the point where we can begin to see the strange relationship between consciousness and the universe, between the 'thought' within and the 'thing' without.
The Death Of Forever A New Future for Human Consciousness Darryl Reanney (1995 Edition) Page 219 (It was this indeterminate character of quantum mechanics that caused Einstein to complain that God 'did not play dice with the world'.)
QUANTUM ATUM QUANTUM ATUM QUANTUM ATUM QUANTUM ATUM QUANTUM ATUM QUANTUM
GODS OF THE DAWN THE MESSAGE OF THE PYRAMIDS AND THE TRUE STARGATE MYSTERY Peter Lemesurier 1997 "THE GREAT PYRAMID IS A SYMBOL OF A NOW ALMOST WHOLLY ALIEN MENTALITY" Arthur C. Clarke Profiles of the Future FOREWORD
Page ix STAR WATCH FIVE Page 171 Page 172 In due course, that message would duly get through. The realization would dawn that humanity has a destiny, and one that will long outlive Earth. True, the realization would be mythologized, ritualized and turned into mere religious dogma. When the time came for such dogmas to be dis-missed, consequently, the message would be dismissed with them. And yet the new realism would breed a new attitude. Humanity would look again.
GODS OF THE DAWN THE MESSAGE OF THE PYRAMIDS AND THE TRUE STARGATE MYSTERY Peter Lemesurier 1997 STARWATCH TWO Page 129 "Moses' meeting with the entity allegedly takes place amid horrendous thunderings and lightnings on a smoking mount Sinai whose emanations spell death for anybody else who approaches it. The description is typical of a volcano. Yet Sinai has not been volcanic for thousands of years. Evidently, then, the phenomenon -like the strange columns of smoke themselves - is artificial, and presumably reveals the presence of some kind of advanced technology. Page 227 "Yet as I said earlier, it is precisely the unthinkable that I have dared to think in this book. To that extent it goes beyond all con- ventional belief. In the final upshot, though, something rather sur- prising has happened. The unthinkable has paradoxically turned out to be - if in surprising and disturbing ways - remarkably simi- lar to what has always been thought before. Indeed, it is precisely the extent to which this book's outline of humanity's future des- tiny turns out to mirror the immemorial beliefs of antiquity that is most likely to worry the religious in particular. Page 228 But the real function of the Elohistic initiative, if I have recon-structed it aright, is not to subject us to beliefs that shackle us, but to blast apart our imagined limitations. Its purpose is not to en- chain us, but to set us free - not by telling us, like most religions, what we cannot do, but by hinting, however remotely, at what we can.
GREAT ENCOUNTERS Page 165 "Much, clearly, has to do with expectation. As at least one Star Trek episode did manage to recognize, the best way of avoiding such cosmic xenophobia is carefully to tie in the features of your arrival with existing planetary beliefs regarding the future advent of benevolent beings from the sky. On Earth, certainly, such beliefs are almost universal.
I ME YEA THOUGH I WALK THROUGH THE VALLEY OF THE SHADOW OF DEATH I WILL FEAR NO EVIL FOR THOU ART WITH ME
WHY SMASH ATOMS A. K. Solomon 1940 VAN DE GRAAFF GENERATOR Page 77 "Once the fairy tale hero has penetrated the ring of fire round the magic mountain he is free to woo the heroine in her castle on the mountain top."
.....
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 277 "The Perfect Man was believed to inspire more ordinary mortals to seek God: Shams ad-Din had unlocked in Rumi the poetry of the 'All I can say, remembering You', the prayer concluded, 'is ayyyy and ahhhhhhhh.' Moses was horrified. Who on earth did the shepherd imagine he was talking to? The Creator of heaven and earth?
17777and 188888888
'All I can say, remembering You', the prayer concluded, 'is ayyyy and ahhhhhhhh.' Moses was horrified. Who on earth did the shepherd imagine he was talking to? The Creator of heaven and earth?'
OF TIME AND STARS Arthur C. Clarke 1972 FOREWORD "'Into the Comet' and 'The Nine Billion Names of God' both involve computers and the troubles they may cause us. While writing this preface, I had occasion to call upon my own HP 9100A computer, Hal Junior, to answer an interesting question. Looking at my records, I find that I have now written just about one hundred short stories. This volume contains eighteen of them: therefore, how many possible 18-story collections will I be able to put together? The answer as I am sure will be instantly obvious to you - is 100 x 99. . . x 84 x 83 divided by 18 x 17 x 16 ... x .2 x 1. This is an impressive number - Hal Junior tells me that it is approximately 20,772,733,124,605,000,000. Page 15 The Nine Billion Names of God 'This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a machine. Could you explain just what you intend to do with it?' Page16 'We have reason to believe,' continued the lama imperturbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.'
I = 9 9 = I R = 9 9 = R
OF T9ME AND STA9S A9thu9 C. Cla9ke,1972 Page 15 'Th9s 9s a sl9ghtly unusual 9equest,'sa9d D9 Wagne9, w9th what he hoped was commendable 9est9a9nt.' As fa9 as 9 know, 9t's the f99st t9me anyone's been asked to supply a T9betan monaste9y with an Automat9c Sequence Compute9. 9 don't w9sh to be 9nqu9s9t9ve, but 9 should ha9dly have thought that you9- ah - establ9shment had much use for such a mach9ne.Could you expla9n just what you 9ntend to do w9th 9t?' 'Gladly,' 9epl9ed the lama, 9eadjust9ng h9s s9lk 9obes and ca9efully putting away the sl9de 9ule he had been us9ng fo9 cu99ency conve9s9ons. 'You9 Ma9k V Compute9 can ca99y out any 9out9ne mathemat9cal ope9at9on 9nvolv9ng up to ten d9g9ts. Howeve9, for ou9 work we are 9nte9ested 9n lette9s, not numbe9s. As we w9sh you to mod9fy the output c9rcu9ts,the mach9ne w9ll be p99nt9ng wo9ds not columns of f9gu9es.' '9 dont qu9te unde9stand…' 'Th9s 9s a p9oject on wh9ch we have been work9ng fo9 the last th9ee centu99es - s9nce the lamase9y was founded, 9n fact.9t 9s somewhat al9en to you9 way of thought, so9 hope you w9ll l9sten with an open m9nd wh9le 9 expla9n 9t 'Natu9ally.' '9t 9s 9eally qu9te s9mple.We have been comp9l9ng a l9st wh9ch shall conta9n all the poss9ble names of God' '9 beg you9 pa9don?' / Page16 / 'We have 9eason to bel9eve' cont9nued the lama 9mpe9tu9bably, ' that all such names can be w99tten with not mo9e than n9ne lette9s 9n an alphabet we have dev9sed,' 'And you have been do9ng th9s for three centu99es? 'Yes: we expected9t would take us about f9fteen thousand years to complete the task.' 'Oh, Dr Wagne9 looked a l9ttle dazed. 'Now9 see why you wanted to h99e one of ou9 mach9nes. But what exactly9s the pu9pose of th9s p9oject ? 'The lama hes9tated fo9 a f9act9on of a second, and Wagne9 wonde9ed9f he had offended h9m.9f so the9e was no t9ace of annoyance9n the 9eply. 'Call9t 99tual, 9f you l9ke, but 9t's a fundamental pa9t of ou9 bel9ef. All the many names of the Sup9eme Be9ng - God , Jehova , Allah , and so on - they a9e only man made labels. The9e 9s a ph9losoph9cal p9oblem of some d9ff9culty he9e, wh9ch9 do not p9opose to d9scuss, but somewhe9e among all the poss9ble comb9nat9ons of lette9s that can occu9 a9e what one may call the 9eal names of God. By systemat9c pe9mutat9on of lette9s, we have been t9y9ng to l9st them all' 9 see. You've been sta9t9ng at AAAAAAA… and wo9k-9ng up to ZZZZZZZZ …' 'Exactly - though we use a spec9al alphabet of ou9 own. Mod9fy9ng the elect9omat9c typew99te9s to deal w9th th9s 9s of cou9se t99v9al. A 9athe9 mo9e 9nte9est9ng p9oblem 9s that of dev9s9ng su9table c99cu9ts to el9m9nate 9 9d9culous comb9nat9ons. Fo9 example, no lette9 must occu9 mo9e than th9ee t9mes 9n sucess9on.' 