OSIRIS ISIS 5 ISIS OSIRIS

THE

MAGICALALPHABET

 

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THE SUN DANCES

Prayers and blessings from the Gaelic

Alexander Michael 1960

"SHE OF MY LOVE IS THE NEW MOON"

 

9	NEW MOON	-	-	-
3	NEW	42	15	6
4	MOON	57	21	3
9	NEW MOON	99	36	9
-	-	9+9	3+6	-
9	NEW MOON	18	9	9
-	-	1+8	-	-
9	NEW MOON	9	9	9

 

 

8	FULL MOON	-	-	-
4	FULL	51	15	6
4	MOON	57	21	3
8	FULL MOON	108	36	9
-	-	1+0+8	3+6	-
8	FULL MOON	9	9	9

 

 

-	CRESCENT MOON	-	-	-
8	CRESCENT	87	33	6
4	MOON	57	21	3
12	-CRESCENT MOON	144	54	9
1+2	=	1+4+4	5+4	-
3	CRESCENT MOON-	9	9	9

 

 

9	NEW MOON	99	36	9
8	FULL MOON	108	36	9
12	-CRESCENT MOON	144	54	9

 

 

3	SUN	54	9	9
5	EARTH	52	25	7
4	MOON	57	21	3

 

 

6	DIVINE	63	36	9
7	THOUGHT	99	36	9
4	LOVE	54	18	9
5	MAZDA	45	18	9
9	ILLUMINED	99	45	9
9	LIGHT + HEAT	90	45	9
13	INCANDESCENCE	99	54	9

 

 

 

10	MIND + MATTER	117	45	9
16	POSITIVE + NEGATIVE	198	81	9
9	DARK + LIGHT	90	45	9
8	GOD + SATAN	81	27	9
1	I	9	9	9
8	SATAN + GOD	81	27	9
9	LIGHT + DARK	90	45	9
16	NEGATIVE + POSITIVE	198	81	9
10	MATTER + MIND	117	45	9

 

 

5	SATAN	55	10	1
6	SATURN	93	21	3
6	NATURS	93	21	3
7	NATURES	98	26	8

 

SATURN IN TRANSIT

BOUNDARIES OF MIND BODY AND SOUL

Erin Sullivan 1991

Page186
"...Campbell says, 'The hero whose attachment to ego is already annihilated passes back and forth across the horizons of the world, in and out of the dragon, as readily as a king through all the rooms of his house. And therein lies his power to save6 The latter stages of this transit propose a new way of 'seeing' life, and.how one can participate in it. They can also be fraught with terror and anxiety, for one's boundaries are dissolving and the identity, as it has been for along time now, is slowly but,.certainly becoming eroded. Saturn, in its dark and most primitive form, is bound up with the ego and its control mechanisms. A real sense of peripheral invasion occurs ­ something on the horizon beckons, but it cannot be seen. The boundless deep of the unconscious is filled with primordial images that arise spontaneously, both while awake and while asleep. Irnages and sensations creep in, occupying what used to be superfunctional space in the consciousness. Because of this preoccupation with the unconscious mind one can retreat into solitude which, though important on one level, should not be carried into extreme isolation from the people and things that one values. This, of course, means re-evaluating precisely what it is that one does value.
The hero must now join, collectively, with all heroes from all time and, divesting himself of the now useless protective devices, make himself available for more magical tools. In more pragmatic terms, one must allow the contents of the unconscious to rise and to be the guiding factor in the continuing joumey.

THE THRESHOLD STRUGGLE (ASC.)

There he encounters a shadow presence that guards the passage. The hero may defeat or conciliate his power and go alive into the kingdom of the dark (brother-battle; dragon-battle; offering, charm), or be slain by the opponent and descend in death (dis­memberment, crucifixion). Beyond the threshold, then, the hero journeys through a world of unfamiliar yet strangely intimate forces, some of which severely threaten him (tests), some of which give magical aid (helpers).
Joseph Campbell 7

 

