Introduction to Boehme’s Threefold Life of Man. By George W. Allen

Introduction to Boehme’s Threefold Life of Man.

By George W. Allen

There is a way, a wisdom, an operation which, taken, searched out and attempted, will lead him, teach him and form him so that he will not only reach the eternal (which all must do), but reach it to find himself in rightful relation to it, at home in it, conformed to it. Harmony with environment is heaven: the contrary is hell.” -George W. Allen

 Dreifaches_Leben Threefold Life

[..] If Boehme has been called the “Teutonic Theosopher,” this is only because he endeavors to penetrate into the depth of man’s nature, and seeks for facts which are not to be found upon the surface thereof.

 

There has been, without doubt, in all ages of the world much enquiry calling itself “theosophical” which has been illicit and disastrous. Ducklings that can safely cross a river might be lost in attempting to cross the Atlantic.

Everything depends on the spirit in which the enquiry is undertaken. If in a self-sufficient pride and confidence in our own powers, or out of mere curiosity and love of the wonderful and obscure, the enquiry is illicit and likely to end in spiritual and moral disaster.

One sort of spirit alone can undertake the enquiry with safety. It must be entered on for the one and only purpose of learning what we actually are, so that by this knowledge we may be enabled to shape our life and form our personal character in accordance with the eternal Fact.

Neither must we undertake to pursue the enquiry by our own natural and unaided reason and intellect. We must seek and expect guidance; that guidance which is ever afforded to those who seek it from a true motive, which is never a mere desire to explore and talk about the recondite and profound.

So narrow is the gate that leads to the real divine truth that no self-sufficiency can ever enter in.

Only the meek and lowly of heart, who desire to be able better to serve, rather than to pose as profound thinkers, can pass it and walk in the straitened way that will be found within. Such are known at once by this: that their whole interest is centered on what can be turned to practical account in life and conduct and character; and if, as they study, they do not find themselves becoming nearer to the divine character in love and sympathy and service, they feel that something is wrong. They are never so filled with wonders discovered as to rest content with this success; for they seek not truth for its own sake, but only for the sake of its good. They watch themselves closely, and turn aside from any knowledge that does not bear fruit in a greater earnestness in service, and in a character growing ever more pure and sympathetic and set on things above.

All this Boehme is careful to say again and again.

 

Understood in this sense, and fenced about by these safeguards, theosophy loses all its dangers, and the man who loves God, and is dissatisfied with the mere notional apprehension of Him with which most are content; who feels that he himself is more than he as yet knows, and would understand for what he was created, and to what end he is meant to arrive; who regards this life as needing to be interpreted rather than no more than it seems; who wishes so to live here that, after death, he may not find himself in a new and “other” world with every fiber of habit, every longing and liking, of a nature which, in that world, is impossible and must prove a torment—such an one need not despair.

 

There is a way, a wisdom, an operation which, taken, searched out and attempted, will lead him, teach him and form him so that he will not only reach the eternal (which all must do), but reach it to find himself in rightful relation to it, at home in it, conformed to it. Harmony with environment is heaven: the contrary is hell. If, of human writers, Kant is the man of philosophical first principles, Boehme is equally certainly the man of theosophical first principles. And if there appear signs (as surely is the case) that our Christian religion is not producing that national righteousness which its aim is to produce, and we suspect that we have not got our first principles right, there is no author (outside Holy Scripture) to whom it will be more profitable to go back.

 

It will be impossible in a brief introduction to enter on a full explication of Boehme’s marvelous system, for this would require a volume to itself. All that can be attempted is to indicate the general lines of that system, and to give some clue to the reader, whereby first difficulties may be surmounted, and the secret of Boehme indicated.

George W. Allen

Link to pdf. (can be read online) The Threefold Life of Man written by Jacob Boehme, 1620
http://www.jacobboehmeonline.com/yahoo_site_admin/assets/docs/Threefold_Life_of_Man.87135427.pdf

THE THREEFOLD LIFE OF MAN
ACCORDING TO THE
THREE PRINCIPLES
BY JACOB BOEHME GORLITZ 1620
TRANSLATED BY JOHN SPARROW 1650
TRANSCRIBED BY WAYNE KRAUS 2013

Steppenwolf: “The Genius of Suffering” by Hassan M. Malik

Originally posted on Ars, Arte et Labore:


Steppenwolf: “The Genius of Suffering” by Hassan M. Malik

“Like Goethe, a Hesse novel is an integral part of a broader paradigm, which reflects the author’s maturing thought, morals, and ideas at that particular point in his life. Hesse wrote Steppenwolf when he was about fifty years old. His health was on a decline, and he had divorced out of a failed second marriage in a relatively short period of time (Ziolkowski, 108). He was also visiting Dr. Carl Gustav Jung for psychoanalysis (Ziolkowski, 109). Hesse’s opposition to the upcoming Second World War, his failed marriage, his search for self, his deteriorating social life, and a strong influence of Jungian ideas it appears, have contributed to the development of this novel.  Hesse elaborates how the road to realization of the self can fill up with extreme pain, suffering, misery, affliction, and twinge, if the multiple aspects of self are ignored…

View original 298 more words

The Redemption of Saint Anthony | The Public Domain Review

Gustave Flaubert, best known for his masterpiece Madame Bovary, spent nearly thirty years working on a surreal and largely ‘unreadable’ retelling of the temptation of Saint Anthony. Colin Dickey explores how it was only in the dark and compelling illustrations of Odilon Redon, made years later, that Flaubert’s strangest work finally came to life.

via The Redemption of Saint Anthony | The Public Domain Review.

The Gold Tree, with initials designed by Austin O Spare

The gold tree.
With initials designed by Austin O. Spare and cut in wood by W. Quick. Published 1917

goldtreewithinit00squiuoft_0007

The Gold Tree is a short story written by Sir John Collings Squire, in which he describes in detail an imagined bookshop that appears frequently in his dreams.  It can be viewed and read here: https://archive.org/stream/goldtreewithinit00squiuoft#page/n5/mode/2up

From 1919 to 1934, Squire was the editor of the monthly periodical, the London Mercury. It showcased the work of the Georgian poets and was an important outlet for new writers.

Squire was not exactly a popular character..

Virginia Woolf wrote that Squire was “more repulsive than words can express, and malignant into the bargain”. […] Eliot attacked Squire repeatedly, at one point describing him as a critic “whose solemn trifling fascinates multitudes”. […] Eliot also acknowledged that Squire wielded a lot of power; because of Squire’s skill as a journalist, his success would be modernism’s disaster. Eliot wrote: “If he succeeds, it will be impossible to get anything good published”.

Squire is in any case generally credited with the one-liner “I am not so think as you drunk I am”.

Austin O Spare provided the design for the Illustrations, which were then cut by W. Quick.

goldtreewithinit00squiuoft_0065

The pair also worked on Twelve Poems by J.C. Squire. Published in 1916 which can be viewed and read online here: https://archive.org/details/twelvepoems00squiiala

 

 

 

The Romantic Symbolism of Trees

 

abbeydeadtreesCaspar David Friedrich, “Abbey among Oak Trees” (1809-10)

The Romantic Symbolism of Trees by Allison Meier

“As with the Victorian language of flowers, specific trees have their own symbolism. Reverend William Gilpin, an artist and cleric, stated it “is no exaggerated praise to call a tree the grandest, and most beautiful of all products of the earth.” In the form of the tree, artists found expressions of life, death, and the great beyond.

A Dialogue with Nature includes work both from the Morgan’s works on paper holdings, and the Courtauld Gallery in London, and emphasizes this “cult of nature.” Here are some of the meanings of trees in Romantic art that are evoked in the exhibition, as well as in the landscape tradition of the time.”  Link to the full article http://hyperallergic.com/131541/the-romantic-symbolism-of-trees/

blastedtree1George Hayter, “After the Storm” (1833)

I wish I had time to upload my folder of Trees in art.. maybe in a future post.. ~ Jaq

 

Mark Twain Writes a Rapturous Letter to Walt Whitman on the Poet’s 70th Birthday 1889 – Open Culture | Open Culture

Hartford, May 24/89

To Walt Whitman:You have lived just the seventy years which are greatest in the world’s history & richest in benefit & advancement to its peoples. These seventy years have done much more to widen the interval between man & the other animals than was accomplished by any five centuries which preceded them.What great births you have witnessed! The steam press, the steamship, the steel ship, the railroad, the perfected cotton-gin, the telegraph, the phonograph, the photograph, photo-gravure, the electrotype, the gaslight, the electric light, the sewing machine, & the amazing, infinitely varied & innumerable products of coal tar, those latest & strangest marvels of a marvelous age.

And you have seen even greater births than these; for you have seen the application of anesthesia to surgery-practice, whereby the ancient dominion of pain, which began with the first created life, came to an end in this earth forever; you have seen the slave set free, you have seen the monarchy banished from France, & reduced in England to a machine which makes an imposing show of diligence & attention to business, but isn’t connected with the works. Yes, you have indeed seen much — but tarry yet a while, for the greatest is yet to come. Wait thirty years, & then look out over the earth! You shall see marvels upon marvels added to these whose nativity you have witnessed; & conspicuous above them you shall see their formidable Result — Man at almost his full stature at last! — & still growing, visibly growing while you look. In that day, who that hath a throne, or a gilded privilege not attainable by his neighbor, let him procure his slippers & get ready to dance, for there is going to be music. Abide, & see these things!

