The Count
The Adventures of Count St. Germain
Welldone Productions
http://thecountmovie.weebly.com
Note well in the art of our magistery, nothing is concealed of the Philosophers, except the secret of the art,
which is not lawful to be revealed to any man, for he that should do so would be accursed. --Rosarium
which is not lawful to be revealed to any man, for he that should do so would be accursed. --Rosarium
Only a dead man can be explained in terms of the past...
Life is not made up of yesterdays only...
Life is not made up of yesterdays only...
"I depart. Search for me. At some point you will see me again."
NOTHING was, God willing, NOTHING became something,
I doubted it, I sought that on which the universe rests,
NOTHING preserves the equilibrium and serves to sustain.
Then, with the weight of praise and of blame.
I weighed the eternal, it called my soul,
I died, I adored, I knew NOTHING more.
~Saint-Germain, Philosophical Sonnet
I doubted it, I sought that on which the universe rests,
NOTHING preserves the equilibrium and serves to sustain.
Then, with the weight of praise and of blame.
I weighed the eternal, it called my soul,
I died, I adored, I knew NOTHING more.
~Saint-Germain, Philosophical Sonnet
“Chronos is time at her worst. …Chronos is the world’s time.
Kairos is time at her best. …Kairos is Spirit’s time.
We exist in Chronos. We long for Kairos. That’s our duality.”
Sarah Ban Breathnach
Kairos is time at her best. …Kairos is Spirit’s time.
We exist in Chronos. We long for Kairos. That’s our duality.”
Sarah Ban Breathnach
"My hand is about to raise for you the impenetrable veil.
You are about to penetrate the sanctuary of the sublime sciences.
The sanctuary wherein the Eternal has lodged the secrets of Nature."
You are about to penetrate the sanctuary of the sublime sciences.
The sanctuary wherein the Eternal has lodged the secrets of Nature."
MYTH, METAPHOR, MUSIC, MAGIC & MEDIA
ALTERED EGOS
Count St. Germain is a fascinating figure. Rumored to be (at various times) Cartaphilus (the Wandering Jew), immortal, and an alchemist, an occultist, a vampire, and, in modern terms, "the real Doctor Who." He is enshrined in history, and fiction -- as a Mason, a Magus, a scientist, a healer, a musician, a spy, a jeweler, a visionary -- and romantic hero. Madame Blavatsky mentions a "Cypher Rosicrucian Manuscript" in his possession. The Triangular Book is such a manuscript of Solomonic magic, under the sigil of the Dragon. The Latin word draco is Greek δράκων, (drákōn, gazer).
THE PRIMORDIAL DRAGON IS CHAOS
He acquaints himself with great pretension with the secrets of nature, the transmutation of metals and jewels, and the prolongation of life and youth -- an extended mid-life crisis, a quest for the Holy Grail. The polymath plays the Great Game of global architectronics as maestro, art dealer, gem hunter, spy, natural philosopher. As an astronomer, he creates his own fine lenses, discovering little-realized threats in the sky -- perhaps the very dragons of old. Perhaps such dragons as Tiamat and her poisonous children are the very things hidden in the sea and deep beneath the earth, as his secret cypher book implies. Humanity once knew the struggle of titanic forces as a gargantuan war in the heavens. But none of this Enlightenment, or worldly success, or romantic conquests assuage the loss and nostalgia for his soul mate, who is not really of this world. He is caught in perpetual conflict between his personal and transpersonal, mortal and immortal desires.
SOROR MYSTICA
The Soror Mystica, (Anima Mundi, the muse, genius, genie, daemon, holy guardian angel, etc.), works with the alchemist while he mixes his substances in his retorts. She is the Sister in Mystery. In alchemical lore these two work together seeking the philosopher's stone, or Holy Grail - brought together by invisible choreography. The alchemical partnership seeks, in essence, to find each person's own divinity through the conscious assistance of another. We never quite know for sure at first if the Count is courting another mortal woman or his muse in yet another guise.
In the process of transformation, the true, creative binaries emerge and begin their interaction designed to bring about the coniunctio or alchemical union. In this ultimate union, says Jung, the previously confined light is redeemed and brought to the point of its ultimate and redemptive fulfillment. They mirror back all the aspects of the other's soul which lay hidden; aspects which either taint or cloud the polished vision through which the divine could otherwise see clearly through human eyes. Finally, there is a mystic wedding or hierosgamos. It is a forbidden love which can only be fulfilled outside of matrimony. The physical becomes transformed into ritual. The product of this forbidden love is the Androgyne, the Total Being, all of whose centers of consciousness are now awakened.
SECRET KEYS
To unlock the secrets of Saint-Germain, we have to think like an alchemist, think like a Rosicrucian, think like a Qabalist. The main purpose of the Great Work is to create a transcendent, miraculous substance variously symbolized as the Philosopher's Stone, the Elixir of Life, or the universal medicine (panacea). Death and rebirth is a natural cycle and cosmic pattern.
Isis was called the "Black One" because of her association with fate and the mysteries of death. The ancient name for Egypt was "Kemi," which translates "Black Earth." The Arabs called Egypt "Al-Kemi" and the ancient art of alchemy practiced in the ancient Near East and medieval Europe was probably derived from this name. Jung relates her identity to Sophia, and as Isis she was reputed to possess the elixir of life from earliest times as well as being adept in sundry magical arts. She was also called the Old One, a pupil of Hermes, or even his daughter. She appears as a teacher of alchemy . . . She signifies earth, according to Firmicus Maternus, and was equated with Sophia . . . She is . . . the vessel and the matter of good and evil. She is the moon . . ."the One, who art All." (Carl Jung, Collected Works Vol.14, 14-15)
TRANSPSYCHIC EXPERIENCE
Under the guise of liberating the light confined in matter, the alchemists were endeavoring to redeem the spirit or psychic energy locked up in the body and psyche, making this energy available for spirituality. The symbolic life leads toward ecstatic demolition of the ego and liberation of transcendent nature. But the way is precarious and no certain goals are ever in sight. The old self dies in rebirth to an unconditioned mode of being. The initiate creates a new body, a Body of Light, a spiritual body that becomes a vehicle of consciousness.
COUNT ST. GERMAIN -- AN EPIC MALE
We enter his borderland world of myth, metaphor, subtle forces and anomalous states of awareness.
That is where the nature of the true temple exists, the invisible temple -- The Temple of Living Light. In his youth, St. Germain learned the archaic wisdom in the finest Hermetic library, under the protective tutelage of the de Medici family.
Eventually you realize there is a library of knowledge being shared. But such treasure is guarded by a Dragon.
Its contents are boundless and timeless, the sum of all there is: universal codes of energy, ancient systems
of knowledge, rhythm, measure and proportion, and how these are applied at any given moment.
THE STONE OF GOD
The Great Year Precessional cycle is the meta-pattern. The Lathe of God, the Millstone, the Great Wheel revolves inexorably through its cycles of the sacred geometry of time -- the Ages. The secret language of symbolism, of the Gods, of the Birds, etc. gives alternate meanings to superficial content, using puns, homophones, correspondences, etymological derivations, emblems, sigils, numbers and symbols. These alternate meanings were a cypher text of hidden teachings. Symbols are partly divine, are penetrated with it, and are in the alchemical process of transmutation. This is both a physical and a spiritual quest.
COSMIC SCIENCE
Sun = Gold = Stone = Immortality
Like the Holy Grail, the dragon is a symbol for the repository of knowledge. The Grail Quest is also called Opening the Eye of the Dragon. Grail and Dragon traditions are that we should be atone with the earth and not presume dominion over it. The Grail has a cosmic dimension of meaning unequivocally described in the texts themselves. There is an inextricable bond between the stars and man’s destiny; "as above; so below". Evolution concocts the "universal medicine" in a "special fire".
The Grail represents a universal theme of knowledge or gnosis which has vanished and must be found or invoked again for the redemption of life on earth. Blood royale becomes diluted over the course of generations. It requires revitalization in the hieros gamos for its bearer to remain worthy of the prerogatives of divine rule, serving as the intermediary between mortal humans and the gods, between heaven and earth. Renewal completes the great round of life/death/rebirth in the living adept.
DECIPHERING SECRET LANGUAGE
This hidden meaning is revealed by symbols, images, characters and events that make up the Holy Grail narrative, which includes The Wasteland, when Britain was scathed by meteoric heat in the legendary Camelot era. Grail symbols include a chalice, cup, cauldron or platter; Messianic, holy or sacred blood; a man’s head on a platter; a quest for something hidden or lost; King Arthur, the Round Table, the Templar Knights; Eye of Thoth; a bleeding Lance; fertility of the landscape; royal dynastic lineage; troubadours; courtly love; angels; rejuvenation, the universal medicine; the Divine Feminine; dragons; rains of blood, and -- a stone fallen from heaven. (video montage with narrative)
ARCHETYPAL EYE IN THE SKY
Perhaps the Grail mythos is a carefully composed code, or cryptogram, deliberately disassembled to conceal, preserve and transmit. The modern Grail quest is the attempt to recover and reassemble the symbolic components to reveal the original structure in its entirety, to restore the coherent whole in scientific terms of the Big Picture or overview.
DISCORD ABOVE; DISCORD BELOW
Arguably, this was a big part of St. Germain's own quest, and the reason he had an observational tower in Hessen-Kassel, where he put his significant astronomical knowledge to work. Great comets had been reported in 1680, 1744, and 1882, among others. There he kept his eye on the sky even as the Eye of Thoth penetratingly stared back from above the backdrop of constellations.
Why has the idea of something like a dragon has arisen in almost every culture around the world?
There is no evidence of living classical dragons, yet it is a common motif in most civilizations around the world. Ancient Greeks collected fossils to worship in thir temples as Cyclopes, Monsters, and Giants. The legend of the gold-guarding griffin sprang from tales first told by Scythian gold-miners. In the the Gobi Desert at the foot of the Altai Mountains, they encountered the skeletons of Protoceratops and other dinosaurs that littered the ground.
If dragon-like predators never existed with humans, why is it so commonly recognized and feared? According to Jung’s principles there must be "something" about this symbol that arose from a genetically stored memory in our collective unconscious. At some point in our evolutionary past something imprinted our response to a dragon symbol so that, with no foreknowledge of this predator and without having ever seen it ourselves, we can all still recognize a dragon and label it as dangerous. Maybe that is because it actually came from above.
What could it have to do with St. Germain's secret magic book, the Triangular MS, which begins with the symbol of a rampant Dragon? Is it his bloodline? His secret society? His ally? His nemesis? His god? His salvation?
In Solomonic magic, demons are bound by placing them in the Triangle of Art; perhaps dragons are, too. The Great Work of alchemy transforms an ordinary mortal into a self-realized immortal. It is a technology of regeneration.
Some claim the Grail is a symbol for a lost technology of individual, social and planetary regeneration. The Grail Quest then, is an allegory for the search and eventual recovery of this technology for the restoration of both the debilitated king and the devastated kingdom that has devolved into an infertile wasteland -- a "Doom Messiah".
ALTERED EGOS
Count St. Germain is a fascinating figure. Rumored to be (at various times) Cartaphilus (the Wandering Jew), immortal, and an alchemist, an occultist, a vampire, and, in modern terms, "the real Doctor Who." He is enshrined in history, and fiction -- as a Mason, a Magus, a scientist, a healer, a musician, a spy, a jeweler, a visionary -- and romantic hero. Madame Blavatsky mentions a "Cypher Rosicrucian Manuscript" in his possession. The Triangular Book is such a manuscript of Solomonic magic, under the sigil of the Dragon. The Latin word draco is Greek δράκων, (drákōn, gazer).
