Category Archives: The Green Language

We are bees of the invisible… Rilke from a letter to Halewicz

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“We are bees of the invisible. We wildly collect the honey of the invisible, to store it in the great golden hives of the invisible.”

Rilke often refers to the invisible, especially in his Duino Elegies, which he wrote during a particularly mystical period of his life. In a letter to his Polish translator Witold Hulewicz in November 1925, he wrote: ‘We of the present are never satisfied by the world of time…transience everywhere plunges into the depths of being…it is our task to print this temporal, perishable earth so painfully, passionately and deeply into ourselves, that its essence is resurrected again, invisibly, within us…the Elegies show this, the work of endlessly converting the visible, tangible world we love into the invisible vibrations and tremors of our own nature…’

He was quite passionate about the “Temple within” and the interior life, whereas he saw the outside world as transitory and fragile.

In another letter, written in 1925, commenting on his Elegies, he wrote: “‘…the Angel of the Elegies is that creature in whom the transformation of the visible into the invisible, which we perform, appears already complete.’ [..] ‘that being who attests to the recognition of a higher level of reality in the invisible – Terrifying, therefore, to us because we, its lovers and transformers, still cling to the visible’.

Here are some good links on Rilke’s work and his letters

http://www.poetryintranslation.com/PITBR/German/TheFountainOfJoy.htm

http://publishing.cdlib.org/ucpressebooks/view?docId=ft8779p1x3&chunk.id=d0e1921&toc.id=d0e1494&brand=ucpress

http://www.poetryfoundation.org/bio/rainer-maria-rilke

I became a little (more) obsessed with Rilke after reading a chapter focusing on his work in this book:
http://www.jameshollis.net/books/archetypal.htm

(edited to include more details from comments)

originally posted 2012

Jaq

The Turning Sky | Lapham’s Quarterly

“The god Horus is a falcon (the word for which in hieroglyphs is qhr, the falcon’s cry). In the third surviving column of text, remarkably, the falcon is marked with a triangle, the hieroglyphic designation for the star Sirius. As if it were a mathematical proof unfolding before my eyes, I saw that if the falcon marked by the triangle is Sirius, the fire is the light of dawn in which the gods—the things marked holy by the hieroglyphic prayer flags—are stars. The baboon’s penis is in actuality a familiar sight: the Sword of Orion (the three stars under Orion’s belt), which rises directly before Sirius on the path of rising stars. The hieroglyphic lines on the wall express an immediate, visual moment in the physical world: the dawn rising of Sirius signaling the rising of the Nile, the key moment of the Egyptian agricultural year. The clear, repetitive, and simple hieroglyphic lines read not as a magic spell but as a finely machined poetic riddle: The Sword of Orion opens the doors of the sky. Before the doors close the gate to the path over the fire Beneath the holy ones as they grow dark, As a falcon flies, as a falcon flies, may Unis rise into this fire, Beneath the holy ones as they grow dark. They make a path for Unis. Unis takes the path. Unis becomes the falcon star, Sirius. That this was the case was borne out by the text as I translated further. Beautifully constructed verses presented one vivid astronomical reference after another: Taurus (“Would that the bull break the fingers of the horizon of earth with its horns. / Come out. Rise.”), the full moon (“the face, the head, the eye”), the North Star (“the axis at the center of the wheel”), the Dippers (“the arms of night”), the Milky Way (“the ladder to heaven”). The verses of the Pyramid Texts map the night sky as a detailed seasonal clock reliably predicting the most critical resource of all: water. Egyptian civilization came out of radical climate change—cattle herders whose grazing land was rapidly becoming desert as the water dried up in the climate shift of the Neolithic, much as is happening in Texas and around the world today.

The verses present a sequence of poetic images in which the human body is transformed back into its elements in the visible universe of the turning sky. The remnant essence of a human life rises as a star in the east: “moses” (the hieroglyphic word for infant) in “the field of rushes” (the eastern stars at dawn). The infant star is the child of “she who gave birth but did not know it” (the sky). The sky is a flood of cool darkness across which sail the stars: Sirius and its evil twin, “the detested wild dog Set,” the second brightest star in the sky, Canopus, the rising of which signals the autumn rains with their deadly flash floods and thunderstorms. Through this glittering wetland of stars wanders the golden calf, the golden crescent horns of the moon.

