Mysteries of Master R – Part 14: Trinosofia Chapter 8

Copy of illustration, Trinosofia section 8

Copy of illustration, Trinosofia section 8

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This post continues my improvisations on Master R’s “The Most Holy Trinosofia”.

I copied the above illustration from the Trinosofia facsimile book which is available online in colour through SCRIBD.  The reproduction quality online is not sharp, so I had to guess at the hieroglyphs on the side panels.  Otherwise I use the book “Most Holy Trinosofia” presented by Manly P Hall, and published by the Philosophical Research Society in 1983.  It has poor quality black and white reproductions of Master R’s (copied) paintings.  His art was witnessed, but disappeared mysteriously.  He left nothing in his name except for his music and some seminal writings, yet he is everywhere

As always, the best way for me to understand a symbol and to make it my own, is to earth it by drawing, to love and recreate it in this way.   Poetic license enters;  the system is not rigid, but evolving.  The grapes kept reproducing themselves as my pencil turned. The background in the original is plain, but I gave it a Beriah (world of Creation) sky colour, blending to grey, the silvery tone of Hokhmah, Wisdom.

master rThe altar in which the secret fire burns is Philo Sofia, a lover of wisdom.

To read the chapter itself, and Hall’s commentary on the text, open Trinosofia Texts in the black title bar of this blog, and scroll down to chapter 8.

First, here is what I wrote about the painting and its imagery, in my earlier studies:

Journal 16 September 2003
Well, the day is passing, and my stream no longer running. But I read again yesterday the Eighth Stage of Trinosofia, with Manly Palmer Hall’s help.

The blazing Solar genius is clouded from the profane. The initiate goes into a room, and sees above the altar, a painting on the wall:  in it, the white lion wears a crown of seven rays, and is dignified. That means light, before the rainbow refracts it.  Hall’s commentary: “This is no longer the despotic lion of the earlier illustration.  Ambition has been transmuted into aspiration; and that impulse which, unregenerated, lures men on to temporal destruction, is now the force which bestows courage upon spiritual enterprise.”

The bunch of grapes – surprise – is a symbol not only of Mars (see previous section when the gifts are given), and of blood, but has a special affinity with GOLD. The blood carries within it these particles of the sun. Initiates of a School grow together on the one branch – the Golden Bough! We are a group Soul, as I have ever known. The work of the one blesses the brother.

master R, 8.12.14_0002

The righthand panel reads “Kindle a light at the appointed time – the seventh hour of the dawning. Fire comes forth at noon.  Dance in a circle, and prophesy.”

Hear also by resonance with noon, the Hebrew letter NUN (which actually means little fish, or sperm, and also “to sprout”). The intuitional genius, or secret fire of the Scorpionic well, mirrors the Solar disk. The dark lake which the initiate will cross to Stage Nine, is a Scorpio teaching, and so is the death, putrefaction and resurrection he will encounter there.

The lefthand panel reads “Honour is paid to the Giver of Life.”
This is the voluntary offering up of the personality, the KA. The number 9 appears, and the ark or coffin in which candidates are buried in the greater Mystery. Then the full face of the Sun appears, as resurrection, as the KA ascends through the gate of heaven.” (MPH’s Commentary)

I understand: the persona belongs to God, and is returned to me with this in mind. This panel describes the passage of the soul – KA – through the invisible Worlds as set forth in the Pyramid rites.  “In a certain degree of Scorpio, the Hierophant would release his disciple’s KA into the Amenti.”   Note that the white lion and the grapes both rest “on a salver sustained in the air by the smoke of a lighted brazier” upon a round altar.

The altar he saw under this picture was the stump of a vine. On it was strewn a pile of shining salt. Salt grains form perfect Cubes – the symbol for mercurial gold at Kether. “We may change into spiritual gold things which are of all least precious, even the refuse of the earth.” (Eliphas Levi).

Trinosofia 8 - serpents

The salt of the wise is derived from experience. The initiate salts himself, he rubs it into his skin, just as they salt fish to preserve it – here comes the letter-NUN symbol again: the Fish. He pickles himself in wisdom’s wine, Scorpio steeps.   The wise man’s salt cannot decay. It “bleeds” as a pure white salt from the cross-sectioned concentric years of the vine root.  This is the inner white light that arises from the dark well. The vine root is the well. As the Water of Life triply distills, it projects through evaporation, the salt.

trinosofia illustration ch 8

Copy of a painting which heads Chapter 8.  M P Hall’s profile is to the left.

(To read more about the yeast and grape symbolism with Master R, and the sonnet by him, go to this link:)

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December 2015
Now the white lion and the bunch of grapes emblem the essence of personality, and the sun is encircled by grape-cluster clouds like a bruise;  it is said to be veiled.  The white lion and the grapes are on a salver heated by the secret fire: the altar for the fire is a “cut vine”.  The vine is pruned back repeatedly, to force the flavour of the wine.

The altars in the Trinosofia paintings look like cotton-reels. They are pedestals for the sacred fire.

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with aslan

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bota tarot key 8

In the Tarot Keys, the Red Lion (alchemical sulphur) is Key 8 – Strength – knowledge of the works of magic, a secret knowledge: “Change the pattern and you change the result – make it accurate, profound, courageous, positive. Then you tame the lion and he becomes your servant.” (P.Foster Case).  In fact the female is these things. The lion is the raw sovereign force of nature being tamed; the roar becomes a song. This all happens around the woman’s belly which is hidden by the lion’s head and open mouth and rose garland. Woman’s speech is a silent power from her inner cave, to bless the children of the world she births. We are shaped in these strange ways to know the openings and speech of hills and valleys and rivers. The current flows without a word.

This is how I see Key 8 – the lion’s mouth is her inner cave. Knowledge of nature is parturition.

lady with lion

lady with lion

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In the Trinosofia text of section 8, there are two doors. One opens onto a desert with a hot dry wind. The other door opens onto a wide lake with a rocky shore, and at its extreme end, a black marble facade. The Arabian-style inscription on the bridge across the lake is “the strong to be subdued”.  But the bridge is too far away to reach along the rocky shore, and so the initiate sets to and wades. This means he takes his salt through the element.

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scorpio & virgo glyph

It takes 13 days to cross the lake of Scorpio’s coagulant dark water.   Nowhere does he wade deeper than the knee, but the water is like cement.   This must be the density of the slow moving snake.   This process through Scorpio signifies my steepings in my life-experience;  and in the painting, the white lion and the dark grapes rest on a lake.

Rub it well in! This too shall pass.

Here is the gist: you wash the rock and gravel through a sieve, to extract the gold.  Gold glitters like particles of desert crystal. Gold melts to solar water. Gold brings itself together, and flows.   Then we are dusts of gold, and He is making with us, gold leaf.

Be lovers of gold. Watch what shape it takes as it falls from the sun.

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The treasure in the land: engraving from alexander roob's alchemy & mysticism

The treasure in the land: engraving from alexander roob’s alchemy & mysticism

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Song by Master R - "O wouldst thou know what Sacred Charms ..." xeroxed from the collection of his music in the British Library

Song by Master R – “O wouldst thou know what Sacred Charms ...” xeroxed from the collection of his music in the British Library

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hermes sea roob

Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2015. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mysteries of Master R – Part 12: Trinosofia Chapter Seven, For Give

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master R sketch 5

Master R, Comte de Saint-Germain, sketch 5, 2003

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For Master R’s Trinosofia meditation and Manly P Hall’s commentaries, go first to the “Trinosofia texts” page in the title bar of this blog, and scroll down to chapter seven.

Below is my understanding:

Chapter Seven of the Most Holy Trinosofia takes us through an alchemical triple distillation, although (strictly speaking), the Distillation phase in the Great Work is assigned to the 6th sign, Virgo. Students of the bota Lessons in Tarot and Alchemy will recognise the work of the Sun flowing through the black dragon.

The Seventh stage in the Great Work is in the sign Libra, ruled by Venus, and it is called the “Sublimation”.  These three essential self-reflective processes – Digest, Distil, Sublimate – are ruled by the Sun, Mercury and Venus consecutively: that is, the action of Leo (Tarot 8 Strength), Virgo (Tarot 9 Hermit) and Libra (Tarot 11 Justice) in our body. Tarot Key 10 the Wheel is assigned to Jupiter.

I am considering the orbits of Mercury and Venus within the inner Solar aura.

The Tarot Key is Justice –  midpoint of the Tarot, the sign Libra. Its hebrew letter ‘LAMED’ is the tallest in the alephbeis – pictorially an ox-goad.  It also suggests the raised serpent of kundalini.  This Key invokes Karmic equilibrium which is cosmic justice. Reconciliation of opposites is suggested in the complementary colour tones.  On her breast she wears the letter T – a form of the 22nd letter, TAV, ruled by Saturn.  Saturn is exalted in Venusian Libra, as “the Faithful Intelligence”.   The Tarot Keys are living entities.  They are profound metaphors or archetypes. Contemplating them, with the desire “to live the good life”, awakens their correspondence in our soul.

bota key 11

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In this post I re-open my 2003 journal – a time of intense study:

Journal 6 September 2003

Most Holy brother – as the radiations copy laboriously in the shop, please help Your ray move through me effortlessly, as does the fragrance of the rose, or amber. 

I dreamt in the night, of piercing thunder and lightning … I suspect my refuge in Master R is lodged in my primitive emotional strata; also within the intuition of what Kabbalah calls our Supervisors and what is elsewhere called the Masters, or the Great White Brotherhood – for the growth and refinement of the person in the soul.  At the root there is this ineradicable quest.  

Nothing is known for sure in Assiyah, the material world.  This is why Life in the body is the most mysterious element in the universe.  Only in the Higher World dimension (to which we mostly have little access) is there certainty.  Have compassion with brave and fumbling scientists!  Assiyah is the flambency of the mystery and bafflement of being at all – arrival as a human;  projection as a human.  Who and what am I?

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libra sunrise 1988_0001

Journal, 7 September 2003

Manly Hall’s commentary confirms that this stage in the Trinosofia initiation is governed by Libra, the Scales.  In biblical times, this Sign represented the Passover of life from material into a non-material condition – the release.

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roob alchemy saturn illustration

S Trimosin, Splendour Solis, London 16th century.  “Just as this Saturn is baptised with his own water, the black raven flies off.

The passage is one of purification;  the King sweats it out.  The water of Life which the sages gave him to drink, is now his to bathe in, pollute and regenerate.  The second immersion is corrosive and therefore of Mars.  The traveller stays there for 16 days (the Tarot path of Mars on the Tree) immersing, drying off and becoming the water, as the water purifies itself back to white sand and no longer wets him.  He has three immersions. When he leaves, he is equal to the water’s pure composition.  In the core of Hermetic philosophy is our water’s nature to cleanse itself, ultimately.

Trinosphia facsimile illustration in chapter 7

Trinosphia facsimile illustration in chapter 7

The illustration is the Great Seal between green pillars of Jakin, Bohaz.  The two small circles (red and black concentric rings, side by side) are interpreted as the Sun and Moon. The pendant Cross between them is the Stone of the regenerated elements – salt, sulphur, mercury – in Azoth.  It has four colours, but I am not told which colours.  It hangs from a gold cross-bar between the two disks.  These as Sun and Moon represent heaven and earth:  the Cross between them is their progeny and equilibrium.

Surrounding this symbol are two circles of hieroglyphs.  The outer one is indecipherable and apparently random; the inner one has a cuneiform script which Hebrew can crack.  It continues … “and is the outbreathing of Everlastingness”, and says “the Leg” (dawn of the age of Aquarius) is the beginning of the destruction before Nirvana.  This boils down to the chrysalis dying off … in present times.

The text, but not the illustration, has a silver axe with a blue handle.  It has a Hebrew name, which might be as Manly Hall says, “the instrument of separation”.  It is called the Destroyer, but the translation is “Lift the voice to its fullness in chant or song.”  This makes me think of the walls of Jericho and the trumpet.  It also implies, “separate the subtle from the gross” and “IAM … IAO”.  The symbolism is around the Justice figure arcanely, but plain to see.  The axe is an ancient symbol of initiated builders.  Its meaning is also in the Hebrew letter QOPh with which the Qabbalah begins.

Thou shalt separate the subtle from the gross,
and return it to its Nature, with prudence and wisdom.

Le Comte, terracotta sketch

Le Comte, terracotta sketch, 2003

This is separation through purification; in the threefold transmuting stages of the water, read the evolutionary aeons.  The water in the oval vessel is the Fountain and the Shining Sea. The lunar power is John the baptist: the solar power is Christ’s baptising by messianic fire. “The gross particles of the soul – the rust – are washed away, and life is prepared for a supersubstantial existence.”

IAM is OM, and AM is the most powerful and misused word in the human universe; and AUM resonates a harmonic around the OM.  SO-HAM is the ancient Sanskrit (and apparently Egyptian also) way of breathing in and out: “I am.”

I woke in the morning with two messages:  “on the path with Fear, you don’t get many Love messages” and Master R saying in the 1947 transcript, “Love and you shall know.

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Trinosofia illustration chapter 7 - give way to the force

Trinosofia illustration chapter 7 – give way to the force

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Journal, 8 September 2003

The way forward with V – I think – is to perform in myself small and actual rites of for-giveness. To give way to the force – a wordplay which dawned on me at age 20 – is in our mutual seed, and the intention FORGIVE must be stencilled clear in our etheric body.  If I do this, it may help him.  Elder Brother, I loved V, but you know one loves any Tree to whom one gives so many years and so much gardening, because that in itself is the act of love, and when I met V 34 years ago at age 20, the force of what was to come was recognised and received as shock.