'Th9ee? Su9ely you mean two.' 'Th9ee 9s co99ect; 9 am af9a9d 9t would take too long to expla9n why , even 9f you unde9stood ou9 language.'/ Page 17 / '9'm su9e 9t would,' sa9d Wagne9 hast9ly. 'Go on.' 'Luck9ly, 9t w9ll be a s9mple matte9 to adapt you9 Automat9c Sequence Compute9 fo9 th9s wo9k, s9nce once 9t has been p9og9ammed p9ope9ly 9t w9ll pe9mute each lette9 9n tu9n and p99nt the 9esult. What would have taken us f9fteen thousand years 9t w9ll be able to do 9n a hund9ed days.' 'Dr Wagne9 was sca9cely consc9ous of the fa9nt sounds f9om the Manhatten st9eets fa9 below. He was 9n a d9ffe9ent wo9ld, a wo9ld of natu9al, not man-made mounta9ns. H9gh up 9n the99 9emote ae99es these monks had been pat9ently at wo9k gene9at9on afte9 gene9at9on, comp9l9ng the99 l9sts of mean9ngless wo9ds. Was the9e any l9m9ts to the foll9es of mank9nd ? St9ll, he must g9ve no h9nt of h9s 9nne9 thoughts. The custome9 was always 99ght…"
OF TIME AND STARS Arthur C. Clarke 1972 Page 68 Into the Comet
OF TIME AND STARS Page15 (number omitted)" ' This is a slightly unusual request,' said Dr Wagner, with what he hoped was commendable restraint. 'As far as I know, it's the first time anyone's been asked to supply a Tibetan monastery with an Automatic Sequence Computer. I don't wish to be inquisitive, but I should hardly have thought that your - ah - establishment had much use for such a ma-chine. Could you explain just what you intend to do with it?' 'Gladly,' replied the lama, readjusting his silk robes and carefully putting awa the slide rule he had been Using for currency conversions. 'Your Mark V Computer can carry out any routine mathtiilatical operation involving up to ten digits. However, for our work we are interested in letters, not numbers. As we wish you to modify the output circuits, the machine will be printing words, not columns of figures.' 'I don't quite understand. . .' 'This is a project on which we have been working for the last three centuries - since the lamasery was founded, in fact. It is somewhat alien to your way of thought, so I hope you will listen with an open mind while I explain it.' 'Naturally.' 'It is really quite simple. We have been compiling a list which shall contain all the possible names of God.' 'I beg your pardon?' Page 16 The Nine Billion Names of God 'We have reason to believe,.' continued the lama imper-turbably, 'that all such names can be written with not more than nine letters in an alphabet we have devised.' 'And you have been doing this for three centuries?' 'Yes: we expected it would take us about fifteen thousand years to complete the task.' 'Oh,' Dr Wagner looked a little dazed. 'Now I see why you wanted to hire one of our machines. But what exactly is the purpose of this project?' The lama hesitated for a fraction of a second, and Wagner wondered if he had offended him. If so, there was no trace of annoyance in the reply. 'Call it ritual, if you like, but it's a fundamental part of our belief. All the many names of the Supreme Being - God, Jehova, Allah, and so on - they are only man-made labels. There is a philosophical problem of some difficulty here, which I do not propose to discuss, but somewhere among all the possible combinations of letters that can occur are what one may call the real names of God. By systematic per-mutation of letters, we have been trying to list them all.' "I see. You've been starting at AAAAAAA . . . and working up to ZZZZZZZZ . . .' 'Exactly - though we use a special alphabet of our own.
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 277 "The Perfect Man was believed to inspire more ordinary mortals to seek God: Shams ad-Din had unlocked in Rumi the poetry of the 'All I can say, remembering You', the prayer concluded, 'is ayyyy and ahhhhhhhh.' Moses was horrified. Who on earth did the shepherd imagine he was talking to? The Creator of heaven and earth?
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'All I can say, remembering You', the prayer concluded, 'is ayyyy and ahhhhhhhh.' Moses was horrified. Who on earth did the shepherd imagine he was talking to? The Creator of heaven and earth?'
A HISTORY OF GOD Karen Armstrong 1993 The God of the Mystics Page 278 'All I can say, remembering You', the prayer concluded, 'is ayyyy and ahhhhhhhh.' Moses was horrified. Who on earth did the shepherd imagine he was talking to? The Creator of heaven and earth?
OF TIME AND STARS Page15 "I see. You've been starting at AAAAAAA . . . and working up to ZZZZZZZZ . . .' 'Exactly - though we use a special alphabet of our own.
CHEIRO'S BOOK OF NUMBERS Circa 1926 Page13 "It is impossible in a book of this size to give in detail all the reasonings and examples that exist for a belief in the occult side of numbers, but it may interest my readers if I give a few illustrations of why the number 7 has for ages been regarded as the number of mystery relating to the spiritual side of things, and why the number 9 has in its turn come to be regarded as the finality or end of the series on which all ou, materialistic calcu-lations are built, but the most casual observer can only admit that beyond the number 9 all ordinary numbers become but a mere repetition of the first 9. A simple illustration of this will readily suffice. The number 10, as the zero is not a number, becomes a repetition of the number I. The number II added together as the ancient occultists laid down in their law of natural addition, namely, adding together from left to right, repeats the number 2, I2 repeats 3, 13 repeats / Page 14 / and so on up to 19, which in its turn becomes 1 and 9 =10, and so again the repetition of 1. 20 represents 2, and so on to infinity. The occult symbolism of what are called compound numbers, that is, those numbers from 10 onwards I will explain later. In this way it will be seen that in all our materialistic systems of numbers, the numbers 1 to 9 are the base on which we are compelled to build, just as in the same way the seven great or primary harmonies in music are the bases of all music, and again as the seven primary colours are the bases of all our combinations of colours. In passing it may be remarked that all through the Bible and other sacred books, the "seven," whenever men-tioned, always stands in relation to the spiritual or mysterious God force, and has curious significance in this sense whenever employed." "In this way it will be seen that in all our materialistic systems of numbers, the numbers 1 to 9 are the base on which we are compelled to build, just as in the same way the seven great or primary harmonies in music are the bases of all music, and again as the seven primary colours are the bases of all our combinations of colours. In passing it may be remarked that all through the Bible and other sacred books, the "seven," whenever mentioned, always stands in relation to the spiritual or mysterious God force, and has curious significance in this sense whenever employed."