This extraordinary convergence of poetry, science, and religion resides not only in the writing but in the pictures within the words themselves. Osiris is a phonetic rendering of a hieroglyphic rebus: the seat of the eye, the universal corpse in which resurrection is not a religious mystery but an inevitability of nature. In the Pyramid Texts, hieroglyphic vocabulary is rich with images: The body is a tree. The snake is the life in it. The fruit of the tree is the eye. What is being expressed is the intelligence of nature itself in the ongoing process of creation: the death, decay, and rebirth of plant and animal life in the cyclical year. One familiar religious trope after another appears not as literal historical fact used to proscribe, threaten, and dictate the parameters of human life but as poetic imagery used to bring to life the awareness of our fragile and beautiful world. The richness of these images is echoed in the Book of Job: “As for the earth, out of it cometh bread, and under it is turned up as it were fire. The stones of it are the place of sapphires, and it hath dust of gold.” The Pyramid Texts are not magic spells or religious prescription any more than this. Instead, the text takes up a key question: Where shall wisdom be found?

…over the fire
Beneath the holy ones as they grow dark,

As a falcon flies, as a falcon flies, may Unis rise into this fire,

Beneath the holy ones as they grow dark.

They make a path for Unis. Unis takes the path.

Unis becomes the falcon star, Sirius.

 

Would that the bull break the fingers of the horizon of earth with its horns.

Come out. Rise.

Poetry and religion arise from the same source: the perception of the mystery of life. Early Egyptian writing belongs to this eternal language. The vehicle at work is associative thinking, in which metaphors act as keys to unlock a primeval human sense of the integrated living world. The meaning may not come across on the pedantic level, but on the poetic level it is transparent.”

Source: The Turning Sky | Lapham’s Quarterly

Susan Brind Morrow

Susan Brind Morrow’s translation and analysis of the Pyramid Texts, The Dawning Moon of the Mind: Unlocking the Pyramid Texts, was published in 2015. She received a Guggenheim Foundation fellowship in 2006.

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

The Vessels of Hermes – an Alchemical Album (ca.1700)

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The contents of Box 14 from the Manly Palmer Hall Collection of Alchemical Manuscripts, a huge collection of esoteric works amassed by Manly Palmer Hall, a Canadian-born author and mystic, perhaps most famous for his The Secret Teachings of All Ages (1928). Most of the material in the collection was acquired from Sotheby’s auctioneers on a trip he made in the 1930s to England and France – bought very cheaply due to the economic conditions of the time. The material in Hall’s collection dates from 1500 to 1825, and includes works from the likes of Jakob Böhme, Sigismond Bacstrom, Alessandro Cagliostro, George Ripley and Michael Maier. The creator of these particular watercolours featured below is unknown. A typewritten note in the back, in French, translates as follows:

ALCHEMICAL ALBUM – The Vessels of Hermes – quarto atlas containing five beautiful colour plates very artistically executed and with explanatory caption. Vol. half vellum.

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For more images and full article, see The Public Domain Review: http://publicdomainreview.org/collections/the-vessels-of-hermes-an-alchemical-album-ca-1700/

Those heights are not conceivable or comprehensible by minds not completely free

I’m re-posting this old nugget as it is directly related to the 2 most recent that I have posted; Know Thyself: self-observation for the purpose of understanding ourselves “both as Individuals and Part of the Whole.”

This was Tavaglione’s introduction to his tarot deck. In creating the Stairs of Gold Tarot, he was inspired by these words from Dante’s Paradiso, “I saw a stair the colour of gold, on which shone a ray of Sun, which raised itself so high that my eyes could not see the top….”
Jaq

“I would do nothing else but pick flowers, and wander through meadows and gardens, gathering all the beautiful and most coloured my eyes and my spirit could see…but it happened that when I picked the first coloured diamonds, my curiosity flew up and I would “know” and I would “learn”.  And while at first my questions were limited only to their aspect, and I would know many Petal-Facets had the Diamond-Flowers I was picking, later I would know their Inmost Secret Light, their Why.