Meditation – the moving breath – happens at the point of connection, the interface, the agenda.  The Fountain is the oval bath in the Trinosofia Seven script, and the cleansing of rusty Mars.

Note also at this point: the Sword and Scales of Justice: Saturn’s exaltation in Venus’s sign Libra.  Do not overwork, but acknowledge these things in passing;  the light touch, the way the subconscious delivers its operation.  When I know the subconscious operates perfectly, I do not have to put a fork in it to make it work, do I?  It processes this matter just fine, and does what is required, no more and no less.

bota key 18 The Moon

And see also the operation of the red and the violet together, in Key 18. Its Hebrew letter is QOPh, meaning “an axe” and also the roof which opens up.

This key’s magenta border – reddish violet – vibrates at B-Natural.  From the medulla oblongata in the brain stem at the back of the head, it governs processes of sleep, embodiment and evolution of species.  The path beyond the twin towers of the body ascends gradually and undulates, so that the dark valleys are higher than the summits we attained when setting out .  Upon that mountain in the far distance stands the Hermit (9) who illumines the life of our soul.

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So I just now drew in colour (see above), a ‘FOR GIVE’ MANTRA in the general design of Trinosofia Seven.  Thoughts which arose during this were: the first obedience is to the promptings of one’s own soul, and the severest penalties occur until one learns this for good.  Secondly, I believe V gave me his angry ‘cornered dog’ story as a gesture from his soul, so I shall re-read it in the light of the mantra I drew this morning.  

(As I drew it, a loose “bye bye go well”
sketch fell out of the sketch pad):

Pithy tree of life

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It now seems the for give drawing reveals in colours, something of my Ray structure that I wondered about yesterday.  It is a powerful stencil.

(I painted on the same day, for Sacred India Tarot, Sita through the fire in the suit of Staves.)

Sacred India Tarot - 7 of Staves

Sacred India Tarot – 7 of Staves

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7 July 2015

I mentioned the walls of Jericho (in para above – ‘The text, but not the illustration, has a silver axe with a blue handle’). These three Tarot Keys from right to left, are assigned to Aries (ruled by Mars), Mars and Pluto.  Jericho’s walls fell at a blast from the Archangel’s trumpet, pictured in Key 20.  The observant Emperor, the collapsing Tower and the uplifting Judgement are images of the Mars vibration (red).

The path of Mars is Tarot Key 16, the Tower (or House of God) connecting Hod to Netzach. The awakening vibration  is deep scarlet. On my Alchemy Tree it has at centre a little feminine blue triangle where it crosses the royal blue path of Temperance.  You can see it on the base-line of the red “Awakening” triad.  Below it is a second blue downward triangle in the violet sphere of Yesod.  In Malkuth, earth, there is a red masculine triangle in the indigo oval. This is the akasha-tejas tattva, combining the mars and saturn centres.

The male triangle rises towards the two descending female ones.

There is a beautiful correspondence here with the Siva Shakti Indian yantra:

 

Along the path of Mars where walls fall away, speech of the higher planes may be heard. When I listen carefully, the speaking tongue (hebrew letter PEH) of Mars-squared (4X4=16),  carries a transmission: truth.   I found that when I study this path, it leads me to the wisdom of Master R.

 

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Netzach Hod Temperance sketch

Netzach Hod Temperance sketch.  Temperance is Tarot Key 14, with Archangel Michael.

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In the Bible story, the walls around the city of Jericho – personal ego – fell when Archangel Gabriel’s trumpet sounded.  Here too, the path joining Hod to Malkuth, is a scarlet field;  it vibrates into the ground, like a fire stick.

In Tarot, the tonal frequency of letters SHIN and PEH is scarlet.  The word RGVZ (associated with Key 14 Temperance, which crosses Key 16 Tower) is generally translated as ‘wrath’ (suggesting the wrathful expression of Mars) but actually means ‘vibration’.

The human code interprets this violently, but it is more like a whisper, a zephyr in the field, an alteration of the form.  As flowers pierce, as newborn babies rotate and crown, as the desert wind softly turns your sense of direction, so the power emerges – Mars gently.

Violinist 2

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Song in Scottish mode, by Master R, 18th century

Song in Scottish mode, by Master R, 18th century

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Ritual_0002

Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2015. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

 

Mysteries of Master R, Part 11 – Lost & Found

a new sketch of Master R

a new sketch of Master R

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I have planned for a while, this Master R post, with a “lost & found” story – together with the sixth chapter of the Trinosofia.   I needed first, a new drawing of him, but was too busy to “find him”.  At long last I sat down and did this one.  He looks as if he is in court, in London’s Temple district.  I was in court all last week, attending a remarkably polarised case of truth and lies:  the privilege to watch how justice acts.  I feel changed for ever.

My Mystery with Master R, is when he finds things that are lost.  When I am searching for a photo, a journal, or my keys – and panicking – I go and sit down next to his portrait by the piano – feeling silly.  “Sorry, elder brother, to bother you yet again. It is somewhere – you know where it is.  Please, please, will you show me?”   Nine times out of ten, it turns up;  my visual mind starts to work efficiently.  He is very kind.  “Oh, look! Thank you!”

It seems just adequate to align and  “locate” within myself;  to solicit the higher power’s compassion with my trivia.

Alchemical bas-relief on Notre-Dame - after Fulcanelli

Alchemical bas-relief on Notre-Dame – after Fulcanelli

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Part One – Lost and Found

Cosmos is threaded through the roofs of houses on North London hills.

A couple of months ago, my friends’ mac was stolen – a present from her to him.  He left the car in his driveway on Crouch End Hill – just five minutes with the window open – to talk to a neighbour. When he came back, the mac was gone, and he hadn’t backed up  his thesis.

I felt devastated for my friends. I was in bits.  I lit a candle with Master R to burn all night, and I noticed in my fog of pain and little faith, how gentle the master’s eyes are, how kindly he looks.   Will you find it, elder brother? Can you see through space and time and thousands of houses, intentions and Karmic trails – the detail where the clock stops … even from your higher Quantum orbit, as Master of Civilisations?   Details and more details …  Any miracle is possible, with you.  

The mac’s tracking device located the street it was in (assisted by Apple store where they bought a new mac just in case/now refunded).  Early next morning they continued their detective work, and visited the nearby school – kids were milling around at the time of the theft – but the headmaster was no help.  The police wouldn’t do anything but bureau-fuck around. (I’ve heard this before.)

art notdoing the gardener

So my friends went into focused action –  we can and we will. The house was located when the mac went online –  it made a noise signal there which frightened the temporary owner, so he shut it again.  The message pinged on their mobile with the postcode.  At noon the two of them marched up the garden path and knocked. Young british man, about 25, and his mother upstairs who had a sprained ankle. Yes he has it, and gave it back – he said he was sorry, and shall we have a nice cup of tea? He bought it for 250 off the gang, which my friends repaid him – rather a lot but at least not as much as 1500 – towards the unlikely event of a refund.

jacobs ladder

The Heavenly Plan works out with tea and a lightness of  heart, far beyond the Elf & Safety net.

The thesis is still on the mac, nothing got lost.  I couldn’t wait to hear the long, detailed and miraculous story.  Miracle is wherever two planes enter co-ordinance, through our limited vision:  the way life truly and amazingly is.

 

 

Within my friends’ team work in concert with the skies, my hidden “inner contact” with Master R falls into a bucket with no bottom, called Faith.   Miracles are natural phenomena occurring seamlessly all the time, which we see incompletely. Hands and feet on the ground hold the focus. Detailed detection, good will and a cuppa, align with the skies … an odd movement or swirl of surrendering, including my collapse.

Master R has his quaint way of coming to my Little Faith rock-bottom – how?  because of  an old heart connection. I tried to draw him at the time. One attempt failed, and then I turned his photo upside down and tried again (this one), which went a bit better, and almost has something of that expression in his eyes.

Master R, 27 September

Master R, 27 September

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My journal goes on to ponder … Creator-Destroyer? Indian philosophy is full of it – so is every other esoteric philosophy.  What is creator destroyer in my understanding, apart from Siva?

Arcanum16 tower

Here is the lightning-bolt of awakening – the casting down of old walls, the release of trapped energy, the destruction of lies.  This Tarot Key 16 – (whose tonal vibration is scarlet, Mars) – rules the voice:  how we speak – our expression and utterance.  It is called the House of God and is the Voice of God.  Its hebrew letter PEH is “mouth” with tongue. On the Tree of Life, it bridges Hod and Netzach:  where butterfly cracks the chrysalid.  In my pattern with Master R, this path of awakening led many times to his wisdom … beyond my speech.

When I see this Key – and also the phoenix rising from the ashes – I feel he is not far away.

The proverbial tower conceals a maiden in the fairy tales – the naked woman of truth by the well where the tower fell – Tarot key 17.

Arcanum 17 star

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Creator destroyer is the Tower in Tarot. Creator destroyer is the black hole of Light in the galactic core. Creator destroyer is the old for the new:  white sunflowers.  In a blue healing radiance, a white sunflower ate the dead petals for its cyclic life;  and I heard Faure’s requiem.

Great teachers destroy ignorance.

 Skyscape

I have a reverence for the Beautiful Castles in the air. Is that all they are?   Creator destroyer is a Beautiful Castle, curiously, and I think it is something which every artist knows.   On the whole I live a balance of it which is beauty – accessed inwardly. It has a molecular tension and the sea that breaks, and the life within the breaking seas.  I suffer acutely when things collapse and rebuild – first hand. I know when I am in despair and lost and skinless, and yet it is re-forming … fragile bridges of the Power.

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Mira, Mukti, Poonjaji

Mira, Mukti, Poonjaji

Poonjaji and Meera in their caves and under trees by the Ganga … I read again that wonderful story and its Vrindavan atmosphere, and then T wrote in her blog about how surprised she was that they married, and she met and  talked to Meera in a friend’s house in London (it was my house) …  the thought returns, what a lot of people and happenings my ‘tardis’ council flat has held!   What it embraced!   What it holds now!   No wonder it overwhelms me –  it housed 57 varieties of the Advaita scene.

skipping fool & house

Poonjaji’s life story “Nothing Ever Happened” and  Ganapati Muni’s story (the root mantras) are helpful at present – re-opening the beloved proximity, the love for long sustained notes … (I put on the CD of the ultimate Om.)

The pulse of Gaia growing, the slow pulse surfacing through the destruction of walls that had grown – is the same as the everlasting OM I heard in a passing lorry outside – time stopped –  when I woke one morning in early 1988, snowdrop time.

snowdrop quantum, detail

Master R’s emblem is for me the phoenix, and who but the phoenix knows creation and destruction, rising from the ashes?   Oh!   the life and lives my house has held.

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The inner life of an artist holds creation destruction, two halves of the same seed, in the everlasting OM.   Strength and wholeness tip toe shyly back into my YIN:  replacing my compulsion to shatter and cry at small disturbance.   I feel restored to myself – I wonder at what was suffered earlier, and its actual gold standard …  the universe.

I think most of us are unaware of the contagion of love in its extended ways,  How can we know what it means, if we never saw it work?

The contagion of love sustains – through my shatterings – my foundation here, to keep recalling, picking up, contemplating, nourishing, loving.  The power of that love, its contagion and community, its breath and circuitry, was how my friends’ computer was not lost.

Likewise the forgetting and the re-membering of God:  we come from God, we move towards and into God, for God to behold God:  there is no fixed point.  The creation/destruction paradox is the path of the mystic, the lover and beloved of God, the radiance.

Here is a song composed by Master R when in London circa 1754:

Song by Master R - "Jove when he saw my Fanny's Face ..."

Song by Master R – “Jove when he saw my Fanny’s Face …”

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Part Two – Most Holy Trinosofia, Chapter Six – the Altar

Trinosofia altar, bird, torch 2

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After a long break – this series continues.  You can find Master R’s chapter in the title bar Page – Trinosofia Texts;  scroll down to Chapter Six.  It feels pivotal in the work. Here is Manly P Hall’s Commentary on the illustration:

“The altar composed of the four elements, is triangular in shape. From this circumstance, two sacred numbers are produced: the square 4 plus the triangle 3 equals 7; and the four elements of the altar multiplied by the triangle, equals 12.

“From this, the composition of the world is made apparent. Nature is a triangular arrangement of four elements; and the divine world, of which the zodiac is a proper symbol, consists of these elements multiplied three times, or in their three primary states. The altar is the human body; its material parts – the square – are arranged in the spiritual order: a triangle. Upon the altar are the previous altar, bird and torch. We must understand them as salt, sulphur and mercury – body, spirit and soul.

“In the air above the altar is the crux ansata, the symbol of generation and fertility. Copper is the metal of Venus – a symbol of the reproductive energy of the soul. Venus is lucifer of the ancients – the light bearer, the star of self-knowledge. The power to multiply is common to both the internal and external man. As bodies generate bodies, so the inner body, the soul, generates the archetypes of personalities.