1 Wormwood in the Bible; 2 Interpretations of Revelation 8:11 ... A number of Bible scholars consider the term Wormwood to be a purely symbolic ... en.wikipedia.org/wiki/Wormwood_(star)
Wormwood (star) From Wikipedia, the free encyclopedia Jump to: navigation, search Wormwood, αψινθιον (apsinthion) in Greek, is a star, or angel,[1] that appears in the Biblical New Testament Book of Revelation.
[edit] Wormwood in the Bible although the word Wormwood appears several times in the Old Testament, translated from the Hebrew term לענה (la'anah), e.g., Deuteronomy 29:18 and Jeremiah 9:15, its only clear reference as a named entity occurs in the New Testament book of Revelation: "And the third angel sounded, and there fell a great star from heaven, burning as it were a lamp, and it fell upon the third part of the rivers, and upon the fountains of waters; And the name of the star is called Wormwood: and the third part of the waters became wormwood; and many men died of the waters, because they were made bitter." (Revelation 8:10, 11 - KJB). Certain commentators have held that this "great star" represents one of several important figures in political or ecclesiastical history,[2] while other Bible dictionaries and commentaries view the term as a reference to a celestial being. A Dictionary of The Holy Bible states, "the star called Wormwood seems to denote a mighty prince, or power of the air, the instrument, in its fall, of sore judgments on large numbers of the wicked."[3] Scofield Reference Notes draws a link between the term in Revelation and Isaiah 14:12,[4] which reads, "How you have fallen from heaven,O Lucifer , son of the morning! You have been cast down to the earth, you who once laid low the nations!" (King James Bible) KJB
HOW YOU HAVE FALLEN FROM EVEN O LUCIFER BRIGHT SON OF THE MORNING
THE DIVINE COMEDY OF DANTE ALIGHIERI (1265-1321) THE FLORENTINE CANTICA I HELL (L'INFERNO) INTRODUCTION Page 9 "Midway this way of life we're bound upon I woke to find myself in a dark wood, Where the right road was wholly lost and gone."
THE DIVINE COMEDY OF DANTE ALIGHIERI (1265-1321) THE FLORENTINE CANTICA I HELL (L'INFERNO) INTRODUCTION Page 9 "Power failed high fantasy here; yet, swift to move Even as a wheel moves equal, free from jars, Already my heart and will were wheeled by love, The Love that moves the sun and other stars."
GREAT PAN IS NOT DEAD
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HOLY BIBLE Scofield References Page114/5/6 John Chapter 1 1 In the beginning was the Word, and the Word was with God, and the Word was God. 2 The same was in the beginning with God. 3 All things were made by him; and without him was not any thing made that was made. 4 In him was life; and the life was the light of men. 5 And the light shineth in darkness; and the darkness comprehended it not. 6 There was a man sent from God, whose name was John. 7 The same came for a witness, to bear witness of the Light, that all men through him might believe. 8 He was not that Light, but was sent to bear witness of that Light. 9 That was the true Light, which lighteth every man that cometh into the world. 10 He was in the world, and the world was made by him, and the world knew him not. 11 He came unto his own, and his own received him not. 12 But as many as received him, to them gave he power to become the sons of God, even to them that believe on his name: 13 Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God. 14 And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth. 15 John bare witness of him, and cried, saying, This was he of whom I spake, He that cometh after me is preferred before me: for he was before me. 16 And of his fulness have all we received, and grace for grace. 17 For the law was given by Moses, but grace and truth came by Jesus Christ. 18 No man hath seen God at any time, the only begotten Son, which is in the bosom of the Father, he hath declared him. 19 And this is the record of John, when the Jews sent priests and Levites from Jerusalem to ask him, Who art thou? 20 And he confessed, and denied not; but confessed, I am not the Christ. 21 And they asked him, What then? Art thou Elias? And he saith, I am not. Art thou that prophet? And he answered, No. 22 Then said they unto him, Who art thou? that we may give an answer to them that sent us. What sayest thou of thyself? 23 He said, I am the voice of one crying in the wilderness, Make straight the way of the Lord, as said the prophet Esaias. 24 And they which were sent were of the Pharisees. 25 And they asked him, and said unto him, Why baptizest thou then, if thou be not that Christ, nor Elias, neither that prophet? 26 John answered them, saying, I baptize with water: but there standeth one among you, whom ye know not; 27 He it is, who coming after me is preferred before me, whose shoe's latchet I am not worthy to unloose. 28 These things were done in Bethabara beyond Jordan, where John was baptizing. 29 The next day John seeth Jesus coming unto him, and saith, Behold the Lamb of God, which taketh away the sin of the world. 30 This is he of whom I said, After me cometh a man which is preferred before me: for he was before me. 31 And I knew him not: but that he should be made manifest to Israel, therefore am I come baptizing with water. 32 And John bare record, saying, I saw the Spirit descending from heaven like a dove, and it abode upon him. 33 And I knew him not: but he that sent me to baptize with water, the same said unto me, Upon whom thou shalt see the Spirit descending, and remaining on him, the same is he which baptizeth with the Holy Ghost. 34 And I saw, and bare record that this is the Son of God. 35 Again the next day after John stood, and two of his disciples; 36 And looking upon Jesus as he walked, he saith, Behold the Lamb of God! 37 And the two disciples heard him speak, and they followed Jesus. 38 Then Jesus turned, and saw them following, and saith unto them, What seek ye? They said unto him, Rabbi, (which is to say, being interpreted, Master,) where dwellest thou? 39 He saith unto them, Come and see. They came and saw where he dwelt, and abode with him that day: for it was about the tenth hour. 40 One of the two which heard John speak, and followed him, was Andrew, Simon Peter's brother. 41 He first findeth his own brother Simon, and saith unto him, We have found the Messias, which is, being interpreted, the Christ. 42 And he brought him to Jesus. And when Jesus beheld him, he said, Thou art Simon the son of Jona: thou shalt be called Cephas, which is by interpretation, A stone. 43 The day following Jesus would go forth into Galilee, and findeth Philip, and saith unto him, Follow me. 44 Now Philip was of Bethsaida, the city of Andrew and Peter. 45 Philip findeth Nathanael, and saith unto him, We have found him, of whom Moses in the law, and the prophets, did write, Jesus of Nazareth, the son of Joseph. 46 And Nathanael said unto him, Can there any good thing come out of Nazareth? Philip saith unto him, Come and see. 47 Jesus saw Nathanael coming to him, and saith of him, Behold an Israelite indeed, in whom is no guile! 48 Nathanael saith unto him, Whence knowest thou me? Jesus answered and said unto him, Before that Philip called thee, when thou wast under the fig tree, I saw thee. 49 Nathanael answered and saith unto him, Rabbi, thou art the Son of God; thou art the King of Israel. 50 Jesus answered and said unto him, Because I said unto thee, I saw thee under the fig tree, believest thou? thou shalt see greater things than these. 51 And he saith unto him, Verily, verily, I say unto you, Hereafter ye shall see heaven open, and the angels of God ascending and descending upon the Son of man.
