"Samizdat: Publishing the Forbidden."

Tag: Trithemius

Eco: Kircher’s Polygraphy

Kircher, the Steganographic Ark, from Polygraphia Nova, p. 130

Athanasius Kircher (1602-80), the steganographic ark, Polygraphia nova et universalis ex combinatoria arte detecta, 1663. 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. 

Kircher wrote his Polygraphia nova et universalis ex combinatoria arte detecta in 1663, several years after his early works on Egypt and hieroglyphics, but he was concerned with the problem of universal writing from the beginning of the decade, and it seems evident that he was at the same time fascinated by the hieroglyphic mysteries and the polygraphic publicity.

It is also significant that in this same volume Kircher designed not only a polygraphy, or international language open to all, but also, in the wake of Trithemius, a steganography, or secret language in which to cipher messages.

What (at the end of the previous chapter) seemed to us a contradiction appeared to Kircher rather as a natural connection. He cited, at the outset, an Arab proverb: if you have a secret, hide it or reveal it (“si secretum tibi sit, tege illud, vel revela“).

Such a decision was not so obvious, after all, since in his works on Egyptology Kircher had chosen a “fifty-fifty solution,” saying something by concealing it, alluding without revealing.

Finally, the second part of the title of Kircher’s work reveals that, in designing his polygraphy, Kircher was also using Lull’s art of combination (contrary to the opinion of Knowlson 1975: 107-8).

In the enthusiastic preface that the author addressed to the emperor Ferdinand III, he celebrated polygraphy as “all languages reduced to one” (“linguarum omnium ad nam reductio“).

Using polygraphy, “anyone, even someone who knows nothing other than his own vernacular, will be able to correspond and exchange letters with anybody else, of whatever their nationality.”

Thus Kircher’s polygraphy was in reality a pasigraphy, that is, a project for a written language, or international alphabet, which was not required to be spoken.

It is easy to confuse Kircher’s project with a double pentaglottic dictionary, in A and B versions (both in Latin, Italian, Spanish, French and German). In Kircher’s time, English was not considered an important international language, and, in his Character, Becher had assumed that French was sufficient, as a vehicular language, for English, Italian, Spanish and Portuguese native speakers.

Ideally, Kircher thought (p. 7) that his dictionary should also include Hebrew, Greek, Bohemian, Polish, Lithuanian, Hungarian, Dutch, English and Irish (“linguae doctrinales omnibus communes“)–as well as Nubian, Ethiopic, Egyptian, Congolese, Angolan, Chaldean, Arabic, Armenian, Persian, Turkish, Tartar, Chinese, Mexican, Peruvian, Brazilian and Canadian.

Kircher did not, it seems, feel himself ready to confront such a gigantic task; perhaps he intuited that the missionary activity, followed eventually by colonialism, would drastically simplify the problem (transforming many exotic languages into mere ethnological remnants): Spanish would substitute for Mexican, French for Canadian, Portuguese for Brazilian, and various pidgins would substitute for all the rest.

Kircher’s A and B dictionaries each contain 1,228 items. The grounds for selection were purely empirical: Kircher chose the words that seemed to him most commonly used.

Dictionary A served to encode messages. It started with a list of common nouns and verbs, in alphabetical order. There followed alphabetic lists of proper nouns (regions, cities, persons), and of adverbs and prepositions.

Added to this there was also a list of the conjugations of both the verbs to be and to have. The whole material was subdivided into 32 tables, marked by Roman numerals, while every item of each table was marked by an Arabic numeral.

The dictionary was set out in five columns, one for each of the five languages, and the words in each language were listed in their proper alphabetical order. Consequently, there is no necessary semantic correspondence between the terms recorded on the same line, and only the terms scored with the same Roman and Arabic numbers were to be considered synonymous.

We can see this best by giving the first two lines of the dicti0nary:

Umberto Eco, The Search for the Perfect Language, p. 198

Umberto Eco, The Search for the Perfect Language, p. 198. 

The Roman numerals refer to tables found in dictionary B; the Arabic numerals refer to the items themselves. Latin acts as the parameter language: for each specific term, the numbers refer to the Latin alphabetic ordering.

For example, the code for the French word abstenir is I.4, which indicates that the position of its Latin synonym, abstinere, is fourth in the Latin column I (obviously, to encode the Latin word abstinere, one also writes I.4).