“By alchemy, wisdom perpetuates itself by applying to its own peculiar purposes the same laws by which forms are perpetuated in the corporeal sphere.

melchisedek at chartres

“The whole figure is a symbol of spiritual regeneration, the mystery of Melchisedek, who is his own father and his own mother, and is above the law. It sets forth perpetual re-energization by the use of the Stone. It tells of the very power which St-Germain (Master R) himself possessed, of continuing from century to century by means of the subtle Elixir, whose secret was known only to himself and his Masters. First the three parts of the composite man – spirit, soul, body – must be brought into equilibrium, and from this equilibrium is born the Homunculi or Crystal Man.

St.Germain-77

“This Man is an immortally generating Self capable of precipitating personalities at will, yet itself unchanged and unlimited by these personalities. Instead of the soul living in the body and prisoned by its limitations, the body lives in the soul. To the adept the physical form is an instrument for the expression of consciousness, intelligence and action – the candle, the bird and the burning altar.”

Manly P.Hall

Notre Dame de la Belle Verriere

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My adventure invites fellow travellers. I am a poet, an artist and a seer. I welcome conversation among the PHILO SOFIA, the lovers of wisdom.

This blog is a vehicle to promote also my published work – The Sacred India Tarot (with Rohit Arya, Yogi Impressions Books) and The Dreamer in the Dream – a collection of short stories (0 Books). Watch this space.

aquariel link

All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address http://janeadamsart.wordpress.com/

Mysteries of Master R: Part 10 – the Trinosofia “Altar, Bird, Torch”

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Master R new sketch 25.4.14

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You can find the text for Master R’s Most Holy Trinosofia Chapter Five, above in the title-bar page:  Trinosofia Texts.   Here – slightly abridged in a few places – is Manly P.Hall’s commentary on this section:

“The candidate next experienced the mystery of the airy or intellectual principle.  He is raised out of the subterranean depths by his guardian spirit and lifted into the higher atmosphere.  Below him is the desert.  Special attention is called to triangular masses – the pyramids.

“An early manuscript in our collection affirms that the Egyptians were able to manufacture the Philosophers’ Stone without artificial heat, by burying the retort in the desert sand, which furnished the exact temperature for alchemical experiments.  

“The desert is here a symbol for the aridity and unproductivity of the unawakened consciousness.  In the physical universe, spiritual values languish; yet in the midst of this mortal sphere stand the pyramids, supreme symbols of spiritual alchemy – temples of initiation in the desert of waiting.  

Copied from Eliphas Levi's 'History of Magic'.  27 years ago, when I saw and read about these, in the chapter on Hermes, I was stirred with an elder, unknown and undying knowledge, half covered by the sands.

Copied from Eliphas Levi’s ‘History of Magic’. 27 years ago, when I saw and read about these, in the chapter on Hermes, I was stirred with an elder, unknown and undying knowledge, half covered by the sands.

“It is significant that the atmosphere of Egypt is particularly conducive to the perpetuation of ancient monuments of learning which, when moved from their old footings, rapidly crumble away.  Thus material life, the desert, is a natural laboratory in which the supreme chemistry is accomplished through suffering and aspiration.”

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To which I add:  the old alchemical texts refer to coction – that of a hen’s warm breast to her egg – in the First Matter.  It is the interior temperature of our physical body.  Our life is this constant process of transmutation.  If we keep the inner fire banked and gentle, it gestates Life, rather than blaze up and consume what it creates.   In the arts of Alchemy, we regulate our passions.   As Master R has said elsewhere, tiny things – a spore of yeast, the pip in a grape – generate a field of wheat, a vineyard, a transformative Universe.

Further:  the desert suggests aridity, but also the ancient and elemental matrix of all life – our body – to which the Life returns.  Those who yearned to live the spiritual Life, walked out into the desert and their learning came with the wind, the sand and the stars.

sand and sea stones

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“The desert” is our primordial physical body in which the sky and stars are planted root and shoot:  the leaves, loaves, fishes and our children.

crock of rainbow, with fishes

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MPH’s commentary continues (see the journey itself in the Trinosofia Texts page above) : – “The account of the rising and falling of the candidate through space relates to the alternations of the substances in the retort by which they pass through a cycle of attenuation and precipitation, to be finally drawn off through the neck of the vessel.  Hermes uses this figure to set forth the mystery of rebirth, the periodic alternation of the soul from a temporal to a sidereal condition, and its final liberation through initiation.  Reaching the upper extremity of the intellectual sphere, the candidate is incapable of further function and swoons.”

Genesis in retort - from Alexander Roob's 'Alchemy & Mysticism'

Genesis in retort – from Alexander Roob’s ‘Alchemy & Mysticism’

The adepts, like Master R, are able to regulate their “density” so that it takes form with our own.  Thus they seem to appear and disappear through death, and to migrate or occupy levels of frequency, like electronic orbits in the atom.   If we look inside our mind, our thoughts are nothing other than this way.    The wearer of a body of Light moves his or her thought intentionally through several planes to converse at will.

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MPH continues:  “Upon regaining consciousness, he discovers himself to be invested with a starry garment … By the starry garment is represented not only the auric body, but the new universal aspect of being – the Sidereal consciousness bestowed by … initiation.  The candidate may return to the narrowness of his physical environment, but he can never again reduce his consciousness to the limitations of the material state.  The starry body is his regenerated and illumined intellect.”

As the sand in the desert, as the cells in our body, so are the stars and galaxies of our origin.   Remembrance of this is initiation, and treats its fellow hosts with respect and love.

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Altar, Bird, Torch illustration

Altar, Bird, Torch illustration

MPH: “The strange characters signifying the name of the bird with the green branch are decoded to mean ‘To be given the Life.’  The name of the altar reads ‘The Crown, Kether’, and is decoded, ‘when shall be the gate of entrance’.  Together the two phrases mean:  ‘Immortality shall be conferred at the gate of the House of Wisdom.’  The name of the torch is Light, but translates to: ‘The dernier shall be hidden away and forgotten.'”

The dernier is a coin, and MPH refers this to the Tarot Suit of Coins – the material body.  The hidden light is in our body and its un-conceived origin.  “The body of the wise man shall be concealed.”

rosebud

“The tombs of the Initiates have never been discovered, and in the famous Rosicrucean cemetery, the resting places of the Brothers are marked only by the Rose …  The personal ego must die or be buried, that the Universal Self may be born from its seed.”

Gallery – Various forms of the Rose

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Manly P Hall now analyses the illustration (see below):

“The strange bird hovering above the altar fire is the sacred Ibis, symbol of Thoth the Egyptian god of wisdom and letters, and patron of alchemy.  The volatile philosophical Mercury can remain in a suspended state only ‘when in the midst of the flames’.

“By the philosophical Mercury, we must understand the regenerated principle of intellect – mind rendered luminous by the flame of inspiration.

“In its beak the bird carries a green branch, the acacia of Freemasonry – symbol of rebirth and immortality.  The black feet and wings signify earth, the silvery body is water, the red head is fire, and the golden neck is the airy principle.  The spiritual bodies of the elements are thus united in a philosophical creature, the bird of the wise men – the phoenix.”

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Note:  instead of a lotus, I painted the Hebrew SHIN, the Mother-letter of sacred Fire – whose symbol is also a molar tooth.

Master R : 08 - Version 2

Manly P Hall continues:

“Beside the bird and the altar is an elaborate candlestick, its base formed of twisted serpents – Ida and Pingala?  The upper end of the candlestick terminates in a lotus  blossom from which rises a lighted taper – the soul light, the inner light which reveals the secrets of the bird.

“As man’s external existence is lighted by an external sun, by which he perceives all temporal concerns, so his internal existence is illuminated by the light of the soul, the radiance of which renders visible the workings of the divine mind within.

“An inscription beneath it reads, ‘To the strong is given the burden.’  The great truths of life can be conferred only upon those who have been tested in character and understanding.  The reader is instructed to kindle a fire upon the high place, that the sacrifice may be borne upward to the Desired One.

“The symbolism is borrowed from elder Jewish ceremonials.  Upon the altar of burnt incense a fire continually burned.  The fire of holy aspiration consumes the base elements of the body and transforms them into soul qualities, symbolised by the incense fumes.  These ascend … as the covenant between aspiring humanity and its Creator.

“‘When the years of this existence are done, and the soul outbreathing at death, approaches the gate of immortality, may the Bird bear it swiftly away to the abode of the wise.’

In the Egyptian rites, the soul of the Initiate departed in the form of a bird which hovers over the couch on which the mummy lies.  The soul bird with the green branch … confers immortality, as set forth in ‘The Book of the Dead’.  Without wisdom, the soul must perish with the body.  This is the secret of the ritual of the Coming Forth by Day, or the Breathing Out of the Ka.

seagull detail

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Meanwhile, my parallel journey continues with Jung’s Red Book;  for at this point he begins  – like Master R’s Initiate – to enter the desert.  In the desert, he will encounter some strange characters and “letterings”.

The initial painting which heads the Red Book’s previous chapter was a mosaic of interior earth and stone and star, bright colour.  The painting for Chapter 4, The Anchorite – (and they get larger)  – is a temple Window – a mandala with four gates. The two concentric frames contain a formal maze of hieroglyphic Runes which substantiate and support Jung’s interior vision from now on.  They resemble  Celtic knots, but they are living Runes – reddish brown on a light brown raw-sienna background.   In the centre is a sky blue square containing the golden letter D.

What is a Rune?  A symbol hieroglyph that has power to speak, and to arrange the tides and the leaves of life, to pronounce a fate.  The old wizard remembers and casts the Runes.  They are created through his “drawing hand”.

In Black Book 3, Jung noted:  “All kinds of things lead me far away from my scientific endeavour, which I thought I had subscribed to firmly.  I wanted to serve humanity through it, and now, my soul, you lead me to these new things.

red horse & rainbow 2008

 

“Yes, it is the in-between world, the pathless, the manifold-dazzling. I forgot that I had reached a new world, which had been alien to me previously.  I see neither way nor path.  What I believed about the soul has to become true here, namely that she knows her own way better, and that no intention can prescribe her a better one.  I feel that a large chunk of science has been broken off. 

I suppose it must be like this, for the sake of the soul and her life.  I find the thought that this must occur only for me, agonizing, and that perhaps no one will gain insight from my work. But my soul demands this achievement.  I should be able to do this just for myself without hope – for the sake of God. This is truly a hard way. But what else did those anchorites of the first centuries of Christianity do?  And were they the worst or least capable of those living at the end?   Hardly, since they came to the most relentless conclusions with regard to the psychological necessity of their time.  They left wife and child, glory and science – and turned toward the desert – for God’s sake.”

Sacred India Tarot 10 of Staves detail

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Finally – Master R’s (St-Germain) first Violin Sonata, composed in London in the 1750s:

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Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2014. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mysteries of Master R – Part 8: Three Trinosofia paintings

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Tifareth

The first painting – a bird shaped lamp – in fact belongs to the end of Trinosofia Chapter Two.  A guiding star led the initiate through a white door to the turbulent waters of life – Chapter Three – into which he dived, and was tempted by temporal power.  You can read Manly P Hall’s translation of each chapter (as I go along), in the Trinosofia Texts page in the title bar.

I have a technical problem with reproducing my drawings here.  The yellow in my originals is soft and subtle.  But it scans out hard and greenish.  Even if I erase the yellow in the original, its shadow is still there.   This happens when yellow is placed on white or next to white;  if yellow is next to another strong colour, it is ok.

trinosofia bird lamp

I love the shape of this bird-lamp.  Where the wings should be, is a great curved space.  The bird turns its head to see.  The whole object is a dancer:  a “hold” of ballroom grace.  The lamp stands on a plinth of granite rocks turning gold.  It illustrates the existential interface of psyche, spirit, alchemy with the flat surfaces of our world-view – the rocks bulge out from under the plane of the plinth.

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trinosofia 2 Lions_0003

Here are a pair of Lions – scarlet and black – actually indigo blue – in an alchemical sphere.  The red one stands for Mars:  the indigo one for Saturn.

Between them is a crown. There is an arrow to each side, a bow along the base, and red inscribed tablets above and below.  Manly P.Hall translated the (illegible) Greek inscription under the lions, to English, and I had the happy idea to write it out in English:  “Each must sprinkle himself with his own wine from the Mountain of Chios. He must drink to God before the wood.  He must give himself in exchange for that for which he yearns.”

MPH comments: “… Wood was the symbol of Dionysius, and it was in honour of this god of the wood and of the vine that the ritual of the Communion was first established.  To drink of one’s own blood or to sprinkle oneself with his own wine is to be immersed in or tinctured by the inner soul power.  Fermentation was the presence of Bacchus or the life in the juice of the grape, and the Greeks used the symbol of intoxication, as do the Sufis of Islam, to represent ecstasy.  A man in an ecstatic state was described by them as being one ‘intoxicated with God’.”

I assumed the Lions were alchemical ones, and the sphere a flask, or “Lens”.  Not until the drawing was nearly done, did I look at Manly P Hall’s commentary at the back of the book, and discover they represent unregenerate “nobility” and “rulership”.  This is because of an inverted symbol on the red lion’s flank which I didn’t spot, because the online reproduction (of the copy of Master R’s painting) blurred it.   Inversion turns nobility to misuse of power, and rulership to indiscretion – it moves them backward.   Charisma becomes a despot, the red lion lust, the black lion, tyranny.  MPH again: “Those who would accomplish wisdom must overcome these animals if they would reach the Crown (Kether) which lies beyond.  The black lion is the temptation of power … the red lion is the temptation to possess … there can be no compromise with these monsters of perversion.”