HOLY BIBLE Scofield References Page1117 John Chapter 1 1 There was a man of the Pharisees, named Nicodemus, a ruler of the Jews: 2 The same came to Jesus by night, and said unto him, Rabbi, we know that thou art a teacher come from God: for no man can do these miracles that thou doest, except God be with him. 3 Jesus answered and said unto him, Verily, verily, I say unto thee, Except a man be born again, he cannot see the kingdom of God. 4 Nicodemus saith unto him, How can a man be born when he is old? can he enter the second time into his mother's womb, and be born? 5 Jesus answered, Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God. 6 That which is born of the flesh is flesh; and that which is born of the Spirit is spirit. 7 Marvel not that I said unto thee, Ye must be born again. 8 The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh, and whither it goeth: so is every one that is born of the Spirit. 9 Nicodemus answered and said unto him, How can these things be? 10 Jesus answered and said unto him, Art thou a master of Israel, and knowest not these things? 11 Verily, verily, I say unto thee, We speak that we do know, and testify that we have seen; and ye receive not our witness. 12 If I have told you earthly things, and ye believe not, how shall ye believe, if I tell you of heavenly things? 13 And no man hath ascended up to heaven, but he that came down from heaven, even the Son of man which is in heaven. 14 And as Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up: 15 That whosoever believeth in him should not perish, but have eternal life. 16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life. 17 For God sent not his Son into the world to condemn the world; but that the world through him might be saved. 18 He that believeth on him is not condemned: but he that believeth not is condemned already, because he hath not believed in the name of the only begotten Son of God. 19 And this is the condemnation, that light is come into the world, and men loved darkness rather than light, because their deeds were evil. 20 For every one that doeth evil hateth the light, neither cometh to the light, lest his deeds should be reproved. 21 But he that doeth truth cometh to the light, that his deeds may be made manifest, that they are wrought in God. 22 After these things came Jesus and his disciples into the land of Judaea; and there he tarried with them, and baptized. 23 And John also was baptizing in Aenon near to Salim, because there was much water there: and they came, and were baptized. 24 For John was not yet cast into prison. 25 Then there arose a question between some of John's disciples and the Jews about purifying. 26 And they came unto John, and said unto him, Rabbi, he that was with thee beyond Jordan, to whom thou barest witness, behold, the same baptizeth, and all men come to him. 27 John answered and said, A man can receive nothing, except it be given him from heaven. 28 Ye yourselves bear me witness, that I said, I am not the Christ, but that I am sent before him. 29 He that hath the bride is the bridegroom: but the friend of the bridegroom, which standeth and heareth him, rejoiceth greatly because of the bridegroom's voice: this my joy therefore is fulfilled. 30 He must increase, but I must decrease. 31 He that cometh from above is above all: he that is of the earth is earthly, and speaketh of the earth: he that cometh from heaven is above all. 32 And what he hath seen and heard, that he testifieth; and no man receiveth his testimony. 33 He that hath received his testimony hath set to his seal that God is true. 34 For he whom God hath sent speaketh the words of God: for God giveth not the Spirit by measure unto him. 35 The Father loveth the Son, and hath given all things into his hand. 36 He that believeth on the Son hath everlasting life: and he that believeth not the Son shall not see life; but the wrath of God abideth on him.
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THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 13 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews.
RE GODS NAME GODS RE AS IN THREE IS IS THREE AS IN RE
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL In the illustration shown in Plate 1,1(image omitted ) four men are seen sitting under a neat row of trees, neatly labelled. In the background is a rich countryside: in the foreground a refreshing stream flows from a fountain. The illustration is taken from an engraving in the eighteenth-century edition of the works of Ramon Lull, which is based on medieval tradition of Lull illustration. The lady whose horse wades in the stream is Intelligence; severe intellectual work is going on. The men so calmly seated in these pleasant surroundings are doing the Lullian Art. hi. the lifetime of the Catalan philosopher and mystic, Ramon Lull (1232-c. 1316), the Iberian peninsula was the home of three great religious and philosophical traditions. Dominant was Christianity and the Catholic Church, but a large part of the country was still under the rule of the Moslem Arabs; and it was in Spain that the Jews of the Middle Ages had their strongest centre. In the world of Ramon Lull, the brilliant civilisation of the Spanish Moslems, with its mysticism, philosophy, art, and / Page 12 / science, was close at hand; the Spanish Jews had intensively devoloped their philosophy, their science and medicine, and mysticism, or Cabala. To Lull, the Catholic Christian, occurred the generous idea that an Art, based on principles which all three religious traditions held in common, would serve to bind all three together on a common philosophical, scientific, and mystical basis. The men under the trees in the picture represent a Gentile or pagan; a Jew; a Saracen or Moslem; and a Christian. The representatives of the three religions have been found by the Gentile doing the Lullian Art together, and striving their unity in the fountain of life or mystical truth. the scientific principle held in common by Christians, Moslem and Jews, and on which Lull based his Art, was the theory of the elements.2 It is unnecessary to enter here into the historical origins of the elemental theory which was held by scientific men in Lull's period as a universally valid assumption about nature. The theory assumed that everything in the natural world composed of four elements - earth, water, air, fire. To these corresponded the elemental qualities - cold, moist, dry,hot. These formed different compounds, or different concords and contrasts, which could be exactly classified or graded. The elemental theory had its prolongation into the world of the stars, for the seven planets and the twelve signs of the zodiac were held to have either predominantly cold, moist, dry, or hot influences. Though these elemental characteristics of the stars, and their connection with terrestrial elements, were derived from the cbings of astrology, the elemental theory was not in itself astrological, but might more properly be called an astral science. the use of the, Lullian Art as astral science can be studied in Its Tractatus de astronomia (1297) in which he works out a theory practice of astral medicine through calculating, by the Art, grading of elemental qualities. This treatise is preceded by a diatribe 'against astrology', from which Lull scholars of the past used to deduce (without reading the treatise) that Lull had / Page 13 / discarded the astrological world view. Careful reading of the treatise reveals that it describes an astral medicine, based on belief in elemental qualities in the seven planets and the twelve .signs, and their connection with terrestrial elements. This is a scientific use of a universally held theory of astral correspondences. It is not astrology in the sense of horoscope-making with lis assumption of astrological determinism which Lull is 'against'. In fact it is a kind of scientific escape from such determinism. In almost exactly the same way, two hundred years later, Pico della Mirandola was to pronounce himself 'against astrology',3 meaning that he was against astrological determinism whilst accepting those astral correspondences which underlie 'Renaissance Neoplatonism' as he and Ficino understood it. The religious principle upon which Lull based his Art which was held by all three religious traditions, was the importance which Christian, Moslem, and Jew attached to the Divine Names or: Attributes. The Attributes, or, as Lull prefers to call them, the Dignities of God on which the Art is based are Bonitos (Goodness), Magnitudo (Greatness), Etenitas (Eternity), Potestas (Power), Sapienta (Wisdom), Voluntas (Will), Virtus (Virtue or Strength), Veritas (Truth), Gloria (Glory). Religious Moslems, Jews, Christians, would all agree that God is good, great, eternal, powerful, wise, and so on. These Divine Dignities or Names, combined with elemental theory, gave Lull what he believed to be a universal religious and scientific basis for an Art so infallible that it could work on all levels of creation. And further - and this was its chief importance in Lull's eyes - it was an Art which could prove the