HERO WITH A THOUSAND FACES

Joseph Campbell 1949

INITIATION

THE ULTIMATE BOON

Page 190

The agony of breaking through personal limitations is the agony of spiritual growth. Art, literature, myth and cult, philosophy, and ascetic disciplines are instruments to help the individual past his limiting horizons into spheres of ever-expanding realization. As he crosses threshold after threshold, conquering dragon after dragon, the stature of the divinity that he summons to his highest wish increases, until it subsumes the cosmos. Finally, the mind breaks the bounding sphere of the cosmos to a realization transcending all experiences of form-all symbolizations, all divinities: a realization of the ineluctable void.
So it is that when Dante had taken the last step in his spiritual adventure, and came before the ultimate symbolic vision of the Triune God in the Celestial Rose, he had still one more illumination to experience, even beyond the forms of the Father, Son, and Holy Ghost. "Bernard," he writes, "made a sign to me, and smiled, that I should look upward; but I was already, of myself, such as he wished; for my sight, becoming pure, was entering more and more, through the radiance of the lofty Light which in Itself is true. Thenceforward my vision was greater than our speech, which yields to such a sight, and the memory yields to such excess."

Page 191

"There goes neither.the eye, nor speech, nor the mind: we know not; nor do we see how to teach one about It. Different It is from all that are known, and It is beyond the unknown as well." 168
This is the highest and ultimate crucifixion, not only of the hero, but of his god as well. Here the Son and the Father alike are annihilated-as personality-masks over the unnamed. For just as the figments of a dream derive from the life energy of one dreamer, representing only fluid splittings and complications of that single force, so do all the forms of all the worlds, whether terrestrial or divine, reflect the universal force of a single inscrutable mystery the power that constructs the atom and controls the orbits of the stars.
That font of life is the core of the individual, and within himself he will find it-if he can tear the coverings away. The pagan Germanic divinity Othin (Wo tan) gave an eye to split the veil of light into the knowledge of this infinite dark, and then under­went for it the passion of a crucifixion:

I ween that I hung on the windy tree,
Hung there for nights full nine;
With the spear I was wounded, and offered I was To Othin) myself to myself)
On the tree that none may ever know What root beneath it runs.169

The Buddha's victory beneath the Bo Tree is the classic Oriental example of this deed. With the sword of his mind he pierced the bubble of the universe-and it shattered into nought. The whole world of natural experience, as well as the continents, heavens, and hells of traditional,religious belief, exploded-together

Notes to Page 191

168 Kena U panishad, 1: 3 (translation by Swami Sharvananda; Sri Rama­
krishna Math; Mylapore, Madras, 1932).
169 Poetic Edda, "Hovamol," 139 (translation by Henry Adams Bellows;
The American-Scandinavian Foundation; New York, 1923).

Notes to Page 190

167 "Paradiso," XXXIII, 49-57 (translation by Norton, op. cit., Vol. Ill, pp. 253-254, by permission of Houghton Miffiin Company, publishers).

 

THAT HE AS IN SHE THAT IS THEE THAT IS ME

 

5

DANCE

27

18

9

 

 