Throughout the full text, Master R signalled the perils of “misuse of power” and”indiscretion”.  It is a balance in the soul Triad of the Tree – Tifareth regulates Hesed and Gevura – which must be corrected before the initiate can proceed.

At this point, I include some dakini oracle images from a recent reading for a friend …

dakinis 40,42,41,6

… simply because these pictures move around in my mind just now, and form a phrase of life.

Anyway, my Lions:  the sphere which contains them is a lens.  To each side are the arrows – (2 of Swords, meaning polarity-tension) and under it is the strung bow:  continence of the demons, their transmutation to gold mist.   I don’t agree with Manly P Hall that the clouds they stand on are the world’s pomp and circumstance.  I see the clouds as steam – the accelerated Karma within the alchemic flask or lens.  It “sweats” out the lions and makes them glorious to see.

The inscription above them is in an unknown script – I was able just, to see and outline the letter shapes.  MPH tells us it says “Bend knee and worship God who sends forth his love in winged splendour from Aries the first angle of the world.  The 6th sign Virgo, is the ending and completion of the ages – the symbol of service and renunciation by which the lions may be overcome.  He who gives up life for wisdom, shall receive a fuller life…”

While working on the drawing – it took several hours – I felt its vibrant mystery.  This happens when the Trinosofia illustrations are tangibly recreated.  I don’t know yet their full meaning, but they are energy Keys.  The connection is discreet and powerful:  the colours seem to glow.  I use watercolour pencils and a brush.

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trinosofia interior cave of light_0001

In the evening, while watching TV, I copied this strange illustration – (at the end of Chapter Three) of a dark cave with the sea and the sun coming in – adapting it to my inner vision.  It too is a lens – an eye.  The lit up rocks shine like gold.  There’s a little interior landscaping, of trees and a house in the dawn.  It is mysterious.  Compositionally I am the darkness looking out and into which the redeeming dawn shines.  There is a spiral swirl of scribble rock formation.

It belongs with some earlier (1980s) sketches of the inner eye:  a sunlit landscape within the cliffs of fall:  the Hermetic Underbeing.  A friend commissioned from me an oil painting to illustrate G M Hopkins’ poem “O Mind, thou hast Mountains, Cliffs of Fall“.   The painting was subsequently stolen from him, and all that I have is this blurred photo.   Some years later, I re-drew and painted it for myself.  The lost original was precious to me, because a chance paint formation up in the sky suggested a seal’s head … which I developed.

The seal of the ocean was the soul soaring into the sky through a crack in the mountain strata.  In the later sketch, a Capricorn goat grazes on the alp.  Down the sheer dark cliffs to the right, the seeking soul or initiate tumbles … and to the left, Hermes Trismegistos receives him, opening an inner landscape of the eye.

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From Manly P Hall’s commentary to the text :
(for the text, see Trinosofia page in title bar)
The first initiation is that of earth, represented by the black passageways in the subterranean regions of the volcano.  To pass this test the body must be subdued in all its parts and become a perfect instrument of the enlightened will.  The bodily atoms and molecules must be vibrated anew … 

“The second mystery in the order of the Memphis rite is that of water, and at the beginning of this section the candidate finds himself standing on the shore of a vast underground lake.  This is the sea of ether which separates the two worlds.  It is the humidic body of the earth, the sphere of generation.  He who would reach the Invisible world must cross this sea, that is, become master of the generative powers of nature (and of his thought).  Led by the blazing star, the candidate throws himself into the midst of the waves.  With his lamp upon the crown of his head (the spirit fire lifted into the pineal gland), he struggles for mastery over the currents of the etheric world.  

“His strength fails, and he cries out to the Universal Cause for help.  A boat appears, in it seated the king of the earth with a golden crown on his forehead.  But the boat is pointed back toward the shore from which the neophyte came.  The crowned man offers the kingdoms of the earth, but the disciple of wisdom … cannot be thus easily tempted.  Strengthened by the power of right decision and aided by the invisible genii, the candidate fights his way to the distant shore.  Before him rises the silvery wall of the moon, the lady of the sea whose dominion he has passed. 

“The fire initiation awaits him.  Having mastered the vital principle of nature by which growth and propagation are controlled, the candidate next faces ambition, the fire of pride and the flaming tyranny of emotional excess.  He beholds the lions, the fire symbols.  The key to the course of action is revealed by the hieroglyphics.  The lions, the writing and the wall dissolve.  The path stretches out through the sphere of eternal flame.

“The alchemical aspect of the symbolism is one of purification or the passing of the elements of the Stone through a bath.  In this process they pass from an earthy state through a vaporous or watery condition, to a fiery or gaseous quality.  The lunar humidity present in all bodies must be dried out, which led the Greek philosophers to declare that ‘a wise soul is a dry one’ …

‘… The moon rules physical generation or the perpetuation of corruptible forms, but the sun has dominion over spiritual generation, the creation of incorruptible bodies.  Man is the progeny of fire (sun), water (moon) and air (the bird of Thoth).  The temptation by the king with the golden crown, suggests one of the most common difficulties of the alchemical tradition.  Those who attempted the art in most cases failed in their quest for wisdom, because they became fascinated with dreams of wealth.  Material gold tempts the alchemist away from his spiritual quest for enlightenment and immortality.”

Zain and Yod - the signs (Gemini and Virgo) which are ruled by alchemical Mercury, in the air and in the ground.

Zain and Yod – the signs of these Tarot Keys (Gemini and Virgo), are ruled by alchemical Mercury, in the air and in the ground.

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I find MPH’s commentary very apt, beautiful, and directly relevant to matters I struggle over, at present:  to apply the inner alchemical vision to lessons of daily life, psychology, training and practical assistance to myself and others.   I feel an absolute greenhorn.  The problem is one of regulating my inner vision to the exterior text.   My ideas with people turn out to be raw and naive.

HOWEVER!

An awakened human life flows along the ground, admixturing, composting the subtle with the gross. The crucible, the mortar and pestle of each day, grinds fragrance. With this idea, the fragrance opens and goes out into the world a little – a tiny puff of Universe prana confected in the soul.  My role is here, making, mixing and breathing it out – the subtle particle with all situations open to it.  I, we, transmit solar-neutrinos which pierce the magnetic shield.  The quantum is homeopathic.  The mountains, the pits of daily life, are small ruts in a muddy lane.

Meet the world’s inconsolable suffering yet again, the increase of evil trafficking, and a woman in North London who rescues children from it and starts to rehabilitate them … and find yet again, that my role is not on that front-line.  I am too open and easily distressed.

Here is the Master as Bulwer Lytton’s Zanoni … and a gem on the table surface.

… and here are two drawings I did for another friend last week – initiations by water and by fire:

rahu 6 aslan

rahu 5 - woman and sea

… and by Air:  a turning Mevlana Dervish

rahu 4 - turning dervish

Enough said!   Mercury and Rahu/the North Node that day, together TURNED Direct in Scorpio.

Finally – Master R’s Third Violin Sonata.  A gem, this one!  a thoughtful opening Adagio, with the answering Andante a bit later. The second of the two Allegros (pp 16/17) when played up to speed, seems to turn and turn – a joyous whirl of planets and galaxies around their polar axes, around the Dervish’s left foot on the ground …

the law of the Dance.

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Link to Three Trees of Life

POST SCRIPT – I came across what I wrote in July 2003 when I first studied the Trinosofia:

In Section Three of the Trinosofia (I read it last night with little understanding but a sense of rest) the pilgrim comes to a white marble platform, and the star falls into the surging sea, and the pilgrim goes in after the star.   In the surging sea, and struggling to swim and survive to the far dark shore, the pilgrim meets a king in a golden boat who says to come with him, the foremost in the world. But the pilgrim says he will trust in God alone, and the king sinks, and soon the pilgrim swims hard and reaches the land, a shore covered with green sand.   Here the next instructions are displayed on a silver wall or “gate” which vanishes as soon as he’s read them. Two lions on a cloud guard a Crown. Around them is an iron circle. To each side, and below, are two arrows and a bow. Above and below the iron circle are inlaid scarlet panels, the one has greek inscriptions, the other, sacred letters. There are also apparently sacred letters on the flank of the lion.

To go into the surging sea in this path through the white pure door of the Adept, is Courage into the vibration, into noise-interference to which I am hypersensitive and judgemental. The Holy One is at the heart of All. Receive and rock with the impressions, unconditionally, tendering their timeless points, and smiling.  The Lord of the World sinks:   I am carried by the Waters, swimming by my effort. The green sand of the shore is in the sense that the sand is like the Spirit, blown in whorls by the wind, and has the same gematria as blood; and when you melt sand it turns to glass – the crystal of the Soul. Here it is green – the natural state. Green sand.

You only really see or are shown what you have already understood by travelling it. The lions are the sea, and they guard Kether, which sometimes masquerades as an earthly crowned sovereign.* The iron circle is mars-like, and the bow and arrows and the writings imply Guidance. The lions represent Fire, and in the illustration they are elegantly and gracefully drawn, snaking their tails on a sea of clouds.   Fire, entering water, becomes air – the breath of JHVH. And even the Lions breathe each other in and out.

The two arrows remind me of the equilibrium of the Two of Swords. The bow along the bottom is aimed into the One Thing – the “absence of two” in the Crown.

*I must make my own path of discovery even when the Sovereign himself appears – or as some say, if you see the buddha on the path, kill him.  Don’t be spoon fed.

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Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mysteries of Master R – Part 7: Apprentice to Mystery & Science

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1  Emerald table

16 October 2013

So called “Mysteries” are clear, scientific secrets.  What is a science?  The linguistic root is knowledge – self knowledge by experiment.  What is a secret?  Something which desires to be known – and known in the heart.  What is the laboratory?  A life-work in my soul and body, tried and tested and ongoing.

I do not relate much to projections upon Count Saint-Germain – Master R – as a glamorous, mysterious figure.  The Mystery there is set upon an altar, and does not alter things for real.  From him is purported to come much new age channeling.  I read a little of it, some of it seems excellent, some of it is platitude, and as I have not studied those writings comprehensively, I am not in a position to comment.   I got involved in a St Germain society about ten years ago, for a while.  Some of it was good, but the medium became corrupt and demanded a large house and income.  The lesson I drew from this, is never to rely on someone else’s version for verification.  See into my own life as given.  It is all there – hands to the plough:  seabirds hover and swoop.

The Hermetic Table of Alchemy states:  Visita Interiore Terrae Rectificando Invenies Occultum Lapidem “Journey into your own centre (earth) to put things right, and discover the hidden Precious Stone.”  

The seven initials – one for each chakra –  spell “vitriol” – an alchemical paradox.  Vitriol is sulphuric acid, and it also means “a harsh criticism”.  Alchemical vitriol is that same power to turn inward, “without hatred or envy“, and – from brewing the wisdom of the ages – to see outward and adjust our world according !  The art is performed with sulphur, salt and mercury … Hokhmah, Binah, Kether.

Vitriol transforms to Elixir.  (see http://www.crcsite.org/printTabulatext.htmInterpretation and Explanation of the /tabula smaragdina hermetis, in The Rosicrucean Archive).   Alchemy is homeopathic, transmuting toxins and eliminating the rust.  Upon sound psychological observation the Chariot of the Spirit is drawn.  Psychology is the wheelbase of all occult and esoteric study.  Self knowledge is the essence.

The second in a series of paintings (1986) where the trail opened inward, rather than upon outward portraits of life.  In the centre are pilgrim and cloven footed gate keeper.  To the right is a train with all my current acquaintances and friends as passengers.  On the rocky cliff is a mythic Greek bull, myself naked, and a mother trying to protect her baby from the sea.  The man creeping along the cliff is a conductor.  The ship out to sea is the vessel.  It was a mixture of dream images in the pot.

“Rocky” – The second in a series of paintings (1986) where the trail opened inward, rather than upon outward portraits of life. In the centre are pilgrim and cloven footed gate keeper. To the right is a train with all my current acquaintances and friends as passengers. On the rocky cliff is a mythic Greek bull, myself naked, and a mother trying to protect her baby from the sea. The man clinging along the cliff to save himself, is a conductor – the personal ego. The ship out to sea is the vessel. It was a mixture of dream images in the pot.

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My relationship with Master R – who counsels civilizations rather than single students – is based on my working interest in Alchemy – a chosen, pragmatic focus.  At such moments I become attuned to some of “his” way of seeing things, and my patterns of life then verify it with subtle rhymes that I recognise with my life pattern.  It is a working relationship of the soul, rather like duet playing.  It takes practice.  Willingly keep practicing!

master R sketch 6

This Master is not an individual.  He is a way of seeing things trans-personally.  It is a way which subtly alters the environment from within.  I have a whole article yet to write, about how I discovered a way to contact him and the other great teachers in his plane, by drawing, waiting tentatively – a kind of surrender to the unknown – and then having to do it myself.

A hallmark is that I am not told what to do.  When in great difficulty, I try something, leave it open, and then the smallest nudge indicates: right or left.  Open or close.

I am the left pair of hands, and all ear for my friend who is a much more competent pianist.  It is autumnal and tumbling.  This person had an attractive curiosity about life.