truth of the Christian Trinity to Moslems and Jews. An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 14 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three. This bald outline, though it may give some idea of the Art, is highly misleading in its simplicity. For the Art in its workings is immensely complex. It may have forms based on more than nine dignities. Its combinations of letter-notations almost suggest a kind of algebra. There is a kind of geometry involved, for the Art uses three figures, the triangle, the circle, and the square. The artist in moving up and down the levels of creation applies these figures on each level. The geometry is symbolical; the triangle symbolises the divine; the circle stands for the heavens (by which Lull always means the seven planets and the twelve signs of the zodiac); the square symbolises the four elements. The Aristotelian categories play a part in the Art which is said to work by a 'natural' logic, but the dominant philosophy is a kind of Platonism. Lull belongs into the tradition of medieval Christian Platonism, based primarily on Augustine; the Lullian dignities' can nearly all be found listed as divine attributes in Augustine's works. Like all medieval Platonists, Lull is also strongly influenced by the work on the celestial hierarchies of / Page 15 / angels by Pseudo-Dionysius. The nearest parallel to his association of dignities or attributes with the elements is to be found in the De divisione naturae of the early Christian Platonist, John Scotus Erigena.4 Lull's dignities have the creative capacity of Scotus's primordial causes. Moslem forms of Platonic, or Neo-platonic, mysticism had also reached him. Yet perhaps the strongest influence on the formation of the Art was that of the Jewish Cabala. It was in medieval Spain that Cabala reached a high point of development,5 and that climax coincides with the appearance of Lullism. The Zohar was written in Spain in about 1275. It was in 1274 that Lull had the vision on Mount Randa in which the two primary figures of the Art were revealed to him. There are mmy points of contact or resemblance between Cabalism and Lullism. Spanish Cabala has as its bases the doctrine of the ten Sephiroth and the doctrine of the twenty-two letters of the Hebrew alphabet. The Sephiroth, as defined by G. Scholem, are 'the ten names most common to God and in their entirety they form his one great Name'.6 The Sephiroth derive from the nameless "en-soph'; their names are Gloria, Sapientia, Veritas, Bonitas, Potestas, Virtus, Eternitus, Splendor, Fundamentum. The parallel with the nine Lullian Dignitates Dei derived from a nameless A is striking. The twenty-two letters of the Hebrew alphabet also contain, for the Cabalist, the Name or Names, of God. They are the creative language of God and in contemplating them the Cabalist is contemplating both God himself and his creation. The thirteenth-century Spanish Jew, Abraham Abulafia.7 developed a complex technique of meditation through combining Hebrew letters in endless series of permutations and combinations. Thus the two salient characteristics of the Lullian Art, its basis in the Names or Dignities, and its techniques of letter combinations, are both, also characteristics of Cabala. Yet there are profound differences, above all the basic fact that the Names in / Page 16 / Cabala are in Hebrew, the letters which it combines are Hebrew letters; in the Lullian Art the Names are in Latin and the letters it combines are the ordinary letters of the Latin alphabet. Lullism may be said to be a Cabalist type of method but used without Hebrew. It is thus debarred from those insights into the linguistic mysteries which the Cabalist believed to be hidden in the Hebrew Scriptures. Nevertheless, if it is possible to speak of a Christian Cabalist method used without Hebrew, then it may be claimed that Lullism is the medieval form of Christian Cabala.8 Certainly it is like later Christian Cabala in its missionary aim, its aim of proving the Trinity to Moslems and Jews and thereby converting them to Christianity. The rigorous method of the Lullian Art is deployed against a background suffused in poetic and romantic charm, the world of medieval Spain. The Lullian hermit wanders through allegorical forests,9 the trees of which symbolise all the subjects of the Art, neatly categorised and arranged for the Lullist to use in his operations. These operations have not only scientific but also moral value through the use of analogy and allegory which permeates the Art. Thus the concords and contrasts of the elements are allegorised on the 'moral' trees of the Art as concords and contrasts between virtues and vices. The Lullian artist as Lull saw him had not only mastered a universal science; he had learned an ethical and contemplative method through which he might mount on the ladder of creation to the highest heights. Not only that, he was also a poet singing mystical love songs with all the charm of a troubadour; and a knight instructed in astral science and ethics in relation to the code of chivalry.10 As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy. Page 17 The great figures of Renaissance Neoplatonism include Lullism in their interests, and naturally so since Lullism was the precursor of their ways of thinking. And from the point of view of history of religion and of religous toleration, surely we admire Lull's vision in taking advtage of the unique concentration of Christian, Moslem, Jewish traditions in his world for putting forward a common ground between them in an Art, which, though it envisaged conversion rather than toleration, was certainly, in its at understanding, vastly superior to the methods to be used later in Spain for the establishment of religious unity. The glorious reign of Ferdinand and Isabella (1474-1504) saw the union of the kingdoms of Aragon and Castile through their marriage, and the rapid advance in power of the unified kingdom through their energetic government. Determined on establishing total religious unity within the Iberian peninsula, the two Catholic sovereigns initiated the war against the Moors which ended triumphantly with the conquest of Granada in 1492. In the same year, 1492, the Jews were expelled from Spain; in 1505 the conquered Moors were also expelled. Thus two whole populations, embodying two great civilisations, were adrift from their homeland to wander as exiles. Through the tightening up of the Inquisition in Spain, particularly severe againstt Jews and Moors, return to what had been their native for so many centuries was impossible. Spain, like France the Revocation of the Edict of Nantes, became and remained 'toute Catholique'. Thus, as so often, Europe took a wrong turning and wasted the spiritual resources which might have been used constructiveIy. For of all the countries of Europe, Spain was the best placed for making a liberal approach to the three great closely related religions. Ramon Lull had realised this in his peculiar way .men he strove to construct a method based on Divine Names and elemental theory. Though, for him, the Art was not a / Page 18 / construction but a revelation from on high shown to him in the vision on Mount Randa. The old view of the origins of the so-called Renaissance held that the the fall of Constantinople to the Turks in 1453 was a startingpoint. Recent generations of scholars have weakened that view, through exploration of many other influences and particularly through demonstrating the importance of surviving medieval traditions in the so-called Renaissance. Yet there remains a good deal to be said for the old view, for, after all, it was the Greek refugees from Byzantium who spread the knowledge of Greek in Europe; and it was from Byzantium that the Greek manuscripts of works of Plato and the Neoplatonists, and of 'Hermes 'Iris megistus' and other prisci theologi, reached Florence to form that rich and confused strain of 'Renaissance Neoplatonism' with its Hermetic core which we associate with Marsilio Ficino. Another date which has not been so much stressed but which is equally, perhaps more, important, is 1492, the date of the expulsion of the Jews from Spain. Many of them went to Italy and spread there a new interest in the Hebrew language and an enthusiasm for the Jewish mystical tradition, or Cabala. This came to the mystically-minded as a new insight into the meaning of Christianity. Christian Cabala was founded by Ficino's friend and associate Pico della Mirandola. It was in 1486 that Pico went to Rome with his nine hundred theses, prominent among which were the Cabalist theses. The Cabalist theses were fundamental for Pico' s great aim of the concordance of all religious philosophies. Pico' s advocacy of Christian Cabala marked a turning-point in the history of the Judaeo-Christian tradition in its modern form. It came at the same time as one of its darkest tragedies. It was in the years immediately before the Expulsion, when the persecutions of the Jews in Spain were mounting in intensity, that Pico della Mirandola adopted Christian Cabala into the Italian Renaissance.
