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Moshe Idel on Kabbalah.

“The main issue to be learnt from the Kabbalah according to this Kabbalist (Abulafia) is the essence of reality, not the secrets of the Torah. Preeminently a philosophical concern, inspired by Maimonides’ thought, this knowledge is nevertheless achieved by combining letters, an approach to language that differs from the more conventional understanding of it in philosophical ways of thought.”

–Moshe Idel, “Revelation and the ‘Crisis of Tradition’ in Kabbalah,” in Andreas B. Kilcher, Constructing Tradition: Means and Myths of Transmission in Western Esotericism. Pg. 259.

Vincent Van Gogh on Dreams.

“I dream my paintings, then I paint my dreams.”

–Attributed to Vincent Van Gogh.

Sandburg on Poetry.

“Poetry is an echo, asking a shadow to dance.”

–Carl Sandburg

On Enoch and the Angel Metatron.

“The disciplines of the Mystical Qabalah are distinct from those practiced by magicians, wizards, and sorcerers who seek to acquire creative and/or destructive power, depending on what paths they traverse on the Tree of Life. The occult disciplines of wizards and magicians are often called the Practical, Hermetic, or Magical Qabalah.

Practical Qabalah has its roots in the “Thirteen Enochian Keys” of Enoch son of Qain, along with a highly admixture of material taken from Egyptian, Mesopotamian and other non-Hebrew sources.

It is important not to confuse Enoch son of Qain with Enoch son of Yared. The former Enoch was the grandson of Adam and the son after whom Qain was said to name a city.

Enoch son of Yared was the great, great, great, great grandson of Adam, and the one who “walked with Elohim” and was transformed into Metatron.”

–Daniel Feldman, Qabalah: The Mystical Heritage of the Children of Abraham, 2001. Pg. 33-4.

Numbers 7, 9 and 40, and the Omphalos.

“Later he became fascinated with more abstract topics: numbers in Greek medicine, the numbers seven, nine and forty, and the concept of an imaginary middle point, the omphalos or world-navel, a recurrent theme in Greek, Roman and Semitic mythology.”

–W.H. Roscher, Pan and the Nightmare: Ephialtes–A Pathological-Mythological Treatise on the Nightmare in Classical Antiquity, & An Essay on Pan by James Hillman, 1972. Pp., pg. v.

The Scientific Study of Myth and Symbol.

 “…and he too was a pioneer investigator and indefatigable assembler of data in the nineteenth-century style. It is only now that we can see his achievements in scholarship as equalling those of his contemporaries in the natural sciences. He more than any other classicist is responsible for having collected into one place the mythical and religious material of the ancient world, providing the ground for the scientific study of myth and symbol.”

 –W.H. Roscher, Pan and the Nightmare: Ephialtes–A Pathological-Mythological Treatise on the Nightmare in Classical Antiquity, & An Essay on Pan by James Hillman, 1972. Pp. iii. 

Boehme, Sophia, and Valentinus.

“Boehme extended his theosophy with the figure of the Noble Virgin of Sophia, a figure based on the allegeory in the Book of Wisdom and Proverbs. She animates the second world of “eternal nature” as a serene and reflective aspect of God. Both the terms “abyss” and “Sophia” recall mythic aspects in the Gnostic aeonology of Valentinus (second century), a remarkable example of Protestant esotericism naively invoking Hellenistic heterodoxy.”

 –Nicholas Goodrick-Clarke, The Western Esoteric Traditions: A Historical Introduction, 2008. Pg. 96.  

On the Satanic Indestructibility of Manuscripts.

“In Mikhail Bulgakov’s novel, The Master and Margarita, “the protagonist, a writer, burns a manuscript in a moment of despair only to find out later from the Devil that “manuscripts don’t burn.” […] Nikolai Gogol apparently burned the second volume of Dead Souls, and it has been lost forever.”

–Edward Frenkel, “Is the Universe a Simulation?” The New York Times, February 14, 2014, Sunday Review. (A version appeared on February 16, 2014, on page SR12 of the National edition.)

The Search for the Prisca Theologia.

“These great and good men promulgated the idea of an ongoing, beneficent magic available to certain men of every age for the collective use of mankind. The Latin for this is prisca theologia, secret wisdom. The odd thing is that this belief in a secret wisdom is not the Rosicrucians’ alone. We know in London in the middle of the same century of the existence of a society called the Invisible College. Its members were reputed to be the very carriers of the beneficent magic I speak of.

You of course do not know of the writings of Giordano Bruno, of which here is a specimen page in his own handwriting. My scholars have traced for me, like the best detectives, the existence of this idea and of various mysterious organizations to maintain it, in most of the Renaissance cultures, in medieval societies and in ancient Greece.

I hope you are following this closely. The earliest recorded mention of special people born in each age to ease the sufferings of humankind with their prisca theologia comes to us through the Greek in the translated writings of the Egyptian priest Hermes Trismegistus. It is Hermes who gives the historical name to this occult knowledge. It is called the Hermetica.”

–EL Doctorow, Ragtime, pg. 124.

Proof of the Immortality of the Soul.

“In a different but related vein, John of Morigny argues that the fact that future things are seen in divine visions is proof of the immortality of the soul, presumably because they witness the possibility of a visionary escape from the embodied dimension of time itself:

“Furthermore, the heresy of those who said and say that the soul is mortal is dismissed and condemned through diverse visions, since even in the absence of the body, future things are seen [in visions] as though they were present. But there is no way that this could be if the soul were not immortal.”

—-Claire Fanger, “Sacred and Secular Knowledge Systems in the Ars Notoria and The Flowers of Heavenly Teaching of John of Morigny,” p. 173.

Claire Fanger and Nicholas Watson: >>The Prologue to John of Morigny’s Liber Visionum<< (n. 2), l, 2.