Piano duet 1999 – I am the left pair of hands, and all ear for my friend who is a much more competent pianist. It is autumnal and tumbling. He had an attractive curiosity about life.

This morning’s plan is to copy his first full painting in the Trinosofia, like I did the 12th.  It prefaces Section Two in the Trinosofia, because Section One is introductory, and written from a prison – the human dungeon.  Section One warns the reader against abuse, indiscretion and the Inquisition.   Section Two is an inner liberation.  It takes us into the interior, deep under Mount Vesuvius.

However, as soon as I sat down – after a long search for my sketching paper – words started to come.  “He” wanted to say something about scientific attitudes.  I have the gist of lifetimes in my bone and blood.  I ploughed my talent into the secrets of the universe, and discovered it is one and the same.  I only write down “his way of inspiring me”, by having toiled and verified the same for myself.  I get annoyed with trendy young Professors on TV who declare “astrology is a load of rubbish” without the courtesy or discipline to study the basics for themselves.   Theirs is NOT scientific thinking, it is belief, and belief takes ignorant short cuts.

The problem with scientism is when it fails to incorporate the observer who is “real science” by genuine trial and error.   The problem is the practitioner’s failure or unwillingness to incorporate the Heisenberg principle – (that the observer’s consciousness influences the experiment;  that a wave particle may be detected in position OR in motion, never both at once).  The Heisenberg principle is the observer, inseparably.  The problem is the false separation.   As J.Krishnamurti knew and said, “The observer is the observed.”  But what academic ambition could tolerate that?

The Table of Hermes also states, “Let all obscurity fly from thee.”

On a broader canvas, modern science – which in Quantum theory approaches the vision of the Vedas – is divorced from the medium which is Gaia – ourselves – our Earth and biosphere, weathers, oceans, creatures and volcanic interior.   The whitecoat is divorced from the laboratory bench, because he seeks to manipulate a new toy, something commercially viable for the tiny humanosphere.  Whereas, an Alchemist IS the bench, the laboratory, the elemental table, as handed down through thousands of years and the distillation of many civilizations.

Trinosofia figure 2, photo of facsimile on computer screen

Trinosofia figure 2, photo of the facsimile on my computer screen.
De Givry said of this figure: “It represents a man gazing into a prophetic cup forming a magic mirror. The conjoined signs of the Sun and the Moon are seen against the pedestal of the table; at the top, a super-position of different coloured rectangles indicates the phases of the Work, and the double sign of the Lingam in a circle emblematically recalls the Hermetic male and female. An inscription in Greek letters and made-up characters gives a formula for the composition of Gold/the Sun King, by means of a mixture of gold and silver regenerated by vital mercury. Linked to the blue rectangle giving this formula, is a red rectangle inscribed with the rule for the furnace fire in Hebrew characters.
“The Hebrew letters in the red panel are translated: ‘On account of distress, they shall cling to the Bestower. The wise who are wearied with worldliness, shall turn to wisdom, the bestower of all good things.’
“The letters in the circle are Greek and translate to “the Light of revelation”. The inscription in the blue rectangle describes the quickening of the soul seed (Aries) and of the breath upon the waters. The number 62 appears, with an admonition to open the holy gate (clairvoyance) with the aid of the vessel or cup … adepts drink the water by which the soul remembers its own substance and origin …”

Alchemy, Freemasonry and the esoteric schools of Europe, were Master R’s hobby when he dressed as a diplomat among kings and nobles.  When I feel him – or who? – drawing near, it is like a river flowing into my back from behind, and over my shoulders … playful, pleasurable and awesome:  joy, truth and tearful.   The connection with him is my natural Yes.  My years of refining my tools and studies in his working channel are the current: apprenticeship.  The Master goes away to attend to his stuff on the inner planes, and leaves the apprentice to work things out.   The Master outside and embracing space and time, dips into it at will, condenses himself to a heavier medium of thought for a quick visit, dissolves back into light, presents a countenance through the sky colour changing clouds which his apprentices  recognise.  The light rejoices the fields.

The Master comes to the way of love, because love always meets its own, and “truth agrees with itself” as Paul Foster Case has said.   “Love, and you shall know.

Right now, we are carpenters, builders of furniture and carving at a bench, and both wear leather aprons.   The Master is better known, however, as a jeweller.  In this drawing, his profile and left eye looking down, is across the upper right corner, and when I drew it, those were planetary orbits coming near, and detailed chippings into the soul, releasing gems.

It was 1988:  I did not know then, that Saturn, Uranus and Neptune were conjunct, entering Capricorn.

Jeweller 1988 - or gem maker from planet orbital planes

Jeweller 1988 – or gem maker from planet orbital planes

His eye has compound vision – multi dimensioned – yet is deeply attentive to one thing.  The shared lens is “concentration”.  Those may be cones of sight, or simply one-pointedness.

Having hinted at what a Science might be – the expression of a path of knowledge – let’s look at Mystery.   Any so called Mystery which stands in front of the mystery of why am I here at all?  Why aren’t I you?  Why is the nose on my face like this?  Why do the flowers grow that way, and how do the lambs dance out of their mothers? … is a camouflage.  It conceals and congeals.  Mystery is the “plain to see,” or as a friend once put it – “the Miss Trees”.   Because life and the economy are hard, many of us prefer to go to the cinema or stare at a smart, smart phone, and be frightened of robbers.   The Greater Mystery is nude.

The figure on the right was drawn when I was seven or eight.  I guess this post is inspired by my classic dream last night of walking up Finchley Road and talking to people and then discovering I had no clothes on at all, which up till that moment, felt perfectly natural.   There was nothing to cover myself with – my aging defects and blemishes – but a large book, which was inadequate.   That tells reams !

aphrodite - Version 2The Mystery – a hidden treasure which loves to be known – resides perhaps at the heart of all the conventional interpretations of being stark naked in a dream.  I feel the connection.  In my dream as I woke up, I found some transparent nightwear in a small shop, to go home in, which did the job less effectively than Aphrodite’s hair!  My dreams poke fun at me.  I love it.

Revenons a nos moutons.   It is time to tackle that new drawing.

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Not knowing Greek, I had to guess at the letters and shapes in the blue rectangle; also the online reproduction of the facsimile blurs them. The coloured planes behind it are the elements. I gave it a grey background, to suggest the cave.

Not knowing Greek, I had to guess at the letters and shapes in the blue rectangle; also the online reproduction of the facsimile blurs them. The coloured planes behind it are the elements. I gave it a grey background, to suggest the cave.

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What fun I had with this!

For Master R’s writing of the inner journey, see my new Page in the title bar – Trinosofia Texts.  I particularly love where he says, “Without reproach of the past, without fear of the future, I went on.

FROM MY JOURNAL, 17 October – Yesterday was interesting after the naked dream.  I began a new Master R post in Aquariel, tugged into writing about science, a hobby horse of “his” – and I began to realise the naked dream was coming up through it with an alchemical meaning of its own … and at last began the new Trinosofia drawing.   It took a very long time, as the two figures in the original are clumsily drawn, and the anatomy is very difficult to copy.  The original in colour is online, and though much better than the xerox in my book, the repro is low-resolution and the lines are fuzzy.  The two figures are naked, but she wears a peculiar black skirt or shawl round her waist, and black boots.  I made her skirt an indigo velvet colour (saturn).

He wears nothing but a pair of red strappy sandals with yellow soles, (mars-mercury colours) and is very muscular.  He bends over the blue “table” on which stands a golden cup and a lance-head/sword.  He gazes in his feminine mirror.  With a turquoise wand – the scorpio force – she touches his third eye, making him an Initiate.   In the painting she lays it across his left shoulder as if knighting him, but in the text it says clearly, his third eye, his forehead, so I decided to follow that.  I also altered the position and shape of her legs.

They are an extremely dynamic couple.  They ignite an alchemical Great Mystery – a fire self-combusts on the night-sky floor, near where the sun and moon conjoin, and it bends towards him.  This is the secret fire, which quickens him.   I worked on through the evening, with time off for my friend H’s visit (during which I wept, as we talked of painful stuff) and watching Grand Designs on TV and then I fell asleep on the floor for an hour and a half – final session midnight until about 2 am, I filled in most of the panel detail, background etc.

It is beautiful to copy and savour the precise Alchemical Colours, the reds, blues, yellows, green, violet, indigo, knowing what they signify.  The Mystery throbs to life.  It is right that he is muscular, for this is the tonicity of Mars.   Her breasts and upper body are plump above her dark skirt, and she has an earnest expression.  She is Isis, with long flowing brown hair, curly, and she looks like Morgan in Dion Fortune’s Moon Magic.   With the robes on she would be regally dignified;  with the absurd concealing skirt and boots, she isn’t, she is rather a comedy – just like I feel if caught undressed – but she presses on with the job.   She represents the man’s encounter with Mother Nature, himself mother naked, from birth, as he will be, in the grave.   Above them are beautiful plaques hanging, red and blue, with alchemical letters.  I’ve done the red one/hebrew letters, and have just the blue one to do, this morning.

I love the way the colours so unexpectedly come to life and sing together.   It is the good Prang crayons I use, and the long practice with the Tarot Keys.  Alchemy releases the inner rainbow, and Master R’s art did the same, in his day.   The “originals” in Trinosofia are actually copies of his work which disappeared.   He said to the Cases in 1947, that they are good copies.

The cross depicts the deep room the neophyte came to.  The doors leading from it are red (faith and universal medicine), sky-blue (purification/elixir of life), black (labour, making material gold) and white (philosophers' Stone).   On the north wall over the black door by which the neophyte entered, was hung the painting.

The cross depicts the deep room the neophyte came to. The doors leading from it are red (faith and universal medicine), sky-blue (purification/elixir of life), black (labour, making material gold) and white (philosophers’ Stone). On the north wall over the black door by which the neophyte entered, was hung the painting.

As well as Science, I touch on Mystery.  I said the real Mystery is “existence” – more so than anything put on an altar.  But I fib, because I am unable to bathe in the Mystery, with all my worries taking up the space.   Nevertheless I know that an Initiate does bathe in it and is washed clean.   With the drawing, something of the Greater Mystery is touched and unveiled:  the keys which deeply nourish the soul and link with Eternity.   The Greater Mysteries, as far as Master R is concerned, have an essential ceremonial in them – something is at first blindfold, then unveiled – viz the symbolism of me going naked up Finchley Road.

Always it is an exchange of man and woman – as demonstrated in colour in the drawing, for the blue plaque is above the man and the red plaque above the woman – hers is a right-pillar active role;  he, like Gevurah on the Tree’s left pillar, receives.   The man who is about to be initiated into the Greater Mysteries, strips and bows to Her.

Passion does not fulfil the heart.   Life softens and ripens the fruit of love.

“When the heart is deeply moved, it likes a little ceremony.”

Up came my Nakedness in Public.  I have been struggling with my worry about A …  I have tried to keep cool and okay and not think about it.  But I decided to talk to H, who is always inviting me not to bottle things up but have it out with him.   And alas alack – the emotional pressure, my thick voice, my tears in eyes – all the work I have done on myself seems useless.   And how foolish I feel then about my esoteric studies – to non-esotericks like H, they must seem to be my escape route.   On and on I go with this traumatic pressure inside unchanging.

None of us, he said, live our lives without making significant mistakes.  They make us grow.  He began to outline a few of his own.  We live with them for the rest of our life, but it is not negative, because of what we do subsequently.   It is our responsibility.

I live with my feeing of having done wrong …  Address this, because otherwise my expectation that bad things might happen,  materialises.  I am wise when silent and writing of it, and I am a mad merrygoround when trying to drive the chariot with someone else;  when trying to speak of it.   It is so frustrating.

A healing colour combination, the other day.  The blue is meant to be indigo, but my camera saw it differently.  Indigo is Saturn, Orange is Sun and Red is Mars.  Tarot Keys the Lovers and the Sun are both in the solar orange frequency:  the tone is D-natural.

A healing colour combination, the other day. The blue is meant to be indigo, but my camera saw it differently. Indigo is Saturn, root chakra, Orange is Sun, the heart, and Red is Mars, navel chakra. Tarot Keys the Lovers and the Sun are both in the solar orange frequency: the tone is D-natural.

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The core problem is Worries.  The habit of worrying about anything  I depend on, like my bike making funny noises,  or my laptop behaving oddly.  if it seems not to work properly, guilt slams in, and a sick tension inside, I did something wrong.   This must be seen to, because it is a chronic condition, and it may get worse as I get older.   It says I have let someone down.   I neglected.   I didn’t look after her.  I had a fantasy, a playground, and it wasn’t true.   I let down even the Great Work.

So that is also the inappropriate naked feeling in the street – suddenly uncomfortable where I was insouciant.   The guilt feeling is so backed up, that when I speak of it to anyone, it makes it worse, the sound of it, the stuck wheel.

Enter Art Therapy!   My dreaming re-booted, because of this plan: I shall go to an art therapist to explore this thing in clay and collage, hands on, rather than struggle with speech.  It feels somewhere refreshing and discharged, to have dreamed busily again last night.  I dreamt of a wacky commune by the sea.  They had a huge communal bath-tub outside the house, and the rooms inside were like Mick Jagger’s in the “Performance” movie.  I had long conversations with wild hairy drop-outs and old acid-heads,  and am amazed at their colourful personalities and their faces – how did my mind invent them in such detail, and their life-stories?  Then I dreamed of a complex citadel or town of many levels, and suddenly I saw through a window, the rocky summit of Mont St Michel, just outside.  My way forward would traverse the peak.