As I could not study all the Flowers my eyes took in, I devoted myself to the nearest ones, trying to understand with them, all the others, seeking inside them the Key that would permit me to open every other Door.
And then I realized that the more I penetrated the “Particular”, the more I descended to the “Depth”, the more I rose to the “General”.  So to understand that infinity of the Flowers around me, I began to study, with great care, One of Them, that could mean the most to me, the nearest one: myself.
And I tried to discover how many facets had that Flower-Diamond; its Cut, its Axis, it’s Colours, its Transparency, its Scent, to penetrate its innermost recesses, the “Secret Rooms” where are preserved the Most Intimate Values, the Hidden Treasures concealed by Veils.
To reach them I found it was anything but simple, because still before entering, I should curb the Beast that guarded them, the Animality always excluded from any Architecture, and any Rationality of Thought, bestial and resentful, because of its inferiority, it must be subdued by Fight and physical Strength or by Command and Moral Strength: once curbed it will be a tractable companion, but like every subdued wild beast, it will always assault us, when hesitating.
After the Beast, there is the Labrynth, consisting of 78 rooms, and 3×7 = 21 Gates; in every Room there are Prizes and Traps, Traps playing on what remained inside us, of the false ideas or the mental distortions that follow us from the preceding rooms, with which we must do away, and the Prizes playing on our Intuition and Illuminations that let us know, on the grounds of what we have learnt till now, what awaits us in the next room and that will be clear only in the future.
The 21 Gates are unforeseen gleams on the future and though one can find some difficult ties to reach and pass them, he has the Certitude of his Growth and the Consciousness of his accomplished conquest, that instill new life into his desire to go on Knowing and infuse him with new courage to face future difficulties.
The Utmost Gate, that closes the Utmost Room, the Sancta Sanctorum, is the Gate of Totality, the Conclusion that leads to our Essence, complete of everything Spiritual and Material.  When we will overcome that Utmost Barrier, we will be Ourselves, at the height of our Beings conscious of our Liberty, both as Individuals and Part of the Whole, Then behind the Veil, stretched between the Two Colums, the Black one and the Red, we will foresee the Roots of the Tree, that through its 10 points, will lead us up to heights where neither the most presumptuous of men can imagine, because those heights are not conceivable or comprehensible by minds not completely free.”
– Giorgio Tavaglione: Introduction to The Stairs of Gold Tarot Deck.
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Alchemical Psychology, Part III – Silver

I can’t recommend this post highly enough.. wonderful, wonderful x

The Ptero Card

White and silver share a lot of the same qualities but Hillman breaks up the next chapter into two parts starting with silver; all things lunar and reflective. Silver allows reflection and is the means by which we mediate between psyche and the physical. The risk here is one of identifying with depersonalized images, becoming cold and detached from human life rather than using images as a bridge beween the psychic and physical worlds.

“The cool, silver psyche, though seemingly “unrelated,” can establish relations between the most burning issues and hold them together, yet without fusing them into a false compromise (amalgam). It mediates, attaching molten factions by means of its own detachment.”

042Hillman begins the chapter with a very startling idea that may be difficult for many moderns to hear. Particularly those who prefer to stave off pathological states by avoiding the black and blue stages whenever and however possible, but without…

View original post 910 more words

Rosarium Philosophorum; when you make the two into one..

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When you make the two into one, and when you make the inner like the outer and the outer like the inner, and the upper like the lower, and when you make male and female into a single one, so that the male will not be male nor the female be female, when you make eyes in place of an eye, a hand in place of a hand, a foot in place of a foot, an image in place of an image, then you will enter the Kingdom.

    Gospel of Thomas, 22

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(images: Rosarium Philosophorum)

The combination of substances and the union of opposites is a key element in the alchemical process. This is often represented as a mystical marriage of the lunar element representing the feminine, Sophia (wisdom) and the solar element, the male, Logos (knowledge/reason). These two opposing elements meet and are joined in what is known as the ‘chemical wedding’. This union creates something bigger and more powerful than the individual parts – the perfect integration of male and female energies – the hermaphrodite.

The Curious Case of Hermetic Graffiti in Valladolid Cathedral

The Curious Case of Hermetic Graffiti in Valladolid Cathedral –  Eric W. Vogt

oFRONTIS_Fig_ATurning now to closely examine the frontispiece of Valladolid ms. 40/8 (Figure A), the investigator meets a wonderful confluence of related hermetic symbols. The total number of sides (twelve), the interpretation of the two symbols, the title and lyrics, form a complete whole. Reading from the outside inward, three nested squares frame the title and the hermetic symbols. The three squares allude to the marriage of ‘tertiary and the quaternary’. These concepts are familiar to students of number symbolism: the four elements distributed in groups of three among the twelve signs of the zodiac (four sides X three squares = twelve). The groupings of signs of like element are known as the triplicities; the lines connecting the conjunctions form four trigons, or equilateral triangles, around the zodiac. The conjunctions of Saturn and Jupiter, to which we will return presently, describe these lines during their nearly 800-year cycle of conjunctions.

http://www.esoteric.msu.edu/VolumeV/CURIOUS.htm

The Black Sophia and the Black Madonna

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The Black Sophia, Aurora Consurgens

The black figure represents the LUNAR Sophia, who has decended into matter and become caught in it.
“The black depths have covered my face and the earth is corrupt and sullied in my works, and darkness has fallen upon it, as I am sunk in the mire of the depths, and my substance has not been opened” ( From C.G Jung, Mysterium Conjunctionis)