THE PRIMORDIAL DRAGON IS CHAOS
He acquaints himself with great pretension with the secrets of nature, the transmutation of metals and jewels, and the prolongation of life and youth -- an extended mid-life crisis, a quest for the Holy Grail. The polymath plays the Great Game of global architectronics as maestro, art dealer, gem hunter, spy, natural philosopher. As an astronomer, he creates his own fine lenses, discovering little-realized threats in the sky -- perhaps the very dragons of old. Perhaps such dragons as Tiamat and her poisonous children are the very things hidden in the sea and deep beneath the earth, as his secret cypher book implies. Humanity once knew the struggle of titanic forces as a gargantuan war in the heavens. But none of this Enlightenment, or worldly success, or romantic conquests assuage the loss and nostalgia for his soul mate, who is not really of this world. He is caught in perpetual conflict between his personal and transpersonal, mortal and immortal desires.
SOROR MYSTICA
The Soror Mystica, (Anima Mundi, the muse, genius, genie, daemon, holy guardian angel, etc.), works with the alchemist while he mixes his substances in his retorts. She is the Sister in Mystery. In alchemical lore these two work together seeking the philosopher's stone, or Holy Grail - brought together by invisible choreography. The alchemical partnership seeks, in essence, to find each person's own divinity through the conscious assistance of another. We never quite know for sure at first if the Count is courting another mortal woman or his muse in yet another guise.
In the process of transformation, the true, creative binaries emerge and begin their interaction designed to bring about the coniunctio or alchemical union. In this ultimate union, says Jung, the previously confined light is redeemed and brought to the point of its ultimate and redemptive fulfillment. They mirror back all the aspects of the other's soul which lay hidden; aspects which either taint or cloud the polished vision through which the divine could otherwise see clearly through human eyes. Finally, there is a mystic wedding or hierosgamos. It is a forbidden love which can only be fulfilled outside of matrimony. The physical becomes transformed into ritual. The product of this forbidden love is the Androgyne, the Total Being, all of whose centers of consciousness are now awakened.
SECRET KEYS
To unlock the secrets of Saint-Germain, we have to think like an alchemist, think like a Rosicrucian, think like a Qabalist. The main purpose of the Great Work is to create a transcendent, miraculous substance variously symbolized as the Philosopher's Stone, the Elixir of Life, or the universal medicine (panacea). Death and rebirth is a natural cycle and cosmic pattern.
Isis was called the "Black One" because of her association with fate and the mysteries of death. The ancient name for Egypt was "Kemi," which translates "Black Earth." The Arabs called Egypt "Al-Kemi" and the ancient art of alchemy practiced in the ancient Near East and medieval Europe was probably derived from this name. Jung relates her identity to Sophia, and as Isis she was reputed to possess the elixir of life from earliest times as well as being adept in sundry magical arts. She was also called the Old One, a pupil of Hermes, or even his daughter. She appears as a teacher of alchemy . . . She signifies earth, according to Firmicus Maternus, and was equated with Sophia . . . She is . . . the vessel and the matter of good and evil. She is the moon . . ."the One, who art All." (Carl Jung, Collected Works Vol.14, 14-15)
TRANSPSYCHIC EXPERIENCE
Under the guise of liberating the light confined in matter, the alchemists were endeavoring to redeem the spirit or psychic energy locked up in the body and psyche, making this energy available for spirituality. The symbolic life leads toward ecstatic demolition of the ego and liberation of transcendent nature. But the way is precarious and no certain goals are ever in sight. The old self dies in rebirth to an unconditioned mode of being. The initiate creates a new body, a Body of Light, a spiritual body that becomes a vehicle of consciousness.
COUNT ST. GERMAIN -- AN EPIC MALE
We enter his borderland world of myth, metaphor, subtle forces and anomalous states of awareness.
That is where the nature of the true temple exists, the invisible temple -- The Temple of Living Light. In his youth, St. Germain learned the archaic wisdom in the finest Hermetic library, under the protective tutelage of the de Medici family.
Eventually you realize there is a library of knowledge being shared. But such treasure is guarded by a Dragon.
Its contents are boundless and timeless, the sum of all there is: universal codes of energy, ancient systems
of knowledge, rhythm, measure and proportion, and how these are applied at any given moment.
THE STONE OF GOD
The Great Year Precessional cycle is the meta-pattern. The Lathe of God, the Millstone, the Great Wheel revolves inexorably through its cycles of the sacred geometry of time -- the Ages. The secret language of symbolism, of the Gods, of the Birds, etc. gives alternate meanings to superficial content, using puns, homophones, correspondences, etymological derivations, emblems, sigils, numbers and symbols. These alternate meanings were a cypher text of hidden teachings. Symbols are partly divine, are penetrated with it, and are in the alchemical process of transmutation. This is both a physical and a spiritual quest.
COSMIC SCIENCE
Sun = Gold = Stone = Immortality
Like the Holy Grail, the dragon is a symbol for the repository of knowledge. The Grail Quest is also called Opening the Eye of the Dragon. Grail and Dragon traditions are that we should be atone with the earth and not presume dominion over it. The Grail has a cosmic dimension of meaning unequivocally described in the texts themselves. There is an inextricable bond between the stars and man’s destiny; "as above; so below". Evolution concocts the "universal medicine" in a "special fire".
The Grail represents a universal theme of knowledge or gnosis which has vanished and must be found or invoked again for the redemption of life on earth. Blood royale becomes diluted over the course of generations. It requires revitalization in the hieros gamos for its bearer to remain worthy of the prerogatives of divine rule, serving as the intermediary between mortal humans and the gods, between heaven and earth. Renewal completes the great round of life/death/rebirth in the living adept.
DECIPHERING SECRET LANGUAGE
This hidden meaning is revealed by symbols, images, characters and events that make up the Holy Grail narrative, which includes The Wasteland, when Britain was scathed by meteoric heat in the legendary Camelot era. Grail symbols include a chalice, cup, cauldron or platter; Messianic, holy or sacred blood; a man’s head on a platter; a quest for something hidden or lost; King Arthur, the Round Table, the Templar Knights; Eye of Thoth; a bleeding Lance; fertility of the landscape; royal dynastic lineage; troubadours; courtly love; angels; rejuvenation, the universal medicine; the Divine Feminine; dragons; rains of blood, and -- a stone fallen from heaven. (video montage with narrative)
ARCHETYPAL EYE IN THE SKY
Perhaps the Grail mythos is a carefully composed code, or cryptogram, deliberately disassembled to conceal, preserve and transmit. The modern Grail quest is the attempt to recover and reassemble the symbolic components to reveal the original structure in its entirety, to restore the coherent whole in scientific terms of the Big Picture or overview.
DISCORD ABOVE; DISCORD BELOW
Arguably, this was a big part of St. Germain's own quest, and the reason he had an observational tower in Hessen-Kassel, where he put his significant astronomical knowledge to work. Great comets had been reported in 1680, 1744, and 1882, among others. There he kept his eye on the sky even as the Eye of Thoth penetratingly stared back from above the backdrop of constellations.
Why has the idea of something like a dragon has arisen in almost every culture around the world?
There is no evidence of living classical dragons, yet it is a common motif in most civilizations around the world. Ancient Greeks collected fossils to worship in thir temples as Cyclopes, Monsters, and Giants. The legend of the gold-guarding griffin sprang from tales first told by Scythian gold-miners. In the the Gobi Desert at the foot of the Altai Mountains, they encountered the skeletons of Protoceratops and other dinosaurs that littered the ground.
If dragon-like predators never existed with humans, why is it so commonly recognized and feared? According to Jung’s principles there must be "something" about this symbol that arose from a genetically stored memory in our collective unconscious. At some point in our evolutionary past something imprinted our response to a dragon symbol so that, with no foreknowledge of this predator and without having ever seen it ourselves, we can all still recognize a dragon and label it as dangerous. Maybe that is because it actually came from above.
What could it have to do with St. Germain's secret magic book, the Triangular MS, which begins with the symbol of a rampant Dragon? Is it his bloodline? His secret society? His ally? His nemesis? His god? His salvation?
In Solomonic magic, demons are bound by placing them in the Triangle of Art; perhaps dragons are, too. The Great Work of alchemy transforms an ordinary mortal into a self-realized immortal. It is a technology of regeneration.
Some claim the Grail is a symbol for a lost technology of individual, social and planetary regeneration. The Grail Quest then, is an allegory for the search and eventual recovery of this technology for the restoration of both the debilitated king and the devastated kingdom that has devolved into an infertile wasteland -- a "Doom Messiah".
"I return to the small and the real, for this is the great way, the way of what is to come.
I return to my simple reality, to my undeniable and most minuscule being.
And I take a knife and hold court over everything that has grown without measure and goal.
The depths are inexhaustible, they give everything. Everything is as good as Nothing.
Keep a little and you have something."
I return to my simple reality, to my undeniable and most minuscule being.
And I take a knife and hold court over everything that has grown without measure and goal.
The depths are inexhaustible, they give everything. Everything is as good as Nothing.
Keep a little and you have something."
The Dragon is the Center of the Heavens & Earth.
The world is fashioned from the "body of the dragon"-- the Fifth Element -- created anew each year.
The Dragon is the Ancient Ancestor who contains all the old Wisdom.
The Dragons are the Watchers of old.
The world is fashioned from the "body of the dragon"-- the Fifth Element -- created anew each year.
The Dragon is the Ancient Ancestor who contains all the old Wisdom.
The Dragons are the Watchers of old.
THE SOLOMONARI - RIDERS OF THE DRAGON
The name Solomonari is derived from the Biblical Solomon, perceived in Romanian tradition as someone quite extraordinary, if mysterious. Believed by some to simply mean "wise ones", it actually means "those learned in the Wisdom of Solomon" -- Solomon, the binder of demons and djinn. They are a secret order stretching back to the wise king, an order of wizards -- a secret society of elite human beings, trained in pairs and bound through eternity.
The seers are the Watchers. In early history, the “solomonarii” were considered benevolent, but as Christianity supplanted early beliefs, the “solomonarii” began to be considered evil. Popular beliefs even invented an “anti-solomonar” sort of hero. St. German is one such hero from the earlier days. The belief in the “solomonarii” has not died out completely, since it remains in some of the most remote villages.
Upon initiation each adept receives their own book, that is described as a stone talisman with nine mysterious letters in it, with spells and rituals. Once initiated, they became alchemists and sorcerers with the power to maintain the balance of nature and with the ability to preserve order. Among other things, they can summon and "ride" dragons, and call upon the aid and power of dragon potential to perform great magic. The Great Work allows the human body to contain the power of the Dragon.
PROTO-SLAVIC ZMAJ- "DRAGON"
Their origin is linked with ancient Dacian priests. The name “Solomonars” (plural), “Solomonar” (singular) is a recent name, given because of Christian influences into the folklore, probably in the seventeenth century, and means “a man learned in the wisdom of Salomo”, an incantator, a summoner and master of high and subtle energies. The original name for them, is “Zgrimties”, or “Hultan”. More properly, Zalmonari originate from the name Zalmoxe (or Zamolxe).
They were healers, summoners, thaumaturgs who mastered the highest science and lore about the Universe that arose in Neolithic times, among the Vinca and Cucuteni-Trypillian cultures.
Solomonarii receive their training in the Carpathians, in the massive steep-sided crater that still marks
the fall of the Lapis Excelis, a grail to the stars. Their temple and library are built of shocked quartz (coesite) produced in the fiery cauldron like the building stone (suevite impact brecchia ejected from the crater) of the Nördlingen town church in the Reis Crater in Germany. In other words, the buildings contain millions of tiny diamonds made in the Miocene in the Promethean inferno; the altar is moldavite carved into dragons. A labyrinth of underground caves there leads into the netherworld.
Both are symbols of the mystic center. As a metaphysical image, the “Center” marks the “sacred space” par excellence. An individual reaches “reality” by returning to the “Center”, to the transcendental Absolute. The initiatory path marks the adept’s quest to the sacred “Center”, to the ultimate “reality”. The neophytes are taken to the “Crugu Pamantului” or Middle/Center of the World, where they learn all the mysteries and secrets to become “Solomonari” or Mages.