I felt relieved, after what my friend H said – about what we do with our mistakes –  but the turbulence takes time to settle, and I made supper – brown rice and lentils, tin of spiced sardines, some beetroot, tomatoes, coriander and cress and a bit of curry powder, golly how delicious – and went straight back to my drawing.  The rice and lentils boiled dry and burned on the bottom.

The turbulent location takes relief in its stride, it is a circuit of tension and relief, it is self-important and doesn’t move.   This is the substance to address.

The Inner School isn’t concerned with time.  It doesn’t make immediate changes, it chimes up the process which then takes time to clear – many years, as I now know – or lifetimes – being human.   Facing grief – turning to face the wind.

Therapy with the Inner School opens spectacular insight, and the feeling of great seismic shifts and clarity and progress – and then a bewildered disappointment on discovery that the situation in the surface has not eased.   The emotional upset – the trauma deep down – is as intractable as ever.

Remember:  the seismic shift is REAL.   Deliverance is certain.  But the Karmic stuff remaining – the slow fuel – takes time to consume and release.   Many years of Capricorn.

This is also the meaning of the fire under the Initiate, which blows towards him.  His legs and body glow.  He is being speeded up, confronting the fire directly, even as he drinks the water of life and is touched by Isis.   Life isn’t easy.

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A strange image!  It heads this section II of Trinosofia.  The reproduction I copied it from is itself blurred, so I don't know what the figures are at the "tunnel" entrance.  Or is this a convex shape?  I have left my perspective deliberately a bit awry.  A portal of some kind ... to an under of interior world.  I had a dream of bricks looking watery, like an Irish or Highland stream with its autumnal glints.   I may work on this a bit more, sometime.

A strange image! It heads this section II of Trinosofia. The reproduction I copied it from is itself blurred, so I don’t know what the figures are at the “tunnel” entrance. Or is this a convex shape? I left my perspective deliberately a bit awry. A portal of some kind … to an underworld or interior realm – it doesn’t anywhere say “abandon hope”.
I had a dream of bricks looking watery, like an Irish or Highland stream with its .autumnal glints – the flow of “snake water stone”. I may work on this a bit more, sometime.

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And I have an aim.   I want to be and live like an Initiate, discreetly camouflaged to the social terrain of today, because this is the real way.  It is like “toning” the colour in a painting, to a plant or stone in the hedgerow.   I want to work with persons.

It seems to take decades to weather the raw Stone.  I must NOT appear as a wild occult loon, or have sticky opinions about it – and that is tricky, because the juice of the inner School ignites the personal ego to burn-off.   Dignity and discretion!   What layers and layers of training there are – and how far off this ideal still seems, even if – like my glimpse of the rock and lichens of Mont St Michel last night  – i can almost reach and touch it.

This morning I read and reblogged Lissa’s wonderful article about Trauma.  Her insight and her “damascan discovery” reach right in to my Trauma zone, and illumine the subconscious strata from which my habitual worries sprout:  for give.

We give to each other the Fruit of Life.

Orpheus.  Note the strata of the soul, behind him.  He rises like trees, from the core of the Earth and ancient history.

Orpheus. Note the strata of the soul, behind him. He rises like trees, from the core of the Earth and ancient hieroglyphic history.

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Peace, peace.  The opening phrase of this Sonata by Master R, is beautiful and gentle.  And the finger-friendly pair of Minuets at the end!

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Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Begin an Inner Journey – My House of the Psyche

A meditation from the beginning of September – I had highlighted it then, for a post; so here it is.  It is followed by another Saint-Germain violin sonata, and something my mother wrote a long time ago, about the sea.

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Master Key

Master Key

The house before me has an oak arched door … a room of the soul directly.

The door is reddish brown, heavy and strong, with tongue-in-groove planks perhaps, hung in a masonry ogive like a church.  An iron key from Tiruvannamalai market opens it.   Breathe down into the belly and go in.

Tiru key, pyramid, devon pebble and jug

Tiru key, pyramid, devon pebble and jug

It is fresh inside as if scented with spring hedgerow blossom, discreet;  adjust to the low light.   Interior space.  A black cat perhaps is curled on the floor.  The floor varies.  It might be a green carpet, or it might be old wood floorboards, like my upstairs at home.   My hallway or entrance here is more spacious than at home, a square room with books shelved around it on the walls, and not much else.   The books are more for wallpaper than for study.   Like lifetimes, I have read them, and now they rest inside their motley covers and spines, like “My War”.

Let’s have just one chair here:  sometimes two – for a reader.   It is like my white armchairs, but of natural wood.   My entrance hall is a library, but in the far left hand corner there is a door:  go through that – there are stairways in a well, one going up, one going down.  Can walk straight through into a violet tinged room or space which is Yesod.

malkuth yesod

Tree of Life detail – Malkuth, Yesod

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My Sefiroth and paths are not cluttered or furnished much:  they are colours.  The entrance library has all the data.   So here, I can just reach for a book which attracts me on the shelves.  At the moment I see Stephen Szegedy Szuts’ “My War” (1932) and in it the story is told in crisp brush drawings; each has a title which is listed in the contents page.   The first drawing is of waking up on a beautiful morning.   The facial expressions and the swift Magyar touch, are vivid in my inner eye.

Two drawings by Szegedy Szuts

Two drawings – Awakening and Flowers are Speaking, by Szegedy Szuts

The message of the book is the dawn of consciousness through the monstrous world-war which the lemmings run to :  wake up to “Stop the Killing!” – but the objector was shot.   I also see through this, the atmosphere of Stephen’s house and studio above the Cornish sea. It seemed to be overhung with flowers, and Gwynedd dragging her hip around the rooms, and a small crowded kitchen sink where Stephen washed up; and upstairs in the studio where we children slept, Stephen’s strange abstract paintings watch us all night long:  they are eyes and swords and hollow ways:  personalities – like this one I painted with a knife, many years later:  it took just 20 minutes.

Ikon 1987

Ikon 1987

My house of the Psyche is simply what happens when I sit down with my coffee each morning, and “reach for a book”.

I have to let earlier forms fade away.  Why?  Because my inner ruler doesn’t work with them, and they are in the way.   So leave go all the rules about garden cave library, or hallway, butler and housekeeper:  be still.

Child with geese by Szegedy Szuts

His daughter, mistress of the geese – by Szegedy Szuts 

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There is a garden, where I am just now.   It is a rose garden, and I am seated on a stone-cut tier around the central fountain.

It is the rose garden which is seen from above in my  Black Swans picture – I painted it while listening over and over to the cyclic splendour of the Credo in Bach’s B Minor Mass. Black Swans was inspired by a visit to a stately home near Staines, with a Henry James atmosphere.  It has a mass of simultaneous perspectives.  The swans were tragic princes.

Rest here:  hear the water, breathe the scent of the roses … remember also Liszt’s St Elisabeth Roses tune.  It came naturally with the roses and their scent.   There is a drowse of honey bees.   The garden is quite unlike any ground I have to tackle in life.  It needs no maintenance. It is a rest-place, and the fountain is the well of my soul.   The fountain is also Hebrew-letter AYIN, embleming the Capricorn Devil Arcanum;  behind that spectral Shadow, is the Guardian Angel’s light.   When you look down on a fountain, it is an eye:  a fountaining point with a circle around it.

precious stones

And there are stones:  polished pebbles – hold one in hand and polish it further.   Jewels are stones – flower-stones – which have been polished so much by being touched and held, that they shine.   Jewels are Himalayas brushed by an eagle’s feather once every hundred millennia or so.   And so a jewel may transfigure everything it touches.   DNA.   The equations of the serpent of the stars are sacred.

Zodiac with Ophiocus the Serpent-bearer constellation

Zodiac with Ophiocus the Serpent-bearer constellation

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My house of the Soul goes no further for the moment.   Establish the garden and the entrance library.  Put my old ideas about it in the fountain and let them wash away.   The air is stripped naked.   Keep attentive to my actual map, its unfolding.     I am going through the door, like Alice past the oak tree;  but the door is in my Self:  all things in the deep cohere, and combine and are One.

Obviously my house begins with books and shelves;  because every genuine inner journey starts with writing.   Sitting down with the writing is my door and Tiru key.   The Tiru key is Ramana and Self enquiry.   It is with me for ever.

In my entrance library, there IS a colour painting of the Tree of Life, just like in here.   It is on the wall among the bookshelves; or propped or on a stand.   This I can look at first, before journeying to any Sefira or Temple.

Alchemy Tree of Life

I have a feeling in the Master R Aquariel series, to travel the Trinosofia in it.

I see and hear combine harvesters, the smell of cut grain – the harvest time of Virgo.  The shrine of the soul:  and sweeping my shrine which is a cave.   I see my Zodiac Hermetic temple – the dinnerplate drawing.

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A contemplation for the technically minded:  most of these sketches (except for the second one) were done when I was first studying Kabbalah, and I worked with a different path system from the one I use now.   A good way to get to know the Tree and bring it to life, is to play with it in all kinds of ways:  the period of Hod, Sefira of learning.

Regarding the Tao Tree above, top left, whose “eyes” are at Gevurah and Netzach:   I had a comment-conversation with someone in blogland yesterday (i.e.30 August), about putting the Tao-symbol’s “eyes” at Gevurah and Hesed instead, so it makes a spirit level. This centres the Tao on where the paths of the Priestess and of Strength intersect, just above Tifareth.  The circumference passes through Kether and Yesod:  Malkuth is outside it as the root.

(I like this idea, but for me the Tao is always coming into balance, to earth; and so the first version illustrates it better.)

If the Tree glyph is “folded” along the line of the Tower path (Hod-Nezach) with Malkuth resting on DAAT (the known-world in the unknown), the base becomes Yesod, the Foundation of the Tree:  the personality.  The meaning of this is that “the Real world” is so much more than we think we see or believe.

Malkuth is a gateway to a Mandala – to the inner Temple of the Tree, embracing it as a whole.  This is how it is, with an inner journey.   Malkuth has all the data.

Number Ten:  the (1) is part of a discarded didgeridoo made by my nephew

Number Ten: the (1) is part of a discarded didgeridoo made by my nephew

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I stay with the entrance library and the rose garden for the time being, moving freely from one to the other.  They are aspects of my Malkuth – the root or base of the Tree of Life:  its manifestation in my physical world. Malkuth is my alchemical vessel or craft.

The bluish-violet glow towards Yesod is in the dark beyond the stair-well.   It corresponds to the path of GVPh Key 22, between Malkuth and Yesod, which in Kabbalah is called the path of Administration:  our body as the temple.  The stem of the Tree.   Then Yesod (local ego) is the  personal expression of the transpersonal, and I shall visit it another time.

It seems to me that the paths and Sefiroth into the Tree of Life are scattered with little jewel stones here and there – like the glow worms who light the way – the stars.

hermit and gem

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For me, the arcana of the Tree of Life and Tarot keys, are – for that period of focus – a way of hearing or writing music.   It awakens me inside:  happiness is concentration, a keen third eye.  What counts on an interior journey, is not events and images – we all experience these individually – so much as the kind of focus, and travelling with it.  Then there is a lens, and the Companions of the Light know where to shine through it, into the ground, and offer their counsel.   Wisdom is the still small voice.  It seeks an accurate tonal perception – a clear window – to speak through.

Through Beauty is my Way!   In the sacred geometries I enjoy great beauty … it is within all the weathers.

To withdraw from the contemplation, just be in the library and “come down the Tree”.

Then I am outside the door, looking back at my plain grey house-of-the-psyche – (it has trees growing up it, to each side) – with the key in my hand.  I am in open country which is the situation of my life.   And on with the day.

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The Adagio in this Violin Sonata by Le Comte, has great charm, and some tender key changes, rather improvisatory.

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Here is part of a letter my mother wrote in 1960, to her father, Jim Ede – I discovered it the other day, on a visit.

“No I don’t think it’s really true that there is a special need for the sea.  I do know just what you mean and when with the sea, a certain need is often deeply fed and satisfied.  But what there is for us in the sea is there also in the trees and sky and clouds and grass, if it is there in our hearts to respond.  If we have to seek it out by road, rail or air specifically at chosen spots, it hasn’t really any significance, it’s just another kind of telly.  I do think we all need sometimes to be alone and quiet and in communication with things which are not man made – but if we feel that the sea has this focus which the sky has not, then I think we need to sit down quietly and empty ourselves of chatter so that we can be more receptive.

“Mind you, I have a fearful feeling for the sea myself, and often a powerful yearning – but I think this yearning is very physical – so much so that it goes right back to the beginning of life in the earliest oceans.

“Inasmuch as there is no separation of the physical and spiritual, I suppose you might call this a spiritual need – but I don’t really think it’s a need at all.  I think all we need is here, where we are.

“Today I was crippled/bad back – but even if this was to go on for the rest of my life, I don’t want NOT TO BE any more, just because I can’t run on the hills and swim in the sea.  These are just ways of being myself by becoming for a moment the moors or the sea.  But if I am in direct communication with everything about me, then there is no ‘ME’ as an entity apart from all else, and so I no longer need to lose myself in the sea or the telly or social welfare or anything. 