According to Fulcanelli: ” In Hermetic symbolism, the black Madonnas represent the virgin earth, which the artist must choose as the subject of his work. It is the Prima Materia in its mineral state, and it comes from the ore-bearing seams buried deep beneath the masses of stone” (Fulcanelli, Le Mystere des Cathedrales.) Sophia in Gnosticism and in the Cabala bears both features of a virgin bride and those of the womb, the mater materiae. The seed that falls into it, according to the Aurora Consurgiens, produces a threefold fruit. And this fruit in her body is the tripartate Caduceus, the Christ-Mercury, the healing serpent, the curing water that flows into Hades to awaken the dead bodies of the metals and free his mother-bride.” From Alchemy & Mysticism,  Alexander Roob

The Cosmic Cycle and the Black Madonna – by Jaq White

Here’s the content of the article I wrote that was published in Astraea magazine a few years ago. Copyright Jaq White.

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In this article Jaq White examines the alchemical
symbolism in the ancient phenomena of the Black Madonna.

The Cosmic Cycle and the Black Madonna
Jaq White

“Nature comprehends the visible and invisible Creatures of the Whole universe. What we call Nature especially, is the universal fire or Anima Mundi, filling the whole system of the Universe, and therefore is a Universal Agent, omnipresent, and endowed with an unerring instinct, and manifests itself in fire and Light. It is the First creature of Divine Omnipotence.” (The Golden Chain of Homer Of the Generation of things, Part I Chapter 1 – What Nature is.)

The alchemists and medieval philosophers sought to imitate Nature and the Divine, and expressed the various stages of inner transmutation that leads to enlightenment and the “Philosopher’s Stone”, known as Spiritual Alchemy, through art and symbols. In paintings and illustrations there are depictions of a snake biting its own tail in a circular symbol known as the Ouroboros. In alchemic symbolism this represents, among other things, the final unifying stage of our dual nature, and becoming one with the Divine. It is the symbol of the All, the One. Another way of demonstrating the work needed to attain this inner unity is the image of two serpents apparently devouring one another. In some, the upper serpent is winged, which signifies the Universal World Spirit – the lower serpent signifies matter, the Virgin Earth, the earthly state. The upper winged snake is the Cosmic spirit that brings everything to life, that kills everything and takes all the forms of nature. It is at the same time everything and nothing. When the two serpents are united, they are said to have “devoured one another” and the result is the Ouroboros; one single serpent, devouring its own tail, to express the continuous cycle through the aspect of time.

The word alchemy is thought to originate from the Ancient name for Egypt (Khem), the Black Land. The Ancient Egyptians were skilful workers in metals – there are scenes of metal-working found at Thebes and other locations, and the best known metals have identifiable hieroglyphic symbols that are defined by the determinative “of the earth/ground”. The Egyptians knew to employ quicksilver (Mercury) in the process of separating gold and silver from the native matrix, and the resulting (black) oxide was thought, allegedly, to possess powers. This black powder was identified with the underworld form of Osiris – those in the underworld are often depicted with black face and hands – and credited with similar magical properties. Alchemy is related to the black of Osiris through the connection of the black (fertile) earth, the belief that all light comes out of the dark, and all life comes out of the black; the colour black is associated with the source of creation. The alchemists were obsessed with the prima materia. They called it the black virgin, because its colour was black and it was virginal in the sense that no alchemical transmutation had been performed on the material.
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The alchemist Nicolas Flamel wrote that the lower snake is the fixed and constant masculine element, and that the upper snake is the volatile and the black or dark woman. In alchemic terms, the first is linked with sulphur, warm and dry. The other is linked with quicksilver or the cold and moist. This employment of the quicksilver in practical metal-working has been referred to above, with regard to the Egyptians, and the same ideas are at work on the spiritual level, with the two snakes.

In what is believed to be the earliest known alchemical text – attributed to one Kleopatra of 4th Century Alexandria, there is an image of an Ouroboros with its head and upper half portrayed as black, and its tail and lower half shown as a speckled white. This correlates with the upper half or upper, winged snake as the Cosmic Spirit that takes all forms of nature, and is the volatile, black feminine aspect, while the lower half, or lower snake, can be identified with the fixed and constant masculine, the earthly state and matter.

Many well-known medieval alchemists were Christians, and some of the most beautiful illustrations involved symbolism representing well known Christian icons, such as Jesus, the Virgin Mary, the Mother Mary, and Adam. They also included Gnostic figures such as Sofia, the female aspect of the divinity, also known as Wisdom. It is pertinent at this point, to mention that in Gnostic beliefs, the Holy Spirit is female.