THE TWO HANDS OF GOD

Alan Watts

1963

AN EXPLORATION OF THE UNDERLYING UNITY OF ALL THINGS

Page 75

THE COSMIC DANCE

"What is more exuberant than Hindu sculpture?
I am thinking of those ovoid domes of stone at Konarak, Bhuvaneshwar, and Khajuraho, which look, at first sight, as if they had decomposed into the kind of squirming vitality that one finds upon overturning a rock, as if they were alive with anthropoid maggots, swarming together in a colossal rout of dancing, fighting, and copulating. But close inspection reveals that the stone has come alive in figures of unbelievable grace and lilting sensuousness-at one time vividly polychromed, but now perhaps all the better for being the combination of drab gray rock and endlessly dancing form. One must look at these temple figures in the light of classical Hindu dancing-an art in which jeweled bodies move as if they were plants suspended in water, where muscles are an ivory liquid, and where legs, hips, belly, shoulders, and head move quite independently in their own planes. Such exotic, rich, and jungle-like displays of human fecundity are perhaps repellent to the Western, and especially Anglo-Saxon, taste. But to penetrate the depth and grandeur of Hindu /Page/ mythology and philosophy, one must somehow allow oneself to enter into this seething imagery, and then feel, one's way down through its bewildering variety to the simple and presiding intuition which underlies it.
In a world of intense heat, of the most startling extremes of fertility and aridity, wealth and poverty, and where life is cheap and security almost unknown, the human mind can acquire a peculiar sensitivity. Somehow the world seems lacking in solidity. External forms and surfaces are now diaphanous, and now bristling with the sharpest points. Nothing is certain but change, and change is less apt to be gradual and orderly than sudden and unforeseen. It is not surprising, then, that to the Hindu consciousness the world has seemed like an arabesque of smoke, and that its totally unrliable transitoriness has been the principal ground for conidering
it to be fundamentally unreal. But the word maya by which this peculiar unreality is described, is not necessarily a term of contempt, as if the world were merely an illusion to be dismissed. Maya also means art and magic, and thus a seeming solidity evoked by divine power. But under the spell of this power the Hindu does not feel himself entirely a victim. However obscurely, he knows or feels that the source of this enchantment is in some roundabout way himself- as if being alive and human were to have got delberately lost in a labyrinth.
For the presiding intuition of the Hindu world "view is that the whole universe of multiplicity is the lila, or play, of a single energy known as Paramatman, the Supreme Self. The coming and going of all worlds, all beings, and all things is described as the eternal outbreathing and inbreathing of this One Life-eternal because it is beyond all dualities, compris­ing non-being as much as being, death as much as life, still­/Page 77/ ness as much as motion. One of the principal symbols of the Paramatman is the Swan, Hamsa, flying forth from its n.est and returning, and the syllable ham stands for breathing out, sa for breathing in. As the exhalation and inhalation are repeated endlessly, ham-sa-ham-sa-ham-sa-ham, there is also heard saham, that is, sa aham, "He I am"-which is to say that the essential self of every being is the Supreme Self.
This in-and-out rhythm or undulation goes on endlessly through every dimension of life. It is the birth-and-death of innumerable universes, not only succeeding one another in kalpa-periods of 4,320,OOO years, but also co-existing in untold myriads. Small universes compose great universes: our galaxies are the dust in another cosmos, and the dust in our world contains suns and stars-infinitely small or infinitely great according to the point of view. An individual is therefore a vast cosmos in his own right, and the ups and downs of his life are just the same ups and downs as those of the macrocosms beyond him and the microcosms within him. To the eye of wisdom size makes no difference: every mote, every being, every cosmos is an exemplar of the one archetypal rhythm. All beings-divine, human, demonic, or animal-are, as it were, under the spell of the Juggler, tossing and catching the multitudinous balls of the worlds with his thousands of
. arms and hands, simp.ltaneously giving delight with the dis­play of skill and terror with the thought that a ball might drop. Yet the skill and resourcefulness of the Divine Juggler are endless. The pall that seems to drop and shatter simply bursts into a million more Jugglers; the disaster turns out with unfailing astonishment to be a new tour de force} though it is all part of the game that this shall never be expected. Yet there is a clue for the wise. In all images of the /Page 78 / many-armed divinity there is one hand raised and unmoving, with palm toward the beholder-the gesture of "Fear not." It is just a game (plate 21) .(omitted)
This, then, is the underlying theme of those Hindu art forms depicting the myriads of gods and goddesses in their loves and wars: it is the endless complication of a: single principle, complicated by an infinite capacity for maya for con­cealing the stratagem. Now you see it, now you don't.
At some time between B.C. 500 and A.D. 100 there was compiled that great epic of Hindu mythology, the Mahabharata. One section of this epic, The Lord's Song or Bhagavad-Gita, has been regarded for centuries as the most authoritative epitome of Hindu doctrine, taking the form of a discourse between the warrior Arjuna and Sri Krishna, the incarnation or avatar of Vishnu-one of the many names under which the Supreme Self is known. The scene of the Gita is a battlefield where opposing forces are encamped before their engagement. Krishna appears in the role of Arjuna's charioteer, and their conversation begins with Arjuna's despondency at the prospect of having to do battle with his own kinsmen. The battle is, of course, a symbol of the whole struggle of life-and-death, and Krishna's encouragement of his reluctant master, Arjuna, must be taken not so much as the praise of military valor as of fearlessness in the face of all life's terrors. The immediate importance of this discourse is that at one point Krishna reveals himself to Arjuna in his divine fonn, at which moment the Gita gives us. the most vivid picture of the cosmic vision which I have been describing, the beautiful and terrible dance of the Divine Juggler and the maya of his innumerable fonns and manifestations.