Thirty of us who honor & love you, offer the opportunity. We have among us 600 years, good & sound, left in the bank of life. Take 30 of them — the richest birth-day gift ever offered to poet in this world — & sit down & wait. Wait till you see that great figure appear, & catch the far glint of the sun upon his banner; then you may depart satisfied, as knowing you have seen him for whom the earth was made, & that he will proclaim that human wheat is worth more than human tares, & proceed to organize human values on that basis.

Mark Twain

via Mark Twain Writes a Rapturous Letter to Walt Whitman on the Poet’s 70th Birthday 1889 – Open Culture | Open Culture.

Conciatore: Primordial Matter

I feel that the more perfect the art the most simple it is; so the authors [of alchemy] most unanimously agree that the ‘primordial material’ [prima materia] of the [philosopher’s] stone is something vile [base] and not bought with money, but easy to find. Moreover, the manner of work must imitate nature, which in order to produce gold makes use of the singular or simple material, which is the seed of gold, of a single vessel, which is the ‘womb of the earth’ [seno della terra] and of a single natural and vital fire, which is the sun.

via Conciatore: Primordial Matter.

with thanks to

“He was an illumination thrown upon life.”

balzac

” Specialism consists in seeing the things of the material world as well as those of the spiritual world in their original and consequential ramifications. The highest human genius is that which starts from the shadows of abstraction to advance into the light of specialism. (Specialism, species, sight, speculation, seeing all, and that at one glance; speculum, the mirror or means of estimating a thing by seeing it in its entirety)” ~ Honore de Balzac

 

Balzac was standing before the fireplace of that dear room where I have seen so many remarkable men and women come and go. He was not tall, though the light on his face and the mobility of his figure prevented me from noticing his stature. His body swayed with his thought; there seemed at times to be a space between him and the floor; occasionally he stooped as though to gather an idea at his feet, and then he rose on them to follow the flight of his thought above him. At the moment of my entrance he was carried away by the subject of a conversation then going on with Monsieur and Madame de Girardin, and only interrupted himself for a moment to give me a keen, rapid, gracious look of extreme kindness.

He was stout, solid, square at the base and across the shoulders. The neck, chest, body and thighs were powerful, with something of Mirabeau’s amplitude, but without heaviness. His soul was apparent, and seemed to carry everything lightly, gaily, like a supple covering, not in the least like a burden. His size seemed to give him power, not to deprive him of it. His short arms gesticulated easily; he talked as an orator speaks. His voice resounded with the somewhat vehement energy of his lungs, but it had neither roughness nor sarcasm nor anger in it; his legs, on which he rather swayed himself, bore the torso easily; his hands, which were large and plump, expressed his thought as he waved them. Such was the outward man in that robust frame. But in presence of the face it was difficult to think of the structure. That speaking face, from which it was not easy to remove one’s eye, charmed and fascinated you; his hair was worn in thick masses; his black eyes pierced you like darts dipped in kindliness; they entered confidingly into yours like friends. His cheeks were full and ruddy; the nose well modeled, though rather long; the lips finely outlined, but full and raised at the corners; the teeth irregular and notched. His head was apt to lean to one side, and then, when the talk excited him, it was lifted quickly with an heroic sort of pride.

But the dominant expression of his face, greater than even that of intellect, was the manifestation of goodness and kindheartedness. He won your mind when he spoke, but he won your heart when he was silent. No feeling of envy or hatred could have been expressed by that face; it was impossible that it should seem otherwise than kind. But the kindness was not that of indifference; it was loving kindness, conscious of its meaning and conscious of others; it inspired gratitude and frankness, and defied all those who knew him not to love him. A childlike merriment was in his aspect; here was a soul at play; he had dropped his pen to be happy among friends, and it was impossible not to be joyous where he was . ~ Alphonse de Lamartine

From Cosmic Consciousness, by Richard Maurice Bucke, [1901], at sacred-texts.com Chapter 12 Honoré de Balzac.

http://www.sacred-texts.com/eso/cc/cc21.htm

 

For those who read French, you can read Lamartine’s work “Balzac et ses ouevres online at https://archive.org/details/balzacetsesoeuvr00lama

 

and Honore de Balzac, by Albert Keim and Louis Lumet at Project Gutenberg http://www.gutenberg.org/files/3625/3625-h/3625-h.htm


 

The Hermetic Papers of A. E. Waite and his idea for The Hermetic Text Society

 

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‘The Hermetic Text Society was a pipe-dream of Waite’s that never proceeded further than the issuing of this breathtaking prospectus’, A.E. Waite’s bio-bibliographer R.A. Gilbert intriguingly observed with reference to a 14-page pamphlet issued by Waite in 1907.  Searching the Internet for ‘The Hermetic Text Society’ only yields a few references, all to the now sadly defunct American periodical Cauda Pavonis: The Hermetic Text Society Newsletter. Of Waite’s Hermetic Text Society’s ‘pipe-dream’ there is not a trace on the world wide web; in print, fortunately, there is Gilbert’s brief but informative description of Waite’s ‘grandiose affair’ in the biography which he published in 1987.  

