Category Archives: The Green Language

Working through Depression with Alchemy

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“More than a school of thought, alchemy is a gnosis, a “way” of knowing. It is a deliberate attempt to grasp immortality in which the process is paramount. We all embody the archetypal journey of life, consciously or unconsciously. We are born in our essential nature but it quickly becomes covered with a hard-shelled core of the false ego. We long to return to our true nature. Alchemy amplifies and accelerates this process of self-actualization, connecting with a sacred sense of self.

Naturally, there is no absolute actualization, no final self-reflective insight. It is a recursive formula of returning, over and over on more subtle levels, to the sacred center where heaven and earth meet. You don’t have to heroically “succeed” at alchemy.

Not succeeding will deepen you as you improvise the narrative that is your life up to that point. How many times do we make, then lose the Stone? How many times do we lose our hard-won happiness or wholeness? The trick is to not paralyze yourself with New Age guilt over it. If a scientist has a failed experiment he or she doesn’t wallow in shame or analysis paralysis but starts over with new boundary conditions.

First, you must separate yourself from the herd mentality. When your comfort zone becomes constrictive, you have grown beyond it. Still, only a few adventurous souls will move beyond the cocoon of their self-imposed prison. If you suppress yourself too much, you become a stranger to yourself. Alienation is felt as chronic depression.

You have to change your level of game play, change your reality map. You die to one level to be reborn at a higher level. Dis-identify from the social hologram, dis-identify from rigid roles and soul-diminishing victimization to become open. To step up your game, you have to reconnect with your core, your deep presence and awareness. Reality speaks for itself if we listen closely enough to nature and our nature. But you have to retrain your eyes, ears, and heart to comprehend the intuitive language of alchemy.”

“The spiritual landscape is changing and alchemy offers a safe harbor for the drifting spirit beyond institutional or cult affiliation. Many paths are vying for participants but alchemy chooses you. It is a self-initiatory path that provides a structure or scaffolding for metaphorical death and rebirth, a generic process described in many traditions. But you must remain dedicated to the process.In exploring the unknown you are exploring yourself. The journey to wholeness often begins with a retreat – into oneself, your interior nature.”

From: Working through Depression with Alchemy http://ionamiller.weebly.com/nigredo-depression.html

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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.
12 Pendu

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…

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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