MOUNTAIN OF LIGHT
The homology between Sky and World is manifested indirectly, through correspondences. Only in special, singular conditions, in a sacred “Center”, can the link be direct. Otherwise, the influences of the two planes are exercised through “proxims”; for example, every planet corresponds with a certain metal, a certain color, a certain God, etc. According to this, there are links between Shamash (Sun-God) and “gold”, between Anu and “silver”, between Ea and “bronze”, between Nimidni and “stone”.
Solomonarii origin legends say that during the First Crusade in the Dark Ages, two Templar Knights discovered mysterious secrets on alchemy and magic in the legendary and secret library of Solomon. The knights returned to their homeland Wallachia and mastered the arts they had discovered. But soon their destinies and their spiritual paths were deeply divided.
Ancient tales claim there have been two Solomons: 1) Solomon the King, whose knowledge was closely related to the teachings of the Kabbalah; 2), and “Black Solomon”, known as Asmodeus, the king of demons. This devil claims a tenth of the Solomonari scholars for himself. Vlad Tepes was one such sacrifice.
Each have their hoary grimoires or books of magic with Sumerian origins. St. Germain's is based on the triangular Tetractys, which Pythagoras learned in Babylon as a mnemonic devise summarizing the ten principles of life. Pythagoras was quite a 'Demiurgos', with powers like healing people, soul and/or body, whispering to wild animals to make them obey his commands and prevent their possible aggressions, remote viewing and accurate prediction of future cataclysms .
Alchemy and kabbalah associated the progression of the tetractys with the restoration of unity. In the Human Tetractys the first three levels were the Body, the Soul, and the Spirit. Wisdom was the 4th level and component. To reach that 4th level however, the only possible way was to ensure that the first three had been already developed first in perfect equilibrium. Then the acquisition of wisdom, or the development of the 4th component, was finally possible, and the corresponding wisdom was constituted the only real form of human happiness on this Earth.
One knight pursued practical Kabbalah, an art similar to that described in the Greater and Lesser Keys of Solomon. He went west, diffusing a tradition that grew into the “Illuminati”, related to the earlier Cathari tradition. The other knight became a devotee of ancient Transylvanian religion, and restored the contact with the ancient cult of the Dragon-Deity. This is St. Germain's descent, and why the Dragon appears on his Triangular MS. and why he struggles with the Immortal within. They had a magical book used to cast magic spells together with the dragons. The solomonari concentrated on the book, and discerned what must be done. They also had the ability to affect the weather, bringing hail, rain or drought.
But over time their lines degenerated into corruption. The Solomonari use the Dragons and their genetic 'gifts' for their own ends to increase their own power, ruling the world from behind the scenes. They are known by their cross-shaped birthmarks. They know about the Dragons, and the secrets of the summoning and binding Solomonic formulae. They free just enough draconian essence to allow it into our world, with only a fraction of the unbound power of its true potential. Corrupted stewardship has devolved into lust for personal power for its own sake -- the power to be Dragons. But, the question remains whether the human (now "Mandrake") or "Dragon" then predominates.
The Elixir Vitae and Philosopher's Stone purify the body that is powerful enough to contain the power of a Dragon. St. Germain, "Sol Luminari", has it and they want it from him and are willing to stop at nothing to get the formula. He has fooled them -- he no longer uses magic potions for longevity, but the science of quantum bioholography and gene silencing. But now a cosmic dragon, devoid of conscience -- long foreseen by St. Germain -- challenges the world from the edge of our Solar System. This partially aligns St. Germain with the goals of the rival Solomonari. He saw this grand dragon from his tower observatory with Prince Karl in a by-gone century, and now he is seeing it again, just as he had calculated.
“Another manifestation of the grail and the philosopher’s stone was the comet, the lance-shaped ray of light that could blight a land or bring salvation . . . Merlin was also an astrologer who interpreted to Uther Pendragon at Stonehenge the significance of a comet with two tails, shaped like a dragon, which he said presaged the death of a king and the rebirth of a dynasty, a time of joy and bliss . . .” --Jonathan Hughes, Arthurian Myths and Alchemy: The Kingship of Edward IV (2002), pp. 168 – 168.
Ancient people represented meteors, fireballs, comets, etc. by a variety of images, the most prominent of which were dragons and serpents, and thunderbolts. Other images and symbols included burning torches and lamps, swords, swastikas, beams, lances, swords, and stones. Comets were often depicted by long hair or beards, brooms, the omega symbol, chariots and scythes or sickles.
One indication that points to a general genetic knowledge rather then a learned response is the prevalence of the dragon myth. Jones cites 26 different cultures as having almost identical versions of the dragon. Even in cultures as vastly different as Icelandic, Dutch, and the Cherokee Indians of North America there are stories of dragons. If the dragon was a learned response to an immediate threat it would reflect the geographic enemies more clearly, although all of these cultures may have snakes, cats and birds of prey, they are all different species; however, their dragons are all too similar to reflect this. Dragons are not picked out of a landscape but are inherently recognized and feared.
Archaic cultures first used “meteoritic iron” of celestial origin. In the Sumero-Akkadian culture the meteoritic iron was called “AN-BAR” (“Sky” – “Fire”), meaning “celestial metal”. The word that later came to be used instead of it, “BAR-GAL”, meant “great metal”. The Egyptian word for iron “bi-n-pet” can be translated as “celestial metal”. A Hittite text tells of 14th century BCE kings obtaining “black iron from the Sky”. Iron was designated in ancient Greece by the word “sideros”, which links to the Latin word “sidus, -eris” (=star) and the Litvanic word “svidu” (=to shine), fact which shows the celestial origin of iron.
It also relates to "disaster". The root of the word disaster ("bad star" in Greek) comes from an astrological theme. It is the ancient name for a calamity blamed on unfavorable positions of planets (wandering stars); likewise they were leery of comets as ill omens. Therefore, metals – either coming from the Sky, having a celestial origin, or extracted from the bowels of the Earth – always represented powerful magical agents. Cosmologically speaking, in ancient cultures, metals took part in the great cosmic cycle – “birth” – “sexuality”/reproduction – “death”, as any other element of the cosmos. Even they must submit to the "torture of metals"; they must suffer and die in order to attain eternal life.
In Babylonian metallurgic art, the ore appears as a “divine embryo” (“an-kubu”). The ore is subdued in a series of magical operations (sacrifices, libations, purifications, etc.) to banish away the malignant forces. Therefore, in the cauldron the metal is passing through a mystico-magical rebirth, as the cauldron symbolizes, the womb of Mother-Earth. The secret school was born in a cauldron once boiling with the mingling of heaven and earth. The Solomonari train in soul communion with the forefathers in such a cauldron/crater/grail in perpetual remembrance of that horrific union.
Meteorites, such as that in the Kaaba to this day, were considered sacred and revered. The Solomonari used them for magic. Things which have been struck by lightning or meteorites are believed to carry the power of the sky. Some meteors and meteoric glass have been found, dug up, broken apart, studied, carved into objects, etc. but the essences of the Dragons remain bound within the matter.
A Dragon can feed upon the life force of a human while mating with them.
Alchemy is a mystical method of self-perfection, by the symbolical exteriorization of the piritual processes, by projecting spiritual interior elements on an exterior plane, the metals. In this way, the Great Work is ambivalent: a holding of the tension of the opposites, interior and exterior, unifying the Microcosm and the Macrocosm and thus annihilating “Creation” (the dualistic, split world), reiterating the primordial Unity. During the quest from ordinary metals, to noble metals, the adept’s spirit is liberated from the mundane and reaches supreme metaphysical freedom.
After centuries of practice with various options, St. Germain finds he prefers the isolation tank above all for freeing his unbound spirit. The sensory deprivation Consciousness Induction Device reminds him of his old 'Witches Cradle'.
Qlippoth, Hebrew, "shells, husks," is a term in the Kabbalah tradition means "Lords of Unbalanced Powers" referring to demonic entities from a former universe who survived in the present one. The Qlippoth are the subject of a vast but uncertain demonological lore, which originated from Jewish sources but also was barrowed or came from other sources, and parts expounded upon by later occultist theorists. Also see qlippoth - breaking of the vessels: http://www.themystica.org/mystica/articles/q/qlippoth.html
The name Solomonari is derived from the Biblical Solomon, perceived in Romanian tradition as someone quite extraordinary, if mysterious. Believed by some to simply mean "wise ones", it actually means "those learned in the Wisdom of Solomon" -- Solomon, the binder of demons and djinn. They are a secret order stretching back to the wise king, an order of wizards -- a secret society of elite human beings, trained in pairs and bound through eternity.
The seers are the Watchers. In early history, the “solomonarii” were considered benevolent, but as Christianity supplanted early beliefs, the “solomonarii” began to be considered evil. Popular beliefs even invented an “anti-solomonar” sort of hero. St. German is one such hero from the earlier days. The belief in the “solomonarii” has not died out completely, since it remains in some of the most remote villages.
Upon initiation each adept receives their own book, that is described as a stone talisman with nine mysterious letters in it, with spells and rituals. Once initiated, they became alchemists and sorcerers with the power to maintain the balance of nature and with the ability to preserve order. Among other things, they can summon and "ride" dragons, and call upon the aid and power of dragon potential to perform great magic. The Great Work allows the human body to contain the power of the Dragon.
PROTO-SLAVIC ZMAJ- "DRAGON"
Their origin is linked with ancient Dacian priests. The name “Solomonars” (plural), “Solomonar” (singular) is a recent name, given because of Christian influences into the folklore, probably in the seventeenth century, and means “a man learned in the wisdom of Salomo”, an incantator, a summoner and master of high and subtle energies. The original name for them, is “Zgrimties”, or “Hultan”. More properly, Zalmonari originate from the name Zalmoxe (or Zamolxe).
They were healers, summoners, thaumaturgs who mastered the highest science and lore about the Universe that arose in Neolithic times, among the Vinca and Cucuteni-Trypillian cultures.
Solomonarii receive their training in the Carpathians, in the massive steep-sided crater that still marks
the fall of the Lapis Excelis, a grail to the stars. Their temple and library are built of shocked quartz (coesite) produced in the fiery cauldron like the building stone (suevite impact brecchia ejected from the crater) of the Nördlingen town church in the Reis Crater in Germany. In other words, the buildings contain millions of tiny diamonds made in the Miocene in the Promethean inferno; the altar is moldavite carved into dragons. A labyrinth of underground caves there leads into the netherworld.
Both are symbols of the mystic center. As a metaphysical image, the “Center” marks the “sacred space” par excellence. An individual reaches “reality” by returning to the “Center”, to the transcendental Absolute. The initiatory path marks the adept’s quest to the sacred “Center”, to the ultimate “reality”. The neophytes are taken to the “Crugu Pamantului” or Middle/Center of the World, where they learn all the mysteries and secrets to become “Solomonari” or Mages.
MOUNTAIN OF LIGHT
The homology between Sky and World is manifested indirectly, through correspondences. Only in special, singular conditions, in a sacred “Center”, can the link be direct. Otherwise, the influences of the two planes are exercised through “proxims”; for example, every planet corresponds with a certain metal, a certain color, a certain God, etc. According to this, there are links between Shamash (Sun-God) and “gold”, between Anu and “silver”, between Ea and “bronze”, between Nimidni and “stone”.
Solomonarii origin legends say that during the First Crusade in the Dark Ages, two Templar Knights discovered mysterious secrets on alchemy and magic in the legendary and secret library of Solomon. The knights returned to their homeland Wallachia and mastered the arts they had discovered. But soon their destinies and their spiritual paths were deeply divided.
Ancient tales claim there have been two Solomons: 1) Solomon the King, whose knowledge was closely related to the teachings of the Kabbalah; 2), and “Black Solomon”, known as Asmodeus, the king of demons. This devil claims a tenth of the Solomonari scholars for himself. Vlad Tepes was one such sacrifice.
Each have their hoary grimoires or books of magic with Sumerian origins. St. Germain's is based on the triangular Tetractys, which Pythagoras learned in Babylon as a mnemonic devise summarizing the ten principles of life. Pythagoras was quite a 'Demiurgos', with powers like healing people, soul and/or body, whispering to wild animals to make them obey his commands and prevent their possible aggressions, remote viewing and accurate prediction of future cataclysms .
