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Gerald Massey – Wikipedia

gerald_massey_1856

In regard to Ancient Egypt, Massey first published The Book of the Beginnings, followed by The Natural Genesis. His most prolific work is Ancient Egypt: The Light of the World, published shortly before his death. Like Godfrey Higgins a half-century earlier, Massey believed that Western religions had Egyptian roots.

Massey wrote:

The human mind has long suffered an eclipse and been darkened and dwarfed in the shadow of ideas the real meaning of which has been lost to moderns. Myths and allegories whose significance was once unfolded in the Mysteries have been adopted in ignorance and reissued as real truths directly and divinely vouchsafed to humanity for the first and only time! The early religions had their myths interpreted. We have ours misinterpreted. And a great deal of what has been imposed on us as God’s own true and sole revelation to us is a mass of inverted myths.

One of the more important aspects of Massey’s writings were his assertions that there were parallels between Jesus and the Egyptian god Horus, primarily contained in the book The Natural Genesis first published in 1883. Massey, for example, argued in the book his belief that: both Horus and Jesus were born of virgins on 25 December, raised men from the dead (Massey speculates that the biblical Lazarus, raised from the dead by Jesus, has a parallel in El-Asar-Us, a title of Osiris), died by crucifixion and were resurrected three days later.

Christian ignorance notwithstanding, the Gnostic Jesus is the Egyptian Horus who was continued by the various sects of gnostics under both the names of Horus and of Jesus. In the gnostic iconography of the Roman Catacombs child-Horus reappears as the mummy-babe who wears the solar disc. The royal Horus is represented in the cloak of royalty, and the phallic emblem found there witnesses to Jesus being Horus of the resurrection.

Herbert Cutner notes that per the pamphlet Paul the Gnostic Opponent of Peter written by Gerald Massey, he proves quite clearly to any unbiased reader that “Paul was not a supporter of the system known as Historical Christianity, which was founded on a belief in the Christ carnalized; an assumption that the Christ had been made flesh, but that he was its unceasing and deadly opponent during his lifetime; and that after his death his writings were tampered with, interpolated, and re-indoctrinated by his old enemies, the forgers and falsifiers, who first began to weave the web of the Papacy in Rome.”

Source: Gerald Massey – Wikipedia

image: Gerald Massey 1856

ANCIENT EGYPT THE LIGHT OF THE WORLD – Gerald Massey

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I have written other books, but this I look upon as the exceptional labour which has made my life worth living. Comparatively speaking, ‘A Book of the Beginnings’ (London, 1881) was written in the dark, ‘The Natural Genesis’ (London, 1883) was written in the twilight, whereas ‘Ancient Egypt’ has been written in the light of day. The earlier books were met in England with the truly orthodox conspiracy of silence. Nevertheless, four thousand volumes have got into circulation somewhere or other up and down the reading world, where they are slowly working in their unacknowledged way.

Probably the present book will be appraised at home in proportion as it comes back piecemeal from abroad, from Germany, or France, or maybe from the country of the Rising Sun. To all lovers of the truth the writer now commends the verifiable truths that wait for recognition in these pages. Truth is all-potent with its silent power If only whispered, never heard aloud, But working secretly, almost unseen, Save in some excommunicated book; ‘Tis as the lightning with its errand done Before you hear the thunder.

For myself, it is enough to know that in despite of many hindrances from straitened circumstances, chronic ailments, and the deepening shadows of encroaching age, my book is printed, and the subject-matter that I cared for most is now entrusted safely to the keeping of John Gutenberg, on this my nine-and-seventieth birthday.

Source: ANCIENT EGYPT THE LIGHT OF THE WORLD

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Zen Master Alan Watts Explains What Made Carl Jung Such an Influential Thinker Open Culture

jung“There is a nice German word, hintergedanken, which means a thought in the very far far back of your mind,” says Watts. “Jung had a hintergedanken in the back of his mind that showed in the twinkle in his eye. It showed that he knew and recognized what I sometimes call the element of irreducible rascality in himself. And he knew it so strongly and so clearly, and in a way so lovingly, that he would not condemn the same thing in others, and would therefore not be led into those thoughts, feelings, and acts of violence towards others which are always characteristic of the people who project the devil in themselves upon the outside, upon somebody else, upon the scapegoat.” And so, whether we enter into this field of thought through Watts, through Jung, or through anyone else, it always seems to comes back to the ancient Greeks: “Know thyself.”

Source: Zen Master Alan Watts Explains What Made Carl Jung Such an Influential Thinker Open Culture

Colin Wilson and “The Robot” – by Gary Lachman

Wilson tells us he is often oblivious to the scenery because his robot has taken over the task of cutting out irrelevant details so he can get through a day’s work. Yet when his day is over and he wants to relax, he often finds that he can’t. His automatic pilot—the robot—is in gear and won’t let go. Wilson is not alone in this; it is a central human problem, the central human problem. Descartes believed that animals were really robots. Clearly he was wrong. We are the robots. Or rather, we are like people who allow their servants to do everything for them, and subsequently feel they have lost touch with life, but don’t know exactly why. Wilson is fond of quoting T. S. Eliot’s line from Choruses From the Rock: “Where is the life we have lost in living?” It’s with the robot.

Source: Colin Wilson and “The Robot”

Dorothea Tanning’s “foray into imaginative botany,”

Dorothea Tanning’s “foray into imaginative botany,”

“In the months before beginning this series, at the age of 86, the artist thought she had finished painting in her New York studio but then remembered a set of stretched Lefebvre-Foinet canvases, which she had purchased years earlier while living in Paris, and was compelled to use one. Her discovery provoked “a burst of energy and obsession that lasted the better part of eight months and was responsible for 12 outsized, hauntingly erotic flower paintings” (Jane Kramer, The New Yorker, 2004).