TRIANGLE 5 TRIANGLE CIRCLE 5 CIRCLE SQUARE 9 SQUARE
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 11 MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL Page 13 An extraordinary feature of Lullism is that it assigns a letter notation to notions so exalted and abstract as the names, attributes, or dignities of God. The series of nine dignities, Bonitas,Magnitudo, and so on, listed above, become in the Art the nine letterss BCDEFGHIK; the unmentioned A is the ineffable absolute. These letters Lull places on revolving concentric wheels, thus / Page 74 / obtaining all possible combinations of them. And since the Goodness, Greatness, and so on of God are manifest on all levels of creation, he can ascend and descend with the figures of the Art throughout the universe, finding B to K and their relationships on every level. He finds them in the supercelestial sphere, on the level of the angels; in the celestial sphere, on the level of the stars; in man, on the human level; and below man, in animals, plants, and all the material creation. On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; ABCD as the four elements works in conjunction with BCDEFGHIK. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
Page 13 On these levels, the elemental theory comes into play; 1234 as the four elements works in conjunction with 234567892. This relationship continues right up the ladder of creation to the stars, since there are forms of the elements in the stars. Above the stars, in the angelic sphere, the system is purified of all materiality; there are no contrasts and contraries as in the lower spheres; at this height all the contraries coincide, and the whole Art is seen to converge in proof that the highest divine essence is a Three.
ABCD 1234 ABCD BCDEFGHIK 234567892 BCDEFGHIK
THREES 3 THREES
LULL 3333 LULL
THE ART OF MEMORY FRANCIS A. YATES 1979 THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE Page 135 (number omitted) "No study of Shakespeare can begin without some reference to Marlowe, the predecessor, and his mighty line." "Marlowe's famous play, Docter Faustus is closely based on the English translation of the German Faust-Buch (1587)" "Page 139 He turns to ask / Page 140 / Mephistopheles about divine astrology, about the elements, and the spheres of the planets. He still has scholarly instincts, and can hear echoes of the universal harmony, although damned. Awaiting damnation he calls on Christ, and there comes the famous line " See see where Christs bloud streames in the firmament.11"
SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT 155 155 58595 3899121 23634 12951451 95 285 699414552 IS 9 IS 9 IS 9 IS 155 155 58595 3899121 23634 12951451 95 285 699414552 SEE SEE WHERE CHRISTS BLOUD STREAMES IN THE FIRMAMENT
I THAT AM CRUCIFIED A CROSS A CROSS
Macbeth 1 [iii] Shakespeare, "Thrice to thine and thrice to mine, and thrice again to make up nine" Number 9 The Search for the Sigma code Cecil Balmond Page 45 "Three times three, the trinity of trinities, gains select status then as the doubling and resourcing of special power. From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over. "
3 x 3 = 9 = 3 x 3
Daily Mail, Thursday, December 15, 2011 Page 57 At a formal dinner celebrating the opening of the Watford St Albans branch railway line in 1958 several toasts were drunk 'with three times three'. What does this mean? THE Watford to St Albans branch line, known locally as the Abbey Flyer, opened on May 5, 1858, so the dinner must have been part of the centenary celebrations. The 'three times three' is the traditional three cheers ('Hip, Hip, Hooray!' shouted three times). The origin of the cheer is obscure but it's recorded in 1816 when John Quincy Adams, an envoy to the English court, wrote in his diary that he had attended a dinner given by the Lord Mayor in the Mansion House and that 'every toast was drunk standing with what they call three time three hip! hip! hip! and nine huzzahs'. It is more usual now to proclaim only two hips and 'huzzah' has become 'hooray'. In the 17th and 18th centuries, three huzzahs - two short ones followed by a long sustained one - were given by the British infantry before a charge. It has been suggested 'hurrah' or 'hooray' comes from old Turkic and that the Turks used to shout 'Ur, ah!' meaning 'Come on, hit!". A less likely explanation is that 'hip' dates from the crusades and is an acronym of Hierosolyma est perdita -'Jerusalem is lost'. Equally unlikely is the idea that 'hurrah' is a corruption of the Slavonic hu-raj - paradise. In this scheme, 'Hip Hip Hooray!' would mean 'Jerusalem is lost; paradise here we come!' Barry Saunders, Watford.
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 21 "The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself" Page 32
RE GODS NAME GODS RE RE AS IN THREE IS IS THREE AS IN RE GODS NAMES MEANS E MEANS NAMES GODS
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 175 CHAPTER 8 LULLISM AS AN ART OF MEMORY THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull. Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lull was like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art. Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.
Page 282 "By THE LADDER OF MINERVA we rise from the first to the last..."
ART AT R AT ART
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 111 MEDIEVAL MEMORY AND THE FORMATION OF IMAGES "Petrarch makes his allusions to the art by introducing examples of men of antiquity famed for good memories and associating these with the classical art. His paragraph on the memories of Lucullus and Hortensius begins thus: - 'Memory is of two kinds, one for things, one for words.' 57 LUCULLUS 33333331 LUCULLUS
Daily Mail, Thursday, November 17, 2011 Page 70 QUESTION The W. B Yeats poem Mad As The Mists and snow name checks Homer, Horace, Cicero and and Tully ('and here is Tully's open page') Who was Tully?
Male Roman citizens typically had three names, their praenomen (given name), their nomen (clan name) and their' cognomen (nickname or family name), but in English classical Latin authors are generally known by a single name, often Anglicised. These sometimes derive from the nomen (for example, Horace's full name was Quintus Horatius Flaccus) and sometimes from the cognomen (as with Gaius Julius Caesar). In Cicero's case, he's today known by his cognomen, but has sometimes in the past been called Tully from his nomen. Despite coming from humble stock, Cicero's skill as an orator saw him rise to the supreme position of state in the Republic, the consulship, in 63BC and he played a key role in the defeat of the Catiline conspiracy. As a result of the rise to power of Julius Caesar, he took a lesser role in his later years, devoting himself to literature Instead. After Caesar's assassination in 44BC, Cicero returned to politics and took a key role in the senatorial opposition to Mark Antony. He was murdered on Antony's orders when he took power. Cicero's surviving letters form a key source for the history of the fall of the Roman Republic and its replacement by the rule of the emperors. David Bradbury, London.
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 21 "The Ad Herennium was a well known and much used text in the Middle Ages when it had an immense prestige because it was thought to be by Cicero. It was therefore believed that the precepts for the artificial memory which it expounded had been drawn up by Tullius himself" Page 32 Page 282 "By the THE LADDER OF MINERVA we rise from the first to the last..."
THE ART OF MEMORY FRANCIS A. YATES 1966 THREE LATIN SOURCES FOR THE CLASSICAL ART OF MEMORY Page 175 CHAPTER 8 LULLISM AS AN ART OF MEMORY THOUGH we have now reached the Renaissance, with Camillo, we have to retrace our steps to the Middle Ages during this chapter. For there was another kind of art of memory which began in the Middle Ages, which continued into the Renaissance and beyond, and which it was the aim of many in the Renaissance to combine with the classical art in some new synthesis whereby memory should reach still further heights of insight and of power. This other art of memory was the Art of Ramon Lull. Lullism and its history is a most difficult subject and one for the exploration of which the full materials have not yet been assembled; The enormous number of Lull's own writings, some of them still unpublished, the vast Lullist literature written by his followers, the extreme complexity of Lullism, make it impossible as yet to reach very definite conclusions about what is, undoubtedly.ra strand of major importance in the European tradition. And what I have to do now is to write one not very long chapter giving some idea of what the Art of Ramon Lullwas like, of why it was an art of memory, of how it differs from the classical art of memory, and of how Lullism became absorbed at the Renaissance into Renaissance forms of the classical art. Obviously- I am attempting the impossible, yet the impossible must be attempted because it is essential for the later part of this book that there should be some sketch at this stage of Lullism itself. The chapter is based on my own two articles on the art of Ramon Lull:' it is orientated towards a comparison of Lullism as an art of memory with. the classical art; and it is not concerned solely with 'genuine' Lullism but also with the Renaissance interpretation of Lullism, for it is this. which is important for the next stages of our history.