The Divine Transmission of the World’s Pattern Through Angelic Minds.

“Indeed there are many features of neo-Platonic cosmology which would have appeared transparent in the structure of the Ars notoria ritual to its late medieval operators.

In a most basic way, the idea of an intrinsic congruence and similitude between the human mind and divine archetype of the world is a recurrent feature of twelfth-century neo-Platonic thought. Thus, Thierry of Chartres notes that »the soul is proportioned to the nature of the universe«; and in a similar vein, Hugh of St Victor, another prominent twelfth-century writer in the same neo-Platonic tradition, says at the beginning of his Didascalicon that »similars are comprehended by similars; […] in a word, the rational soul could by no means comprehend all things unless it were also composed of all of them[…] the soul grasps the similitude in and of itself, out of a certain native capacity and proper power of its own«.

But this is a similitude which traverses the spiritual cosmos as well as the human mind. Hugh explains in an appendix to the Didascalicon that knowledge emanates from God in such a way that ideas subsist in themselves only after they are created in the minds of the angels:

“What exists in actuality is an image of what exists in the mind of man, and what exists in the mind of man is an image of what exists in the divine Mind […] For the angelic nature first existed in the divine Idea as a plan, and then afterwards it began to subsist in itself through creation. The other creatures however, first existed in the Idea of God; next they were made in the knowledge of the angels; and finally they began to subsist in themselves.”

“In other words, all created things necessarily proceed, from highest to lowest, through the subsistence of creatures who have the capacity for ideas. The divine transmission of the world’s pattern through angelic minds of which Hugh speaks here is rendered visible in the presence of angels mingled with the liberal arts on the Chartres archivolt and rendered functional in the association of the angelic orders and liberal arts in the Ars notoria prayers.”

–Claire Fanger, “Sacred and Secular Knowledge Systems in the Ars Notoria and the Flowers of Heavenly Teaching of John of Morigny.” Pg. 165.

Quoted by Peter Dronke: >>Thierry of Chartres«, in: A History of Twelfth-Century Western Philosophy, ed. by Peter Dronke, Cambridge 1988, p. 372.

Hugh of St Victor: The Didascalicon of Hugh of St Victor, translated with an introduction and notes by Jerome Taylor, New York 1961, l.i, pp. 46-47.

Doctrine of Correspondences.

“Furthermore, there usually is a strong holistic trait in esotericism where the godhead is considered manifest in the natural world—a world interconnected by so-called correspondences. Man is seen as a microcosm of the macrocosm, the divine universe. Through increased knowledge of the individual self, it is often regarded as possible to achieve corresponding knowledge about nature, and thereby about God. However, the interpretation of what gnosis “actually is,” or what the correspondences “actually are,” differs considerably in the history of Western esotericism.”

–Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pg. 5.

Words of Power.

“The pronunciation of yhwh as Yahweh is a scholarly guess. Hebrew biblical mss were principally consonantal in spelling until well into the current era. The pronunciation of words was transmitted in a separate oral tradition. The Tetragrammaton was not pronounced at all, the word adonay, “my Lord,” being pronounced in its place; elohim, “God,” was substituted in cases of combination adonay yhwh (305 times; e.g. Gen 15:2). Though the consonants remained, the original pronunciation was eventually lost.” The Anchor Bible Dictionary (1992) Vol. VI, 1011.

–Henrik Bogdan, Western Esotericism and Rituals of Initiation, pg. 203

Augustine on Magic.

“In this model, magic appears in the context of the theory of signs as an act of communication with demonic powers (while Christian rituals are also acts of communication, but only with the divine sphere).

Thus, all superstitious practices, including divination and astrology, presuppose an implicit or explicit pact with demons. This is valid even in the case where the operator—deceived by the demons—is not aware of the pact, because this pact is secured by the magical language, signs, and rituals he has applied.

For a reader of Augustine, basically every instance of magic—however innocent it may seem—seems to be ultimately associated with idolatry and demonolatry, and becomes consequently harmful. Augustine was well aware of the common features and elements of the rituals of magic and those of religion (prayers, sacraments, and the cult of relics).

It is true—he wrote—that what magicians do is often similar to what saints do: the difference lies not in the visible realm but in what is secretly implied. While saints communicate with divine powers for the greater good, magicians seek their own, selfish ends.”

Benedek Láng, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008: pg. 20.

Porphyry and the Oracle of Hecate on Christ.

Porphyry (234-305 AD) wrote the Philosophy of Oracles and Against the Christians, both now lost to history. Theodosius II burned all works of Porphyry in 435 and 448 AD, so all that remains are tantalizing fragments quoted by Christian apologists. In other words, what we know about Porphyry comes from his sworn enemies, who rebutted him as they excerpted him.

In Philosophy of Oracles, Porphyry defended the traditional paganism of his day:

“How can these people be thought worthy of forbearance? They have not only turned away from those who from earliest time have been thought of as divine among all Greeks and barbarians… but by emperors, law-givers and philosophers— all of a given mind.

But also, in choosing impieties and atheism, they have preferred their fellow creatures. And to what sort of penalties might they not be subjected who… are fugitives from the things of their Fathers?”

In his fifteen volume Adversus Christianos, Porphyry criticized Christianity for the paucity of its literature, observing that the immature corpus of Christian writings paled in comparison to the oeuvre of paganism. He also distinguished between the original oral traditions of Christianity, straight from the mouth of the Lord, and the subsequent corruption of that doctrine at the hands of the apostles. Keep in mind that Porphyry was writing a mere 300 years after the Crucifixion.

In this fragment, where Porphyry is quoted by St. Augustine (De Civitate Dei, l. xix. cap. 23), the Oracle…

“…The oracle declared Christ to be a most pious man, and his soul, like the soul of other pious men after death, favored with immortality; and that the mistaken Christians worship him.