Alchemy and kabbalah associated the progression of the tetractys with the restoration of unity. In the Human Tetractys the first three levels were the Body, the Soul, and the Spirit. Wisdom was the 4th level and component. To reach that 4th level however, the only possible way was to ensure that the first three had been already developed first in perfect equilibrium. Then the acquisition of wisdom, or the development of the 4th component, was finally possible, and the corresponding wisdom was constituted the only real form of human happiness on this Earth.
One knight pursued practical Kabbalah, an art similar to that described in the Greater and Lesser Keys of Solomon. He went west, diffusing a tradition that grew into the “Illuminati”, related to the earlier Cathari tradition. The other knight became a devotee of ancient Transylvanian religion, and restored the contact with the ancient cult of the Dragon-Deity. This is St. Germain's descent, and why the Dragon appears on his Triangular MS. and why he struggles with the Immortal within. They had a magical book used to cast magic spells together with the dragons. The solomonari concentrated on the book, and discerned what must be done. They also had the ability to affect the weather, bringing hail, rain or drought.
But over time their lines degenerated into corruption. The Solomonari use the Dragons and their genetic 'gifts' for their own ends to increase their own power, ruling the world from behind the scenes. They are known by their cross-shaped birthmarks. They know about the Dragons, and the secrets of the summoning and binding Solomonic formulae. They free just enough draconian essence to allow it into our world, with only a fraction of the unbound power of its true potential. Corrupted stewardship has devolved into lust for personal power for its own sake -- the power to be Dragons. But, the question remains whether the human (now "Mandrake") or "Dragon" then predominates.
The Elixir Vitae and Philosopher's Stone purify the body that is powerful enough to contain the power of a Dragon. St. Germain, "Sol Luminari", has it and they want it from him and are willing to stop at nothing to get the formula. He has fooled them -- he no longer uses magic potions for longevity, but the science of quantum bioholography and gene silencing. But now a cosmic dragon, devoid of conscience -- long foreseen by St. Germain -- challenges the world from the edge of our Solar System. This partially aligns St. Germain with the goals of the rival Solomonari. He saw this grand dragon from his tower observatory with Prince Karl in a by-gone century, and now he is seeing it again, just as he had calculated.
“Another manifestation of the grail and the philosopher’s stone was the comet, the lance-shaped ray of light that could blight a land or bring salvation . . . Merlin was also an astrologer who interpreted to Uther Pendragon at Stonehenge the significance of a comet with two tails, shaped like a dragon, which he said presaged the death of a king and the rebirth of a dynasty, a time of joy and bliss . . .” --Jonathan Hughes, Arthurian Myths and Alchemy: The Kingship of Edward IV (2002), pp. 168 – 168.
Ancient people represented meteors, fireballs, comets, etc. by a variety of images, the most prominent of which were dragons and serpents, and thunderbolts. Other images and symbols included burning torches and lamps, swords, swastikas, beams, lances, swords, and stones. Comets were often depicted by long hair or beards, brooms, the omega symbol, chariots and scythes or sickles.
One indication that points to a general genetic knowledge rather then a learned response is the prevalence of the dragon myth. Jones cites 26 different cultures as having almost identical versions of the dragon. Even in cultures as vastly different as Icelandic, Dutch, and the Cherokee Indians of North America there are stories of dragons. If the dragon was a learned response to an immediate threat it would reflect the geographic enemies more clearly, although all of these cultures may have snakes, cats and birds of prey, they are all different species; however, their dragons are all too similar to reflect this. Dragons are not picked out of a landscape but are inherently recognized and feared.
Archaic cultures first used “meteoritic iron” of celestial origin. In the Sumero-Akkadian culture the meteoritic iron was called “AN-BAR” (“Sky” – “Fire”), meaning “celestial metal”. The word that later came to be used instead of it, “BAR-GAL”, meant “great metal”. The Egyptian word for iron “bi-n-pet” can be translated as “celestial metal”. A Hittite text tells of 14th century BCE kings obtaining “black iron from the Sky”. Iron was designated in ancient Greece by the word “sideros”, which links to the Latin word “sidus, -eris” (=star) and the Litvanic word “svidu” (=to shine), fact which shows the celestial origin of iron.
It also relates to "disaster". The root of the word disaster ("bad star" in Greek) comes from an astrological theme. It is the ancient name for a calamity blamed on unfavorable positions of planets (wandering stars); likewise they were leery of comets as ill omens. Therefore, metals – either coming from the Sky, having a celestial origin, or extracted from the bowels of the Earth – always represented powerful magical agents. Cosmologically speaking, in ancient cultures, metals took part in the great cosmic cycle – “birth” – “sexuality”/reproduction – “death”, as any other element of the cosmos. Even they must submit to the "torture of metals"; they must suffer and die in order to attain eternal life.
In Babylonian metallurgic art, the ore appears as a “divine embryo” (“an-kubu”). The ore is subdued in a series of magical operations (sacrifices, libations, purifications, etc.) to banish away the malignant forces. Therefore, in the cauldron the metal is passing through a mystico-magical rebirth, as the cauldron symbolizes, the womb of Mother-Earth. The secret school was born in a cauldron once boiling with the mingling of heaven and earth. The Solomonari train in soul communion with the forefathers in such a cauldron/crater/grail in perpetual remembrance of that horrific union.
Meteorites, such as that in the Kaaba to this day, were considered sacred and revered. The Solomonari used them for magic. Things which have been struck by lightning or meteorites are believed to carry the power of the sky. Some meteors and meteoric glass have been found, dug up, broken apart, studied, carved into objects, etc. but the essences of the Dragons remain bound within the matter.
A Dragon can feed upon the life force of a human while mating with them.
Alchemy is a mystical method of self-perfection, by the symbolical exteriorization of the piritual processes, by projecting spiritual interior elements on an exterior plane, the metals. In this way, the Great Work is ambivalent: a holding of the tension of the opposites, interior and exterior, unifying the Microcosm and the Macrocosm and thus annihilating “Creation” (the dualistic, split world), reiterating the primordial Unity. During the quest from ordinary metals, to noble metals, the adept’s spirit is liberated from the mundane and reaches supreme metaphysical freedom.
After centuries of practice with various options, St. Germain finds he prefers the isolation tank above all for freeing his unbound spirit. The sensory deprivation Consciousness Induction Device reminds him of his old 'Witches Cradle'.
Qlippoth, Hebrew, "shells, husks," is a term in the Kabbalah tradition means "Lords of Unbalanced Powers" referring to demonic entities from a former universe who survived in the present one. The Qlippoth are the subject of a vast but uncertain demonological lore, which originated from Jewish sources but also was barrowed or came from other sources, and parts expounded upon by later occultist theorists. Also see qlippoth - breaking of the vessels: http://www.themystica.org/mystica/articles/q/qlippoth.html
TEMPLARS
Some say St. Germain is/was a Templar knight, certainly in the masonic sense. Templars live from a stone of the purest essence…the Lapis Exilis -- lapis ex caelis - “stone from the heavens”; or of lapis lapsus ex caelis - “a stone fallen from the heaven” or of lapis elixir - the fabulous Philosophers Stone of alchemy. By the power of this stone the Phoenix, another masonic symbol, is burned to ashes, but from the ashes is reborn. The phoenix is established alchemical shorthand for resurrection or rebirth. This stone confers such powers on mortal men that their flesh and bones are made young again. The stone is called the Grail, and it is unknown and protean -- stones fallen from heaven, dragons, the phoenix, the universal medicine, the divine king, and holy blood.
COSMIC SYMBOLISM
Literacy in this language of cosmic symbolism opens up a whole new domain of understanding about our human past on this planet, and explains one very important reason that ancient cultures all over the Earth were so obsessively interested in what happened in the heavens. The legacy of ritual, symbolic architecture, and the sacred and prophetic writings of our ancient predecessors conveys a powerful and compelling significance concerning our place in the Cosmos. Denizens of the Deep continue to encroach upon our celestial neighborhood. Sometimes they rain down mayhem on the human population.
Regarding the prevalence of the dragon in the myths of ancient cultures, British astronomers Victor Clube and Bill Napier, wrote in 1982: “The earliest recorded myths are those of combat, between a god or hero and a dragon. The dragon was a familiar figure in Greece, Egypt, Mesopotamia, Babylon, India, China, North America, and elsewhere. Usually, he has the form of a winged serpent.He is a gigantic monster; he spouts fire and smoke; bellows and hisses; he throws rocks, and is the creator of terrible destruction; and his home is in the sky.” (The Cosmic Serpent: A catastrophist view of Earth History: Universe Books, New York)
Another example comes from the ancient Far East, as recorded by Engelb. Kœmpfer, M.D in 1728: “In the thirty sixth year of his reign, it rain’d Stars from Heaven, in Japan…In the 40th year of his reign, on a clear and serene day, there arose of a sudden in China, a violent storm of thunder and lightning: Comets, Fiery-Dragons and uncommon Meteors appeared in the Airs, and it rain’d fire from Heaven.” Roberta J. M. Olson in Fire and Ice: A History of Comets in Art (1985) writes: “Certain artistic conventions were employed in the rendering of comets and these carried over to images of other celestial events. For example, the English artist Thomas Sandby recorded a large meteor observed in August 1783 which was identified with the ancient type called Draco volans, or “flying dragon”.”
The same "Flying Dragon" is the icon of St. Germain's Cypher Manuscript.
In the Alchemical quest the Philosophers Stone is used concocting the Universal Medicine with which extraordinary restorative or regenerative effects are conferred upon the alchemist. Thus, Grail mythos and arcane symbolism of alchemy are inextricably intertwined.
Some say St. Germain is/was a Templar knight, certainly in the masonic sense. Templars live from a stone of the purest essence…the Lapis Exilis -- lapis ex caelis - “stone from the heavens”; or of lapis lapsus ex caelis - “a stone fallen from the heaven” or of lapis elixir - the fabulous Philosophers Stone of alchemy. By the power of this stone the Phoenix, another masonic symbol, is burned to ashes, but from the ashes is reborn. The phoenix is established alchemical shorthand for resurrection or rebirth. This stone confers such powers on mortal men that their flesh and bones are made young again. The stone is called the Grail, and it is unknown and protean -- stones fallen from heaven, dragons, the phoenix, the universal medicine, the divine king, and holy blood.
COSMIC SYMBOLISM
Literacy in this language of cosmic symbolism opens up a whole new domain of understanding about our human past on this planet, and explains one very important reason that ancient cultures all over the Earth were so obsessively interested in what happened in the heavens. The legacy of ritual, symbolic architecture, and the sacred and prophetic writings of our ancient predecessors conveys a powerful and compelling significance concerning our place in the Cosmos. Denizens of the Deep continue to encroach upon our celestial neighborhood. Sometimes they rain down mayhem on the human population.
Regarding the prevalence of the dragon in the myths of ancient cultures, British astronomers Victor Clube and Bill Napier, wrote in 1982: “The earliest recorded myths are those of combat, between a god or hero and a dragon. The dragon was a familiar figure in Greece, Egypt, Mesopotamia, Babylon, India, China, North America, and elsewhere. Usually, he has the form of a winged serpent.He is a gigantic monster; he spouts fire and smoke; bellows and hisses; he throws rocks, and is the creator of terrible destruction; and his home is in the sky.” (The Cosmic Serpent: A catastrophist view of Earth History: Universe Books, New York)
Another example comes from the ancient Far East, as recorded by Engelb. Kœmpfer, M.D in 1728: “In the thirty sixth year of his reign, it rain’d Stars from Heaven, in Japan…In the 40th year of his reign, on a clear and serene day, there arose of a sudden in China, a violent storm of thunder and lightning: Comets, Fiery-Dragons and uncommon Meteors appeared in the Airs, and it rain’d fire from Heaven.” Roberta J. M. Olson in Fire and Ice: A History of Comets in Art (1985) writes: “Certain artistic conventions were employed in the rendering of comets and these carried over to images of other celestial events. For example, the English artist Thomas Sandby recorded a large meteor observed in August 1783 which was identified with the ancient type called Draco volans, or “flying dragon”.”