ART AT R AT ART
THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE YATES 1979 Frances A. Yates Page 53 AGRIPPA'S WORK (2): DE OCCULTA PHILOSOPHIA32 "I have made efforts in other books33 to present in some moderately lucid form the contents of this strange work, and I must now make the attempt again. In the first two chapters, Agrippa lays down the outline. Page 53 HENRY CORNELIUS AGRIPPA
THE OCCULT PHILOSOPHY IN THE ELIZABETHAN AGE YATES 1979 Frances A. Yates FRANCESCO GIORGI Page 37 "Giorgi's work was in the library of John Dee, the philosopher of the Elizabethan age, and was, as will be suggested later, a powerful influence underlying the Elizabethan Renaissance. The De harmonia mundi was also a strong influence in the French Renaissance. a French translation of Giorgi's immensely long work was published in 1578, with the title L'Harmonie du monde." "Giorgi's work is thus an extremely important channel for the transmission of Christian Cabala."
THE LIGHT IS RISING NOW RISING IS THE LIGHT
EVOLVE LOVE LOVE EVOLVE
REVOLVER EVOLVER LOVER
REVOLVER EVOLVER LOVER
astrodynamics.net/blog/2012/03/13/the-great-grand-trine/ 13 Mar 2012 – Note to my readers: This post contains a lot of geeky astrological lingo. If you find it overwhelming skip to the bottom where I've translated this ... The Great Grand Trine Posted on March 13, 2012
Secret Symbols of the Rosicrucians - TABULA SMARAGDINA..
www.crcsite.org/Tabula.htm TABULA SMARAGDINA HERMETIS by Jack Courtis. The above diagram is the best explanation of the Emerald Tablet of Hermes because it stimulates right ...
TABULA SMARAGDINA HERMETIS
The above diagram is the best explanation of the Emerald Tablet of Hermes because it stimulates right brain responses. It arouses intuition, imagination and insight. Any verbal explanation is inadequate, but it gives us a starting point. Let us look at the diagram carefully. Around the outside there is a Latin saying. What does it mean? Centuries ago, a student asked his master, Basilius Valentinus, "What is the secret of alchemy?" The master replied, "In VITRIOL is the answer." Observe: Visita Visit What does all that mean? First let us note that there are 7 Latin words in the statement. In alchemy, the Below, there are 7 metals. In astrology, the Above, there are 7 planets. In each of us there are 7 chakras. Taken together, they point to 7 levels of action internalised by us. Secondly, the "stone" is a reference to the Stone of the Philosophers. But beware, this is not the same as the Philosophers' Stone. The rectification is what changes the one into the other. Thirdly, the centre of the earth is a reference to our own being. We must rectify something that is utterly fundamental to our true nature. That should give us a starting point for meditation and visualisation. Next, let us look at the symbols. Overall, there is a circle and it brings to mind unity, wholeness, completeness and perfect Oneness. It is the stone, rectified. Inside the circle at both left and right there is a hand pointing inwards. This indicates polarity and this is the key to the Art. We must unite the duality of our being in the Chymical Marriage. Above the two hands are the 7 planets. The Sun and the Moon are pouring their life substance into a chalice, thus uniting their opposite natures. The chalice is supported by Mercury the hermaphrodite, both male and female. Another union of opposites. We are reminded of the alchemical koan that the Great Work consists of the union of the Sun and the Moon with the aid of Mercury. More material for meditation. To the left are Mars and Saturn and to the right, are Venus and Jupiter. These planets are also arranged in a balanced and polarised fashion. Below them are 3 shields, standing for the 3 alchemical principles of Sulfur (Lion), Salt (7 pointed star) and Mercury (Eagle). Note that alchemical Mercury is related to astrological Mercury, but they are not the same. If we change our point of view, we can take the chalice as the element Water, the lion as Fire, the eagle as Air and the star as Earth. Finally, there are 2 spheres (Heaven and Earth) which emphasise the polarity of the Above and the Below, which must also be united. In the very centre is a ring which symbolises the microcosm inside the macrocosmic circle. A reminder of the Above and the Below. Have you noticed the last symbol? Below the ring and above the shield of the star, is the alchemical symbol of VITRIOL. It is on the opposite side of the ring to Mercury. So what? The hidden stone arises out of the conjunction of these two. It emerges in the centre of the empty ring. That is the focus of our meditation. Truly, in VITRIOL is the answer. The entire diagram must be used for meditation and visualisation. That is its primary function and that is how its true value will be revealed. Let us now look at the text of the Emerald Tablet of Hermes. VERBA SECRETORUM HERMETIS. 1. It is true, certain, and without falsehood, that whatever is below is like that which is above; and that which is above is like that which is below: to accomplish the one wonderful work. 2. As all things are derived from the One Only Thing, by the will and by the word of the One Only One who created it in His Mind, so all things owe their existence to this Unity by the order of Nature, and can be improved by Adaptation to that Mind. 3. Its Father is the Sun; its Mother is the Moon; the Wind carries it in its womb; and its nurse is the Earth. 4. This Thing is the Father of all perfect things in the world. 5. Its power is most perfect when it has again been changed into Earth. 6. Separate the Earth from the Fire, the subtle from the gross, but carefully and with great judgement and skill. 7. It ascends from earth to heaven, and descends again, new born, to the earth, taking unto itself thereby the power of the Above and the Below. 8. Thus the splendor of the whole world will be thine, and all darkness shall flee from thee. 9. This is the strongest of all powers, the Force of all forces, for it overcometh all subtle things and can penetrate all that is solid. 10. For thus was the world created, and rare combinations, and wonders of many kinds are wrought. 11. Hence I am called HERMES TRISMEGISTUS, having mastered the three parts of the wisdom of the whole world. 12. What I have to say about the masterpiece of the alchemical art, the Solar Work, is now ended.
Some general observations There are 12 statements. This immediately alerts us to the connection between astrology (which explains the Above) and alchemy (which explains the Below). But what relates the Above to the Below? The magus, who bears within himself the 12 astrological/alchemical body functions and who performs the 12 Disciplines. This is why Hermes is called Thrice Greatest, he is alchemist, magus and astrologer, all in one. He combines the three functions because he (as the divine spark) directs the three vehicles of consciousness: the physical body (as the alchemist), the soul (as the magus) and the spirit (as the astrologer). Let us see these functions together, relating them to the 12 statements of the Emerald Tablet: Emerald Tablet Alchemist (Body) Magus (Soul) Astrologer (Spirit) The source of the Emerald Tablet is unknown, but the attribution of the astrological/alchemical body functions, is the Sefer Yetzirah. The Disciplines come from Christian tradition and their use is universal. The three paths of alchemist, magus and astrologer, are woven together, because each of us functions in a three-fold manner, through our three vehicles of consciousness. How do we know that we each have as vehicles of consciousness, a body, a soul and a spirit? This is partly explained by the apostle Paul in I Thessalonians 5:23. However if we have vehicles, what is the consciousness? What is the "I"? The Gnostics call it the divine spark. This is our true identity but we do not realise it in full awareness. It is this lack of knowledge of our true nature, which leads us to live as we do, driven by ignorance, fear and desire; the generators of karma. However if we follow a disciplined path of intellectual, emotional, moral and spiritual development, we shall change so profoundly, that we shall be completely transformed. This process of self-transformation is called the Great Work. It has four stages that correlate with the four alchemical elements in their macrocosmic form and the four levels of reality of kabala. Here are the stages of the Great Work. First stage: 12 Disciplines Clearly, the 12 statements of the Emerald Tablet are a partial description of the First stage of the Great Work. There is a great deal more than this in the other stages, but we must begin at the beginning with disciplined action. But what justification do we have for thinking that there is a three-fold function personified as the astrologer (the Above), the alchemist (the Below) and he who reconciles them, the magus? Let us look closely at the text of the Emerald Tablet. There are 3 processes that have a total of 8 steps: First process: from Above to Below - changed into Earth Second process: from Below to Above - ascends from earth to heaven Third process: from Above to Below - descends again to earth Let us see this more clearly; 3 processes by 8 steps: 4 step descent by astrologer > Father/Sun + Mother/Moon + Wind/womb + nurse/Earth Let us take the first process of 4 downward steps. Since they go from the Above to the Below, they are the way of the astrologer. They are the paths from, Chakhmah to Tiferet; Binah to Tiferet; Chesed to Tiferet; Gevurah to Tiferet. These paths are also connected to the function of our vehicle of consciousness, the spirit.