And when we asked, Why, then, was he condemned? The goddess (Hecate) answered in the oracle: The body indeed is ever liable to debilitating torments; but the soul of the pious dwells in the heavenly mansion.

But that soul has fatally been the occasion to many other souls to be involved in error, to whom it has not been given to acknowledge the immortal Jove.

But himself is pious, and gone to heaven as other pious men do. Him, therefore, thou shalt not blaspheme; but pity the folly of men, because of the danger they are in.”

–From Porphyry, Philosophy of Oracles.

Wilken, R. (1979). “Pagan Criticism of Christianity: Greek Religion and Christian Faith,” in W. Schoedel and R. Wilken, eds., Early Christian Literature and the Classical Intellectual Tradition, pp. 117–134.

Digeser, E. D. (1998). “Lactantius, Porphyry, and the Debate over Religious Toleration,” The Journal of Roman Studies 88, pp. 129–146.

Hijacked from:

http://m.ccel.org/ccel/schaff/person.iv.x.html

and

https://en.m.wikipedia.org/wiki/Porphyry_(philosopher)

Unlocking the Liber visionum of John of Morigny.

“….In the Liber visionum John of Morigny explains that each person who wishes to use the prayers of his book must copy his own volume by his own hand, substituting his name for that of John, and then consecrate the copy.

Of course, John is aware that his name is fairly frequent, and therefore he stresses that even those persons who are also called John must reproduce the book with their own hands if they really want to use it.”

–Benedek Láng, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008, 183.

Demonic Books.

“A Kraków codex of encyclopedic content and of necromantic fame, the Liber viginti artium (Book of the Twenty Arts) of Paul of Prague, was believed to bear the traces of the touch of the devil.

Its demonic power was so feared even in the eighteenth century that the book was hidden under a stone for some years so that it could not be read; other reports claim that it was chained to the wall in the library of Vilnius. From time to time, the book is believed to possess sinister powers as if malign demons might reside in it. Various descriptions have come to us reporting that when such books were burned, bystanders heard the voices of escaping demons.

[…]

However, we do not necessarily need to hear escaping demons to view magic codices with a certain interest (or suspicion). As the main vehicles of secret and forbidden knowledge, they are responsible for the dissemination of learned magic, and their destruction or survival greatly depends on the picture they construct. Sometimes their attempt at legitimating their magical content by creating a most holy image remains unsuccessful and leads to the formation of an opposite, diabolical impression. We will see this (at least partly) failed effort in the case of the Ars notoria and the Liber visionum, the latter of which was not only condemned but also burned in Paris.

Benedek Láng, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008: pg. 48.

Ficino, Talismans, and the Fifth Element.

“For Ficino the universe was made up of mystical links, or correspondences, that continuously interacted. The seven planets influenced the sublunary world with their qualities through the mystical links. The fundamental point in Ficino’s magic was that the magician, with knowledge of these mystical links, could manipulate them, and thus cause results according to his will. […]

The use of talismans as a means to attract the influence of planets was viewed as a highly powerful aid, but also a very dangerous one, since the Church condemned its use. Ficino was careful in advising the use of talismans, but, as Yates pointed out, he did discuss talismans in his work De vita coelitus comparanda. […]

According to Walker, the magic of Ficino used the human spiritus as its medium through which it worked. The spirit was the link between body and soul, and the human functions of sense-perception, imagination, and motor activity were connected to the spiritus. The human spiritus was made up of the four elements, and it formed a corporeal vapor that flowed from the brain, where it had its center, through the nervous system. Furthermore, the human spirit was connected to the spiritus mundi, which mostly consisted of the fifth element—quinta essentia or ether.”

–Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pg. 55.

Marsilio Ficino and the New Platonic Academy of Florence of 1462.

“In the second half of the fifteenth century there gathered around the Renaissance philosopher Marsilio Ficino (1433–1499) a group of learned men that eventually became known as the “New Platonic Academy” at Florence, supposedly founded in 1462.

It was in the intellectual milieu around Ficino and his followers that Western esotericism, as it is viewed today, emerged from the various sources of late antiquity and the Middle Ages. Christian mysticism, Neoplatonism, ancient and medieval magic, gnosticism, and Jewish Kabbalah merged together with the hermetism of the Corpus Hermeticum.”

—-Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pg. 54.

The Lost Books of Dionysius The Aeropagite.

“The Corpus is today composed of Divine Names (Περὶ θείων ὀνομάτων), Mystical Theology (Περὶ μυστικῆς θεολογίας), Celestial Hierarchy (Περὶ τῆς οὐρανίου ἱεραρχίας), Ecclesiastical Hierarchy (Περὶ τῆς ἐκκλησιαστικῆς ἱεραρχίας), and ten epistles.

Seven other works, namely Theological Outlines (Θεολογικαὶ ὑποτυπώσεις), Symbolic Theology (Συμβολικὴ θεολογία), On Angelic Properties and Orders (Περὶ ἀγγελικῶν ἰδιοτήτων καὶ τάξεων), On the Just and Divine Judgement (Περὶ δικαίου καὶ θείου δικαστηρίου), On the Soul (Περὶ ψυχῆς), On Intelligible and Sensible Beings, and On the Divine Hymns, are mentioned repeatedly by pseudo-Dionysius in his surviving works, and are presumed either to be lost or to be fictional works mentioned by the Areopagite as a literary device to give the impression to his sixth century readers of engaging with the surviving fragments of a much larger first century corpus of writings.”