The same "Flying Dragon" is the icon of St. Germain's Cypher Manuscript.
In the Alchemical quest the Philosophers Stone is used concocting the Universal Medicine with which extraordinary restorative or regenerative effects are conferred upon the alchemist. Thus, Grail mythos and arcane symbolism of alchemy are inextricably intertwined.
INDIVIDUAL, SOCIAL & PLANETARY REGENERATION
The artist is an alchemical vessel containing the creative flux of transformation, a continuous alchemical movement. The creative gold is generated and embodied in the alembic of the mindbody.
Our essence is the same substance as the Cosmos and contains and reveals its mysteries.
The athenor of the human body contains all it needs to produce the great circulation. The fire, the First and Last Matter, and the vessel are “One.” Nothing needs to be added to the Stone, except the removal of the impurities that surround and drown it. Raise the fire, evaporate the superfluidities and burn off the dross which inhibits its energy to liberate the Light in its fullest expression. This is the secret of Eternal Life. Light is the root of life in death.
St. Germain has learned to live on such Meta-Syn Light.
The dragon is a symbol of immortality and archetype of the creative process. One paradoxical meaning of the downward-pointing or inverted triangle is the Sacred Womb through which we are born into life, and the tomb through which we are reborn in the spiritual world. It represents the magical potential for transformation and projecting into the future, forever - perpetual life. What is resurrected is a hyperdimensional vehicle of consciousness. Mere matter is transcended in new dimensions. Spirit and matter are realized as One.
The cosmic triangle is the Womb or Water of Space, the great Nothingness, invisibly radiant with omnipresent virtual photonic Light -- the seed of all-containing Space. The beauty and power of eternity is found in that Void or Abyss that is EverywhereAlwaysForever. Retrieving spiritual gold, gems and Mysteries from this hyperdimensional matrix is the work of magic, the energetic science.
This is the subject of St. Germain's Triangular MS. The triangle is a 2-d representation of a pyramid, a virtual resurrection machine. In legend, the Philosopher’s Stone is kept in the custody of the reawakened Dragon, the Adept who fully inhabits his or her Body of Light. Alchemy itself is a triple process of uniting the physical, psychological and spiritual. The unusual triangular shape of the book itself implies the Three Principles of alchemy — Salt, Mercury and Sulpher — body, soul and spirit. The triangle itself upright is a symbol of fire; reversed of water; and interlaced of the union of opposites. The triangle form could also suggest a triple meaning for the contents of the book: alchemy, qabbalism and Hermeticism.
The artist is an alchemical vessel containing the creative flux of transformation, a continuous alchemical movement. The creative gold is generated and embodied in the alembic of the mindbody.
Our essence is the same substance as the Cosmos and contains and reveals its mysteries.
The athenor of the human body contains all it needs to produce the great circulation. The fire, the First and Last Matter, and the vessel are “One.” Nothing needs to be added to the Stone, except the removal of the impurities that surround and drown it. Raise the fire, evaporate the superfluidities and burn off the dross which inhibits its energy to liberate the Light in its fullest expression. This is the secret of Eternal Life. Light is the root of life in death.
St. Germain has learned to live on such Meta-Syn Light.
The dragon is a symbol of immortality and archetype of the creative process. One paradoxical meaning of the downward-pointing or inverted triangle is the Sacred Womb through which we are born into life, and the tomb through which we are reborn in the spiritual world. It represents the magical potential for transformation and projecting into the future, forever - perpetual life. What is resurrected is a hyperdimensional vehicle of consciousness. Mere matter is transcended in new dimensions. Spirit and matter are realized as One.
The cosmic triangle is the Womb or Water of Space, the great Nothingness, invisibly radiant with omnipresent virtual photonic Light -- the seed of all-containing Space. The beauty and power of eternity is found in that Void or Abyss that is EverywhereAlwaysForever. Retrieving spiritual gold, gems and Mysteries from this hyperdimensional matrix is the work of magic, the energetic science.
This is the subject of St. Germain's Triangular MS. The triangle is a 2-d representation of a pyramid, a virtual resurrection machine. In legend, the Philosopher’s Stone is kept in the custody of the reawakened Dragon, the Adept who fully inhabits his or her Body of Light. Alchemy itself is a triple process of uniting the physical, psychological and spiritual. The unusual triangular shape of the book itself implies the Three Principles of alchemy — Salt, Mercury and Sulpher — body, soul and spirit. The triangle itself upright is a symbol of fire; reversed of water; and interlaced of the union of opposites. The triangle form could also suggest a triple meaning for the contents of the book: alchemy, qabbalism and Hermeticism.
Apollo Receiving the Shepherds' Offerings, Gustave Moreau (1826-1898)
The primordial force is the radiance of the sun, which the sons of the sun have carried in themselves for aeons and pass on to their children. But if the soul dips into radiance, she becomes as remorseless as the God himself since the life of the divine child, which you have eaten, will feel like glowing coals in you.
It will burn inside you like a terrible, inextinguishable fire. But despite all the torment, you cannot let it be, since it will not let you be. From this you will understand that your God is alive and that your soul has begun wandering on remorseless paths. You feel that the fire of the sun has erupted in you. Something new has been added to you, a holy affliction.
Sometimes you no longer recognize yourself You want to overcome it, but it overcomes you. You want to set limits, but it compels you to keep going. You want to elude it, but it comes with you. You want to employ it, but you are its tool; you want to think about it, but your thoughts obey it. finally the fear of the inescapable seizes you, for it comes after you slowly and invincibly.
There is no escape. So it is that you come to know what a real God is. Now you'll think up clever truisms, preventive measures, secret escape routes, excuses, potions capable of inducing forgetfulness, but it's all useless.
The fire burns right through you. That which guides forces you onto the way. But the way is my own self my own life founded upon myself The God wants my life. He wants to go with me, sit at the table with me, work with me. Above all he wants to be ever-present.
But I'm ashamed of my God. I don't want to be divine but reasonable. The divine appears to me as irrational craziness. I hate it as an absurd disturbance of my meaningful human activity.
It seems an unbecoming sickness which has stolen into the regular course of my life. Yes, I even find the divine superfluous. ~Carl Jung, The Red Book, The Sacrificial Murder, Page 291.
It will burn inside you like a terrible, inextinguishable fire. But despite all the torment, you cannot let it be, since it will not let you be. From this you will understand that your God is alive and that your soul has begun wandering on remorseless paths. You feel that the fire of the sun has erupted in you. Something new has been added to you, a holy affliction.
Sometimes you no longer recognize yourself You want to overcome it, but it overcomes you. You want to set limits, but it compels you to keep going. You want to elude it, but it comes with you. You want to employ it, but you are its tool; you want to think about it, but your thoughts obey it. finally the fear of the inescapable seizes you, for it comes after you slowly and invincibly.
There is no escape. So it is that you come to know what a real God is. Now you'll think up clever truisms, preventive measures, secret escape routes, excuses, potions capable of inducing forgetfulness, but it's all useless.
The fire burns right through you. That which guides forces you onto the way. But the way is my own self my own life founded upon myself The God wants my life. He wants to go with me, sit at the table with me, work with me. Above all he wants to be ever-present.
But I'm ashamed of my God. I don't want to be divine but reasonable. The divine appears to me as irrational craziness. I hate it as an absurd disturbance of my meaningful human activity.
It seems an unbecoming sickness which has stolen into the regular course of my life. Yes, I even find the divine superfluous. ~Carl Jung, The Red Book, The Sacrificial Murder, Page 291.
He who sees the Deep is he who sees the Unknown
I remembered 26,000 years ago, when the ancient ways were enshrined in what we now called the Bosnian pyramids when the Dragon was universally revered, and I mourned as that Aeon passed. I had the same feeling from my genetic memory when I remembered the enormous earthquake in 26 B.C. that shook the great temple of Karnak. It was the prelude to the destruction of all temples, because a new time had begun. I remembered further back.
The cosmology of India describes our universe with fourteen parallel realities on multiple levels, all existing and intersecting within pur material realm. One of those Vedic levels is called the Deva realm, supposedly the home of the beings who actually conduct the laws of nature to which we are subject. These Deva beings 'work in the light' by enforcing the laws of nature that allow the universe to function as it does. The Vedas describe infinitely multiple universes filled with many Earth-like planets and many kinds of intelligent beings. The closest modern analogs to multiple universes are found in some of the theories of quantum physics.
The cosmology of India describes our universe with fourteen parallel realities on multiple levels, all existing and intersecting within pur material realm. One of those Vedic levels is called the Deva realm, supposedly the home of the beings who actually conduct the laws of nature to which we are subject. These Deva beings 'work in the light' by enforcing the laws of nature that allow the universe to function as it does. The Vedas describe infinitely multiple universes filled with many Earth-like planets and many kinds of intelligent beings. The closest modern analogs to multiple universes are found in some of the theories of quantum physics.
Original Portrait, 1763
The Holy Magic revealed to Moses discovered within an Egyptian monument
and preciously preserved in Asia under the emblem of a winged dragon.
1. To find things lost in the seas since the flooding of the globe.
[The Treasure of Tiamat, the Dragon - the Enuma Elish]
2.To discover mines and diamonds, gold and silver within the bowels of the earth.
[Epic of Gilgamesh]
3. To preserve one's health and prolong one's life for a century, and that with the freshness of fifty years,
and the strength of that age. ~Triangular MS
{Emerald Tablet]
The Epic of Gilgamesh, a Mesopotamian poem and earliest surviving writing, is about the Quest for Immortality.
The search for the Elixir of Life has been the supreme quest for many. In medieval times, there are accounts of the alchemists looking for the philosopher’s stone, believed to be required to create the elixir but also to convert lead to gold. Bernard Trevisan, a 15th century alchemist, said that dropping the philosopher’s stone into mercurial water would create the elixir. We have multiple cases of alchemists that allegedly found the Elixir of Life including Paracelsus, Cagliostro, Flamel, and Saint Germain. The real story is an existential metaphor that explores the finite nature of existence and the beauty and tyranny of our desires within it.
and preciously preserved in Asia under the emblem of a winged dragon.
1. To find things lost in the seas since the flooding of the globe.
[The Treasure of Tiamat, the Dragon - the Enuma Elish]
2.To discover mines and diamonds, gold and silver within the bowels of the earth.
[Epic of Gilgamesh]
3. To preserve one's health and prolong one's life for a century, and that with the freshness of fifty years,
and the strength of that age. ~Triangular MS
{Emerald Tablet]
The Epic of Gilgamesh, a Mesopotamian poem and earliest surviving writing, is about the Quest for Immortality.
The search for the Elixir of Life has been the supreme quest for many. In medieval times, there are accounts of the alchemists looking for the philosopher’s stone, believed to be required to create the elixir but also to convert lead to gold. Bernard Trevisan, a 15th century alchemist, said that dropping the philosopher’s stone into mercurial water would create the elixir. We have multiple cases of alchemists that allegedly found the Elixir of Life including Paracelsus, Cagliostro, Flamel, and Saint Germain. The real story is an existential metaphor that explores the finite nature of existence and the beauty and tyranny of our desires within it.
Hieros Gamos
The Dragon in the downward-pointing triangle describes magic, treasures and immortality. Ritual swallowing by the snake in the underworld led to the symbolic return to the embryonic state,
rejuvenation and rebirth in the mystery schools.
rejuvenation and rebirth in the mystery schools.
VISIONARY PREMIS
STORYLINE MYSTERY
A light and shadow show, a mystical parable, a homage; What does it mean?
A mystical parable doesn't need to make sense; nothing really changes.
The film is a genre-bender with aspects from more than one genre,
psychognostic character evolution and transformation.
Take an existential roadtrip to NoWhere.
St. Germain will be there when you get there.