To decode the message, it was necessary to use dictionary B. This too was arranged in 32 tables, each assigned a Roman numeral. But for each column (or language) the words did not follow their alphabetic order (except the Latin one), while the Arabic numbers marking each term were in an increasing arithmetical order.

Thus all the terms on the same line were synonymous and each synonym was marked by the same Arabic number.

Again, it is easiest to see how this worked by citing the first two lines of the first table:

Umberto Eco, The Search for the Perfect Language, p. 199

Umberto Eco, The Search for the Perfect Language, p. 199. 

Thus, if one wants to send the Latin word abdere (to hide), according to the dictionary A one encodes it as I.2. A German addressee, receiving the message I.2, goes to dictionary B, first table, German column, and looks for the second word, which is exactly verbergen (to hide).

If the same addressee wants to know how to translate this term in Spanish, one finds in the same line that the synonymous term is esconder.

However, Kircher found that a simple lexicon did not suffice; he was forced to invent 44 supplementary signs (notae) which indicated the tense, mood and number of verbs, plus 12 more signs which indicated declensions (nominative, genitive, dative, etc., both singular and plural).

Thus, to understand the following example, the sign N meant nominative, while a sign like a D indicated the third person singular of the past tense. In this way, the ciphered expression “XXVII.36N, XXX.21N, II.5N, XXIII.8D, XXVIII.10, XXX.20” can be decoded as “Petrus noster amicus, venit ad nos” (literally, “Peter our friend came to us”), and on the basis of Latin, can be transformed into an equivalent sentence in any of the other four languages.

Kircher proudly claims that, by dictionary A, we can write in any language even though though we know only our own, as well as that, with dictionary B, we can understand a text written in an unknown language.

The system also works when we receive a non-ciphered text written in a natural foreign language. All we have to do is to look up the reference numbers for each foreign word in dictionary A (where they are listed in alphabetical order), then, with the reference numbers, find the corresponding words in dictionary B, in the column for our own language.

Not only was this process laborious, but the entire project was based on the assumption that all other languages could be directly reduced to the Latin grammar. One can imagine the results of such a method if one thinks of translating literally, word by word, a German sentence into an English one.

Kircher never confronted the problem of why an item-by-item translation should be syntactically correct, or even comprehensible, in the new language. He seemed to rely on the good will and good sense of whoever used his system.

Yet even the most willing users might slip up. In August 1663, after reading the Polygraphia, Juan Caramuel y Lobkowitz wrote to Kircher to congratulate him on his wonderful invention (Mss Chigiani f. 59 v., Biblioteca Apostolica Vaticana; cf. Casciato et al. 1986: table 5).

Appropriately, Caramuel chose to congratulate Kircher in his own polygraphy. Yet his first problem was that Kircher’s own first name, Athanasius, did not appear in the list of proper names. Adopting the principle that where a term is missing, an analogous one must be sought, Caramuel addressed his letter to “Anastasia.”

Moreover, there are passages that can be decoded fairly easily, while for others one suspects that the labor of consulting the dictionary to obtain reference numbers for every word proved so tedious that even Caramuel began to nod.

Thus we find ourselves in front of a passage which, in Latin, would need to be translated as follows: “Dominus + sign of vocative, Amicus + sign of vocative, multum sal + sign of vocative, Anastasia, a me + sign of accusative, ars + sign of accusative, ex illius + sign of ablative, discere posse + sign of second person plural, future active, non est loqui vel scribere sub lingua + ablative, communis + ablative.”

After many heroic efforts, one can try to render it (in a sort of “Me Tarzan-You Jane” language) as “O Lord and Friend, O witty Athanasius, to me (?) you could learn from him an art (which) is not speaking and writing under a common language.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 196-200.

Eco: Polygraphies


John Dee (1527-1609), an excerpt from Steganographiae, aka Peniarth MS 423D, astrological texts in Latin, 1591. Steganographiae was originally composed by Johannes Trithemius in the 1490’s. Infamous as a work of cryptography, this excerpt was copied by hand by Dr. Dee. Peniarth MS 423D is held by the National Library of Wales. This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication. All rights are waived worldwide under copyright laws. This file can be copied, modified, and distributed with no permissions required.  

