Tag Archives: esoterica

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

RERE RER – Fulcanelli

credence RERE RER hotel Lallemant

(auto-translation from the French)

Here is a large excerpt of commentary on Fulcanelli RERE RER, in his first book “The Mystery of the Cathedrals”

… The puzzle itself consists of two terms: RERE, RER, which seem to have no meaning and are both, repeated three times on the concave bottom of the niche.

We already find out, thanks to this simple layout, a valuable indication that the three repetitions of a single technical veiled under mysterious expression RERE, RER. However, three grenades igneous the pediment confirm this triple action of a single process, and, as they represent the corporifié fire in this red salt what the Philosophical Sulfur, we can readily understand that we should repeat three times the calcination this body to achieve the three philosophical works, according to the doctrine of Geber. The first step leads first to Sulphur, medicine or the first order, the second operation, exactly like the first, provides the Elixir or medicine of the second order, which is different from the Sulphur in quality and not not in kind, and the third operation, carried out as the first two, gives the Philosopher’s Stone, medicine of the third order, which contains all the virtues, qualities and perfections of Sulphur and Elixir increased in power and scope .. .

But how to decipher the riddle of empty words? – In a very simple way. RE ablative Latin res, meaning thing, considered in its field; since the word is RERE assembly RE, thing, and RE, another thing we translate two things in one, or a double thing, RERE and thus equivalent to RE BIS. Open an airtight dictionary, flip any book of alchemy and you will find that the word REBIS frequently used by philosophers, characterizes their compost or made ​​ready to undergo successive transformations under the influence of fire. Summarize. RE, a philosophical dry matter, gold, RE, wet, philosophical mercury or RERE REBIS, double material, both wet and dry, gold amalgam and philosophical mercury, which received combination of nature and art dual property occult exactly balanced.

We want to be as clear in explaining the second term RER, but we are not allowed to tear the veil of mystery that covers it. However, to meet, to the extent possible, the natural curiosity of children art, we can say that these three letters contain a secret of the utmost importance, which refers to the vase of the Work. RER used to cook, to unite and radically indissolubly to cause transformations compost RERE …

What is it that RSP? – We have seen that RE means one thing, material, R, which is half of RE, mean half a thing, matter. RSP is equivalent to an increased for half of another or his own. Note that it is not a question here of proportions, but an independent chemical combination of relative quantities. For us to understand, take an example and assume that the material represented by ROE realgar or natural arsenic sulfide. R, half of RE may be sulfur realgar or its arsenic, which are similar or different, depending on whether one considers the sulfur arsenic separately or combined in realgar. So that RER is obtained by realgar increased sulfur, which is regarded as forming half of realgar, or arsenic, considered as the other half in the same red sulfide.

Some tips yet, looking firstly RER, that is to say the ship. RERE you will then easily knowable

credence hotel Lallemant

Original French from where the excerpt is taken http://hermetism.free.fr/Credence%20de%20l%27hotel%20Lallemant.htm

PH Runge’s Der Kleine Morgen, 1808 and Jakob Boehme’s Aurora

kleiner_morgen

“..for a lily blossoms upon the mountains and valleys in all the ends of the earth..” Jakob Bohme – Signatura Rerum (The Signature of All Things)

Fig. 2. Der Kleine Morgen. Collection Hamburger Kunsthalle, Hamburg

“The painting consists of two separate parts, an interior and an exterior painting or “frame” that are connected to each other. The interior parting is dominated by a female figure that has often been interpreted as “Venus” or “Holy Mary”, while the child has been seen as “Eros” or “Jesus Christ”.12 Taking the exterior painting, I believe that the painting illustrates the Golden Age before the fall into matter as it is described in Jacob Böhme’s Aurora. The female figure illustrates Sophia, the divine wisdom while the child stands for the first man, the androgynous Adam. The idea of light, the fiat lux, is central to the painting. The top part is held in transparent primary colors, while the foreground already shows non-transparent features. The central axis of both the interior and the exterior picture is light and can therefore be understood as God (and his “female part” Sophia) being the central axis of all. The obvious reflection of light on the child’s body is mere a combination of internal and external light, of the sun and the divine glimpse inside the child.

The frame illustrates the fall into matter and the salvation of nature. At the bottom, the sun is darkened and two children – male and female – are fleeing from it, heading toward two other figures in the corners. Those are trapped under the roots of a plant, showing the entrapment into matter and their bodies fail to show the inner light. It is important to state here that even in this dark corner Runge does not use black, but only a very dark brown. He shows that, even in the darkest place, black (or evil) has not succeeded in taking over the world and that there is still hope for salvation.

