Mysteries of Master R: 15 – The Holy Trinosofia, Chapter 9

Master Rakoczy, St-Germain – 7 July 2015

Returning to the artist’s journey through the Trinosofia, I recommend you first refresh this link to Chapter Eight  to retrieve the journey so far.  You can find the other chapters in “Archive of all posts” in the title-bar.

The 12 Zodiacal stages in the alchemical process are: 1) Calcination/Aries, 2) Congelation/Taurus, 3) Fixation/Gemini, 4) Dissolution/Cancer, 5) Digestion/Leo, 6) Distillation/Virgo, 7) Sublimation/Libra, 8) Putrefaction/Scorpio, 9) Incineration/Sagittarius, 10) Fermentation/Capricorn, 11) Multiplication/Aquarius and 12) Projection/Pisces.

It seems to me that the meditations in Saint-Germain’s Trinosofia link these 12 stages by letting each one flow towards the next while recollecting the previous.  The 9th stage which I contemplate today contains elements of Scorpio (Putrefaction) and Sagittarius (Incineration).  The 10th chapter (Incineration stage) likewise will converse Sagittarius with Capricorn (Fermentation).  The message is; rigid divisions between the 12 stages are not held – we should not literalise or confine the material.  Life is fluid. Like the planetary motions as seen relative to our position on Earth, the adept passes through light and shadow back and forth, to journey through being.

I am reminded also of my studies of  Indian astrology.  The zodiac signs in Jyotish overlaid the actual constellations, before precession of the equinox.  In Western astrology the zodiac is by now removed 23 degrees from the elder alignment. The twelve Signs are still named after the constellations, but represent the phases of Earth’s journey around the Sun.  With this discrepancy I learned how subtler shades of interpretation incline towards one or the other, like two sides of the same leaf.  Are the Trinosofia’s twelve stages of alchemy rooted in the constellations?  There are references throughout the text to languages far older than the western occult tradition.  This is one of many Mysteries encoded in the work …

The alchemical symbolism in the Trinosofia is rich and abundant.  My posts on the subject are long, and require imaginative reading.  For Master R’s original text and Manly P Hall’s excellent commentary, please open “Trinosofia Texts” in the title bar above, and scroll down the page to Chapter Nine.

Here is a reminder of Chapter Eight:

Almost four years passed since my last Trinosofia drawing!  …  Yesterday the door opened for me to draw the Ninth chapter.  It was not an easy one for me to integrate after my father died in early 2016.  The Bardo of becoming was to sing also with five other deaths since his – all of them deeply significant relationships in my life; and all with liberation in their different ways.

The Ninth chapter contemplates the dark putrefaction of the 8th stage under Scorpio, processing towards the Sagittarian incineration.  So I had to draw a black horse with a dead human falling out of its slit belly; and then the second sombre image – the young rosy man in a red tunic with the decomposing corpse.  This is alchemical negrido before the stars appear in the raven’s wing.  The red garment is fiery Mars.   Here is the illustration in the book:

From the text of the Trinosofia;  a copy  from the original painting by Master R, which disappeared.

The way opened today unexpectedly, for me to enter and begin.  I felt Le Comte’s encouragement, since the “Sixth Sun” transmission last week.  The Phoenix rises from ashes; a decomposition to cleanse and flicker into life in the dark night of the soul’s cavern.  It’s not finished yet.  This morning I feel I should darken the background to the black horse, for the passage is a deep obscurity.  Also I drew my young alchemist in red tunic very badly, need to rearrange his legs and re-do his arm?

Click on images to view

The picture includes three inscribed black panels.  Two of them I painstakingly copied; the third, with the floral Roman lettering was too indistinct (so I wrote it in English as if on stone); and the enclosed grey panel’s lettering was too blurred in the Scribd reproduction. It reads:

“The select few – how many are there? Forty who in brotherly love assemble together to the four quarters and the Bird.  Here below (in the mortal sphere) to be held (gathering or assembly) until in its place is the coming in the fourth quarter (Aquarius).”  The large characters M B refer to the alchemical process whereby the mortification and destruction of the body is accomplished.