Many of the grand medieval cathedrals and churches in Europe keep unusual statues of the Virgin and Child – a black-skinned Mary nursing a black-skinned infant Jesus. These are known as the “Black Madonnas”, or “Black Virgins” and tend to be kept in the crypt or some other underground vault.
There are many known examples of statues and paintings of the Black Madonna, perhaps as many as 300 in France alone, and a surprising amount of the paintings and statues have an association with St. Luke, the patron Saint of painters – he is attributed with painting them whilst in the presence of the Virgin Mary, who revealed her mysteries to him during the sitting. He has also been credited with carving at least one of the statues – the wooden statue of Montserrat which, legend has it, was hidden in the Holy Grotto to hide it from the Moors. However, carbon dating suggests the statue originated in the 12th or 13th Century. Hiding the statue to keep it safe is the main reason given for these Madonnas being found in crypts and grottos. The unusual colouring of the Madonna is often explained as due to decay. There are claims that some of the statues were made from a black stone, probably obsidian, that was then given a pale skin-coloured covering to depict the recognised image of the Madonna and Child. As the pale skin colour wore off and the black base was exposed, this Madonna was then relegated to the crypt. In some churches (for example in Poland and Russia) there are iconic paintings of Mary and the Infant Jesus, also claimed to be by the hand of St. Luke, where the blackened skin has been attributed to smoke from candles, or ageing.

Comparisons have been made of the image of the Christian Madonna and Child with almost identical depictions of Isis, Goddess of Ancient Egypt, nursing her infant son, Horus. The Mother Goddess was also widely venerated by Europeans, albeit under many different guises. Nowadays, many of these goddesses are linked with Isis and, in some cases, temples in France have been attributed to Isis; for example, the town of Issoudun is so named because it is believed there was a Temple of Isis under the main hill. If so, the goddess might easily have been assimilated by Europeans into their pantheon of deities due to the similarity with Earth and Mother Goddesses such as Nertha. Pagan temples to Isis and other Mother/Earth Goddesses would in time be replaced by Christian churches, and images of the various Goddesses of the Earth were replaced by images of the Virgin Mary, Mother Mary, or Mary in other guises (Queen of Heaven etc.) Symbolically, caves, grottos and crypts have been associated with the womb – a cave representing the womb of Mother Earth in mythology. There are goddesses connected with the Cave-Mother symbolism, and among these Cave-Mothers we might include Mary, who gave birth in a rock-cut shelter.

Some believe that these statues of the Black Madonna are not Christian in origin; rather, they are representations of Isis and Horus that when discovered, were wrongly identified as the Virgin Mary and Infant Jesus – if so, this would certainly create the need for explanations as to why the statues were originally hidden. However, there is another possibility; the Black Madonna might never have depicted Isis but might well be an esoteric – possibly medieval – Christian symbol.

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The link with medieval alchemy and esoteric or Gnostic Christianity has been demonstrated, and the use of the symbol of the Ouroboros shows an understanding of the Cosmic Cycle, as in the coupling of the above and the below, of matter and spirit in earthly man. The circular motion of the snake eating its own tail illustrates the continuity of time, and endless development.

This Cosmic Cycle is incorporated in the Christian Holy Trinity; albeit in completely masculine terms, with God as heavenly father, heavenly Holy Spirit and the divine son made of earthly matter. This was enabled through the coupling of the male Holy Spirit and the “living” Virgin Mary. In Egyptian mythology, the living Isis only conceives her son Horus after the death of Osiris. He procreates from the spiritual world, when he becomes God of the Underworld. This can be explained in alchemical terms, with the masculine Osiris, the black virginal prima materia and fixed male, uniting with the black, volatile, female, spirit of Isis his wife, conceiving and producing the Divine child Horus,
the Earthly representative of his father Osiris. The serpents have devoured one another, the Ouroboros is realised and so the Cycle continues.

The serpent has long been perceived as an enemy of Christians, and the use of serpent symbolism in Christian iconography is generally to portray sinfulness, temptation, and the fall of mankind. The serpent as a symbol of the Divine state of man would not have been acceptable, and is still not acceptable to many Christians. However, in the “Black Madonna” we have the same trinity expressed. The Black Virgin is, like Osiris, the father and the divine, male essence. The Black Mother is, like Isis, the mother and the divine, female essence, and the product of their union is the Ouroboros, Horus – the Christ.

The Black Madonna could be another representation of the All, the trinity – and an esoteric Christian symbol of the Cosmic Cycle.