Meet a Colorful Cast of Characters
Count St. Germain:
No Christian saint, St. Germain seems more than mortal, though likely less than immortal except in the most metaphysical sense. The Count is a protean, seductive, and mesmerizing Trickster who remains elusive, ambiguous, mercurial, quixotic. Sometimes he is seen as an immortal mystic, Masonic occultist, or a just an opportunistic rogue.
His story lives on through the Dragon, the deep and eternal treasure house of the Unconscious, the source of meaning. The unconscious is Double -- personal and universal. But psychic energy flows both forward and backward, collapsing normal barriers of time and space, while 'traveling in foreign countries'. Jung concluded that mankind's collective unconscious 1) far predates the evolution of the conscious part of the mind, and 2) forms the same basic patterns repeatedly. In each individual, of course, the patterns are differently arranged. Primordial consciousness continuously spins archetypal tales, including that of the mage destined to save mankind. That spirit is still with us today.
Why do people create gods of certain people, so they can imagine they watch over them, as immortals, ascended masters, gurus, or whatever? As children, many of us grew up on redemption stories about the hero that saves a people. St. Germain has long been the object of such projections, but if you let another carry higher potential for you, you deny it in yourself. We empower the person who is the supposed "savior" in a story. In myth, sacrificed savior gods tend to resurrect and come back. What would compel anyone to repeatedly do so? When the edge softens, a man realizes that he will not solve the secrets of the Universe, despite what the mind may have said earlier. Self-delusion is always a possibility.
MYTHING LINK
We like to hear of him, the radiating savior, who as a son of the sun cut through the webs of the earth, who sundered the magic threads and released those in bondage, who owned himself and was no one's servant, who sucked no one dry, and whose treasure no one exhausted. You would like to hear of him who was not darkened by the shadow of earth, but illuminated it, who saw the thoughts of all, and whose thoughts no one guessed, who possessed in himself the meaning of all things, and whose meaning no thing could express. ~Carl Jung, Red Book, Page 273
A myth is something that is always happening, but never occurs - not as some lens between the physical and metaphysical, but as "always already" there, inscribed or embedded in every human encounter, incapable of dis-entanglement from the enactment of a present. The hereafter is always here. Those who understand empower themselves to communicate more effectively with the divine. The past reveals identity.
St. Germain as prototypical creative genius and primeval time traveler (float tank) searches for his eternal love and eternal stone. But he is a victim of his own savior complex and slightly imperfect immortality and bloodline infirmities. He has made and lost the Stone on many occassions. Love is his kryptonite, even if one can live an eternity in a night.
No Christian saint, St. Germain seems more than mortal, though likely less than immortal except in the most metaphysical sense. The Count is a protean, seductive, and mesmerizing Trickster who remains elusive, ambiguous, mercurial, quixotic. Sometimes he is seen as an immortal mystic, Masonic occultist, or a just an opportunistic rogue.
His story lives on through the Dragon, the deep and eternal treasure house of the Unconscious, the source of meaning. The unconscious is Double -- personal and universal. But psychic energy flows both forward and backward, collapsing normal barriers of time and space, while 'traveling in foreign countries'. Jung concluded that mankind's collective unconscious 1) far predates the evolution of the conscious part of the mind, and 2) forms the same basic patterns repeatedly. In each individual, of course, the patterns are differently arranged. Primordial consciousness continuously spins archetypal tales, including that of the mage destined to save mankind. That spirit is still with us today.
- Persona is a danger that blinds a man to the existence of his own shadow. This shadow, part of the personal unconscious, is the Mr. Hyde in every Dr. Jekyll, the inferior or evil element that wants to do what the conscious or the conscience forbids.
- The anima, explains a Jung disciple, "has attributes that appear and reappear through the ages . . . She always looks young, though there is often a suggestion of years of experience . . . She is wise, but not formidably so; it is rather that 'something strangely meaningful — something like secret knowledge . . . clings to her.' "When this image is projected on a flesh-and-blood woman, a man falls in love, but trouble arises when she fails to fit his unconscious prefab design.
- The old wise man may appear in dreams or fantasies as a king or hero, medicine man, magician or savior (to Dr. Jung's patients, he often appears as Dr. Jung). A little of this, Jung holds, is good: every man has in him the seeds of greatness; and it is well for him to be aware of it. But a man abnormally receptive to the idea may turn into the leader of a wild-eyed revivalist sect, with messianic delusions, or a Hitler, or simply a madhouse Napoleon.
- The transcendent Self embodies elements from both conscious and unconscious, from all the archetypes, good and evil. It is a symbol of oneness such as is found in many religions. Jung's concept of the Self leads to individuation, a lifetime task. By getting to know more and more aspects of his unconscious, we give proper values to what were once half-sensed and disturbing urges. Individuation is "finding the God within."
Why do people create gods of certain people, so they can imagine they watch over them, as immortals, ascended masters, gurus, or whatever? As children, many of us grew up on redemption stories about the hero that saves a people. St. Germain has long been the object of such projections, but if you let another carry higher potential for you, you deny it in yourself. We empower the person who is the supposed "savior" in a story. In myth, sacrificed savior gods tend to resurrect and come back. What would compel anyone to repeatedly do so? When the edge softens, a man realizes that he will not solve the secrets of the Universe, despite what the mind may have said earlier. Self-delusion is always a possibility.
MYTHING LINK
We like to hear of him, the radiating savior, who as a son of the sun cut through the webs of the earth, who sundered the magic threads and released those in bondage, who owned himself and was no one's servant, who sucked no one dry, and whose treasure no one exhausted. You would like to hear of him who was not darkened by the shadow of earth, but illuminated it, who saw the thoughts of all, and whose thoughts no one guessed, who possessed in himself the meaning of all things, and whose meaning no thing could express. ~Carl Jung, Red Book, Page 273
A myth is something that is always happening, but never occurs - not as some lens between the physical and metaphysical, but as "always already" there, inscribed or embedded in every human encounter, incapable of dis-entanglement from the enactment of a present. The hereafter is always here. Those who understand empower themselves to communicate more effectively with the divine. The past reveals identity.
St. Germain as prototypical creative genius and primeval time traveler (float tank) searches for his eternal love and eternal stone. But he is a victim of his own savior complex and slightly imperfect immortality and bloodline infirmities. He has made and lost the Stone on many occassions. Love is his kryptonite, even if one can live an eternity in a night.
IN SEARCH OF THE BELOVED
This Apollonic maestro's real bete noire is his anima problem: a failure to integrate the archetypal Feminine and a compulsion to create emotional and physical distance. We like to hear the tidings of he whom things have not lived, but who lived and fulfilled himself. We like to have tidings of the son of the sun, which shines.
Because the emptiness lacks fullness, it craves fullness and its shining power. And it drinks it in by means of its eye, which is able to grasp the beauty and unsullied radiance of fullness. When beauty grows, the dreadful worm also creeps in, waiting for its prey. Nothing is sacred to him except his eye, with which he sees the most beautiful. He will never give up his eye. He is invulnerable, but nothing protects his eye; it is delicate and clear, adept at drinking in the eternal light.
An Apollo man's life purpose is to illuminate the darkness but it is also a fundamental denial of darkness. The world is rejected and deliberately kept at a distance. Such lives can become detached or compartmentalized -- disconnected from their emotional center. Logic cannot solve all problems. All St. Germain lacks is that union with the cosmic feminine that would finally make him complete.
Both emotional 'escape artists', Apollo and Artemis work well together. Apollo wants no competitors. Love affairs pale in comparison with the consistent inspiration of creative spirit, but romantic nostalgia remains as a drive, even compulsion. With great pretension, St. Germain acquaints himself with the secrets of nature, the transmutation of metals and jewels, and the prolongation of life and youth -- an extended mid-life crisis, a quest for the Holy Grail, in Nature and his own nature.
Jung recognized the spiritual instincts of the soul. Such instincts modify instinctual urges into the spiritual by creation of spiritual symbols and ‘ideals.’ Through spiritual symbols the soul expresses a capacity to integrate the tension of opposites. Jung goes on to say that such symbol creation may hold a ‘presentiment of the future,’ guiding the individual in the process of psychical transformation.
The ‘higher unconscious’ or soul’s imagination appears to hold the instinctual and creative ability to create a subliminal synthesis of opposites. Such a synthesis may offer ‘visionary clarity’ into the ‘hidden meaning’ of one’s life. Dreams are very often anticipations of future alterations of consciousness. The soul’s instinct is to create symbols of transformation, given spontaneous form in dreams and imagination.
“Everything psychic has a lower and a higher meaning, as in the profound saying of late classical mysticism: ‘Heaven above, Heaven below, stars above, stars below, all that is above also is below, know this and rejoice.’ Here we lay our finger on the secret symbolical significance of everything psychic.” (CW 5, para 77)
This Apollonic maestro's real bete noire is his anima problem: a failure to integrate the archetypal Feminine and a compulsion to create emotional and physical distance. We like to hear the tidings of he whom things have not lived, but who lived and fulfilled himself. We like to have tidings of the son of the sun, which shines.
Because the emptiness lacks fullness, it craves fullness and its shining power. And it drinks it in by means of its eye, which is able to grasp the beauty and unsullied radiance of fullness. When beauty grows, the dreadful worm also creeps in, waiting for its prey. Nothing is sacred to him except his eye, with which he sees the most beautiful. He will never give up his eye. He is invulnerable, but nothing protects his eye; it is delicate and clear, adept at drinking in the eternal light.
An Apollo man's life purpose is to illuminate the darkness but it is also a fundamental denial of darkness. The world is rejected and deliberately kept at a distance. Such lives can become detached or compartmentalized -- disconnected from their emotional center. Logic cannot solve all problems. All St. Germain lacks is that union with the cosmic feminine that would finally make him complete.
Both emotional 'escape artists', Apollo and Artemis work well together. Apollo wants no competitors. Love affairs pale in comparison with the consistent inspiration of creative spirit, but romantic nostalgia remains as a drive, even compulsion. With great pretension, St. Germain acquaints himself with the secrets of nature, the transmutation of metals and jewels, and the prolongation of life and youth -- an extended mid-life crisis, a quest for the Holy Grail, in Nature and his own nature.
Jung recognized the spiritual instincts of the soul. Such instincts modify instinctual urges into the spiritual by creation of spiritual symbols and ‘ideals.’ Through spiritual symbols the soul expresses a capacity to integrate the tension of opposites. Jung goes on to say that such symbol creation may hold a ‘presentiment of the future,’ guiding the individual in the process of psychical transformation.
The ‘higher unconscious’ or soul’s imagination appears to hold the instinctual and creative ability to create a subliminal synthesis of opposites. Such a synthesis may offer ‘visionary clarity’ into the ‘hidden meaning’ of one’s life. Dreams are very often anticipations of future alterations of consciousness. The soul’s instinct is to create symbols of transformation, given spontaneous form in dreams and imagination.
“Everything psychic has a lower and a higher meaning, as in the profound saying of late classical mysticism: ‘Heaven above, Heaven below, stars above, stars below, all that is above also is below, know this and rejoice.’ Here we lay our finger on the secret symbolical significance of everything psychic.” (CW 5, para 77)
PLOTPOINTS
A concrete portrayal of psychognostic philosophy (any penetrating study of the psyche, especially as concerned with each individual character), particularly the concept of a syzygy and the Divine Feminine. The goddess of wisdom, journeys downward toward what appears to be the Father's light, but winds up being trapped in the chaos. She is held captive and tormented by the evil archon/demiurge. The demiurge is the creator god, also the author of all evil, including the NWO (in league with the Solomonarii) with its global stranglehold. The critical catalyst is integrating the feminine. This St. Germain hopes to do by forming a couple conjunction, as in the days of old before history began.
A concrete portrayal of psychognostic philosophy (any penetrating study of the psyche, especially as concerned with each individual character), particularly the concept of a syzygy and the Divine Feminine. The goddess of wisdom, journeys downward toward what appears to be the Father's light, but winds up being trapped in the chaos. She is held captive and tormented by the evil archon/demiurge. The demiurge is the creator god, also the author of all evil, including the NWO (in league with the Solomonarii) with its global stranglehold. The critical catalyst is integrating the feminine. This St. Germain hopes to do by forming a couple conjunction, as in the days of old before history began.