“Steganographies were used to cipher messages in order to guarantee secrecy and security.  However, even though disregarding many terminological details (or differences) used today by the cryptographers, one must distinguish between the activity of coding and decoding messages when one knows the key, or code, and cryptoanalysis (sic); that is, the art of discovering an unknown key in order to decipher an otherwise incomprehensible message.

Both activities were strictly linked from the very beginning of cryptography: if a good steganography could decode a ciphered message, it ought to allow its user to understand an unknown language as well.

When Trithemius wrote his Polygraphiae, which was published in 1518, before his Steganographia, and did not earn the sinister fame of the latter work, he was well aware that, by his system, a person ignorant of Latin might, in a short time, learn to write in that “secret” language (1518: biiii) (sic).

Speaking of TrithemiusPolygraphia, Mersenne said (Quaestiones celeberrimae in Genesim, 1623: 471) that its “third book contains an art by which even an uneducated man who knows nothing more than his mother tongue can learn to read and write Latin in two hours.”

Steganography thus appeared both as an instrument to encipher messages conceived in a known language and as the key to deciphering unknown languages.

In order to cipher a message one must substitute the letters of a plain message (written in a language known by both the sender and the addressee) with other letters prescribed by a key or code (equally known by sender and addressee).

To decipher a message encoded according to an unknown key, it is frequently sufficient to detect which letter of the encoded message recurs most frequently, and it is easy to infer that this represents the letter occurs most frequently in a given known language.

Usually the decoder tries various hypotheses, checking upon different languages, and at a certain point finds the right solution.

The decipherment is made, however, more difficult if the encoder uses a new key for every new word of the message. A typical procedure of this kind was the following. Both the encoder and the decoder refer to a table like this:

Umberto Eco, Table, The Search for the Perfect Language, Polygraphies, Trithemius, p. 195

Umberto Eco, The Search for the Perfect Language, p. 195.

Now, let us suppose that the key is the Latin word CEDO. The first word of the message is encoded according to the third line of the table (beginning with C), so that A becomes C, B becomes D and so on.

The second words is encoded according to the fifth line (beginning with E), so that A becomes E and so on. The third word is encoded according to the fourth line, the fourth according to the fifteenth one . . . At the fifth word one starts the process all over again.

Naturally the decoder (who knows the key) proceeds in the opposite way.

In order to decipher without knowing the key, if the table is that simple and obvious, there is no problem. But even in cases of more complicated tables the decipherer can try with all possible tables (for instance, with alphabets in reverse order, with alternate letters, such as ACEG), and it is usually only a matter of time before even the most complex of codes are broken.

Observing this, Heinrich Hiller, in his Mysterium artiis steganographicae novissimum (1682), proposed to teach a method of learning to decipher messages not only in code, but also in Latin, German, Italian and French, simply by observing the incidence of each letter and diphthong in each language.

In 1685, John Falconer wrote a Cryptomenysis patefacta: or the Art of Secret Information Disclosed Without a Key, where he noted that, once someone has understood the rules of decipherment in a given language, it is possible to do the same with all the others (A7v).”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 194-6.

Eco: Dee’s Magic Language


Florence Estienne Méric Casaubon (1599-1671), A True and Faithful Relation of what Passed for Many Yeers between Dr. John Dee [ . . . ] and Some Spirits, London, 1659. 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. 

“In his Apologia compendiaria (1615) Fludd noted that the Rosicrucian brothers practiced that type of kabbalistic magic that enabled them to summon angels. This is reminiscent of the steganography of Trithemius. Yet it is no less reminiscent of the necromancy of John Dee, a man whom many authors considered the true inspirer of Rosicrucian spirituality.

In the course of one of the angelic colloquies recorded in A True and Faithful Relation of what Passed for Many Yeers between Dr. John Dee [ . . . ] and Some Spirits (1659: 92), Dee found himself in the presence of the Archangel Gabriel, who wished to reveal to him something about the nature of holy language.

When questioned, however, Gabriel simply repeated the information that the Hebrew of Adam, the language in which “every word signifieth the quiddity of the substance,” was also the primal language–a notion which, in the Renaissance, was hardly a revelation.

After this, in fact, the text continues, for page after page, to expatiate on the relations between the names of angels, numbers and secrets of the universe–to provide, in short, another example of the pseudo-Hebraic formulae which were the stock in trade of the Renaissance magus.