Thus, the plant grows upwards, toward the lighter spheres and the red flower of the amaryllis bears a child, raising its arms. Its body reflects the light of the inner painting, the light of Sophia. In the top part of the frame you can see a lily and a winged child kneeling on its blossom. It has lost its sexual features and is bowing towards the top center of the exterior painting: Rays of light surrounded by small heads are reflected on a blue background. Taking the copper-print version of Der Morgen into account, which can be understood as an earlier work on the same theme, these rays symbolize God (fig. 3). In the copper-print, Runge uses the Hebrew name, while in the color version God “loses” his specific Jewish-Christian connotation and becomes a universal concept.” From http://www.theosophyforward.com/index.php/theosophy-and-the-society-in-the-public-eye/411-the-influence-of-jacob-boehmes-theosophical-ideas-on-the-farbenlehre-theory-of-colors-by-philipp-otto-runge.html?start=1

Jakob Boehme’s Aurora – Illustrated pdf file http://ia600401.us.archive.org/28/items/JacobBoehmesAurora-ElectronicText-edition/Jacob-Boehme-Aurora-electronic-text.pdf

aurora.308161558_std

Jakob Boehme
Aurora
That is the
Day­Spring.
Or
Dawning of the Day in the Orient
Or Morning­Redness
in the Rising of the SUN.
  That is
 The Root or Mother of
       Philosophy, Astrology &  Theology
 from the true Ground.

   Or  a Description of Nature

The Language of Birds in Old Norse Tradition

Special individuals capable of understanding the language of birds are spread throughout the medieval Icelandic literary corpus.This phenomenon has received surprisingly little academic attention and is deserving of detailed, extensive, and interdisciplinary study.
Capable of flight and song, birds universally hold a special place in human experience. Their effective communication to people in Old Norse lore offers another example of their unique role in humanity’s sociocosmic reality.

Odin_hrafnarHuginn and Muninn sit on Odin’s shoulders in an illustration from an 18th century Icelandic manuscript

Birds consistently offer important information to individuals associated with kingship and wisdom. The wide chronological and geographical range of this motif will be explored as well as the fascinating theoretical questions regarding why birds are nature’s purveyors of wisdom. With their capacity to fly and sing, birds universally hold a special place in human experience as symbols of transcendence and numinous knowledge; Old Norse tradition reflects this reality.

For the full article, see the pdf file:

http://skemman.is/stream/get/1946/12869/31219/1/The_Language_of_Birds_in_Old_Norse_Tradition.pdf

The kabbalistic-alchemical altarpiece in Bad Teinach

bad_teinach

The kabbalistic-alchemical altarpiece in Bad Teinach – Copyright Adam McLean From the Hermetic Journal 12, Summer, 1981, pages 21-26.

“The Kabbalistic-Alchemical Altarpiece in a small church in the town of Bad Teinach near Calw in Germany, is, I believe, of the greatest esoteric value.

I have at present little information on its outward history, though it is dated 1673 and seems to have been prepared at the instigation of Princess Antonia (1613-1679), so I will therefore concentrate in this article on the symbolism of the painting.
The painting’s central panel, which is all we shall concern ourselves with here, shows us a Rose Garden surrounded by a hedgerow bearing red and white roses. Outside the garden in the background on the left is a four-square military camp, while on the right we see a city founded on a circular plan. In the centre foreground, a bowered gate opens into the garden and a female figure is seen standing upon the threshold, pausing at her entry to gaze at the wonders before her. She bears in her right hand her flaming heart, while on her left she leans upon a staff in the form of an anchor cross. Thus she represents the Soul of Man standing at the threshold of spiritual illumination, with the fire of enthusiasm and love burning within the heart, and the anchored foundation of the Soul in the central mystery of the Cross of Christ.
The Soul gazes into the garden, and here we are reminded of the Rosarium or Rose Garden of the Virgin, the medieval picture of the enclosed domain in which the human soul can commune with the Sophia-Wisdom aspect of the Spirit. Within this Rose Garden are two realms – a circular garden and a domed Mystery Temple. The soul must first traverse the circular garden before the soul reaches the outer court of the Temple which stands upon a podium of seven steps.