(From Manly P Hall’s commentary on
The  Most Holy Trinosofia of the Comte de St-Germain

Philosophical Research Society Inc. Los Angeles 1983)

Manly Hall’s translation of the other two inscriptions will go underneath the drawing when I have finished it.  The book includes his introduction, commentaries, text, translation and black/white reproductions of the illustrations.  My interpretation is an individual one; it comes out of my life, I am a different generation.  It is interesting to read both.

(See Triniosofia texts, above)

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So what is found here?  The birth of the living dead, from the animal kingdom’s bafflement, inverts the Saviour’s birth: deep dark expulsion of the soul into the strange un-illumined luminosity of the dead;  the unconscious victim condition where we blame others is ash.

In the second image the alchemist, fascinated with the materia, tries to raise it to life;  he stirs the ashes.  But he hears a Voice commanding him to let it go.  So he’s about to drop it again.  The wrong way is how we Elizabethan and Renaissance explorers tried to manipulate the dead,  believing we could command the secrets of matter, of the soul and of anatomy.  The Voice breaks into that creative fantasy.  Again it is like the horse expelling the dead body.  What is dead is dead!

What are the living dead? How do I regard them?  it is important to take responsibility and get the definition right.  The living dead are those regions in my psyche, individual or collectively linked, where we walk in our sleep, lock ourself into noise, blame other persons, institutions or life itself for our trouble … and blindly consume our nature.

The living Spirit is a matter of choice; of turning to face the music and cross the lake.  The second lake in the journey (to Chapter Ten) will turn clear turquoise.  Now the image develops further, for I might suggest the lake in the vision is a Caduceus.

The Voice said (it thundered like a trumpet) – “This black earth has lain in this hall only 87 years; when 13 more years have elapsed, thou and the other children of God may use it.”  The alchemist was delayed until the time should reach a century 100; he explored the vessel, the dark room for nine days as prescribed, and then departed through the opposite door to the one by which he entered.  The numbers 87 (15), 13 and 100 are Hebrew gematria – a shorthand for the Mysteries..

To reach this dark hall he had waded through the first lake (“thick as cement”) for 13 days, his feet touched bottom everywhere, it was useless to swim.  When he reached the dark hall, the earth was as dark as that water.  The building he entered was basalt black; a warm moist wind pushed him into the chamber and shut the doors.  There the Living Principle remained inside the belly of death to be born; there he explored the room and investigated the matter.   His consciousness is a lamp, it quickens the flesh.

It is like a dream I had long ago.  Here is the story – “a house of hundreds of rooms”

In Chapter Eight four years ago, we saw the crowned white lion and cluster of grapes on a salver with a shining pile of salt.  He impregnated his body with the salt, he rubbed the purifying salt crystals over himself, then he was given a choice of two doors by which to leave that chamber.  One opened to a hot arid plain which seemed to burn him; the other opened to the first lake at the end of which a black marble façade was visible.  He preferred to cross the lake itself rather than make his way along a rocky shore to the distant bridge.  So he ended up in the black marble  hall.

We are given choices and tend to take the complicated one, as we are drawn to the dregs.  The odyssey is the same in the end.  The Trinosofia theme offers him the simple way, but he takes the more complex and glamorous one which takes longer.

As I began the drawing, the transformative Phoenix rose from the ashes.  The façade of the black hall itself was engraved with ancient Persian hieroglyphs.

Should my alchemist kneel or stand?  Perhaps he crouches. The English translation says he stands, the original French says he is “place pres du cadavre”.  I need to lower his left arm and his left knee.  At the moment – as I copied the original – his anatomy is all kaput.  The original drawings in the text – themselves old copies from Le Comte’s paintings which disappeared – are poor.  Le Comte is said to have mixed pearl dust with his pigments.

During my work on the drawing yesterday, I listened to Richard Rudd’s audios on the Ecstatics: Rilke, Taliesin, Walt Whitman, Anandamayi Ma, Mother Julian.  You can hear them at https://genekeys.com/audio/the-ecstatics/   These were given several years ago with the Gene Keys transmission bubbling creatively in the pot: the joyous poet.  The creative joy is today rediscovered, renewed and sung for itself; the yeast within any treacly condition.