“I think it is up to each of us to make our lives quiet and simple so that we can understand these things.  I am very very privileged, because I have been allowed to grow in comparative freedom.  But I am no more privileged than any other human being ought to be.  We have stunted ourselves so terribly – so obliterated our natural abilities and perceptions, that most of us after we are two years old, can see nothing as it really is, but only in a warped and twisted light.

“… …Loving is true living, and we all fall short of that.”

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A painting I did in '86 - a London meadow behind the houses across the road, with a twilight stroll and the street upside-down through it;  a pair of hedgehogs play among the cow-parsley

A painting I did in ’86 – a London meadow behind the houses across the road, with a twilight stroll and the street upside-down through it; a pair of hedgehogs play among the cow-parsley

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Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mystery of Master R: part 6 – the Twelfth Day of Trinosofia

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Sketch of Trinosofia 12th stage - Initiate and Isis

Sketch of Trinosofia 12th stage – Initiate and Isis

trinosofia master r

For some reason, I  wanted to begin my sketches from Master R’s Trinosofia with the Twelfth chapter – the final one – of the inner journey.  I posted this monochrome xerox in Part 1:  so here is a link to the facsimile original, where you can see it properly:  scroll down it, to Section Twelve.

I  copied as best as I can, the colours in the original.   I am not a good colourist, so I found it difficult, and I don’t know how many more I shall try – perhaps in different styles.  Master R’s figures and characters have rosy cheeks.  The period style sits intriguingly with his Alchemy.

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Here is Manly P Hall’s translation from the French:

“The hall into which I had just entered, was perfectly round;  it resembled the interior of a globe composed of hard and transparent matter, as crystal, so that the light entered from all sides.  Its lower part rested upon a vast basin filled with red sand.  

“A gentle and equable warmth reigned in this circular enclosure.  The sages call this hall – hebrew text from section 12 trinosofia “With astonishment I gazed around this crystal globe, when a new phenomenon excited my admiration.  From the floor ascended a gentle vapour, moist and saffron yellow.  It enveloped me, raised me gently, and within thirty-six days, bore me up to the upper part of the globe.  Thereafter, the vapour thinned;  little by little I descended and finally found myself again on the floor.  

“My robe had changed its colour.  It had been green when I entered the hall, but now changed to a brilliant red.  A contrary effect had taken place in the sand on which the globe rested.  Gradually its red colour had been transformed into black.   After finishing my ascent, I remained three more days in that hall. 

“After that time, I left it in order to enter a large place surrounded by colonnades and gilded porticoes.  In the centre of the place stood a bronze pedestal supporting … a large strong man whose majestic head was covered with a crowned helmet.  A blue garment protruded through the meshes of his golden armour.  In one hand he held a white staff bearing certain characters; the other hand he extended towards a beautiful woman.  

“His companion wore no garment, but a sun radiated from her breast.  Her right hand held three globes joined by golden rings;  a coronet of red flowers confined her beautiful hair.  She sprang into the air, and seemed to lift with her the warrior who accompanied her;  both were borne up by the clouds around them.  On the capitals of four white marble columns were set four bronze statues;  they had wings, and appeared to sound trumpets.

“I crossed the place, and mounting a marble platform, I noticed with astonishment that I had re-entered the Hall of Thrones – the first in which I had found myself, when entering the Palace of Wisdom.  The triangular altar was still in the centre of this hall, but the bird, the altar and the torch were joined and formed a single body.   Near them was a golden sun. 

“The sword which I had brought from the hall of fire, lay a few paces distant on the cushion of a throne.  I took up the sword and struck the sun, reducing it to dust.  I then touched it and each molecule became a golden sun, like the one I had broken.  At that instant, a loud and melodious voice exclaimed, ‘The work is perfect !’

“Hearing this, the children of Light hastened to join me, the doors of immortality were opened to me, and the cloud which covers the eyes of mortals, was dissipated.  I SAW, and the spirits which preside over the elements knew me for their master.”

bird of fire 18th c

Bird of fire, 18th century

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For me, the way to read beautiful alchemical texts or poetry, is not to churn it intellectually, but to receive the images slowly, one after the other.  They tell the story to the part beyond speech, where wisdom replies.

This one is particularly rich, awaking old engravings of the vessel and the bird;  the dew of life;  the purifying of the mind’s residue as the red sand turns black – rajas active, to tamas, its absorbent texture.  At certain times during the alchemical process, over the years, the wing of a highly esteemed Raven appears:  the negrido.   In the black sky, the stars – the grains of cosmic sand – are visible.

Raven

Raven

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In Manly P Hall’s commentary, the Hebrew letters spelling the name of the hall are: “A place where drops trickle”.  The basin sustaining it is “the desert of blazing fire” or “the agent which enables the drops to escape.  From the bottom of the glass retort, vapours are constantly ascending.  The adept is lifted up, and after 36 days is borne to the upper part of the globe.  The heat being reduced, he descends and discovers that the colour of his garment has changed from green to brilliant red.  ‘The solution in the alchemical retort, if digested for a certain length of time, will turn into a red elixir which is called the Universal Medicine.  It resembles a fiery water, and is luminous in the dark’ – see ‘The True Way of Nature’ by Hermes.”

This interpretative paragraph is by itself, full of meaning.  There is a condensation on the flask of the interior life.  It falls to earth as the water of life.  The thirty six days is a reference to the LAMED VAV – the counsel of 36 Masters of Wisdom, who guide Earth and humanity (whether we listen or not.)  The number remains constant.  In the Initiation, the adept or aspirant becomes of their number.  The heat – the intensity of the Great Work – cools as he returns to life.  The Universal Medicine gives a ruby tinge.   The colour of his clothes has changed – from green, the tint of Venusian laws of attraction, to red – Mars:  the action itself, of the Sun.

An Illustration from A.Roob's Alchemy & Mysticism

An Illustration from A.Roob’s Alchemy & Mysticism

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Hall continues:  “He beholds the bird, the altar and the torch united into one spiritual body.  Heaven, earth and man have been united by the indissoluble bonds of Hermetic wisdom.”

Master R : 08 - altar bird torch

Realisation brings with it a sense of amalgam – of all parts being fused:  the universal connectivity in humankind’s cosmic heart.

“The adept himself is now the Universal Medicine, the very substance which is for the healing of nations … The philosopher breaks the golden sun – the Universal Gold – in fragments, distributing it throughout nature.  He then touches them, and each becomes perfect.  The alchemist is master of his Art, and by virtue of the Stone he releases and perfects the fragments of divinity locked within each mortal constitution ... the ages acknowledge a new Master.”

Pelican & Phoenix - A.Roob Alchemy & Mysticism

Pelican & Phoenix – A.Roob Alchemy & Mysticism

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If I digest these symbols, as visually represented, slowly they begin to tincture my problem of life, by themselves.  Trust and love the process, and let IT work.  Alchemy is in everyman’s reach, closer than breath. The heat should be as a hen’s breast to hatch her egg. Alchemical language was made deliberately obscure in medieval, renaissance and reformation times, to avoid abuse, misuse and persecution.

At the beginning of the Trinosofia, the adept travels in the volcanic bowels of the earth and survives an ordeal of stormy seas.  Our way to interior peace is through psychological resistors – the  violent veils, each of which we face, and pass;  as we know ourselves.

Of the picture, Hall remarks, “The pilgrimage of the adept is at last complete.  In the heavens blazes the philosophic Sun – a triangle surrounded by a circle and a square, unifying the diversified elements of Nature into one divinely radiant and effulgent power.  The female figure is Isis – her body no longer concealed by a black garment.  She is Nature.  With one hand she points upward towards the Divine Light, her source, while with the other, she carries three globes emblematic of the ART, the supreme Hermetic alchemy.  The globes represent the three parts of the Philosopher’s Stone, bound together by gold rings. 

“The large strong man is the Initiate himself.  Through the meshes of his golden armour protrudes the blue undergarment, his starry cloak.  In his hand he carries a white wand ornamented with magical characters – insignia of his rank, the baton of the adept.”

It is the baton or tool of an artists’ creative imagination – a pencil full of images and ideas.

pelican, serpent staff & phoenix, 18th century

pelican, serpent staff & phoenix, 18th century

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I find Manly P Hall’s commentary on the Trinosofia illuminating and useful.  It seems that Master R himself did not altogether agree!  He is on record telling Paul Foster Case:  “If you will procure and read the pamphlet on St Germain, and compare it with what you know of me, you won’t have much difficulty in understanding that none of us are exactly enthusiastic about the life, ways and work of M.P.H.  We use him sometimes, but he is after all pretty much of a solemn ass. 

“Remember the words of Lao Tse: ‘evil men are the material with which the sages work’, and one of our Eastern brethren once paraphrased it by saying that the Masters employ the Dugpas for their dirty work.  Not that M.P.H. is a dugpa, he is really a fairly effective instrument for arousing torpid minds, but he does take himself so seriously, that it is painful even to us, who have the highly developed sense of humour which is one sure consequence of true inner growth … now we will resume with another fragment of the Text (on Malkuth) …” (5 February 1948)

And:  “Incidentally, now that you have heard Manly Hall, perhaps you can understand that we are not too pleased with his flatulent comments on the Trinosofia.  His copy is not the original, not even the drawings, which however were excellent copies of the originals.  Yet there is material in that text (Trinosofia) germane to your work, and it might be well to give it more thorough inspection.

“… the inner work is arduous at its early stages;  it calls for unusual abilities on the part of those who seek to become proficient in the higher ranges of practice;  it is emphatically not for neurotic visionaries of the type so often encountered amongst Theosophists and so-called Rosicruceans …(19 February 1948)

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19th century master r

From this romantic 19th century impression of Master R, I attempted this new drawing, a few days ago.  It was immensely hard to get right.  My eyes are not as good as they were.  While I am on the drawing, it is almost there and begins to speak.  Then I look from a more objective angle, and it is all out of proportion – eyes have to be redone, and so on!

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Master R - in 19th century  mode

Master R – in 19th century mode

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And now let him speak.  The Adagio and the Andante of his sixth Violin Sonata (composed and performed in London in the 1750s) are exquisite, conversational movements.   I try to draw out the pianistic touch slowly like a violin – a flexible baroque style rubato;  let it sing.  I haven’t tried the quicker movements;  the slow ones are within my reach.  But, like Bach, this music may be enjoyed as slowly as you like;  play it as a chorale perhaps.

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EARLIER NOTE – 30 September 2003

To return to my Holy Brother’s Sonnet, the star ripples secret fire and Light through spatial atoms, the yeast spreads through the grain, the grape ferments to Bacchus, the pip that is the sperm ferments within the womb as the Soul lodging in womb’s wall ripples into the maternal chorionic villi.   Fermentation is a kind of sparkle.  It is invisible.  Yet all around it is this ripple and ferment,  this life which is not decay nor carrion.  Ferment is – it releases warmth, Mars, energy – a controlled rot.  Press one of Lord Saturn’s buttons and his coat flies open.  This amazing bubbling of the brew smells sweetly ripe and is under Law.

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phoenix copy from Trinosofia section 12

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“The Most Holy Trinosofia of the Comte de St-Germain with Commentary by Manly P.Hall” was published by The Philosophical Research Society in L.A. in 1983.

Above, is my brand new copy of the Phoenix figure which heads Section 12.  The body of our firebird is the purified jewel – lapis lazuli;  liberation.   The Master had a wonderful control with his colours.  In the original they glow like gems.  He is said to have ground pearl dust into his pigments!   Copying his images, I learn what they are about;  they work through me, physically.  The sincerity comes before skill.

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Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mystery of Master R: Part 5 – Musical Moments

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3 Master R

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sketch of 1st violin, orchestra of age of enlightenment

sketch of 1st violin, orchestra of age of enlightenment

My posts with Master R are loosely interconnected;  often repetitive, as with musical themes.  Time stops, or circles its moving Sun in a spiral.

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From my Journal, July 2003

What is our vessel?  the dew?  Is it like the camel to the needle’s eye?  To trust the Kingdom of Heaven is conscious choice.

The Dew is always here
and it never stops falling
a very fine mixture of everything in the universe now

do not break the Law by adulterating or mixing levels.
the manna is a subtle and ordinary nourishment …

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Grail Tree of Life, Table Round

Grail Tree of Life, Table Round of the Companions of the Light

All is One.  The Holy One is not heavy handed, it falls with the lightest touch,  but where we are blind and deaf we run into heavy hands.    Aziluth – the World of Emanation – contains everything – we are given heavy or light touches as appropriate.  The Dove is the vessel.  Makom – the First Heaven – is The Place.

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GALLERY  of Violin Sonata no.7 – click to view

(September 2013 – there are now some sites where Saint-Germain’s music is played and heard:  http://trianglebook.weebly.com/music.html contains a lot of information, a video and some recordings to download.  The Phoenix Ensemble in Germany (English translation  of this site supplied)  recorded all the sonatas on CD, and performed them in concert.)

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Ten years ago – 29 July 2003 – Master of the Violin

There is a quantity of music by Comte de Saint Germain at the British Museum library.  Alan brought back seven violin sonatas with figured bass clef,  and he can get the BM people to search and copy the rest. Only a generation ago, I would have had to copy it all out myself by hand – as I’ve been doing till recently!   I trimmed the 37 A3 pages into A4 ringbinder size while listening to Berlioz’s exquisite Petite Messe Solemnelle;   the poignancy of a Great Soul incarnates “at least once every century”  (an extraordinary number of times, including early deaths) into human fragility… into the rose and thorns.