(NB: From the entry on Dionysius the Aeropagite, or rather, Pseudo-Dionysius: The Aeropagus was an open air theater in Athens where lawyers or speakers declaimed in public. It was, in fact, basically a court, where eminent personalities could be addressed and pleas for clemency evaluated. There was actually an area where murderers could seek sanctuary from punishment.)

http://en.wikipedia.org/wiki/Pseudo-Dionysius_the_Areopagite

“Perhaps the most important Neoplatonic philosopher who influenced early esotericism during the Middle Ages was Denys the Aeropagite with his theory of a hierarchy of angels and of the universe. The Aeropagite’s worldview continued to be important during the Renaissance, especially for the angelic (or demonic) magic of Pico and Agrippa.”

—-Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pg. 53.

Mystical Traditions and Secrecy.

“Significantly, it is in mystical traditions that secrecy is used most extensively.

Mystic traditions ranging from the Hindu and Buddhist guarded Tantric texts, the supposed secret teachings of Sakyamuni, the poetry of the Sufis, to the teachings of kabbalists and Christian mystics all have in common that their doctrines are restricted to initiates, and that their discourses are veiled in a symbolic language, which for uninitiated is often difficult to fully comprehend.

In the gnosticism of late antiquity the very notion of gnosis itself was regarded as a closely guarded secret.”

—-Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pp. 45-6.

Eliphas Lévi on the Four Words of the Magus.

“The name was misspelled as Scrire. In occultistic lore, Scire is the first “power of the Sphinx” that the initiate needs to master.

The four powers are Scire, Velle, Audere, and Tacere, or To Know, To Will, To Dare, and To Keep Silent.

Eliphas Lévi wrote: “To attain to Sanctum Regnum, in other words, the knowledge and power of the magi, there are four indispensable conditions—an intelligence illuminated by study, an intrepidity which nothing can check, a will which cannot be broken, and a prudence which nothing can corrupt and nothing intoxicate.

TO KNOW, TO DARE, TO WILL, TO KEEP SILENCE—such are the four words of the magus, inscribed upon the four symbolical forms of the sphinx.”

–Lévi, Transcendental Magic (1896), 30. Quoted in:

–Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pg. 207.

The Rosecrucians and the “Original Language of Adam and Enoch.”

“The Rosicrucian author(s) claim to know the primal characters, which God has incorporated in the Bible and also imprinted in heaven and earth; this is an evident reference to the primal alphabet of nature, an idea deriving from Christian Cabala, familiar to Agrippa and John Dee. It is from these characters that the Rosicrucians have borrowed their “magic writing,” thus forging a new language in which the nature of all things can be expressed. This is no less than the original language of Adam and Enoch. The Confessio’s emphasis on the Bible’s precedence over the book of nature is a further point of agreement with Paracelsus’s Christian fideism joined to Ficinian Neoplatonism.”

–Nicholas Goodrick-Clarke, The Western Esoteric Traditions: A Historical Introduction, 2008, pp. 111-2.

Haslmayr and the Paracelsian Theophrastia Sancta.

“Likewise, the unitarian Neoplatonic position is seemingly upheld by Paracelsus’s doctrine of the soul: “Man has two bodies: one from the earth, the second from the stars, and thus they are easily distinguishable. The elemental, material body goes to the grave along with its essence; the sidereal, subtle body dissolves gradually and goes back to its source, but the spirit of God in us, which is like His image, returns to Him whose image it is.

Throughout the Astronomia Magna one sees that Paracelsus is using a threefold hierarchical view of the world: mundane, celestial, and eternal corresponding to the body, soul, and spirit. The spirit is divine and will, as in the emanationist Neoplatonic philosophy of Plotinus which was Ficino’s great inspiration, return to the godhead. This was the threefold hierarchical world of Neoplatonic cosmology, which came through Ficino and Pico to Trithemius and Agrippa, still present in John Dee’s rigid theurgy and Robert Fludd’s wonderful engravings.” […]

“The spirit instructs man in supernatural and eternal things, and after the separation of matter from spirit it returns to the Lord.”26 […]

“The Spanish scholar Carlos Gilly sees Paracelsus’s large but only recently edited theological writings as providing the basis of a new supradenominational religious current in central Europe in the late sixteenth and seventeenth centuries. Paracelsus rejected the Mauerkirche (the church of stone) in De septem puncti idolatriae christianae (1525). He did not want to found a new sect, but strove instead for a church of the spirit, subject only to God and nature.

Paracelsus’s “religion of the two lights,” namely the light of grace, and the light of nature, was taken up by Adam Haslmayr (ca. 1560–1630), the first commentator on the Rosicrucian manifestos, which invoked the example of Paracelsus. Haslmayr called the revelation of Paracelsus the Theophrastia Sancta, and this term became emblematic among followers of Valentin Weigel and others as a new gospel for a second, truly radical reformation.” […]

“Like the seventeenth-century Paracelsians, Jung celebrated Paracelsus for his source of knowledge in the twin “lights” of nature and revelation and believed Paracelsus’s work to be an early intimation of the role of the unconscious. Arguing that alchemy is “the forerunner of our modern psychology of the unconscious,” he claimed Paracelsus as a pioneer of “empirical psychology and psychotherapy.”

–Nicholas Goodrick-Clarke, The Western Esoteric Traditions: A Historical Introduction, 2008, pg. 82-4.

The Original Divine Language of Creation.

“Clulee, in contrast, has offered a very detailed analysis of the text involving its astrological, alchemical, and numerological aspects to demonstrate convincingly that Dee is here attempting to elaborate an “alphabet of nature.” This refers to the reconstruction of the original divine language of Creation which stands behind all human languages.”

–Nicholas Goodrick-Clarke, The Western Esoteric Traditions: A Historical Introduction, 2008, “Planetary and Angel Magic in the Renaissance,” pg. 63.

Swedenborg, Spirits, and Angels.

“In his introduction to Arcana Coelestia, Swedenborg wrote, “Of the Lord’s Divine mercy it has been granted me now for some years to be constantly and uninterruptedly in company with spirits and angels.”