5G advertising came through my letterbox.  I am beginning to see that I must not buy into fear and negatives about that and other aggressive technologies, but  keep doing my thing in the living energy field.  We humans will grow tired of the “More and More” stuff that we still “want” at present..  It is a symptomatic tension – a temporal terror of the Great Change which moves so deep within our world, our climate and DNA with the universe and solar system. There will be and already is a collective longing to breathe, to create peace in the air.  I try to live my particle of the Bigger Picture.  The way around and through, and often because of the pollutant, always opens.  The pollutant itself has no power against Gaia.  Most of us cannot see this because we are accustomed to our minds’ closet and what we are told by “experts”. We want by default to blame “Them”.

So, mon cher:  You say you would have us feel, rather than think.  Thinking provides a mere quantity of scenarios and speculative terminus.  Feeling is the natural path, day by day, with every element: the ear to the ground like the sole of the foot.  The feeling is Consciousness Now.  Entering the dark Shadow, I behold my process and seek the Gift;  being born into the dead; the effort of the curious to resurrect putrefaction; the call to travel forth.

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With Mercury retro in Scorpio it is suitable.  The  action dressed in red  investigates old process while moving towards the light.  He must leave the old flesh behind. The second lake and its far pavilion beckons him.  He will walk in it for 18 days.

Hermes in the sea – alchemical engraving in Roob’s “Alchemy & Mysticism”

I recalled that when crossing the first lake its waters became darker and thicker as I advanced.  The waters of this (second) lake on the contrary, became ever clearer the closer I approached the shore.  My robe which had in the palace become as black as the walls seemed to me to be of a greyish hue; gradually it resumed its colours, however it did not become entirely blue, but was near to a beautiful green.”

(See Trinosofia Texts in title bar of this page; scroll to Chapter Nine)

That is the pilgrim’s robe: not the alchemist’s red tunic in the image.  However they are the same, for the colours complement.  The blue transmuting to “a beautiful green” is turquoise, through Scorpio’s tonal vibration in the Tarot (Key 13).  Turquoise is the colour of movement.

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Next Day

I wore myself out yesterday trying to get that drawing to work.  It wouldn’t.  At last I trimmed a piece of paper to fit the space and began it again – this time it came OK, and the Initiate stands as in the original illustration, trying to raise his discovery of dead flesh and bones from the levels of corruption.  The cadaver is not quite as good as my first version but is bigger in relation to the “child”.  The cadaver is the world-systems which no longer work.  The child tries to handle it but the Voice calls; it is not the time yet.  Don’t be distracted by those old systems.  Continue the journey of Light and Heart.  Don’t dally but keep walking.

I darkened all the background around the horse in the first picture, except for the ground where the darkness becomes illumined as the sticky stinking black earth full of creeping elementals and fearful dreams.  The Initiate had to stay in there for nine days and not get into mischief.

The evolution of the animal kingdom (horse) trembles with shock at having to tarry and wait for the human preoccupation to catch up and liberate itself.

This second picture will be the more effective if I darken its left-hand side too, around the big “M”.  Then we will have the Initiate emerging from the dark with his imagined retrieval of the secrets; he is positioned where the Shadow becomes the Light.  And there begins the second lake’s slow illumination and clarity to wade for “18 days” towards the far pavilion.  There is a “violet land haze” just suggested behind that palace.  It is  sketchy and the sky turns turquoise.

Trinosofia NINE

 

The Initiate in the Trinosofia pictures is Master R as a child – black curly hair and luminous sweet cheeks the way they drew people in the 18th century.   He has the proportions of an eight year old child – homunculus – except when with a woman; then he is a warrior, a full grown man.  Eight years old is the human age.  He grows into a warrior whenever his seed rises up to sow.

Ophiocus Sagittarius – detail

Trinosofia’s Chapter Nine travels through Scorpio and Sagittarius; the dark constellation over galactic centre.  Sagittarius is the Journeyman’s need to travel and expand. Along the Bowman lies also the Serpent constellation Ophiucus.  I needed to at least begin the next drawing – so I did – of the Initiate leaping from the tomb with golden staff and floating crown: the process of Sagittarius through Capricorn (see the post to come, on Chapter Ten.) …  It is difficult for me to copy “poor” drawings to make better drawings – for the “poor” drawings have their own lively gesture and character which I want to retain, but the anatomy and perspective are compromised; so I grope and erase for hours.  In fact, Master R told Paul Foster Case in 1947 that the existing illustrations are excellent copies of his own work.

