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Magical Squares (was Physics)   Message List  
Reply Message #571 of 1563 |
Re: Magical Squares (was Physics)


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 divide by 3 worlds (past/present/future) = 4 points in
space (N.S.E.W) or the 4 dimensions ( 3 + time).

4 dimensions and 3 worlds = 7 elements a grand total of 12 = 1 or
Yourself.


I could go on....


--- In evola_as_he_is@yahoogroups.com, "vandermok" <vandermok@l...>
wrote:
>
> 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@y...> 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 5:14 pm

darkiexx
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Message #571 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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