–Nicholas Goodrick-Clarke, The Western Esoteric Traditions: A Historical Introduction, 2008. “Swedenborg,” pg. 163.

Spurious Attributions in Renaissance Alchemical Literature.

“The Processus sub forma missae and its author were not unknown to the alchemists of the early modern era. The text was printed in the famous anthology of alchemical literature, the Theatrum Chemicum (Chemical Theater), by Lazarus Zetzner in 1602.

This point needs to be emphasized because the confusion in the literature concerning both the person and the work of Melchior is so great that it is hard to differentiate between evidence and legends even with regard to such simple things as the bibliographical data of his published text.

Melchior’s portrait appears on the title page of the Symbola Aureae Mensae Duodecim Nationum (The Symbols of the Golden Table of the Twelve Nations) by Michael Maier (1568–1622), the alchemist of Emperor Rudolf II. In this international history of the royal art, Melchior is chosen to represent Hungary among the twelve most famous alchemists of the world, and thus he appears in the noble company of Hermes Trismegistos, Maria the Jewess, Avicenna, Albertus Magnus, Roger Bacon, and Raimundus Lullus.

He is mentioned and quoted by such authors and editors of the sixteenth and seventeenth centuries as Daniel Stolz von Stolzenberg, Petrus Borelius, Libavius, and Athanasius Kircher. Even Isaac Newton was acquainted with Melchior’s name; relying on Maier’s description, he incorporated a number of Latin notes on a wide range of alchemical authors and myths in one of his many alchemical manuscripts, among these a few references to the alchemist of Transylvania.”

–Benedek Lang, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008. Pg. 145.

Notes on Theurgy and the Mnemotechnic Metasciences of Raymond Lully.

Excerpts from footnotes in a book that I am reading:

8. “Briefly, theurgy is the art of bringing down celestial beings (angels) through the use of prayers on the one hand, and of ecstatic ascent toward union with God, on the other.

9. Among mnemotechnic metasciences, the Ars magna of Raimundus Lullus is no doubt the most famous.”

–Benedek Lang, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008. Pg. 165.

On the Ars Notoria of Solomon and Apollonius.

“The Ars notoria, which is ascribed to Solomon and his “friend and successor” Apollonius, is a fairly widespread work of medieval ritual magic and theurgy. If we are not trained in the field of learned magic, we will easily mistake it at first glance for an innocent religious text, because the ritual of the Ars notoria is nothing other than an elaborated liturgical program composed of prayers and orations addressed to transcendent agents.

Only a closer look reveals that the text, by means of its large variety of prayers, invocations of divine and angelic names, and numerous rituals, actually promises intellectual perfection, learning, the acquisition of memory, and the ability to understand difficult books.

To use its procedures one must first practice a course of confession, fasting, chastity, penitence, and the cultivation of physical and psychological purity lasting several months.

However pious this text may seem, its emphasis on the efficacy of words and names of God to help the user attain power, and the purposes for which a user might turn to it— the acquisition of absolute knowledge, moral perfection, and unlimited memory— bring it close to other magical arts.”

–Benedek Lang, Unlocked Books: Manuscripts of Learned Magic in the Medieval Libraries of Central Europe, 2008. Pg. 165.

Omar Khayyam on Predestination.

LXXIII

“With Earth’s first clay they did the last man knead,

And then of the last harvest sow’d the seed:

Yea, the first morning of creation wrote

What the last dawn of reckoning shall read.”

–Omar Khayyam, The Rubaiyat.

Jung on the Prophetic Significance of Dreams.

“Just as the largest part of the past is so far removed that it is not reached by history, so too the greater part of the unconscious determinants is unreachable.

History, however, knows nothing of two kinds of thing, that which is hidden in the past and that which is hidden in the future. Both perhaps might be attained with a certain amount of probability; the first as a postulate, the second as an historical prognosis.

In so far as tomorrow is already contained in today, and all the threads of the future are in place, so a more profound knowledge of the past might render possible a more or less far reaching and certain knowledge of the future (…)

Just as traces of memory long since fallen beneath the threshold of consciousness are accessible in the unconscious, so too there are certain very fine subliminal combinations of the future, which are of the greatest significance for future happenings in so far as the future is conditioned by our own psychology… it appears from time to time, in certain cases, significant fragments of this process come to light, at least in dreams. From this comes the prophetic significance of the dream long claimed by superstition. 

 The aversion of the scientific man of today to this type of thinking, hardly to be called phantastic, is merely an overcompensation to the very ancient and all too great inclination of mankind to believe in prophesies and superstitions.”

 –Carl Gustav Jung, Psychology of the Unconscious, 1916.

The Zohar and Reflection.

“The author of the Zohar put on, when writing this work, several layers of disguise, hiding his own personality, time, and language. He created an artificial language, an Aramaic that is not found in the same way anywhere else, innovating a vocabulary and grammatical forms. He attributed the work to ancient sages, and created a narrative that occurs in a distant place at another time …

“The radical mythological descriptions of the divine powers, the unhesitating use of detailed erotic language, and the visionary character of many sections–these are unequaled in Jewish literature, and place the Zohar among the most daring and radical works of religious literature and mysticism in any language.”

“…. the Zoharic worldview is based on the concept of reflection: everything is the reflection of everything else. The verses of scriptures reflect the emanation and structure of the divine world; as does the human body, in the anthropomorphic concept of the sefirot, and the human soul, which originates from the divine realm and in its various parts reflects the functions and dynamism of the sefirot.

“…The structure of the temple in Jerusalem and the ancient rituals practiced in it are a reflection of all other processes, in the universe, in man, and within the heavenly realms….Everything is a metaphor for everything else….All of this is presented as a secret message, a heavenly revelation to ancient sages, using conventional, authoritative methodologies.”

