Jun 302015
 

bookcase_3If one goes deep enough in atomic physics one ends with a situation of pure chance *

 

The witness sighed, deep in thought, and approached an overloaded bookcase standing against the Eastern wall of Mysteries’ upper room, near to the point where horoscopes were cast.

Dazzling sunlight rendered a large cross-section of the case invisible with its blinding rays, while the lower parts were swathed in darkness, forming a vivid chiaroscuro on the rich mahogany canvas.

The lovingly burnished bookcase was home to a myriad esoteric masterworks and timeless classics. Ancient volumes interspersed with lavishly illustrated fairy tales and poetry written in the green language were stacked two-deep in places and upside-down in others.

It would not be a simple matter to extract from all of this the book that the witness had in Mind. Indeed, at that moment in time it would prove impossible.

Scanning the shelves intently, following the words on each well-worn spine with a neatly-nailed forefinger, everything but the item sought was readily apparent.

The shadow of a home-spun dream catcher – hypnotically swaying above the wide open window – crept inexorably along the ceiling like a spider’s web as minutes passed by into an hour of fruitless seeking. Church bells began ringing in the middle distance, heralding both an end of day and onset of night, bridging twilight with their other-worldly call to evensong.

Tension swiftly mounted in the upper room, causing a very mild sweat to break out on the witness’ furrowing brow. Thoughts from what was by any standards a wide-open brow chakra permeated the charged atmosphere with a note of concern.

Where on Earth IS the magic book?

 

* John Fowles, The Magus

Aug 092010
 

First of all it is necessary for me to say a word about the term gothic as applied to French art, which imposed its rules on all the productions of the Middle Ages and whose influence extends from the twelfth to the fifteenth century.

Some have claimed—wrongly—that it came from the Goths, the ancient Germanic people. Others alleged that the word, suggesting something barbarous, was bestowed in derision on a form of art, whose originality and extreme peculiarity were shocking to the people of the seventeenth and eighteenth centuries. Such is the opinion of the classical school, imbued with the decadent principles of the Renaissance.

But truth, preserved in the speech of the common people, has ensured the continued use of the expression gothic art, in spite of the efforts of the Academy to substitute the term ogival art. There was an obscure reason for this, which should have made our linguists ponder, since they are always on the look-out for the derivation of words.

How does it come about that so few compilers of dictionaries have lighted upon the right one? The simple fact is that the explanation must be sought in the cabalistic origin of the word and not in its literal root. Some discerning and less superficial authors, struck by the similarity between gothic (gothique) and goetic (goetique) have thought that there must be a close connection between gothic art and goetic art, i.e. magic.

For me, gothic art {art gothique) is simply a corruption of the word argotique (cant), which sounds exactly the same. This is in conformity with the phonetic law, which governs the traditional cabala in every language and does not pay any attention to spelling. The cathedral is a work of art goth (gothic art) or of argot, i.e, cant or slang.

Moreover, dictionaries define argot as ‘a language peculiar to all individuals who wish to communicate their thoughts without being understood by outsiders’. Thus it certainly is a spoken cabala. The argotiers, those who use this language, are the hermetic descendants of the argonauts, who manned the ship Argo. They spoke the langue argotique-—our langue verte (‘green language’ or slang)—while they were sailing towards the felicitious shores of Colchos to win the famous Golden Fleece.

People still say about a very intelligent, but rather sly, man: ‘he knows everything, he understands cant.’ All the Initiates expressed themselves in cant; the vagrants of the Court of Miracles—headed by the poet Villon—! as well as the Freemasons of the Middle Ages, ‘members of the lodge of God’, who built the argotique masterpieces, which we still admire today. Those constructional sailors (nautes) also knew the route to the Garden of the Hesperides….

Le Mystere des Cathedrales, Fulcanelli

Jun 092010
 

It should be seen and heard that repentance has been brought into actualization and has now been fully activated by the collective knowledge of the requisite number of beings.

May the spirit of the offering be received as it was made, with pure intent.

The perfect sacrifice is that which is most dearly beloved yet does no longer involve the corporeal shedding of blood.

There are those who fear that the deepest esoteric secrets and teachings of the original universal states would be exposed and taken in vain and it is to be hoped that the encryption is secure enough to prevent wrongful disclosure.

Overall it is considered now that things once kept as a reserve for the few should now be made available to one and all, in the interest of equality. To remain open to evolutionary change is a fundamental duty of the priests of true religions.

To proceed with care is necessary for there is a paradox that must be maintained in order to preserve mystical essence and the corpus of strength whilst ensuring that light within this body is allowed to penetrate beyond the boundaries of dogma.

That all was created through the technicolour language of love with joy and pain is known; the writing on the walls has been seen. The consequential beauty was so immeasurable as to be rendered invisible to the naked eye in all ways but one that is nature unveiled.

This in itself is that which is usually seen and is the perpetual unfoldment of an immaculate conception. Immaculate because it was brought into being that it may be more than a figment of love’s imagination.

The perfect original as it came into effect during the given age is therefore experienced but frequently unknown though this has been shown. There is more that could be said of the creation but the only word capable of defining this much is held within. The captive heart of love is bound forever by the memory of how it felt to remember this. Fortune was blessed as a spectrum of light stretched across the soul’s plane to show that the mirror of heaven is upon the Earth.

This is to bring hope anew to whosoever has fainted from despair and sees, though they cannot yet believe, that the circle of the arch of the sky is completed beneath the surface of the oceans and sands.