The second process is 3 upward steps, from the Below to the Above. They are the way of the alchemist. These are the paths from, Netzach to Tiferet; Hod to Tiferet; Yesod to Tiferet. They are connected with our vehicle of consciousness, the body. The third process is a re-descent, from the Above to the Below. It is the double path from Keter to Tiferet; the way of the magus. This is a double path because by it, the magus can move in both directions and unite the Above with the Below. It is connected with our vehicle of consciousness, the soul. It is the soul that connects the spirit Above, with the body Below. What does all this mean? First, all 8 paths converge on Tiferet. It is like an electrical powerhouse. The double path from Keter, has the quality of reversing the flow of energy, like an alternating electric current. The other paths are one way flows of energy, like direct electric current, either 'on' or 'off'. Both types of flow are an example of polarity. Secondly, Tiferet is attributed to the Sun and the Emerald Tablet refers to the Solar Work. Thirdly, the 3 processes personified as alchemist, magus and astrologer, are seen in their proper relationship to each other and lead us to understand our 3 vehicles of consciousness. Fourthly, the One Only One, referred to in the text, is a clear reference to the divine spark, that is our true "I". The One is the focus of the 3 processes and the 8 steps of the Emerald Tablet and the 8 paths on the Tree of Life. The Tree is a visual explanation of the Tablet. But what does it all mean? Our general observations are the starting point for the Great Work. We have a lot to do. Let us begin that work with a detailed consideration of the text, noting that this is in itself, a guided visualisation. This is not a left brain exercise in logic and rationalism. The text is a meditative guide to insight. The Emerald Tablet of Hermes It is true, certain, and without falsehood, that whatever is below is like that which is above; and that which is above is like that which is below: to accomplish the one wonderful work. The fundamental point being made is that truth and reality can only be grasped by analogy. The Above is not the Below; it is like the Below. That is, we can only understand by symbols, metaphors, parables, poems, mandalas and koans. We can only approach reality indirectly to accomplish the Great Work. As all things are derived from the One Only Thing, by the will and by the word of the One Only One who created it in His Mind, so all things owe their existence to this Unity by the order of Nature, and can be improved by Adaptation to that Mind. Unity is the only truth. All else is illusion. And yet, the One becomes the Many and the Many must return to the One. But when they do, they are improved. The secret is adaptation to the one mind. What is this adaptation? Precisely what we are doing by contemplating the diagram and using the text as a guided visualisation. The point is that when we realise our true nature as a divine spark, we shall do so in full awareness and in the complete development of our spirituality. Its Father is the Sun; its Mother is the Moon; the Wind carries it in its womb; and its nurse is the Earth. The One becomes the Many and so, it differentiates into 4 separate steps; Above Þ Below, personified as the astrologer. Heaven sets the pattern for earth. On the Tree of Life, Tiferet is the Sun, Chakhmah is the Zodiac, Binah is Saturn, Chesed is Jupiter and Gevurah is Mars. Again, these are guides for visualisation. It is no use talking about it, we must experience it. This Thing is the Father of all perfect things in the world. The one thing is the Prima Materia. It is connected with the Stone of the Philosophers and with the Philosophers' Stone. What are they? It is for the seeker to discover. Meditate! Its power is most perfect when it has again been changed into Earth. It must descend from the Above to the Below; it must be changed into earth. That is, this truth must be realised by us here and now. Separate the Earth from the Fire, the subtle from the gross, but carefully and with great judgement and skill. This is the alchemical koan: solve et coagula. The Prima Materia must be separated into its constituent parts, rectified and reunited. This is the work of the alchemist, Below Þ Above. It is in 3 steps and on the Tree of Life, Netzach is a lower form of Sulfur, Hod is a lower form of Mercury and Yesod is a lower form of Salt. They all go to Tiferet. Of course it takes great judgement and skill. Do we really understand what it means to separate the One Thing, let alone reunite it? Meditate! It ascends from earth to heaven, and descends again, new born, to the earth, taking unto itself thereby the power of the Above and the Below. After the alchemist ascends to heaven, now comes the magus who descends again to earth via the double path on the Tree, from Keter to Tiferet. New born within the magus is the power of the Above and the Below, rectified and reunited. When we achieve this state, we too shall be thrice great. Thus the splendor of the whole world will be thine, and all darkness shall flee from thee. This state of unified consciousness can only be symbolised by the absence of darkness, that is, light. That is why this state is called "enlightenment". This is the strongest of all powers, the Force of all forces, for it overcometh all subtle things and can penetrate all that is solid. Consciousness is the only reality. All else is illusion no matter how solid things may appear. But this is the unified consciousness of the divine spark. It is not the increasingly limited awareness that functions through our vehicles of consciousness from spirit, through the soul and into our body. The whole point of the diagram and the text of the Emerald Tablet, is to give us a guide for the work we must do in order to re-unite our fragmented awareness. This is indeed a Great Work. For thus was the world created, and rare combinations, and wonders of many kinds are wrought. Hermes, the personification of our true "I", by 4 steps of descent, 3 steps of ascent and 1 step of re-descent, performed the Solar Work. By analogy, like this way but not in this way, we must do the same. Are you confused? Good! That is why the concept of analogy is so important. It is a subtle and sophisticated process that can only be grasped by meditation and visualisation. That is the true work. Hence I am called HERMES TRISMEGISTUS, having mastered the three parts of the wisdom of the whole world. Hermes is the divine spark. He is consciousness, fully self aware, unified and complete in its fullness. Hence he can control his vehicles of consciousness: spirit as the astrologer; soul as the magus; body as the alchemist. Of course he is Thrice Great. So shall we be, when we learn what analogy is, what it does and what it means to say that the Above is like the Below. What I have to say about the masterpiece of the alchemical art, the Solar Work, is now ended. Fundamentally, the Solar Work is alchemical because it is about getting us from Malkhut, on the Tree of Life, to Tiferet. Malkhut is the place of the 4 elements in their microcosmic aspect and Tiferet is the place of the Sun. When we get from the Below to the Sun, we then can continue the Great Work by rising to the Above. But that's another story. Solve et Coagula
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