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Tag: Dr. John Dee

Eco: Magic Names & Kabbalistic Hebrew, 3


Henry Gillard Glindoni (1852-1913), John Dee Performing an Experiment Before Elizabeth I, purchased from Mr. Henry S. Wellcome circa 1900-36 as Accession Number 47369i, courtesy of Wellcome Library. The painting portrays Dr. John Dee conjuring for Queen Elizabeth I at Dr. Dee’s home in Mortlake. On the Queen’s left are her adviser William Cecil and Sir Walter Raleigh. Dr. Dee’s notorious scryer, Edward Kelley, is seated behind Dr. Dee, wearing a skullcap that conceals his cropped ears. This work caused a stir when an x-ray scan of the painting revealed that Dr. Dee originally stood in a magical circle comprised of human skulls. The skulls were presumably removed by the artist at the request of the original buyer. An extensive collection of works by Dr. Dee is available on the Esoteric Archives site. This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 100 years or less. 

“John Dee–not only magus and astrologer to Queen Elizabeth I, but profound érudit and sharp politician as well–summoned angels of dubious celestial provenance by invoking names like Zizop, Zchis, Esiasch, Od and Iaod, provoking the admiring comment, “He seemeth to read as Hebrew is read” (cf. A True and Faithful Relation of 1659).

There exists, however, a curious passage in the Arabic Hermetic treatise, known in the Middle Ages through a Latin translation, called the Picatrix (III, I, 2: cf. Pingree 1986), in which the Hebrew and Chaldean idioms are associated with the saturnine spirit, and, hence with melancholy.

Saturn, on the one hand, was the sign of the knowledge of deep and secret things and of eloquence. On the other, however, it carried a set of negative connotations inherited from Judaic law, and was associated with black cloths, obscure streams, deep wells and lonely spots, as well as with metals like lead, iron and all that is black and fetid, with thick-leafed plants and, among animals, with “camelos nigros, porcos, simias, ursos, canes et gatos [sic]” (“black camels, pigs, moneys, bears, dogs and cats”).

This is a very interesting passage; if the saturnine spirit, much in vogue during the Renaissance, was associated with sacred languages, it was also associated with things, places and animals whose common property was their aura of black magic.

Thus, in a period in which Europe was becoming receptive to new sciences that would eventually alter the known face of the universe, royal palaces and the elegant villas in the Tuscan hills around Florence were humming with the faint burr of Semitic-sounding incantations–often on the lips of the scientists themselves–manifesting the fervid determination to win a mastery of both the natural and the supernatural worlds.

Naturally, things could not long remain in such a simple state. Enthusiasm for kabbalist mysticism fostered the emergence of a Hebrew hermeneutics that could hardly fail to influence the subsequent development of Semitic philology.

From the De verbo mirifico and the De arte kabbalistica by Reuchelin, to the De harmonia mundi of Francesco Giorgi or the Opus de arcanis catholicae veritatis by Galatinus, all the way to the monumental Kabbala denudata by Knorr von Rosenroth (passing through the works of Jesuit authors whose fervor at the thought of new discoveries allowed them to overcome their scruples at handling such suspect material), there crystallized traditions for reading Hebrew texts.

This is a story filled with exciting exegetical adventures, numerological fabulizing, mixtures of Pythagoreanism, Neoplatonism and kabbalism. Little of it has any bearing on the search for a perfect language. Yet the perfect language was already there: it was the Hebrew of the kabbalists, a language that revealed by concealing, obscuring and allegorizing.

To return to the linguistic model outlined in our first chapter, the kabbalists were fascinated by an expression-substance–the Hebrew texts–of which they sought to retrieve the expression-form (the grammar), always remaining rather confused apropos of the corresponding content-form.

In reality, their search aimed at rediscovering, by combining new expression-substances, a content-continuum as yet unknown, formless, though seemingly dense with possibility. Although the Christian kabbalists continually discovered new methods of segmenting an infinite continuum of content, its nature continued to elude them.

In principle, expression and content ought to be conformal, but the expression-form appeared as the iconic image of something shrouded in mystery, thus leaving the process of interpretation totally adrift (cf. Eco 1990).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 124-6.

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.

Alchemical Implications of Dee’s Monas

“As with Dee’s Pythagorean speculations, here, too, we find instances of later writers either directly referring to Dee or at least making use of similar techniques. Petrus Bungus’s Numerorum Mysteria (1618), for instance, refers the reader to Dee’s Monas Hieroglyphica in a discussion of the letter X and the significance of the point at the intersection of the four radiating lines, with unity denoting God and a good intellect, and duality a demon and bad intellect.

Dorn, in another of his scholia to the Tractatus Aureus, this time commenting on Hermes’ ruminations on the symbolism of a hen’s egg, takes Dee’s Roman numeral speculations in Theorem 16 a stage further.

He argues that the two letter Vs which mirror one another represent, as it were, the “As above, so below” maxim of the Emerald Tablet, with the upper V being incorporeal, and the lower corporeal. When these two are brought together, they form the letter X, i.e. the denarius or number of perfection, represented otherwise by the letters IO, as if one were saying “one circle,” or one revolution of a circle, this denary number being the Mercury of the Philosophers.

In addition, the Roman letter M equals the number 1,000, which is the ultimate perfection of all other numbers, and for Dorn denotes sulfur, which (containing fire, the fifth essence, and spirit) makes all things bear fruit.

If you join all these letters together, you get the word OVUM; the letter O signifies earth, for philosophical earth should be round and circular like the motion of the heavens; the letters VU represent water and air, and the final letter M represents fire (possibly because it resembles the astrological glyph for Aries ) — all combining to make the word “EGG.”

–Peter J. Forshaw, “The Early Alchemical Reception of John Dee’s Monas Hieroglyphica,” AMBIX, November, 2005, pg. 253.

Dr. John Dee, the Monas, and the Hebrew Alphabet as the Device of Divine Creation.

“…Dee was fascinated with the application of the exegetical techniques of cabbala to alchemy. He was well aware that each letter of the Hebrew alphabet has a numerical equivalence, and that the computation of these numbers in words and comparison with other significant words was believed to provide insights into various levels of reality. The fourth-century Sefer Ytzirah, or Jewish Book of Formation, gives a cosmogonic account of God engraving the universe with the twenty-two foundational letters of the Hebrew alphabet.” 

–Peter J. Forshaw, “The Early Alchemical Reception of John Dee’s Monas Hieroglyphica,” AMBIX, November, 2005, pg. 252 (6).

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