 

 

Krishna says:

I am the Self existing in the heart of all beings. I am the beginning, the middle and also the end of beings.
Among purifiers, I am the wind; among warriors, I am Rama; among fishes, I am Makara (the shark); and among rivers, I am the Ganges.
O Arjuna, of all creations I am the beginning, the middle and also the end; of all sciences, I am the science of Self-knowl­edge.
Of syllables, I am "A," and Dvandva (copulative) of all compound words. I am inexhaustible Time; I am the Dispenser, facing everywhere.
I am all-seizing Death; I am the origin of all that is to be; of the female I am fame, prosperity, speech, memory, intelligence, constancy and forgiveness.
I am gambling among the fraudulent; I am the prowess of the powerful. I am Victory, I am Perseverance, I am the Goodness of the good.
I am the Rod of disciplinarians; I am the Polity of the seekers of conquest. I am the Silence of secrets; I am the Wisdom of the wise.
O Arjuna, whatever is the seed of all beings, that also am I Without Me there is no being existent, whether moving or unmoving.
There is no end to the manifestations of my Divine Power; what I have declared is only a partial statement of the vastness of my divine manifestation.
Whatever being there is, glorious, prosperous or powerful, know thou that to have sprung from a portion of My splendor.
O Arjuna, what need is there for thee to know these details?
I alone exist, sustaining this whole universe by a portion of Myself.
Arjuna said:
The supremely profound word regarding Self-knowledge, spoken by Thee out of compassion for me, has dispelled this my delusion."

 

Krishna says:

"9am the Self existing in the heart of all beings. 9am the beginning, the middle and also the end of beings.
Among purifiers, 9am the wind; among warriors, 9 am Rama; among fishes, 9 am Makara (the shark); and among rivers, 9 am the Ganges.
O Arjuna, of all creations 9 am the beginning, the middle and also the end; of all sciences, 9 am the science of Self-knowl­edge.
Of syllables, 9 am "A," and Dvandva (copulative) of all compound words. 9 am inexhaustible Time; 9 am the Dispenser, facing everywhere.
9am all-seizing Death; 9 am the origin of all that is to be; of the female 9 am fame, prosperity, speech, memory, intelligence, constancy and forgiveness.
9 am gambling among the fraudulent; 9 am the prowess of the powerful. 9 am Victory, 9 am Perseverance, 9 am the Goodness of the good.
9 am the Rod of disciplinarians; 9 am the Polity of the seekers of conquest. 9 am the Silence of secrets; 9 am the Wisdom of the wise.
O Arjuna, whatever is the seed of all beings, that also am 9 Without 9 there is no being existent, whether moving or unmoving.
There is no end to the manifestations of my Divine Power; what 9 have declared is only a partial statement of the vastness of my divine manifestation.
Whatever being there is, glorious, prosperous or powerful, know thou that to have sprung from a portion of My splendor.
O Arjuna, what need is there for thee to know these details?
9 alone exist, sustaining this whole universe by a portion of Myself.

 

 

1	I	9	9	9
2	AM	14	5	5
4	THAT	49	13	4
4	THAT	49	13	4
2	AM	14	5	5
1	I	9	9	9
14	-	144	54	9
1+4	-	1+4+4	5+4	-
5	-	9	9	9

 

Arjuna said:
The supremely profound word regarding Self-knowledge, spoken by Thee out of compassion for 9, has dispelled this my delusion."

 

 

THE BOOK

ON THE TABOO AGAINST KNOWING WHO YOU ARE

Alan Watts 1969

Page 107

"But I define myself in terms of.you; I know myself only in terms of what is "other," no matter whether I see the "other" as below me or above me in any ladder of values. If above, I enjoy the kick of self-pity; if below, I enjoy the kick of pride. I being I goes with you being you. Thus, as a great Hassidic rabbi put it, "If I am I because you are you, and if you are you because I am I, then I am not I. and you are not you." Instead we are both something in common between what Martin Buber has called I-and-Thou and I-and-It-the magnet itself which / Page 108 / lies between the poles, between I myself and everything sensed as other."

 

1	I	9	9	9
2	ME	18	9	9
3	IVE	36	18	9
3	EGO	27	18	9
10	EGOCENTRIC	99	54	9
10	CONSCIENCE	90	45	9

 

 

-	EGOCENTRIC	-	-	-
3	EGO	27	18	9
7	CENTRIC	72	36	9
10	EGOCENTRIC	99	54	18
1+0		9+9	5+4	1+8
1	EGOCENTRIC	9	9	9

 

 

-	EGOCENTRIC	-	-	-
2	EG	12	12	3
2	OC	18	9	9
3	ENT	39	12	3
1	R	18	12	3
1	I	9	9	9
1	C	3	3	3
10	EGOCENTRIC	99	54	18
1+0	-	9+9	5+4	1+8
1	EGOCENTRIC	9	9	9

 

 

I

THE

NINTH

LETTER OF THE ENGLISH ALPHABET

 

3	THE	33	15	6
6	NINETY	87	33	6
4	NINE	42	24	6
13	-	162	72	18
1+3	-	1+6+2	7+2	1+8
4	-	9	9	9

 

 

3	SAY	45	9	9
I	I	9	9	9
3	EGO	27	18	9
2	ME	18	9	9
10	EGOCENTRIC	99	54	9
10	CONSCIENCE	90	45	9
5	VOICE	54	27	9
6	REASON	72	27	9
7	THOUGHT	99	36	9
7	REALITY	90	36	9
4	REAL	36	18	9
3	ITY	54	18	9
6	DIVINE	63	36	9
4	LOVE	54	18	9

 

 

THE SPLENDOUR THAT WAS EGYPT

Margaret A. Murray

1963

Page 101

"In many countries the Divine King was allowed to reign for a term of years only,

usually

seven or nine or multiples of those numbers".

 

"SEVEN OR NINE

OR

MULTIPLES OF THOSE NUMBERS"

 

 

THE MAYAN PROPHESIES

Adrian G. Gilbert and Morris M. Cotterell

1995

Appendix 7

Page 345

'Mayan numbers - summary

nine = magic number of the Maya. All relevant numbers compound to nine.'

ALL

RELEVANT NUMBERS COMPOUND

TO

NINE

 

 

THE SUPER GODS

Morris M. Cotterell

1997

Page 188

"The recurring 9999 is an invitation to round up this number to 269, i.e. 260 and 9."

THE

RECURRING

9999

 

THE

9ECU999NG 9999

 

 

NUMBER
9
THE SEARCH FOR THE SIGMA CODE

Cecil Balmond

1998

Page 45

"From ancient times number nine was seen as a full complement; it was the cup of special promise that brimmed over"

"FROM ANCIENT TIMES

NINE

WAS SEEN AS A FULL COMPLEMENT"

 

 

BHAGAVAD- GITA

As it is.

A. C. Bhaktivedanta Swami Prabhupada

Page 287

THE CITY OF NINE GATES

"When the embodied living being controls his nature and mentally renounces all actions, he resides happily in the city of nine gates."

"The body consists of nine gates (two eyes, two nostrils, two ears, one mouth, the anus and the genitals.)"

 

 

GURDJIEFF A BIOGRAPHY

James Moore

Page 344

The
Enneagram

"Gurdjieff's most cherished symbol was his enneagram, or nine sided figure; he extolled it as a universal glyph, a schematic diagram of perpetual motion."

NINE

SIDED

 

THE ELEMENTS OF THE GODDESS

Caitlin Matthews

1989

"WE ARE ENTERINGTHE TIME OF THE NINE POINTED STAR
THE STAR OF MAKING REAL UPON EARTH THE GOLDEN DREAM OF PEACE THAT LIVES WITHIN US"
Brooke Medicine Eagle

Page 38

"THIS ENNEAD OF ASPECTS IS ENDLESSLY ADAPTABLE FOR IT IS MADE UP OF NINE, FOR EXAMPLE 54, 72, 108, THEY ALWAYS ADD UP TO NINE"

 

 