- Another interpretation from gnosticism with many possible interpretations): SG needs her essence in order to survive. He seduces her by proposing to share power with her. She discovers his cyphered magical diary, encrypted at many levels. They are ceremonially initiated in a magical “soul-bonding” ritual -- “inseparably paired for eternity”. They essentially share two halves of cosmic information, making them interdependent upon one another. He hopes to keep her trapped in matter. In the ever more material world the need to acknowledge the spiritual realm and the Spirit is greater then ever. His desperation becomes visible at the end of the film. Yet, against all odds, he triumphs by revealing the secret of the philosopher's stone to the world, allowing anyone to transmute the commonest substance into gold. This undermines the globalist economy and reminds humanity that the true treasure is deep within, simply awaiting embodiment in each of us in the renewed One World
--the new Eden. - A homage to kabbalah, in the form of numeric/alphabetic, musical, or otherwise coded symbolic imagery. The symbology could simply stand alone, or is a symptom of the pursuit of grand scale mythopoeia.
- The movie glories in ambiguity, allowing more than one interpretation of almost everything.
The backstory is presented by flashback, mostly initiated in a float tank.
"WHETHER BEINGS LOVE ME OR FEAR ME IS IRRELEVANT.
IF BEINGS GIVE ME THEIR ATTENTION I WILL TAKE THEM TO ENLIGHTENMENT AND BLISS." ~SG
IF BEINGS GIVE ME THEIR ATTENTION I WILL TAKE THEM TO ENLIGHTENMENT AND BLISS." ~SG
The Wise Old Man
(AKA mentor, senex, sage or sophos)
Guidance; knowledge; wisdom.
The wise old man can be a profound philosopher distinguished for wisdom and sound judgment. Jung describes this archetype as a classic literary figure, or stock character. The wise old man appears in some way "foreign", that is, from a different culture, nation, or occasionally, even a different time, from those he advises. In extreme cases, he may be a liminal being, such as Merlin, who was only half human. Jung describes the masculine initiator as 'a figure of the same sex corresponding to the father-imago. This mana-personality is a dominant of the collective unconscious, the recognized archetype of the mighty man in the form of hero, chief, magician, medicine-man, saint, and
the ruler of men and spirits.'
'Just as all archetypes have a positive, favorable, bright side that points upwards, so also they have one that points downwards, partly negative and unfavorable, partly chthonic' - so that (for example) 'the sky-woman is the positive, the bear the negative aspect of the "supraordinate personality", which extends the conscious human being upwards into the celestial and downwards into the animal regions'. Yet both aspects, celestial and chthonic, were (at least potentially) of equal value for Jung, as he sought for what he termed a "coniunctio oppositorum", a union of opposites. 'One does not become enlightened by imagining figures of light', he argued, 'but by making the darkness conscious'.
Similarly with respect to the goal of the individuation process itself, 'as a totality, the self is a coincidentia oppositorum; it is therefore bright and dark and yet neither'. The wise old man appears in dreams in the guise of a magician, doctor, priest, teacher, professor, grandfather, or any person possessing authority. ["The Phenomenology of the Spirit in Fairytales," CW9i, par. 398.]
(AKA mentor, senex, sage or sophos)
Guidance; knowledge; wisdom.
The wise old man can be a profound philosopher distinguished for wisdom and sound judgment. Jung describes this archetype as a classic literary figure, or stock character. The wise old man appears in some way "foreign", that is, from a different culture, nation, or occasionally, even a different time, from those he advises. In extreme cases, he may be a liminal being, such as Merlin, who was only half human. Jung describes the masculine initiator as 'a figure of the same sex corresponding to the father-imago. This mana-personality is a dominant of the collective unconscious, the recognized archetype of the mighty man in the form of hero, chief, magician, medicine-man, saint, and
the ruler of men and spirits.'
'Just as all archetypes have a positive, favorable, bright side that points upwards, so also they have one that points downwards, partly negative and unfavorable, partly chthonic' - so that (for example) 'the sky-woman is the positive, the bear the negative aspect of the "supraordinate personality", which extends the conscious human being upwards into the celestial and downwards into the animal regions'. Yet both aspects, celestial and chthonic, were (at least potentially) of equal value for Jung, as he sought for what he termed a "coniunctio oppositorum", a union of opposites. 'One does not become enlightened by imagining figures of light', he argued, 'but by making the darkness conscious'.
Similarly with respect to the goal of the individuation process itself, 'as a totality, the self is a coincidentia oppositorum; it is therefore bright and dark and yet neither'. The wise old man appears in dreams in the guise of a magician, doctor, priest, teacher, professor, grandfather, or any person possessing authority. ["The Phenomenology of the Spirit in Fairytales," CW9i, par. 398.]
In the Symposium, Plato draws a distinction between a philosopher and a sage (sophos, σοφός). The difference is explained through the concept of love, which lacks the object it seeks. Therefore the philosopher (literally lover of wisdom in Greek) does not have the wisdom he or she seeks. The sage, on the other hand, does not love or seek wisdom, because he already has wisdom. According to Plato, there are two categories who do not do philosophy:
LODESTONE OF WISDOM
The philosophers' stone or stone of the philosophers (Latin: lapis philosophorum) is a legendary alchemical substance said to be capable of turning base metals such as lead into gold (chrysopoeia) or silver. It was also sometimes believed to be an elixir of life, useful for rejuvenation and possibly for achieving immortality. For many centuries, it was the most sought-after goal in alchemy. The philosophers' stone is attributed many mystical and magical properties. The most commonly mentioned properties are the ability to transmute base metals into gold or silver, and the ability to heal all forms of illness and prolong the life of any person who consumes a small part of the philosophers' stone.
The central symbol of the mystical terminology of alchemy, the Stone symbolizes perfection at its finest, enlightenment, and heavenly bliss. Alchemists claim that its history goes back to Adam who acquired the knowledge of the stone directly from God. This knowledge was said to be passed down through biblical patriarchs, giving them their longevity. Efforts to discover the philosophers' stone were known as the Magnum Opus (“Great Work”). The Work may pass through phases of nigredo, albedo, citrinitas, and rubedo. When expressed as a series of chemical processes it often includes seven or twelve stages concluding in multiplication, and projection.
Alchemical authors sometimes suggest that the stone's descriptors are metaphorical. It is called a stone, not because it is like a stone. The appearance is expressed geometrically in Michael Maier's Atalanta Fugiens. "Make of a man and woman a circle; then a quadrangle; out of the this a triangle; make again a circle, and you will have the Stone of the Wise. Thus is made the stone, which thou canst not discover, unless you, through diligence, learn to understand this geometrical teaching." Today we know it as The Flower of Life and its tech is the Merkabah Chariot.
- Gods and sages, because they are wise;
- senseless people, because they think they are wise.
LODESTONE OF WISDOM
The philosophers' stone or stone of the philosophers (Latin: lapis philosophorum) is a legendary alchemical substance said to be capable of turning base metals such as lead into gold (chrysopoeia) or silver. It was also sometimes believed to be an elixir of life, useful for rejuvenation and possibly for achieving immortality. For many centuries, it was the most sought-after goal in alchemy. The philosophers' stone is attributed many mystical and magical properties. The most commonly mentioned properties are the ability to transmute base metals into gold or silver, and the ability to heal all forms of illness and prolong the life of any person who consumes a small part of the philosophers' stone.
The central symbol of the mystical terminology of alchemy, the Stone symbolizes perfection at its finest, enlightenment, and heavenly bliss. Alchemists claim that its history goes back to Adam who acquired the knowledge of the stone directly from God. This knowledge was said to be passed down through biblical patriarchs, giving them their longevity. Efforts to discover the philosophers' stone were known as the Magnum Opus (“Great Work”). The Work may pass through phases of nigredo, albedo, citrinitas, and rubedo. When expressed as a series of chemical processes it often includes seven or twelve stages concluding in multiplication, and projection.
Alchemical authors sometimes suggest that the stone's descriptors are metaphorical. It is called a stone, not because it is like a stone. The appearance is expressed geometrically in Michael Maier's Atalanta Fugiens. "Make of a man and woman a circle; then a quadrangle; out of the this a triangle; make again a circle, and you will have the Stone of the Wise. Thus is made the stone, which thou canst not discover, unless you, through diligence, learn to understand this geometrical teaching." Today we know it as The Flower of Life and its tech is the Merkabah Chariot.
ANIMA MUNDI, THE FEMININE, SOUL AWAKENER
The theoretical roots outlining the stone’s creation trace to Greek philosophy. Alchemists later used the Classical elements, the concept of Anima Mundi, and Creation stories presented in texts like Plato’s Timaeus as analogies for their process. According to Plato, the four elements are derived from a common source or prima materia (first matter), associated with chaos. Prima materia is also the starting ingredient for the creation of the philosopher’s stone. The importance of this philosophical first matter persisted through the history of alchemy. In the seventeenth century, Thomas Vaughan wrote, “the first matter of the stone is the very same with the first matter of all things”.
The anima in film is much like the anima anywhere else: a confusing, deceptive presence with the capacity to engender creativity and inner transformation (muse, genatrix). Perhaps the only advantage a film-goer has is that the archetype is visible as well as effective. Anima Mundi is the animated possibilities present in each event, as it is, its sensuous presentation as face, revealing its interior image -- its availability to imagination, its presence as a psychic reality.
LOVE MYSTICISM
Anima embodies the magical world of creative mystery, the spiritual essence of the world and partner with the Magus in the hieros gamos, or mystic marriage that opens an underlying unified reality from which everything emerges and to which everything returns. Hieros gamos combines the erotic impulse with the religious impulse. Alchemists referred to the mysterious union of mind and matter as unus mundus - One World.
She is the Elixir of Life; she enlivens all things. When the "three treasures" are maintained in the balanced body, it is possible to achieve a healthy body, and longevity; which are the main goals of internal alchemy. The "three treasures" of human life are vitality, energy (ch'i), and spirit. With her, he imagines he can transform the world.
The theoretical roots outlining the stone’s creation trace to Greek philosophy. Alchemists later used the Classical elements, the concept of Anima Mundi, and Creation stories presented in texts like Plato’s Timaeus as analogies for their process. According to Plato, the four elements are derived from a common source or prima materia (first matter), associated with chaos. Prima materia is also the starting ingredient for the creation of the philosopher’s stone. The importance of this philosophical first matter persisted through the history of alchemy. In the seventeenth century, Thomas Vaughan wrote, “the first matter of the stone is the very same with the first matter of all things”.
The anima in film is much like the anima anywhere else: a confusing, deceptive presence with the capacity to engender creativity and inner transformation (muse, genatrix). Perhaps the only advantage a film-goer has is that the archetype is visible as well as effective. Anima Mundi is the animated possibilities present in each event, as it is, its sensuous presentation as face, revealing its interior image -- its availability to imagination, its presence as a psychic reality.
LOVE MYSTICISM
Anima embodies the magical world of creative mystery, the spiritual essence of the world and partner with the Magus in the hieros gamos, or mystic marriage that opens an underlying unified reality from which everything emerges and to which everything returns. Hieros gamos combines the erotic impulse with the religious impulse. Alchemists referred to the mysterious union of mind and matter as unus mundus - One World.
She is the Elixir of Life; she enlivens all things. When the "three treasures" are maintained in the balanced body, it is possible to achieve a healthy body, and longevity; which are the main goals of internal alchemy. The "three treasures" of human life are vitality, energy (ch'i), and spirit. With her, he imagines he can transform the world.