Then I started to play the music, much to Alan’s interest;  found a pair of minuets which sparkle gracefully.   My Maestro wrote all those notes, and I am now hearing and playing the sounds in his head.   Music is the direct speech.   Alan and I wondered whether anyone else has bothered to play them since.

The maestro wrote in the baroque form of the day, with figured bass/continuo to indicate the harmonies.  I play it on the piano, but it his might adapt interestingly to modern instrumentation

The maestro wrote in the baroque form of the day, with figured bass/continuo to indicate the harmonies.

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I awoke into “500 years” mode.  I feel like 500 years is nothing – I dip into the fragile flower of incarnations through the scythe of earth’s rotations – the V sign of the Child.  I am at the moment simultaneously my own bodytime, and this other time and space, by which I dip down and up, to incarnate where educative.  In about 500 years from now, a Golden Age will be,  is opening.  This is in my veins.   Never forget this.

On my bike to tarot class, with Master R’s diamond melodies singing in my ears – I began to see or imagine him playing the violin –  to draw him thus,  like the Musicians in Rehearsal.   Something in the connection with Troy Leonard (who psyched the ‘overview’ in my life), however tenuous, energises His presence here, and the relationship.

FR violin 03 copy

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Peter, violin sketch

This outline comes to mind – my father in about 1965. My love affair since childhood, with the man’s way of moving his arm and cultivating that sound across the strings.

“… so this, thy body, is the instrument whereon may be played the Song of Life.  For on this harp of ten thousand strings, the wind of the Spirit moveth ever, and sounds night and day, the harmonies of that Eternal Song.”

Master R, transcript on Malkuth, 1947

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(2003) Wisdom of Alan Jacobs:

“Maya – our world – is restricted vision.   Whatever we perceive through our organs of cognition limits it, to name and form,  it is a narrow waveband.  In a tree it is the living process inside that tree which you don’t see, and which is connected to the whole universe, dependent on the Sun’s rays,  connected to the Absolute as a star in the milky way … (as through our lungs, organs and littlest branching vessels, the prana.)

The meaning of Exodus:   Escape from Egypt is liberation from bondage to an old tradition.  Crossing the Red Sea (passover, parting the waters) is when a distinction is understood between the Self and the nonSelf  (pure Consciousness and the mindbody).  The Children of Israel fail to become the Holy People when they worship the golden calf of materialism;  Moses gave them a literal teaching, with the esoteric hidden within it for the few.   Real faith is in the Unknown, the Invisible, the Divine, and not in life, which is under the law of pre-ordination.  Real faith unexpectedly changes conditions in unforeseen ways.   Faith awakens from sleep or is born again from spiritual death.”

At dinner, Alan’s cousin’s husband said America and Russia are both formed by robber barons.  The difference is that the American barons made America whereas the Russian ones bought Russia.  Alan said something very witty, but wouldn’t write it down, only tied a knot in his hanky, and has forgotten it.

Alan at chess with his grandson Jacob

Alan at chess with his grandson Jacob

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Journal – 2 August 2003

Elder Brother, please give me the courage to stand up and be counted,  be truthful, and not condone distortion.  Please,  when such situation arises,  lend me your eagle wings,  for I do not consider I have adequately crossed this fiery step.   Or have I?   Let truth speak through my face where it is weak;  for the main obstacle is the imaginary “i-having-to“,  which meant gigantic efforts to squeak like a mouse.  Did you see that funny squirrel early this morning, perched on top of a fence-post outside and chattering and barking like a fox?  The wonderful thing about having someone like you,  rather than an embodied teacher parked in space and time,  is that to contact you is voluntary attunement,  for you are everywhere else as well.   Of course,  each to what is quintessentially right for her or him.

I would love it if a French reader can translate this for me:

Curieux scrutateur de la Nature entière,
J’ai connu du grand tout le principe et la fin.
J’ai vu l’or en puissance au fond de sa rivière
J’ai saisi sa matière et surpris son levain.

J’expliquai par quel art l’âme aux flancs d’une mère
Fait sa maison, l’emporte, et comment un pépin
Mis contre un grain de blé, sous l’humide poussière;
L’un plante et l’autre cep,  sont le pain et le vin.

Rien n’était, Dieu voulant, rien devint quelque chose,
J’en doutais, je cherchai sur quoi l’univers pose.
Rien gardait l’équilibre et servait de soutien.

Enfin avec le poids de l’éloge et du blâme
Je pesai l’éternel;  il appela mon âme:
Je mourrai, j’adorai, je ne savais plus rien.  

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Is not the grape in this, Your violet light?

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I intend to copy a few of Master R’s illustrations in his TRINOSOFIA for this series, together with some of the text.  I have an English translation with poor black and white reproductions. Here is a link to the facsimile of http://www.scribd.com/doc/313983/La-Tres-Sainte-Trinosophie… where you can see his paintings or copies of them in colour, and read (in French) the inner journey in full.   It can be downloaded or printed out, for a fee.

Violin for cover

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Excerpt from poem “Violin Redux” by Charlie Morris

“My head falls to the left
and seeks the warmth
of my own shoulder
the splendid weight is cradled there
and the person whose shoulder I share
knows me
better than anyone.”

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**

Aquariel – an angel of the waters and of the air through the woods of life.

COPYRIGHT – All art and creative writing in this blog is copyright © Janeadamsart 2012-2013. May not be used for commercial purposes. May be used and shared for non-commercial means with credit to Jane Adams and a link to the web address https://janeaquariel.wordpress.com/

Mystery of Master R – Part 2: Searching the Likeness

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0 glyph of inner contact in class

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In December 2002, I attended a Qabbalah class on “Interior Contacts”.  It was hosted by the Lotus Foundation, the home of my dear friend Genie, whom I met for the first time on that day.

The class teacher told us:  “In Beriah are the Magidim of the Tree’s Upper Face, or Masters.  Every School of the Soul has a connection with these.  Schools have ‘ray’ functions.  Your membership depends on what your ray resonance is. ”

He for instance, tried very hard to become a Freemason.  When finally initiated through a friend, he was prevented every time from going to meetings at Lodge by two hour flu, train strikes or whatever.  He realised that freemasonry was a stepping stone from the past, but no longer required.  Guidance only registers when you take it on board, inside.

He told a story about Paul Foster Case and his Magid, the Count Ragoczy (Saint-Germain) of Transsylvania, who phoned and met him in a hotel in New York, and about how Case and his wife and a student took dictation once a week through an ouija board, word by word;  and the EXTRAORDINARY QUALITY OF THAT TRANSMISSION – and its way of dry teasing.   Our teacher read aloud a few passages to us.  Case only had to turn his mind to any one aspect of the teaching, and it would open up.  He was told to set up a new wisdom School, and to move from the East coast to California.

(NB – this story was told a second time in the other Kabbalah group, five months later when I asked for verification – see previous post.) 

Now of course I was very excited to hear about Le Comte;  and our teacher had even brought along an 18th century portrait of him in his white wig and piercing deep eyes.  He stood it on the mantelpiece, in Genie’s big room.

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18thC portrait of Master R.  It is signed by "A.Knapp".  The reproduction carries this information:  "It is generally suppoosed that this mysterious adept was born in 1710, but the Countess v.Gergy declared she had seen him during that year in Venice, and  he appeared to be between 45 and 50 years old at that time.  While the church register at Eckenforde contains a record of his death in 1784, it is known that he was seen upon several occasions subsequent to that date, having attended a Masonic conference in 1785, and having been recognised in Venice in 1788.  The last historical mention of the Comte was in 1822, at which time he was presumably on the eve of embarking for India."

18thC portrait of Master R. It is signed by “A.Knapp”. The reproduction carries this information: “… … It is generally supposed that this mysterious adept was born in 1710, but the Countess v.Gergy declared she had seen him during that year in Venice, and he appeared to be between 45 and 50 years old at that time. While the church register at Eckenforde contains a record of his death in 1784, it is known that he was seen upon several occasions subsequent to that date, having attended a Masonic conference in 1785, and having been recognised in Venice in 1788. The last historical mention of the Comte was in 1822, at which time he was presumably on the eve of embarking for India.” ~~~~ I have this picture in my home.  The class teacher generously gave it to me, a few months later.

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During a class tea-break, I took a couple of quick sketches from this portrait.  My ‘magyar’ connection has an energy here!   I heard of St-Germain before, but only vaguely.  I hadn’t known he is behind the Alchemy I am studying.   Suddenly he came to life, and I was literally trembling :

2 master R, sketch 1

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3 master R, sketch 2

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From my Journal – 8 December 2002:

“Ragoczy is a big fish, a Great Master Magid of a School, not of individuals, but I am inspired by him and his shoal of fishes.  As soon as I got home last night, I drew him into my sketchbook – from the drawings and from memory – as best I could:

master R, sketch 3

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“The Book of Tokens is by him, and so are the lessons of the Great Work, I guess.  Our teacher read to us some paragraphs which he has.  It is about evolution and the Scorpio force.   Can I reconstruct an essence of it?

“The thing is not genetic.  That is to say, it is not by genetic evolution: (in the 1930s and 40s when these transmissions were being taken down, the topic of genetic selective breeding was all the rage, as also with the Nazis.)    The natural genes haven’t got the radical composition.  The Scorpio force is the being born again during life, to serve the Great Work.  It is the alchemy of the individual lead into gold.  The sexual nature is irreversibly altered and refined.  LOVE, AND YOU SHALL KNOW.  It said that Love isn’t of anything or anyone;  it IS.

“Now as Love is the One Source, the current of it comes through the Count, because at the level of his consciousness, there are no separate individuals.  He’s the same as Ramana or anyone else it comes through, to stress the point.  Yet he oversees particular rays or gardens of the teaching.  That face in his portrait is only an interface function, to recognise him by.  The truth overflows any container.  Our personality and its distortions and insecurities is unaltered by Self-realisation, and yet the realisation is at its root.

“Most of us see love in terms of returns and partners.”  (But if one has loved deeply, without return, then it is branded in!)   “‘Love and you shall know.’  ‘The can-opener of the intellect is too dull to probe the secrets of the Heart of Life.

“Let the excitory sense be peace … I think for me to plod on with the revelations in ‘The Great Work’ is quite enough to go on with.  Unfortunately I couldn’t retain most of what was read out today, because my sense of re-cognition kept getting in the way.

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GALLERY of early portraits, studies and sketches of Le Comte and companions. 
Drawings in this post are december 2002 – May 2003

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“When invoking, consider – “Who is saying the Name through you?” (God speaking to God.)  … The Grail in an early morning impression, overflowed, and its white effulgence expanded concentrically all around it, penetrating everything, everything to become it.   This was encouraging, and I jumped out of bed after lying in the fountain for a bit.

“Practice looking at things STRAIGHTLY, without any feeling about them at all.  The feeling-stuff is what reinforces and defines ME.

“REFLECTING – Diminishing the sense of I, for a more accurate impession, I become less;  God becomes more.  How to diminish the small-i?  Change the mode of feeling …  the feeling-triad on the Tree, Yesod, Hod, Netzach.   Open it out with the conscious Sun, Tifareth, and the root to earth, Malkuth.

“George Eliot, Daniel Deronda page 407 – “I am lord of this moment’s change, and will charge it with my soul … … To be in a state of suspense, which was also one of emotive activity and scruple, was a favourite attitude of his conscience … … the passionate patience of genius.”

19a emblem

“Look into the dark texture pool of the soul.  Only look.  Only one problem, the I-importantce, or as Alan Jacobs would say, the schopenhaurian Will.  Do not allow any opinions to finish or foreclose.  They are all coloured by the I-importance, and both illusory and limiting.

“Overheard at Shul – preparations for Graham’s wedding – the words Wisdom and Understanding.  As Kabbalists we try to act with wisdom and understanding.”

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GALLERY, including some pages of Master R/St-Germain’s music
for violin and harpsichord continuo (see previous post).
CLICK ON ANY IMAGE, TO VIEW

 

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“… She perceived in a box near the stage, a countenance which at once, and like magic, produced on her mind an effect never to be analyzed nor forgotten.  It was one that awakened an indistinct haunting reminiscence, as if she had seen it in those daydreams she had been so wont from infancy to indulge.  She could not withdraw her gaze from that face, and as she gazed, the awe and coldness that had before seized her, vanished, like a mist from before the sun. 

“In the dark splendour of the eyes that met her own, there was indeed so much of gentle encouragement, of benign and compassionate admiration;  so much that warmed, and animated, and nerved;  that anyone – actor or creator – who has ever observed the effect that a single earnest and kindly look, in the crowd that is to be addressed and won, will produce upon his mind, may readily account for the sudden and inspiriting influence which the eye and smile of the stranger exercised upon the debutante. 

“And while the yet she gazed, and the glow returned to her heart, the stranger half rose, as if to recall the audience to a sense of the courtesy due to one so fair and young … 

” … Yet again, as she turned from the stage, she looked back involuntarily, and the stranger’s calm and half melancholy smile sunk into her heart – to live there – to be recalled with confused memories, half of pleasure and half of pain.”

From ‘Zanoni’ — a Novel by Lord Lytton
— London 1874

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Polish the mundane … carve and polish the precious stones of Life, through night and day:  the Stone of the wise.

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Aquariel – an angel of the waters and of the air through the woods of life.

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