THE HOLY BIBLE
C 17 V 24

GENESIS

AND ABRAHAM WAS NINETYYEARS OLD AND NINE

WHEN HE WAS CIRCUMCISED IN THE FLESH OF HIS FORESKIN

 

 

AFTER DEATH
Leslie D. Weatherhead 1923
Page
99
'The Christian conception of God does not allow even one per cent.of failures - it is not enough to have
ninety-nine
sheep out of a flock of a hundred safe in the fold"

 

 

WORK DAYS OF GOD

Herbert W Morris D.D.circa 1883

Page 278

"He was mindful of the lowest and the least of the works of his hands. He would not have this one revolted world perish. Leaving the "ninety and nine"on the bright celestial plains, He came down to seek and to save "the one stray sheep."

Page number missing assumed to be 415

"Silver Songs : Contains 180 Beautiful Melodies for the Sunday School, Home and Sacred Use"
"Companion volume to "Silver Songs" "Golden Songs"
"Among the numerous tunes are the following : -"

"Are you one of the
"Ninety and Nine"

 

NINE

PLANETS

 

ARISES THAT SUN SETS THAT SUN SETS THAT SUN ARISES THAT SUN

OSIRIS THAT SON SETS THAT SON SETS THAT SON ORISIS THAT SON

 

 

8	FREEWILL	90	45	9
4	FREE	34	25	7
7	FREEDOM	66	39	3

 

"I am He that lives, and was dead; and, behold, I am alive forevermore."

Revelation 1:18

 

19th Century Shaker tune, adapted by Sydney Carter, 1963

 

FOUR QUARTETS

T.S. Eliot 1943

BURNT NORTON

Pages 13/20

I

"Time present and time past
Are both perhaps present in time future,
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
  But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.

II

Garlic and sapphires in the mud
Clot the bedded axle-tree.
The trilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.
The dance along the artery
The circulation of the lymph
Are figured in the drift of stars
Ascend to summer in the tree
We move above the moving tree
In light upon the figured leaf
And hear upon the sodden floor
Below, the boarhound and the boar
Pursue their pattern as before
But reconciled among the stars.

At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.
And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving,
Erhebung without motion, concentration
Without elimination, both a new world
And the old made explicit, understood
In the completion of its partial ecstasy,
The resolution of its partial horror.
Yet the enchainment of past and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.
Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.

III

Here is a place of disaffection
Time before and time after
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence
Nor darkness to purify the soul
Emptying the sensual with deprivation
Cleansing affection from the temporal.
Neither plenitude nor vacancy. Only a flicker
Over the strained time-ridden faces
Distracted from distraction by distraction
Filled with fancies and empty of meaning
Tumid apathy with no concentration
Men and bits of paper, whirled by the cold wind
That blows before and after time,
Wind in and out of unwholesome lungs
Time before and time after.
Eructation of unhealthy souls
Into the faded air, the torpid
Driven on the wind that sweeps the gloomy hills of London,
Hampstead and Clerkenwell, Campden and Putney,
Highgate, Primrose and Ludgate. Not here
Not here the darkness, in this twittering world.

    Descend lower, descend only
Into the world of perpetual solitude,
World not world, but that which is not world,
Internal darkness, deprivation
And destitution of all property,
Desiccation of the world of sense,
Evacuation of the world of fancy,
Inoperancy of the world of spirit;
This is the one way, and the other
Is the same, not in movement
But abstention from movement; while the world moves
In appetency, on its metalled ways
Of time past and time future.

IV

Time and the bell have buried the day,
The black cloud carries the sun away.
Will the sunflower turn to us, will the clematis
Stray down, bend to us; tendril and spray
Clutch and cling?

Chill
Fingers of yew be curled
Down on us? After the kingfisher's wing
Has answered light to light, and is silent, the light is still
At the still point of the turning world.

V

Words move, music moves
Only in time; but that which is only living
Can only die. Words, after speech, reach
Into the silence. Only by the form, the pattern,
Can words or music reach
The stillness, as a Chinese jar still
Moves perpetually in its stillness.
Not the stillness of the violin, while the note lasts,
Not that only, but the co-existence,
Or say that the end precedes the beginning,
And the end and the beginning were always there
Before the beginning and after the end.
And all is always now. Words strain,
Crack and sometimes break, under the burden,
Under the tension, slip, slide, perish,
Decay with imprecision, will not stay in place,
Will not stay still. Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them. The Word in the desert
Is most attacked by voices of temptation,
The crying shadow in the funeral dance,
The loud lament of the disconsolate chimera.