EROS IN THE TIME OF THE ESCHATON
(the final, heaven-like stage of history, when God decrees the fates of all individual humans
according to the good and evil of their earthly lives)
(the final, heaven-like stage of history, when God decrees the fates of all individual humans
according to the good and evil of their earthly lives)
Jung said a particular woman in the outside world will have a "hook" that catches a particular man's anima. That hook is is a resemblance. Men tend to fall in love with an actual woman who bears a resemblance to his anima. The danger with anima/animus-based relationships is that the man carries on a relationship not with the actual woman in his life, but with his own inner feminine for which the actual woman is merely a surrogate, or his anima incarnate, setting up a MYSTIC TRIANGLE, between the elusive inner soul mate and outer world.
Desire does not belong to heaven or earth, but “welds” the spheres together in immediate connection. Sexuality becomes a vehicle for manifestation of the Divine. Hieros gamos‚ (sacred marriage) can be the union of two divinities, or a human being and a goddess, or two human beings. The latter often includes a belief that the human partner becomes divine through ritual union. A royal perogative, the Mesopotamian rite was practiced from around the third millennium b.c.e. until at least 500 b.c.e. The rite is likely much older.
Being "in love" can actually block true relationship, and make what relationship there is to the actual person more difficult. We invest the actual person with qualities that come from the anima. But the anima is a symbolic expression of something eternal. No mortal woman is. Archetypes are like the gods and goddesses of ancient mythology that they inspired. The anima is an idealized image of woman. But no real person can live up to that, so we become disappointed when our anima "angel" or "goddess" reveals to us what, but for the anima, we would have seen from the beginning; her human feet of clay.
In his quest for the Heart of Gold, the Fountain of Life (liquid gold), the Count learns "it's the Journey". . . and it's not over yet. It's a journey inward, to plumb the infinite depths of oneself, and outward, to plumb the equally infinite depths of the universe beyond the self. Gnosis turns us inward to probe the nature of the relation of the self to the divine and also moves us outward, to discover the nature of the relation of the self to others and the natural world.
She is the Elixir of Life; she enlivens all things. When the "three treasures" are maintained in the balanced body, it is possible to achieve a healthy body, and longevity; which are the main goals of internal alchemy. The "three treasures" of human life are vitality, energy (ch'i), and spirit. With her, any man imagines he can transform the world.
Desire does not belong to heaven or earth, but “welds” the spheres together in immediate connection. Sexuality becomes a vehicle for manifestation of the Divine. Hieros gamos‚ (sacred marriage) can be the union of two divinities, or a human being and a goddess, or two human beings. The latter often includes a belief that the human partner becomes divine through ritual union. A royal perogative, the Mesopotamian rite was practiced from around the third millennium b.c.e. until at least 500 b.c.e. The rite is likely much older.
Being "in love" can actually block true relationship, and make what relationship there is to the actual person more difficult. We invest the actual person with qualities that come from the anima. But the anima is a symbolic expression of something eternal. No mortal woman is. Archetypes are like the gods and goddesses of ancient mythology that they inspired. The anima is an idealized image of woman. But no real person can live up to that, so we become disappointed when our anima "angel" or "goddess" reveals to us what, but for the anima, we would have seen from the beginning; her human feet of clay.
In his quest for the Heart of Gold, the Fountain of Life (liquid gold), the Count learns "it's the Journey". . . and it's not over yet. It's a journey inward, to plumb the infinite depths of oneself, and outward, to plumb the equally infinite depths of the universe beyond the self. Gnosis turns us inward to probe the nature of the relation of the self to the divine and also moves us outward, to discover the nature of the relation of the self to others and the natural world.
She is the Elixir of Life; she enlivens all things. When the "three treasures" are maintained in the balanced body, it is possible to achieve a healthy body, and longevity; which are the main goals of internal alchemy. The "three treasures" of human life are vitality, energy (ch'i), and spirit. With her, any man imagines he can transform the world.
When we remember to honor the relationship between our Selves and the universe, our actions inevitably acquire a different character. There is nothing unholy about combining desire, sexuality and the divine as they are fundamentally linked. Celebrating our humanness transforms our entire life into a hieros gamos, since each and every thing that we do takes us closer to what is.
Anima Traits
1. Unusual radiance. is one sign of the anima. Often the most amusing and gripping aspect of a movie is to watch ordinary actors or actresses contend with a more mind-blowing presence--a star personality who seems to draw life from a source beyond the mundane.
2. A desire to make emotional connection is the main concern of the character. One of the ways to distinguish an actual woman is her need to be able to say "no," as part of the assertion of her own identity and being. By contrast, the anima figure wants to be loved, or occasionally to be hated, in either case living for connection, as is consistent with her general role as representative of the status of the man's unconscious eros and particularly his relationship to himself. We feel her hunger for connection and anticipate that he will come alive only if he says yes.
3. Having come from some, quite other, place into the midst of a reality more familiar to us than the character's own place of origin.
4. The character is the feminine mirror of traits we have already witnessed in the attitude or behavior of another, usually male, character.
5. The character has some unusual capacity for life, in vivid contrast to other characters in the film.
6. The character offers a piece of advice, frequently couched in the form of an almost unacceptable rebuke, which has the effect of changing another character's relation to a personal reality. The anima figure rescues his authentic relationship to himself, which requires a tragic acceptance of this pattern as his individuation and his path to self-transcendence.
7. The character exerts a protective and often therapeutic effect on someone else.
8. Less positively, the character leads another character to recognize a problem in personality which is insoluble. Failure to overcome ambivalence is a precise indicator of the extent of the damage that exists in his relationship to himself.
9. The loss of this character is associated with the loss of purposeful aliveness itself. The man who is left behind is in a state of archetypal ennui.
1. Unusual radiance. is one sign of the anima. Often the most amusing and gripping aspect of a movie is to watch ordinary actors or actresses contend with a more mind-blowing presence--a star personality who seems to draw life from a source beyond the mundane.
2. A desire to make emotional connection is the main concern of the character. One of the ways to distinguish an actual woman is her need to be able to say "no," as part of the assertion of her own identity and being. By contrast, the anima figure wants to be loved, or occasionally to be hated, in either case living for connection, as is consistent with her general role as representative of the status of the man's unconscious eros and particularly his relationship to himself. We feel her hunger for connection and anticipate that he will come alive only if he says yes.
3. Having come from some, quite other, place into the midst of a reality more familiar to us than the character's own place of origin.
4. The character is the feminine mirror of traits we have already witnessed in the attitude or behavior of another, usually male, character.
5. The character has some unusual capacity for life, in vivid contrast to other characters in the film.
6. The character offers a piece of advice, frequently couched in the form of an almost unacceptable rebuke, which has the effect of changing another character's relation to a personal reality. The anima figure rescues his authentic relationship to himself, which requires a tragic acceptance of this pattern as his individuation and his path to self-transcendence.
7. The character exerts a protective and often therapeutic effect on someone else.
8. Less positively, the character leads another character to recognize a problem in personality which is insoluble. Failure to overcome ambivalence is a precise indicator of the extent of the damage that exists in his relationship to himself.
9. The loss of this character is associated with the loss of purposeful aliveness itself. The man who is left behind is in a state of archetypal ennui.
THE BOOK
However, a survey of the Grail literature reveals an astonishing diversity and complexity of meaning. The prevailing academic literature and commentary on the Grail reveals the following meanings and associated cast of characters, all derived from the great variety, and oft times contradictory descriptions, found within the texts themselves: A chalice, cup, cauldron or platter; holy or sacred blood; a man’s head on a platter; a quest for something hidden or lost; King Arthur, the Round Table, the Templar Knights; Eye of Thoth; a bleeding Lance; fertility of the landscape; Joseph of Arimathea; Angels; rejuvenation, the universal medicine; the Divine Feminine; dragons; and finally, a stone fallen from heaven.
THE SPIRIT IN NATURE and OUR MATTER
“In the common estate, as the Spirit is in nature, said to be everywhere, it is called a thing vile and cheap; in its perfectly prepared form, a medicine the most potent and precious in the whole world; and the intermediate stages
partake of the pre dominance of either extreme; being sublimed at first, it is called a serpent, dragon, or green lion, on account of its strength and crude vitality, which putrefying, becomes a stronger poison, and their venomous toad;
which afterwards appearing calcined by its proper fire, is called magnesia and lead of the wise; which again dissolving, becomes their vitriolic solvent and most sharp acetum; and this afterwards is changed into an oil, which,
whitening, is called milk, dew, quintessence, and by many other names; until raised to the final perfection, it is henceforth a phoenix, salamander, their royal essence and Red Stone.”
--Mary Ann Atwood, Suggestive Inquiry
THE SPIRIT IN NATURE and OUR MATTER
“In the common estate, as the Spirit is in nature, said to be everywhere, it is called a thing vile and cheap; in its perfectly prepared form, a medicine the most potent and precious in the whole world; and the intermediate stages
partake of the pre dominance of either extreme; being sublimed at first, it is called a serpent, dragon, or green lion, on account of its strength and crude vitality, which putrefying, becomes a stronger poison, and their venomous toad;
which afterwards appearing calcined by its proper fire, is called magnesia and lead of the wise; which again dissolving, becomes their vitriolic solvent and most sharp acetum; and this afterwards is changed into an oil, which,
whitening, is called milk, dew, quintessence, and by many other names; until raised to the final perfection, it is henceforth a phoenix, salamander, their royal essence and Red Stone.”
--Mary Ann Atwood, Suggestive Inquiry
One Man - One Life - One Mission
The Roman History: The Reign of Augustus, by the second century Roman historian Cassius Dio. In Book 51, xvii, he writes regarding events in Egypt: “…not only did rain fall in places where no drop had ever been seen before, but blood besides, and the flash of weapons appeared from the clouds, as the showers of blood mingled with water poured down. In other places the clash of drums and cymbals and the notes of flutes and trumpets were heard, and a serpent of enormous size suddenly appeared and uttered a hiss of incredible volume. Meanwhile comets were observed in the heavens…”
- The Sacred Tetractys ("Sacred Quaternion") to the right, often called more simply the "Human Tetractys". This is only one of its representations, in a flat geometrical format, and a simplified one. The 10 points form a perfect triangle that includes the hexagon that is also the basic shape of the EthoPlasìn logo (at the top of the page) and some of its main buildings on the campus (seen in Attachments to the home page). The "Quaternion" refers to the "Quarter parts", or the 4 parts of the human being, each constituting a "Quarter" part of it. The first three components are the Body (with its instincts and related passions), the Soul (with its rational intellect and related passions), and the Spirit (with its judgment and pure intelligence). The fourth component has its location in the Spirit, but is only available after hard work of the human freewill for harmonizing and equilibrating the first three parts in a state of Godly Self Oneness. It is called philosophical Wisdom. Its attainment is the main purpose of life and the only hope of real human happiness but, unfortunately, because of ignorance, lack of will, or misuse of freewill, and thus missing work to harmonize the first three parts, it is too often out of reach. The four parts of the Quaternion are represented by both the 4 levels of the triangle and, in a more complete 3D version, by the Cube figure located in the middle of the Hexagon at the center of the Triangle. The six side angles of the central 2D Hexagon itself (or the six faces of the corresponding 3D Cube) are often used to represent the six forces at the base of all human holistic formation: the 4 Cardinal Virtues (Temperance, Fortitude, Prudence, and Justice), along with Beauty and Love. The overall 3D Tetractys symbol, with its central cube, should also be seen as integrated into a Sphere, that is the symbol of perfection once wisdom is reached.
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[email protected]
FAIR USE NOTICE
This site may contains some copyrighted material which has not been specifically authorized by the copyright owner. We are making such material available in our efforts to advance understanding and knowledge through educational issues. This constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the US Copyright Law, in accordance with Title 17 U.S.C. Section 107. The material on this site is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes.
The owners and publishers of these pages wish to state that the material presented here that is the product of our research is offered with the caveat that the reader ought always to research on their own. We invite the reader to share in our Seeking of Truth by reading with an Open, but skeptical mind. We constantly seek to validate and/or refine what we understand to be either possible or probable or both. We do this in the sincere hope that all of mankind will benefit, if not now, then at some point in one of our probable futures. If you wish to use copyrighted material from this site for purposes of your own that go beyond 'fair use', you must obtain permission from the copyright owner