—-Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pp. 32-4

The Book Bahir

The Book Bahir, (anonymous, 1185), attributed to Rabbi Nehunia ben ha-Kanah, “begins with a few statements concerning the creation. In the first part of the book there are many discussions of the letters of the alphabet, their shapes, and the meaning of their names.”

“This work is the first Jewish treatise that presents in a positive manner the concept of transmigration of souls, the reincarnation or rebirth of the same souls again and again.”

(I had no idea that reincarnation had any place in Jewish Kabbalah).

 This work is technically the earliest work of the Kabbalah, based on three major concepts which are not found in earlier Jewish sources. 

The first is the description of the divine world consisting of ten hypostases, ten divine powers, which are called ma’amarot (utterances), which were known in later kabbalalistic writings as the ten sefirot

The second is the identification of one of the ten divine powers as feminine, separate from the other nine, and thus introducing gender dualism into the image of the divine realms. 

The third is the description of the divine world as a tree (ilan); the work states that the divine powers are positioned one above the other like the branches of a tree. But the image was one of an upside-down tree, its roots above and its branches growing downward, toward the earth.

These three concepts became characteristic of Kabbalah as a whole, (excepting Abraham Abulafia, who rejected the concept of the ten sefirot), and the presence of these three concepts identifies works as part of the tradition of Kabbalah. 

“In addition to these three concepts there is in the Book Bahir a more dramatic description of the realm of evil than those usually found in earlier Jewish sources, but there is no final separation between God and Satan. The powers of evil are described as the fingers of God’s left hand.”

–Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pp. 20-2.

Prayers as Reflections of Intrinsic Harmonies.

“Rabbi Judah the Pious developed a unique conception of the Hebrew prayers, intensely mystical in character, which viewed the text of the traditional prayers as a reflection of a hidden, intrinsic numerical harmony that binds together the words and letters of the sacred texts and all phenomena of existence.”

–Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pg. 19. 

More on Creation Through the Powers of the Alphabet.

“The Sefer Yezira (The Book of Creation) describes the process of creation mainly by the power of the letters of the alphabet. It dates to the 10th Century AD, though it was regarded as an ancient work. It was clearly developed and edited for several generations before it emerged into view. The exact date of its origin is unknown. Some assert that it was written before the destruction of Jerusalem in 70 CE, while others claim that it was written in the 9th century, with Islamic influences. The consensus seems to be that it dates to the third or fourth century, but there is no definitive evidence.

The concluding sentences state that Abraham knew the secrets of this work, so it is traditionally ascribed to Abraham the Patriarch.

The Book of Creation describes a system of cosmogony and cosmology different from Genesis, yet cites no authority and rarely refers to Bible verses.

“The universe was hewed, according to the first paragraph, by thirty-two “wondrous paths of wisdom,” and engraved in “three books.” The “paths” are described as ten sefirot and the twenty-two letters of the Hebrew alphabet. These sefirot are not divine powers….” They are “described as the directions or dimensions of the cosmos, (north, south, east, west, up, down, beginning, end, good, and evil), as well as the holy beasts of Ezekiel’s chariot, the stages of the emergence of the three elements (divine spirit, air or wind, and water and fire), and other characteristics that are unclear.”

“Early commentators interpreted the sefirot as the ten basic numbers from one to ten.”

“The central concept … is harmonia mundi, (harmony of the universe). There are three layers of existence, the cosmic, that of time, and that of man. Each letter, or group of letters, is in charge of one aspect of each layer.”

“Thus … the Hebrew letters that can be pronounced in two different ways–whose number, according to this work, is seven–in the cosmos, are in charge of the seven planets; in “time,” are in charge of the seven days of the week; and, in man, are in charge of the seven orifices in the head (eyes, ears, nostrils and mouth).

“The twelve letters that the author describes as “simple” are in charge of the twelve zodiac signs, the twelve months, and the twelve principal limbs, and so on. This model was used by subsequent thinkers to develop the concept of human beings as microcosmos, reflecting the characteristics of the cosmos as a whole (especially by Shabbatai Donolo, who used it to interpret the the verse in Genesis 1:27, indicating that man was created in the image of God).”

“The concept that the universe was created by the power of divine speech is an ancient one in Judaism, and the Sefer Yezira developed this idea systematically. The guiding principle seems to have been that if creation is accomplished by language, then the laws of creation are the laws of language. Grammar thus was conceived as the basic law of nature. The author developed a Hebrew grammar based on 231 “roots”–the number of possible combinations of 22 letters. He explained the existence of good and evil in the universe as a grammatical process: if the letter ayin is added to the “root” ng as a prefix, it gives ong, great pleasure, but if it is added as a suffix, it means infliction, malady. The author also insisted that everything in the universe, following grammatical principles, has two aspects, parallel to the gender duality of masculine and feminine.”

“The kabbalists … positioned this work in the heart of Jewish sacred tradition, a source of divine wisdom parallel to that of the Hebrew Bible.”

–Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pp. 16-18.

Pablo Neruda on the Language of Rain.

“In what language does rain fall over tormented cities?”

–Pablo Neruda, The Book of Questions.

On Jewish Esoterica.

Joseph Dan states that “A small library of about two dozen treatises reached us from the writings of Jewish esoterics in late antiquity dealing with these two subjects, the secret of creation and the secret of the divine realm, the merkavah. It is known as the “Hekhalot (celestial palaces or temples) and Merkavah” literature, because several of the treatises have these terms in their titles.”

“The most detailed work in this group is Seder Rabba de-Bereshit (The Extended Description of Genesis). The second main subject in this small library is magic.”

Dan refers to the “most elaborate ancient Jewish directory for magical formulas,” the Harba de-Moshe (The Sword of Moses), which includes “several hundred magical incantations and procedures …” from “magical remedies to love potions to walking on water.”

Magic is prominently addressed in the Sefer ha-Razim (The Book of Secrets). The third main subject is the description of the chariot in Ezekiel and other biblical sections describing the abode of God. The texts include detailed lists of angels, naming them and their functions, as well as discussions of the secret names of God and the archangels.

The fourth subject “describes an active procedure by which a person can ascend to the divine realms and reach the highest level, and even “face God in his glory.” The process of ascension is termed “descent to the chariot,” and the sages who accomplish it are called yordey ha-merkavah (the descenders to the chariot). These are first-person accounts attributed to Rabbi Akibah and Rabbi Ishmael. These sages overcame many dangers to “join with the angels in the celestial rituals of praise to God.”

The Shiur Komah (The Measurement of the Height) relates a list of God’s limbs, beard, forehead, eyes and irises, designated by obscure, strange, unpronounceable names, measured in terms of miles, feet and fingers. The basic measurement used is the length of the whole universe (derived from Isaiah 40:12), yet each divine limb is trillions of times longer. It is the source of the sefirot, the kabbalistic system of divine attributes. 

–Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pp. 13-15.

Creation by Alphabet

“The ancient Sefer Yezira, the Book of Creation, describes the process of creation mainly by the power of the letters of the alphabet.”

There is a parable that states that four sages entered a pardes, a royal garden, to study these scriptures. One died, a second went insane, the third became a heretic, and only the fourth, Rabbi Akibah ben Joseph, “entered in peace and came out in peace.”

The expression “entrance to the pardes” was understood to refer to a profound religious experience of entering the divine realm and encountering God. The term pardes is derived from the Persian, and adopted in its Greek form as “Paradise.”

–Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pg. 12-13.

Origins of Jewish Esotericism.

The origins of Jewish esotericism derive from a talmudic statement made in the Mishnah (Hagiga 2:1), circa 1st century CE. It was forbidden to expound two particular sections of scripture in public, and hazardous to even study them in small groups. The sections are the chapters of the Book of Genesis, describing the creation of the cosmos, called ma’aseh bereshit (the work of genesis) in the Talmud

The second section was the first book of the Book of Ezekiel, called the ma’aseh merkavah (the work of the chariot), being the prophet Ezekiel’s description of the vision of the celestial chariot in Ezekiel 1 and 10. 

They were regarded as spiritually and even physically dangerous. 

—-Joseph Dan, Kabbalah: A Very Short Introduction, 2006, pg. 11. 

Joseph Dan, Kabbalah: A Very Short Introduction

 Joseph Dan says that Kabbalah can be considered:

a. The essence of Assyrian religion (!?). 

b. The essence of Christianity. 

c. Mysticism. A form of mysticism. 

d. A secret magical tradition. 

“Mysticism” is completely absent from both Jewish and Islamic cultures until the 19th century. The concept of mysticism derives from Christianity, referring to the mystical way of life, prayer and devotion that leads to a mystical union with God. 

Traditional definitions of the term describe “mysticism” as the aspiration and sometime achievement of a direct, experiential relationship with God. One characteristic of mysticism is the denial of language’s ability to express religious truth. “In mysticism, language is apophatic, a “language of unsaying,” language that denies its own communicative message.” Religion can be communicated using words. Mysticism cannot.  

Kabbalah is Jewish. Sufism is Islamic. Christianity was allegedly the original form of mysticism. And yet, “the concept of ancient tradition that permeates the kabbalah, and the sack that early Islamic Sufis wore, which probably gave them this appellation, have no parallel in Christian mysticism.”

–Joseph Dan, Kabbalah: A Very Short Introduction, 2006. Ppg. 8-10.

Apuleius on Queen Isis.

“I am she that is the naturall mother of all things, mistresse and governesse of all the Elements, the initiall progeny of worlds, chiefe of powers divine, Queene of heaven! the principall of the Gods celestiall, the light of the goddesses: at my will the planets of the ayre, the wholesome winds of the Seas, and the silences of hell be diposed; my name, my divinity is adored throughout all the world in divers manners, in variable customes and in many names, for the Phrygians call me the mother of the Gods: the Athenians, Minerva: the Cyprians, Venus: the Candians, Diana: the Sicilians Proserpina: the Eleusians, Ceres: some Juno, other Bellona, other Hecate: and principally the Aethiopians which dwell in the Orient, and the Aegyptians which are excellent in all kind of ancient doctrine, and by their proper ceremonies accustome to worship mee, doe call mee Queene Isis.”

–Lucius Apuleius (“Africanus”), The Golden Asse, or The Metamorphoses, William Adlington, trans., 1566 & 1639), pg. 86. Excerpt from the 1639 edition.

A somewhat different version is excerpted in Robert Graves, The White Goddess, 1971, pp. 72-3.

Frank Herbert on Time.

“If he refused to move, he knew that he would remain caught in the timeless web, the eternal now where all events coexisted. This prospect enticed him. He saw Time as a convention shaped by the collective mind of all sentience. Time and space were categories imposed on the universe by his Mind. He had but to break free of the multiplicity where prescient visions lured him.”

–Frank Herbert, Children of Dune, pg. 182. 

Lewis Carroll’s “Jabberwocky.”

JABBERWOCKY

 ‘Twas brillig, and the slithy toves 
Did gyre and gimble in the wabe; 
All mimsy were the borogoves, 
And the mome raths outgrabe. 

‘Beware the Jabberwock, my son! 
The jaws that bite, the claws that catch! 
 Beware the Jujub bird, and shun 
The frumious Bandersnatch!’ 

 He took his vorpal sword in hand: 
Long time the manxome foe he sought — 
 So rested he by the Tumtum tree, 
And stood awhile in thought. 