The detail of the pattern is movement,
As in the figure of the ten stairs.
Desire itself is movement
Not in itself desirable;
Love is itself unmoving,
Only the cause and end of movement,
Timeless, and undesiring
Except in the aspect of time
Caught in the form of limitation
Between un-being and being.
Sudden in a shaft of sunlight
Even while the dust moves
There rises the hidden laughter
Of children in the foliage
Quick now, here, now, always-
Ridiculous the waste sad time
Stretching before and after."

 

THE LORD OF THE

DANCE

"Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance."

 

5	DANCE	-	-	-
-	D	4	4	4
-	ANC	18	9	9
-	E	5	5	5
5	DANCE	27	18	18
-	-	2+7	1+8	1+8
5	DANCE	9	9	9

 

DANCE

RA ATUM DANCE DANCE ATUM RA

 

5	DANCE	-	-	-
-	D	4	4	4
-	A	1	1	1
-	N	14	5	5
-	C	3	3	3
-	E	5	5	5
5	DANCE	27	18	18
-	-	2+7	1+8	1+8
5	DANCE	9	9	9

 

 

4	MIND	40	22	4
4	BODY	46	19	1
4	SOUL	67	13	4
12		153	54	9
1+2		1+5+3	5+4
3		9	9	9

 

 

10	REDEMPTIVE	-	-	-
	R	18	9	9
	E+D	9	9	9
	E+M	18	9	9
	P+T	36	9	9
	I	9	9	9
	V+E	27	9	9
10	REDEMPTIVE

 

 

10	REDEMPTION	119	56	2
10	REDEMPTION	-	-	-
	R	18	9	9
	E+D	9	9	9
	E+M	18	9	9
	P+T	36	9	9
	I	9	9	9
	O+N	29	11	2
10	REDEMPTION

 

 

5	WORLD	72	27	9
5	NAVEL	54	18	9
8	OMPHALOS	99	36	9
18	Add to Reduce	225	81	27
1+8	Reduce to Deduce	2+2+5	8+1	2+7
9	Essence of Number	9	9	9

 

 

HERO WITH A THOUSAND FACES

Joseph Campbell 1949

THE WORLD NAVEL

Page 40/41

"The torrent pours from an invisible source, the point of entry being the center of the symbolic circle of the unverse, the Im/movable Spot of the Buddha legend,46 around which the ,world may be said to revolve. Beneath this spot is the earth-supporting head of the cosmic serpent, the dragon, symbolical of the waters of the abyss, which are the divine life-creative energy and substance of the demiurge, the world-generative aspect of immortal being.47 The tree of life, i.e., the universe itself, grows from this point. It is rooted in the supporting darkness; the golden sun bird perches on its peak; a spring, the inexhaustible well, bubbles at its foot. Or the figure may be that of a cosmic mountain, with the city of the gods, like a lotus of light, upon its summit, and-in its hollow the cities of the demons, illuminated by precious stones. Again, the figure may be that of the cosmic man or woman (for example the Buddha himself, or the dancing Hindu goddess Kali) seated or standing on this spot, or even fixed to the tree (Attis, Jesus, Wotan); for the hero as the incarnation of God is himself the navel of the world, the umbilical point through which the energies of eternity break into time. Thus the World Navel is the symbol of the continuous creation: the mystery of the main­tenance of the world through that continuous miracle of vivification which wells within all things.

 

13	IMMOVABLE+SPOT
9	IMMOVABLE	92	38	2
4	SPOT	70	16	7
13	Add to Reduce	162	54	9
1+3	Reduce to Deduce	1+6+2	5+4
4	IMMOVABLE+SPOT	9	9	9

 

 

"WHERE PAST AND FUTURE ARE GATHERED NEITHER MOVEMENT FROM NOR TOWARDS

NEITHER ASCENT NOR DECLINE EXCEPT FOR THE POINT THE STILL POINT

THERE WOULD BE NO POINT AND THERE IS ONLY THE POINT"