Yet it is perhaps significant that the 1659 Relation was published by Meric Casaubon, who was later accused of partially retrieving and editing Dee’s documents with the intention of discrediting him.

There is nothing, of course, surprising in the notion that a Renaissance magus invoked spirits; yet, in the case of John Dee, when he gave us an instance of cipher, or mystic language, he used other means.

In 1564, John Dee wrote the work upon which his contemporary fame rested–Monas hieroglyphica, where he speaks of a geometrical alphabet with no connection to Hebrew. It should be remembered that Dee, in his extraordinary library, had many of Lull’s manuscripts, and that many of his kabbalistic experiments with Hebrew characters in fact recall Lull’s use of letters in his art of combination (French 1972: 49ff).

Dee’s Monas is commonly considered a work of alchemy. Despite this, the network of alchemical references with which the book is filled seems rather intended to fulfill a larger purpose–that of explicating the cosmic implications deriving from Dee’s fundamental symbol, the Monad, based upon circles and straight lines, all generated from a single point.


John Dee (1527-1609), Monas hieroglyphica, 1564, held in the Bibliothèque nationale de France. The Monad is the symbol at the heart of the illustration labeled Figure 8.1 in Eco’s  The Search for the Perfect Language, Oxford, 1995, p. 186.

In this symbol (see figure 8.1), the main circle represented the sun that revolves around its central point, the earth, and in its upper part was intersected by a semi-circle representing the moon.

Both sun and moon were supported on an inverted cross which represented both the ternary principle–two straight lines which intersect plus their point of intersection–and the quaternary principle–the four right angles formed at the intersections of the two lines.

The sum of the ternary and quaternary principles constituted a further seven-fold principle, and Dee goes even on to squeeze an eight-fold principle from the diagram.

By adding the first four integers together, he also derives a ten-fold principle. By such a manipulatory vertigo Dee then derives the four composite elements (heat and cold, wet and dry) as well as other astrological revelations.

From here, through 24 theorems, Dee makes his image undergo a variety of rotations, decompositions, inversions and permutations, as if it were drawing anagrams from a series of Hebrew letters.

Sometimes he considers only the initial aspects of his figure, sometimes the final one, sometimes making numerological analyses, submitting his symbol to the kabbalistic techniques of notariqon, gematria, and temurah.

As a consequence, the Monas should permit–as happens with every numerological speculation–the revelation of the whole of the cosmic mysteries.

However, the Monad also generates alphabetic letters. Dee was emphatic about this in the letter of dedication with which he introduced his book. Here he asked all “grammarians” to recognize that his work “would explain the form of the letters, their position and place in the alphabetical order, and the relations between them, along with their numerological values, and many other things concerning the primary Alphabet of the three languages.”

This final reference to “the three languages” reminds us of Postel (whom Dee met personally) and of the Collège des Trois Langues at which Postel was professor. In fact, Postel, to prove that Hebrew was the primal language in his 1553 De originibus, had observed that every “demonstration of the world” comes from point, line and triangle, and that sounds themselves could be reduced to geometry.

In his De Foenicum literis, he further argued that the invention of the alphabet was almost contemporary with the spread of language (on this point see many later kabbalistic speculations over the origins of language, such as Thomas Bang, Caelum orientis, 1657: 10).

What Dee seems to have done is to take the geometrical argument to its logical conclusion. He announced in his dedicatory letter that “this alphabetic literature contains great mysteries,” continuing that “the first Mystic letters of Hebrews, Greeks, and Romans were formed by God and transmitted to mortals [ . . . ] so that all the signs used to represent them were produced by points, straight lines, and circumferences of circles arranged by an art most marvelous and wise.”

When he writes a eulogy of the geometrical properties of the Hebrew Yod, one is tempted to think of the Dantesque I; when he attempts to discover a generative matrix from which language could be derived, one thinks of the Lullian Ars.

Dee celebrates his procedure for generating letters as a “true Kabbalah [ . . . ] more divine than grammar itself.”

These points have been recently developed by Clulee (1988: 77-116), who argues that the Monas should be seen as presenting a system of writing, governed by strict rules, in which each character is associated with a thing.