And as in uffish thought he stood, 
The Jabberwock, with eyes of flame, 
Came whiffling through the tulgey wood, 
 And burbled as it came! 

One, two!! One, two!! And through and through 
The vorpal blade went snicker-snack! 
He left it dead, and with its head 
He went galumphing back. 

‘And has thou slain the Jabberwock? 
Come to my arms, my beamish boy! 
O frabjous day! Calloh! Callay! 
He chortled in his joy. 

‘Twas brillig, and the slithy toves 
Did gyre and gimble in the wabe; 
All mimsy were the borogoves, 
And the mome raths outgrabe. ”

–Lewis Carroll, Through the Looking Glass, pp. 19-20.

Mirrors as Labyrinths.

“My other nightmare is that of the mirror. The two are not distinct, as it only takes two facing mirrors to construct a labyrinth. I remember seeing, in the house of Dora de Alvear in the Belgrano district, a circular room whose walls and doors were mirrored, so that whoever entered the room found himself at the center of a truly infinite labyrinth.”

— –Jorge Luis Borges, “Nightmares,” Seven Nights, 1984, pg. 29. 

Borges on the Demonic Origin of Nightmares.

“In all of these words there is an idea of demonic origin, the idea of a demon who causes the nightmare. I believe it does not derive simply from a superstition. I believe that there is–and I speak with complete honesty and sincerity–something true in this idea.”

 –Jorge Luis Borges, “Nightmares,” Seven Nights, 1984, pp. 28-9.

Borges, Dreams, Nightmares, Metaphysics.

“For the savage and for the child, dreams are episodes of the waking life; for poets and mystics, it is not impossible for all of the waking life to be a dream.

This was said, in a dry and laconic fashion, by Calderón: “life is a dream.” It was said, with an image, by Shakespeare: “We are such stuff as dreams are made on.” And splendidly by the Austrian poet Walter von der Vogelweide, who asked, “Ist mein Leben getraäumt oder ist es wahr?” –have I dreamed my life or is it real?

I am not sure. It takes us certainly to solipsism, to the suspicion that there is only one dreamer and that dreamer is every one of us. That dreamer–let us imagine that I am he–is, at this very moment, dreaming you. He is dreaming this room and this lecture. There is only one dreamer, and that dreamer dreams all of the cosmic process, dreams all of the world’s history, dreams everything, including your childhood and your adolescence.

All of this could not have happened; at this moment it begins to exist. He begins to dream and is each one of us–not us, but each one. At this moment I am dreaming that I am giving a lecture on the Calle Charcas, that I am looking for things to say (and perhaps not finding them); I am dreaming you.

But it is not true. Each one of you is dreaming me and the others.”

–Jorge Luis Borges, “Nightmares,” Seven Nights, 1984. Pp. 26-7.

Marduk’s Tower of Babel.

Modern archeology estimates the height of the Tower of Babel, a ziggurat dedicated to Marduk, at 270 feet high. 

–Fred S. Kleiner, Gardner’s Art Through the Ages: A Global History, enhanced 13th Edition. 2005, 2009, 2011. “Sumer,” Pg. 33.

Herodotus, 5th Century BCE, described it: “In the middle of the sanctuary [of Marduk] has been built a solid tower……which supports another tower, which in turn supports another, and so on; there are eight towers in all. A stairway has been constructed to wind its way up the outside of all the towers; halfway up the stairway there is a shelter with benches to rest on, where people making the ascent can sit and catch their breath. In the last tower there is a huge temple. The temple contains a large couch, which is adorned with fine coverings and has a golden table standing beside it, but there are no statutes at all standing there…..[The Babylonians] say that the god comes in person to the temple [compare the Sumerian notion of the temple as a “waiting room”] and rests on the couch; I do not believe this story myself.” 

–Herodotus: The Histories, Robin Waterfield, trans., New York: Oxford University Press, 1998, pp. 79-80. 

 Quoted in Gardner’s Art Through the Ages, pg. 48. 

Kafka on the Fall.

“The Expulsion from Paradise is eternal in its principal aspect: this makes it irrevocable, and our living in this world inevitable, but the eternal nature of the process has the effect that not only could we remain forever in Paradise, but that we are currently there, whether we know it or not.”

— –Franz Kafka, The Zürau Aphorisms, 2006, pg. 65. 

Robert Graves on Remembering the Future.

“In the poetic act, time is suspended and details of future experience often become incorporated in the poem, as they do in dreams. This explains why the first Muse of the Greek triad was named Mnemosyne, ‘Memory’: one can have memory of the future as well as of the past. Memory of the future is usually called instinct in animals, intuition in human beings.” 

–Robert Graves, The White Goddess, pg. 343

Pythagoras, an initiate of the Orphic Mysteries, and the Transmigration of Souls.

“…Pythagoras was a Pelasgian from Samos who developed his doctrine of the Transmigration of Souls as the result of foreign travel. According to his biographer Porphyrius he went to Crete, the seat of the purest Orphic doctrine, for initiation by the Idaean Dactyls.

They ritually purified him with a thunderbolt, that is to say they made a pretense of killing him with either a meteoric stone or a neolithic axe popularly mistaken for a thunderbolt; after which he lay face-downwards on the sea shore all night covered with black lamb’s wool; then spent ‘three times nine hallowed days and nights in the Idaean Cave’; finally emerged for his initiation.

Presumably he then drank the customary Orphic cup of goat’s milk and honey at dawn (the drink of Cretan Zeus who had been born in that very cave) and was garlanded with white flowers. Porphyrius does not record exactly when all this took place…Pythagorus was reborn at the winter solstice festival as an incarnation of Zeus….and went through the usual mimetic transformation: bull, hawk, woman, lion, fish, serpent, etc.” 

–Robert Graves, The White Goddess, pp. 282-3.