THE CIRCULAR GARDEN

The garden is centred upon the figure of the resurrected Christ, standing upon a rock and holding his Cross. From his body there flows a stream of blood forming a pool at the centre of the circle. Around him the garden is segmented into three rings of twelve flower beds each bearing their own particular plants, and we see 12 figures standing around the circumference of the inner ring (which is within the pool of the Christ Blood). These twelve figures are constellated with an array of symbols which are too complex to analyse here, but for example they appear with various animals, they hold symbolic objects, have certain colourings and they each stand at sacred trees which grow at the boundary of the inner ring. These trees are as follows, counting clockwise from the figure just to the right of the Christ :-

Laurel – Cypress – Willow – Fig – Cedar – Fir – Olive – Apple – Pomegranate – Almond – Palm – Oak.”

For the rest of the description, please see here: http://www.levity.com/alchemy/bad_teinach.html

The Virga Aurea – Seventy-two magical and other related alphabets.

virga_aurea4

“In order to bring all this mass of material together, Hepburn must have had a wide range of source material to study, and it seems most likely that this material was available in the Vatican Library itself. As to what Hepburn’s motives were for publishing such a collection of alphabets, we can only speculate. He certainly produced these in a form which gave it scholarly respectability and also by heading it with the figure of the Virgin Mary, using the pun ‘Virga’ Rod-Virgin, gave it credibility in terms of the Church. The timing of the publication, 1616, right at the centre of the Rosicrucian/hermetic publishing period, suggests that Hepburn in his own way may have been responding to that impulse. Under the guise of the Virgin Mary heading the plate, Hepburn was able to publicly reveal the symbolism of many alphabets, and in particular, magical alphabets. If we further take into account Hepburn’s interest in the Kabbalah, and his translation and publication of a Solomonic occult text, I think we are justified in assuming that Hepburn may have, in some small way, contributed to the public revelation at that time of the esoteric wisdom of the past. At the very least one can suggest that he was inspired by this movement into producing the Virga Aurea. As librarian at the Vatican, he certainly would have received early copies of the Rosicrucian publications. The Virga Aurea, although a single large engraving contains such a mass of detail that an exhaustive analysis will be left till later.” By Adam McLean. First published in the Hermetic Journal 1980.

For more images and to read more about the Virga Aurea, follow the link to the article on Adam McLean’s website, below

http://www.levity.com/alchemy/virga_aurea.html

Alchemical Psychology – Old Recipes for Living in a New World

“An alchemist is seen in physical form below this magnificent scene wearing a coat of stars, white one side and dark on the other. He stands in a grove of trees, each of which bears a symbol of the planetary metals and twelve fundamental substances. The alchemist holds a twin-bladed axe in either hand reinforcing the division of opposites in the manifest world. Yet he stands upon the backs of two lions sharing one head. This indicates his powers of discrimination and freedom from the opposites.”

Hand Symbolism & Beliefs

Lots of information on Hand Symbolism on this page, from various cultures and belief systems.

“The ancients attached special occult significance to every part of the human body. The symbolism of the human hand alone may fill several volumes. Symbols may signify abstract or concrete concepts, imaginative or real events, natural or “supernatural” phenomena, spiritual or material principles. In what we have found, the ancient sages and philosophers made used of the hands to portray and symbolize many things of worth to the evolving soul. They taught many things using the hands as similitude, allegories, analogies, and examples.

The left and right hands were often represented for the many polarities that we find and experience in life. For instance, hot/cold, high/low, darkness/light, etc. ”

 

Iamblichus: Theurgia, or The Egyptian Mysteries

I’m not keen on the choice of the word “slime” for what equates with the Prima Materia, but then I’m not keen on many of his ideas.. anyway, here’s an excerpt from the chapter in which he concentrates on explaining the Egyptian Symbols:

“Listen, therefore, to the spiritual interpretation of the symbols, according to the conception of the Egyptian priests, dismissing from thy imagination and hearing the phantom-likeness of the symbols themselves, and bringing thyself upward to the spiritual reality.

By “ilus” or slime, then, recognize everything of a corporeal nature or belonging to the realm of matter, or that is nourishing and procreative, or such as is a material form belonging to the realm of nature and borne along with the never-still currents of the realm of matter, or such as the river of generative existence contains and which sinks with it, or the originating cause of the elements and of all the powers relating to the elements, which subsisted before in correspondence to a foundation.”

http://www.esotericarchives.com/oracle/iambl_t3.htm#chap15