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."
>