At the time Waite laid down his plan for a Hermetic Text Society, he had already been in control for a few years of the Isis Urania Temple of the collapsed Hermetic Order of the Golden Dawn, which he had re-named ‘The Independent and Rectified Rite’ (with the implicit and tacit addition of ‘of the Golden Dawn’). Waite had diverted the Order away from magic towards mysticism, altogether in line with his belief that there was a secret tradition underlying all esoteric paths, whether mystical, alchemical, kabbalistic, Rosicrucian, masonic or other, which led to direct experience of God. On the professional side of his life, he was wrapping up his career as a commercial manager for Horlick’s, manufacturers of malted milk. Waite wrote in his autobiography Shadows of life and thought that at this time, prospects ‘of a new life’ opened before him: these prospects were related to definitively establishing himself as an authority and an exponent of the ‘secret tradition’. His Hidden church of the Holy Graal, published in 1909, was to be its first product.

Gilbert writes that the idea for the Hermetic Text Society had been suggested to Waite by the gnostic scholar G.R.S. Mead, who had reviewed Karl von Eckartshausen’s The cloud upon the sanctuary in the translation of Isabelle de Steiger for the Theosophical Review in 1903. Waite had written an Introduction for the book, which had caused Mead to enthuse: ‘If only someone – and why not the scholarly mystic who writes this Introduction? – would play Max Muller to the “sacred books” of the Christian mystics from the XIVth to the XVIIIth centuries, what a feast there would be for hundreds of thousands of starving souls!’ – Cis van Heertum for The Ritman Library

more text at the link http://www.ritmanlibrary.com/collection/hermetica/the-hermetic-text-society-fl-1907/

What is Alchemy? by A.E. Waite
The Introductory Notes are taken from “Hermetic Papers of A.E.Waite”, edited by R.A Gilbert (Aquarian Press,1987). The text of “What is Alchemy?” reproduced here is scanned from the periodical “The Unknown World”, and formatted and corrected by hand at[Adepti.com]
THERE are certain writers at the present day, and there are certain students of the subject, perhaps too wise to write, who would readily, and do, affirm that any answer to the question which heads this paper will involve, if adequate, an answer to
those other and seemingly harder problems- What is Mysticism? What is the Transcendental Philosophy? What is Magic? What Occult Science? What the Hermetic Wisdom? For they would affirm that Alchemy includes all these, and so far at least as the world which
lies west of Alexandria is concerned, it is the head and crown of all. Now in this statement the central canon of a whole body of esoteric criticism is contained in the proverbial nut-shell, and
this criticism is in itself so important, and embodies so astounding an interpretation of a literature which is so mysterious, that in any consideration of Hermetic literature it
must be reckoned with from the beginning; otherwise the mystic student will at a later period be forced to go over his ground step by step for a second time, and that even from the starting point. It is proposed in the following papers to answer definitely
by the help of the evidence which is to be found in the writings of the Alchemists the question as to what Alchemy actually was and is. 

The Fables of Leonardo da Vinci

Leonardo da Vinci was an artist, inventor, engineer and scientist, but he also found time to write little fables for himself. In the margins of his notes he would pen short tales of how pride and envy would bring down a moth, tree or even a stone.

wolf-and-eagle-650x374The Wolf and the Eagle

Ever since Aesop’s Fables was written in ancient Greece, people have been sharing these short stories that illustrate a moral truth. They were popular in medieval times as well, with many writers explaining how misfortune stuck men, animals, insects and even plants and rocks.

These fables are found in Leonardo’s notebooks from the years 1487 to 1494, when he was working in the service of Ludovico Sforza, Duke of Milan.  They were written in the margins, perhaps as little notes to amuse or remind himself while he worked on bigger projects. Leonardo seems to have been interested in nature and finding examples of how various creatures would cause their own doom. –  via Medievalists.net

For examples of these fables, more images and link to all of Leonardo da Vinci’s fables, and those of other Italian writers in Renaissance Fables, translated by David Birch – see http://www.medievalists.net/2014/03/30/fables-leonardo-da-vinci/

and  Arizona Centre for Medieval and Renaissance Studies.

 

new lamps for old

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