“I had a vision of a mauve flower,” Tanning says of that time, “Then more and more wanted to be painted. I could hardly finish one before I’d start the next one”

(Boston Globe, 1999). Using preliminary sketches as “touchstones on the way to the flowers,” the artist represented “naked, precise depictions of visions as real to me as botanical specimens are to the scientist” (Another Language of Flowers, 1998).

Tanning painted 12 flowers over the course of a year, from June 1997 until April 1998; one for each month of the year, or one for each hour of the day or night. Her preoccupation with the female figure, which is evident throughout her work from the 1940s onwards, remains present in these last paintings, where bodies and limbs embrace the flowers or blend into her dream-like landscapes. Tanning’s hybrid flowers take us on a journey through a never-before-seen garden, which she described as a “foray into imaginary botany”.

As she wrote, each flower “had the good fortune to be identified and blessed with the words of twelve poets, friends of the artist, who have given them their voices” (Another Language of Flowers, 1998). With the exception of James Merrill, who is quoted posthumously, the poets were inspired by the images themselves to write poems and create fictitious Latin names, sometimes with a faux-translation in English: Agripedium vorax Saccherii (Clog Herb); Siderium exaltatum (Starry Venusweed); Zephirium apochripholiae (Windwort); Pictor mysteriosa (Burnt Umbrage); Victrola floribunda; and Convolotus alchemilia (Quiet-willow window).

Dorothea Tanning was born in Galesburg, Illinois (1910) and died in New York (2012), aged 101.”

Source: DOROTHEA TANNING: FLOWER PAINTINGS – 1 September – 1 October 2016 | Alison Jacques Gallery

Trickster Times

A fascinating interpretation!

“Facing and integrating the Shadow is a necessary part of what Jung called individuation: the lifelong process of psychological integration, as the individual strives to become whole.

As for the person, so for the culture. Identify the contemporary Trickster(s), and you’ll discover the nature of the contemporary cultural Shadow. It’s anger, hate, alienation, xenophobia, a retreat into insularity, a buttressing of the barricades. We all see it, and we all fear it. The state of affairs faced now by the people of the UK (and also in the USA, with the emergence of Trickster Trump) is a consequence of generations of politicians refusing to listen to and respond to the concerns of the people they’re supposed to represent. What isn’t acknowledged goes underground, becomes Shadow. But here’s the thing about the Shadow, and it’s critical to understand this if you want what follows to be better than what came before: it’s no good berating the Shadow, shouting it down, calling it names, telling it it’s bad. The cultural Shadow is part of who we are, and we all have to take responsibility for it. You can’t do moral high ground with the Shadow. The Shadow is ourselves. Refuse the Shadow, and you’ll never be whole. The beginning of the long, hard work of integrating the Shadow is listening to it, not abusing it. Lash out at the Shadow, as waves of so-called ‘progressives’ are now doing throughout the UK; refuse its right to have a voice – and it will turn round and bite you in the throat. You can’t kill the Shadow. The Shadow is you.

We might not have chosen these particular Tricksters, but now we have them. What follows from their particular brand of disruption might not be better than what came before – but it might be. It’s all down to us. It’s all down to the way we respond to and integrate that cultural Shadow.”

Ralph Waldo Emerson | The Book of Life

“This leaves open a vital question: what is your nature once you have rid yourself of history, tradition and religion? What can be said is that it is not self-indulgence, it is not hedonism, it is not narcissism – rather it is the surrender to that force which Emerson recognised back in the Jardin des Plantes: it is obedience to nature itself.

By nature Emerson seemed to mean the natural world – plants, animals, rocks and sky – but what he really meant was God. For Emerson was a Pantheist, someone who believed that God exists in every part of creation, from the smallest grain of sand to a star – but also, crucially, that the divine spark is in each of us. In following ourselves we are not being merely fickle and selfish, but rather releasing a Divine Will that history, society and organised religion have hidden from us.

The individual, as he writes, ‘is a god in ruins’ (CW1 42); but we have it within us, by casting off all custom, to rebuild ourselves. He makes this Pantheist connection explicit in his most famous lines: Crossing a bare common, in snow puddles, at twilight, under a clouded sky, without having in my thoughts any occurrence of special good fortune, I have enjoyed a perfect exhilaration. I am glad to the brink of fear. […] Standing on the bare ground, — my head bathed by the blithe air, and uplifted into infinite space, — all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or particle of God.”

Source: Ralph Waldo Emerson | The Book of Life

Desire for Truth, by Roger Hawkins | Parabola

Creation delights in the recognition of itself

“There is in the body a current of energy, affection and intelligence, which guides, maintains and energizes the body. Discover that current, and hold onto it unswervingly. Be aware of the spark of life that weaves the tissues of your body and stay with it. It is the only reality that the body has. It is like looking at a burning incense stick; you see the stick and the smoke first; when you notice the fiery point, you realize it has the power to consume mountains of sticks and fill the universe with smoke. Timelessly the Self actualizes itself, without exhausting its infinite possibilities. In the incense stick simile, the stick is the body, and the smoke is the mind. As long as the mind is busy with its contortions, it does not perceive its source. The Guru comes and turns your attention to the spark within.”

Source: Desire for Truth, by Roger Hawkins | Parabola

The Imagery of Alchemical Art as a Method of Communication – Samuel Scarborough

“A key is needed to break the obscure cipher used by the alchemists of old if there is to be any understanding, and work done using their techniques and methods to achieve the Magnum Opus or Great Work. Like all ciphers or codes, there has to be a key to understanding and decoding the cipher. That is what this paper will do; provide a basic key to unlocking this mystery.”4

Source: The Imagery of Alchemical Art as a Method of Communication – Samuel Scarborough