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Magical Squares (was Physics)   Message List  
Reply Message #564 of 1563 |
Re: [evola_as_he_is] Re: Magical Squares (was Physics)

Even if Jungian or other extrapolations are possible, it is better to put aside at least the shamanic ones. Alchemy is first of all the Ars Regia of the Khsatriya.

The Twelve Doors of Ripley are a repetition of the Herculean labours along the solar periplus; Evola quotes also the Seven Doors of the mysteries of Mithras. The sum between the 3 worlds and the 4 elements makes 7, and the product makes 12 (explanation for dummies but immediately comprehensible).

Ripley said a sentence that Evola quoted willingly in "La Tradizione Ermetica":

"If the principles which we work by are true, and the operations are regular, the effect must be sure - and the true mystery of the (Hermetic) Philosophers is nothing else".

 

 

In  <evola_as_he_is@yahoogroups.com>

<kshonan88@...> wrote:

 

Urszula Szulakowska in her 'The Pseudo-Lullian Origins of George
Ripley's Maps and Routes as developed by Michael Maier' writes,

"Jung, in his Psychology and Alchemy ( 1980), reviewed the theme of
the alchemical 'peregrinatio'. Like the psychologist Silberer earlier
( 1971 [ 1917]: 233-335), Jung ( 1980: 369ff) interpreted the
alchemical journey as a psychological process unifying and balancing
conflicts within the individual. Whatever the explanation may be in
modern psychological terms, however, in historical origins the
travels of the alchemists probably derive from shamanic visions of
the soul's journey to the heavens and to the underworld. This was an
initiation which granted power, liberation, immortality and
enlightenment and was regarded as a second birth or even as a
reincarnation in a new body and persona: one may describe the adept
as being 'transmuted' from lower to higher being ( Eliade 1977).
Conversely, alchemical matter in the process of transmutation
inherits the anthropomorphic character of the shaman. Nearer in time,
an immediate contemporary exemplar could have been the knightly quest
of medieval chivalric myths. ...

Jung rightly identified Ripley Duodecim Portae as a
circular 'peregrinatio' but did not provide a closer analysis ( 1980:
381).

The Second Gate of Ripley's castle instructs the alchemist on the
process of Solution. This involves distillation in which matter is
purified by circulation in the flask in order to draw off the dross.
It is the central process in alchemy."

Szulakowska continues,

"Ripley tells us that we must 'turn our wheel' according
to 'altitude, latitude and profundity'. We must make our entrance in
the west and then take our passage into the north. There, all our
lights shall go out and we shall have to abide for ninety nights in
the darkness of purgatory. Thence we must make our course up to the
east. (In medieval maps, east was placed at the top of the map). Here
we shall see many different colours appear. Thus both winter and
spring will pass. The journey to the east is described as an
ascending towards the sun which rises up with the daylight. Here,
too, we shall spend our summer delightfully and our work will become
perfectly white.

From the east, we descend into the south where we are told to set up
our 'chariot of fire' and there shall be harvest, the end of all our
work, fulfilling all our desires. Here the sun reigns in his own
sphere and is red with glory after his earlier eclipse. He is the
king reigning over all metals and mercury. Finally, we are told that
all this must be done in one glass which has the shape of an egg and
is well closed ( Mangetus 1702: vol. 2, 277ff).

At this point, Ripley describes the alchemical procedure in its
entirety as the four traditional colour stages of alchemy: the black
('nigredo' which he describes as 'purgatory'); the coloured stage
(often called 'cauda pavonis' or the 'peacock's tail' but here
described as spring with its flowers); and the white (the 'albedo' or
final purification of base matter, also personified as the 'white
queen' or the silver-producing stone). The final red is the
goldmaking philosopher's stone itself, which Ripley personifies as
the sun--king reigning 'in all his red glory after his travails in
the underworld of death' (his 'eclipse') ( Coudert 1980: 42-3)."


"There exists, for example, a Manichean ancestor of the alchemical
myth of the redemption of the soul through a journey to salvation.
This is the beautiful Syrian Song of the Pearl of the second century
AD. In this well-known poem, a divine Prince descends into Egypt, the
land of Hermeticism and of alchemy (Widengren 1965: passim).
Commanded by his heavenly parents, his mission is to recover a
precious Pearl guarded by a dragon. The prince is seduced by Egypt's
materialism and loses his memory until woken to his true identity by
a letter/bird sent by his parents. He subsequently fights the dragon
and rescues the Pearl. Then he is united with his divine origins. In
the Song of the Pearl are found all the elements which are the
foundation of alchemical imagery: the hero prince (alchemist), sent
forth on a mission by higher powers, to find the philosophers' stone
(pearl), which is trapped in a lowly and despicable place (the anima
of the metals trapped in gross corrupted matter). It is guarded by a
venomous dragon which must be defeated. The dragon later becomes
alchemical mercury and an image of the distillation process. In
contradictory terms, the dragon can represent both impure venomous
matter, as well as a pure spirit guide, an ambiguous and ambivalent
gobetween for heaven and earth. For, he is both the fallen redeemer
and, yet, the very life blood (menstruum) of the prima materia.

The fountain may represent the alchemical flask in which the
conjunction and dissolution of male and female principles takes
place, whereas the castle may be a symbol for the alchemical
furnace. ...


In the middle ages, Aristotle's theory was pictured as a square with
the elements placed at the four corners, the opposites being on the
diagonals to each other (see Figure 3 ). Around the edges of the
square the interchanges and mutations were effected in a circular
movement ( Yates 1954: 149, Fig. 2). Hence, the symbolic picture of
the alchemical journey was not just that of passing around the
circumference of a circle, but of squaring the circle. Ripley's round
castle with its four compass points is an image of Aristotle's
elemental theory. This geometrically impossible feat becomes
especially important in the mysticism of the Rosicrucian alchemists.
Maier, attracted by Dee's concepts, wrote his De circulo physico
quadrato ( Oppenheim 1616) on the theme. It is illustrated in his
Atalanta Fugiens as an alchemist squaring a circle with dividers (
Emblem XLVI; Fabricius 1976: Fig. 369). The concept is monistic.
Nature (the four elements symbolised by the square) becomes God
(symbolised by the perfect form of the circle).

There are three subtle ideas in the above theory which deeply
influenced the alchemy of the pseudo-Lullians and, thereby, Ripley.
These are the concepts of circularity, motion and of the medium
between opposites. In pseudo-Lullian alchemy, there is an especially
pronounced emphasis on movement and on the necessity of the mean or
medium (which Ripley tells us is mercury), much more so than in other
alchemical texts of other schools ( Thorndike 1953: vol. 4, 3-64).
Pseudo-Lullian treatises and those of their followers such as Ripley
are immediately recognisable as a discrete group owing to the
constant reiteration of these three principles. Thus, in Ripley
Duodecim Portae there are explanations such as the following in the
Tenth Gate of Exaltation, namely that fire is in water. By turning
the wheel of the elements, air should be converted into its opposite,
earth, for air is in water which is in earth. Then water must be
turned into its contrary, fire, for earth is in fire which is in air.
We are instructed to begin the circulation in the west and go forth
to the south where the elements will be exalted. Finally, Ripley
summarises his instructions by stating that it is impossible to go
from one extreme to another save by a mean because you cannot join
together qualities contrary to each other by a direct route (
Mangetus 1702: 280ff).

The prototype for Aristotle's square of the circulating elements may
have been astrological." 

Non-alchemically, it can also be seen etymologically that the
word 'Black' as in Black carbon/coal contains the metaphoric 'red' of
the fire, of the symbolic Diamond/Vajra-light - what Heidegger would
say, as the 'excessive brightness of darkness' -

black - O.E. blęc "black," from P.Gmc. *blak- (cf. O.N.
blakkr "dark," Du. blaken "to burn"), from PIE *bhleg- "burn, gleam"
(cf. Gk. phlegein "to burn, scorch," L. flagrare "to blaze, glow,
burn"). Same root produced O.E. blac "white, bright" (see bleach),
the common notion being "lack of hue." The main O.E. word for "black"
was "sweart. "

"Blood is a condensation of light; the Aryan, Hyperborean Blood is
just that - but not the light of the Golden Sun, not a galactic sun,
but the light of the Black Sun". [Black Sun; Goodriche-Clarke]

Also see:
http://www.theosophy-nw.org/theosnw/books/wqj-all/j-rajputs.htm

"On this we have in the Upanishads these words: "The Brahman sat at
the foot of the Kshatriya." This upholds the spiritual dignity of the
Rajanyas, who are the Kshatriyas and the Red Rajputs. And, as he
shows, to this time the Ranas of Mewar "unite spiritual with royal
authority and officiate as high priests in the temple of the guardian
deity of their race." We should not forget, either, that it is
recorded respecting the proceedings after the death and cremation of
the body of Buddha that the Moriyas of Pipphalivana, saying that
Buddha was of their soldier caste, took away the embers to erect a
cairn over them.* And the name to be applied to these is lohita, or
red, which is also the name of the planet Mars, the fighter.
...Johnston's ethnological deduction is as follows: "That the
Kshatriyas of ancient India are identical in ethnic characteristics
with the Rajputs of today." The Red Rajputs are the descendants of
the solar race, a race of kings, of mystical men who not only could
learn of mystic occultism but could also fight and rule, which is
contrary to the regulation for the Brahman."



 



Sat Jan 7, 2006 11:10 am

charltonroad36
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Message #564 of 1563 |
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The magical squares are probably a side diversion from some primordial images like the 'mandala' or the alchemical 'squaring of the circle', symbolised also by...
vandermok
charltonroad36 Offline Send Email
Jan 5, 2006
8:06 pm

Also in the Red theme… If you look at Taranis the thunder-god with the eight-spokes of his time-wheel (?) and compared with the Gallic Cernunnos who is...
darkiexx Offline Send Email Jan 6, 2006
8:12 pm

... Urszula Szulakowska in her 'The Pseudo-Lullian Origins of George Ripley's Maps and Routes as developed by Michael Maier' writes, "Jung, in his Psychology...
kshonan88 Offline Send Email Jan 7, 2006
9:58 am

Continuing further the theme of red – there is an uncanny similarity between certain descriptions of Cernunnos and that of Pashupati. Pashupati being...
Savitar Devi
savitar_devi Offline Send Email
Jan 7, 2006
9:59 am

=============================================================== According to the (Siberia) Yakut myths, the smith received his craft from the evil divinity...
darkiexx Offline Send Email Jan 7, 2006
1:31 pm

Even if Jungian or other extrapolations are possible, it is better to put aside at least the shamanic ones. Alchemy is first of all the Ars Regia of the...
vandermok
charltonroad36 Offline Send Email
Jan 7, 2006
1:30 pm

4 elements + 3 worlds = 7 planets 4 x 3 = 12 (months etc) ================= 7 planets + 4 Elements + 1 implicit or the quintessence hence 5 = 12 12 spheres...
darkiexx Offline Send Email Jan 7, 2006
7:18 pm

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