In this sense, the language of Monas is superior to the kabbala, for the kabbala aims at the interpretation of things only as they are said (or written) in language, whereas the Monas aims directly at the interpretation of things as they are in themselves. Thanks to its universality, moreover, Dee can claim that his language invents or restores the language of Adam.

According to Clulee, Dee’s graphic analysis of the alphabet was suggested by the practice of Renaissance artists of designing alphabetical letters using the compass and set-square.

Thus Dee could have thought of a unique and simple device for generating both concepts and all the alphabets of the world.

Neither traditional grammarians nor kabbalists were able to explain the form of letters and their position within the alphabet; they were unable to discover the origins of signs and characters, and for this reason they were uncapable (sic) to retrieve that universal grammar that stood at the bases of Hebrew, Greek and Latin.

According to Clulee, what Dee seems to have discovered was an idea of language “as a vast, symbolic system through which meanings might be generated by the manipulation of symbols” (1988: 95).

Such an interpretation seems to be confirmed by an author absent from all the bibliographies (appearing, to the best of my knowledge, only in Leibniz’s Epistolica de historia etymologica dissertatio of 1717, which discusses him in some depth).

This author is Johannes Petrus Ericus, who, 1697, published his Anthropoglottogonia sive linguae humanae genesis, in which he tried to demonstrate that all languages, Hebrew included, were derived from Greek.

In 1686, however, he had also published a Principium philologicum in quo vocum, signorum et punctorum tum et literarum massime ac numerorum origo. Here he specifically cited Dee’s Monas Hieroglyphica to derive from that matrix the letters of all alphabets (still giving precedence to Greek) as well as all number systems.

Through a set of extremely complex procedures, Ericus broke down the first signs of the Zodiac to reconstruct them into Dee’s Monad; he assumed that Adam had named each animal by a name that reproduced the sounds that that each emitted; then he elaborated a rather credible phonological theory identifying classes of letters such as “per sibilatione per dentes,” “per tremulatione labrorum,” “per compressione labrorum,” “per contractione palati,” “per respiratione per nares.”

Ericus concluded that Adam used vowels for the names of the beasts of the fields, and mutes for the fish. This rather elementary phonetics also enabled Ericus to deduce the seven notes of the musical scale as well as the seven letters which designate them–these letters being the basic elements of the Monas.

Finally, he demonstrated how by rotating this figure, forming, as it were, visual anagrams, the letters of all other alphabets could be derived.

Thus the magic language of the Rosicrucians (if they existed, and if they were influenced by Dee) could have been a matrix able to generate–at least alphabetically–all languages, and, therefore, all the wisdom of the world.

Such a language would have been more than a universal grammar: it would have been a grammar without syntactic structures, or, as Demonet (1992: 404) suggests, a “grammar without words,” a silent communication, close to the language of angels, or similar to Kircher’s conception of hieroglyphs.

Thus, once again, this perfect language would be based upon a sort of communicative short-circuit, capable of revealing everything, but only if it remained initiatically secret.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 185-90.

Eco: Kabbalism & Lullism in the Steganographies


Johannes Trithemius (1462-1516), Polygraphiae libri sex, Basel, 1518. Courtesy of the Shakespeare Folger Library as file number 060224. Joseph H. Peterson at the Esoteric Archives digitized a copy of the complimentary work on steganography held by the British Library in 1997. That work is listed as Trithemius, Steganographic: Ars per occultam Scripturam animi sui voluntatem absentibus aperiendi certu, 4to, Darmst. 1621. London, British Library. 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.   

“A peculiar mixture of kabbalism and neo-Lullism arose in the search for secret writings–steganographies. The progenitor of this search, which was to engender innumerable contributions between humanism and the baroque, was the prolific Abbot Johannes Trithemius (1462-1516).

Trithemius made no references to Lull in his works, relying instead on kabbalistic tradition, advising his followers, for instance, that before attempting to decipher a passage in secret writing they should invoke the names of angels such as Pamersiel, Padiel, Camuel and Aseltel.

On a first reading, these seem no more than mnemonic aids that can help either in deciphering or in ciphering messages in which, for example, only the initial letters of words, or only the initial letters of even-numbered words (and so on according to different sets of rules), are to be considered.

Thus Trithemius elaborated texts such as “Camuel Busarchia, menaton enatiel, meran sayr abasremon.” Trithemius, however, played his game of kabbala and steganography with a great deal of ambiguity. His Poligraphia seems simply a manual for encipherment, but with his posthumous Steganographia (1606 edition) the matter had become more complex.