Awakening the Trinosofia is a wonderful profound journey, with some of the strange landscapes and caves I reproduced from it.

Stage 9 illumines the dark prison – things come to light.  The Initiate tries to drag the knowledge forth like a great weight, but the Voice says “it is not yours.  Attend to the staff of Light and walk the waves.  Don’t ‘think’.  Feel.”

And in the next picture which I began, the Initiate is the Lightness of being.  I will make the stone coffin more massive and turned more towards the viewer so you can see its bottom – regurgitate its contents.  Out of it come the deep souls, saviours of the world, as your children being born; no more are the living dead being born.

With the deep belly breath, locate my inner trouble, hear and let it with the exhalation trickle out into the earth’s gravity ground to be recycled. In the part of my body which bears the tension, allow the air of love and compassion to flow.  And I smiled again!  The practice of “Relationship Mastery” in all fields of the world – business, government, politics, family, sexuality, friendship – is focused, alive and direct to the point.

I just saw again that I know nothing.  I know only what I think I know and have experienced.  The depth of my experience of life is yet a superficial lid if I paste it upon the needs of others.  Krishnamurti spoke of how we degrade each other with our images of expectation..

The defilement of environment is what that poor horse in my drawing has to smell.  Countless captive creatures live in that and are consumed as meat products; the stench defiles our DNA sensitivity with the animal kingdom.

This appalling realisation comes forth.  The Time of Sixth Sun re-launch was not only sweet light and New Earth but woke up all this more detailed awareness.  What to do?   Do not configure enemies.  There IS a cosmic battle in earth as in heaven and in all the strata between – the forces of dark inertia, fear and imagined disease with those of progress and transformation.   It is tempting to personify or project one’s own demons onto the collective shadow, but it doesn’t help.  Knowing ourselves as lighthouse keepers, the work starts here at home at whatever level.   I am aware how the dimensions of the body of light work homoeopathically through the Shadow. The condition on Earth plane is growth through resistance. To keep silent is wise, because ordinary social talk “wants” a distorting mirror. Let Nature flow as always into balance.   An immense Change – like chrysalis to butterfly – moves through our resistance.  The message for sustainability – particularly in this last year or so – expands exponentially.

What to do?  Carry the Staff of Light and the Crown unworn; sprung from the abyss.  Be conscientious; listen, and pass on the vibrance in the field in simple ways – a smile, a seat on the train, a chat with a cashier.  We as predatory consumers still want a luxury culture of excess. This deranges our animal companions.  So by now, we humans know what it is to derange ourselves.

Yet there is the conscious reorientation – our choice. As with Siva swallowing the world’s murk and turning it peacock blue in his throat, the Resource I can call upon is Infinite.

“You offer a window through which others may look and see and wake up.   You offer a window – a viewpoint – which quickens evolution.   We gave you this window to maintain. Your job is to keep the window clear and clean;  to hold the vessel;   to recreate our Perspective through it.   The window is also a navigational instrument, the approach of Eternity to the new sciences.  Behold it, to the living world.   A Lens.”

Alignment with the magnetic field overcomes obscurity and penetrates any blanket of leaden thoughts.  This same soft power within the animal, avian and plant kingdoms adapts, turns and follows alternative patterns and flight paths as the atoms do.  Everything in the Great Tuning Fork has ultimate harmony and resonance; for the time we are in is an evolutionary acceleration – the fall-out around us, of centrifugal wobble and spin.  The tension in the atmosphere is heightened by the devices humans manufacture to copy it.   But always there is return to navigational centre; solar plexus; the floating compass; the slow sunlit unfoldment of the Now.   Choose which!

Awake the cubed blossom in my root.  It is subtle, like Johannes Kepler’s golden seed among  dung for the hens to find.  A piece of crystal – rock of ages – is warmed by the human body to emit a signal.

The signal is the feeling; feel the Philo Sofia; lover of wisdom.

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A song (circa 1770, written in London) by Master Rakoczy, Saint-Germain.  Xeroxed from the British Library collection

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 2012-2019. 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.

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