Many have observed (cf. Walker 1958: 86-90, or Clulee 1988: 137) that if, in the first two books of this last work, we can interpret Trithemius‘ kabbalist references in purely metaphorical terms, in the third book there are clear descriptions of magic rituals.

Angels, evoked through images modeled in wax, are subjected to requests and invocations, or the adept must write his own name on his forehead with ink mixed with the juice of a rose, etc.

In reality, true steganography would develop as a technique of composing messages in cipher for political or military ends. It is hardly by chance that this was a technique that emerged during the period of conflict between emerging national states and flourished under the absolutist monarchies.

Still, even in this period, a dash of kabbalism gave the technique an increased spice.

It is possible that Trithemius‘ use of concentric circles rotating freely within each other owed nothing to Lull: Trithemius employed this device not, as in Lull, to make discoveries, but simply to generate or (decipher) cryptograms.

Every circle contains the letters of the alphabet; if one rotates the inner wheel so as to make the inner A correspond, let us say, to the outer C, the inner B will be enciphered as D, the inner C as E and so on (see also our ch. 9).

It seems probable that Trithemius was conversant enough with the kabbala to know certain techniques of temurah, by which words or phrases might be rewritten, substituting for the original letters the letters of the alphabet in reverse (Z for A, Y for B, X for C, etc.).

This technique was called the “atbash sequence;” it permitted, for example, the tetragrammaton YHWH to be rewritten as MSPS. Pico cited this example in one of his Conclusiones (cf. Wirzubski 1989: 43).

But although Trithemius did not cite him, Lull was cited by successive steganographers. The Traité des chiffres by Vigenère (1587) not only made specific references to Lullian themes, but also connected them as well to the factorial calculations first mentioned in the Sefer Yezirah.

However, Vigenère simply follows in the footsteps of Trithemius, and, afterwards, of Giambattista Della Porta (with his 1563 edition of De furtivis literarum notis, amplified in subsequent editions): he constructed tables containing 400 pairs generated by 20 letters; these he combined in triples to produce what he was pleased to call a “mer d’infini chiffrements à guise d’un autre Archipel tout parsemé d’isles . . . un embrouillement plus malaisé à s’en depestrer de tous les labrinthes de Crete ou d’Egypte” (pp. 193-4), a sea of infinite cryptograms like a new Archipelago all scattered with isles, an imbroglio harder to escape from than all the labyrinths of Crete and Egypt.

The fact that these tables were accompanied by lists of mysterious alphabets, some invented, some drawn from Middle Eastern scripts, and all presented with an air of secrecy, helped keep alive the occult legend of Lull the kabbalist.

There is another reason why steganography was propelling a Lullism that went far beyond Lull himself. The steganographers had little interest in the content (or the truths) expressed by their combinations.

Steganography was not a technique designed to discover truth: it was a device by which elements of a given expression-substance (letters, numbers or symbols of any type) might be correlated randomly (in increasingly differing ways so as to render their decipherment more arduous) with the elements of another expression-substance.

It was, in short, merely a technique in which one symbol replaced another. This encouraged formalism: steganographers sought ever more complex combinatory stratagems, but all that mattered was engendering new expressions through an increasingly mind-boggling number of purely syntactic operations. The letters were dealt with as unbound variables.

By 1624, in his Cryptometrices et cryptographie libri IX, Gustavus Selenus was designing a wheel of 25 concentric volvelles, each of them presenting 24 pairs of letters. After this, he displays a series of tables that record around 30,000 triples. From here, the combinatory possibilities become astronomical.”

Umberto Eco, The Search for the Perfect Language, translated by James Fentress, Blackwell. Oxford, 1995, pp. 126-8.

Magical Language and a Book of Books

“…The ones who merely seek fortune or personal gain will not be able to get in contact with the fraternity. It also hints at the great secrets that they possess, chiefly a certain magical language, and a book that contains all the books in the world, but also a promise of a means by which one is able to know all that is possible to know. This last promise seems to echo the aim of Trithemius’ magic.”

–Henrik Bogdan, Western Esotericism and Rituals of Initiation, 2007, pg. 64.

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.

%d bloggers like this: