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As a new heaven is begun, and it is now thirty-three yearssince its advent:
the Eternal Hell revives. And lo! Swedenborg isthe Angel sitting at the tomb;
his writings are the linen clothesfolded up. Now is the dominion of Edom, amp;
the return of Adam intoParadise; see Isaiah XXXIV & XXXV Chap:
Without Contraries is no progression. Attraction and Repulsion, Reason and Energy,
Love and Hate, are necessary to Human existence.From these contraries spring what
the religious call Good &Evil. Good is the passive that obeys Reason. Evil is the
active springing from Energy. Good is Heaven. Evil is Hell.

(no subject)

I keep trying to get to the bottom of William Blake’s conception of death, because it reveals something intense and holy about Life, but I’m not sure what.

Blake’s House of Death, or Lazar house, is the most horrifying picture of mortality, of death and light I have seen, - the main figure floating, its almost a tyrannical being, and that scroll, it seems like through it the life and light has been cut off, death. To the right is the strange unliving creature holding a knife, perhaps the knife which severs the light from the body. The physical and spiritual are artificially separated by what I think is a scroll, stretched out from hand to hand by the patriarchal God like being, floating Ghost like above the decaying forms on the slab.

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Compare the complete contrast with this image, where the body lay sleeping, all colour removed, while a rainbow hovers above. In this image the light is not removed from the body, or separated by a scroll or Holy Writ, but emanates from it, while other beings, emanating light, guard over the body.

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And yet this strange image here of Ezekiel’s chariot, with the same patriarchal figure hovering above, - and now look at the last judgement, observe the inner details of the minute images, the finer details.

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Now look at this copy.

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What is going on, what is death, and what does it reveal about Blake’s conception of Life. . . What is the symbolic form and iconography of the images themselves, look deeply into the details. There is a relationship going on here between all four images.

There is a great unfolding mystery here.

What is going on with the parody of Swedenbodg’s De Coela in the marriage of Heaven and Hell, what did Blake mean by as a New Heaven is Begun, surely he didn’t mean we have the power to make the Heavens? Or did he?

What is the mysterious power of creation, and its relation to life and death, he is unleashing in these images, and their bizarre inter-relationship of hidden symbols and icons.

I found a copy of this on line in the old elibris/ estate books data bases.

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It's a copy of the Ahiman Rezon, or the Holy Book of the Free Masons, I got it to look into the symbolic relationship between Urizen, and the Great Architect, and Blake's conception of the God of Matter and Form - it's interesting to note the dialectic between the two. Blake personifies Urizen as a God of space and cold reason, calculation, the Masons worship geometry, and the symbolic relationship of space to power, authority, and structure.

There is something really dark and mysterious going on here. You will find symbols Masonic and icons in all of the above images, and through out msot of Blake's work.

Notes (Alchemy, Masons, William Blake, and the era of the Great Overcoming)

Basic intro to Alchemy and background to Blake.

Blake’s works are absolutely saturated in alchemy and Masonic references, this makes sense historically, - so I thought I’d chuck up some rough stuff as a back ground if anyone’s interested in doing some back ground research, or looking into it..

Alchemists and Masons have been involved for centuries in all sorts of bizarre political, social, philosophical, and psychological conflicts. The gist of the epistemic is that, Masons are a large order of material realists who worship Euclidian space, consisting of various different craftsmen orders, they reached some sort of systematic organisation around the 1500s, the history books will tell you the 1700s, but there are documents and artefacts going back at least to the 12th century. They usually work themselves itto political positions, believe in upholding civic and civil order, and a theo-political doctrine of controlling and regulating society.

Alchemists tend towards being radical thinkers, anarchists and revolutionaries, unlike the Masonic obsession with geometry and materiel space, they worship and study the psyche, believing the mind is all powerful, and the universe is contained within the pure aspect of the mind, as the mind achieve balance, so to does the universe, and through application, one can affect physical change. The relationship between mind and matter is thus of an incredibly disciplined order in which the microcosm of human awareness, and the macrocosm of the universe are tied together.

Masons believe in hard matter, ritualistic mathematics, physical substances, alchemists in the ancient doctrine of the four elements, that things are much more liquid than they appear, and that through a metaphysical discipline the mind and the world can be united together, and thus you can achieve power. Alchemists exalt the human being over the universe, thus society, thus laws and regulations, Masons believe the inverse, the matter of the universe comes first, the laws of society, and strength in unity.

Masonic code clearly states the following

(1) A belief in the great Architect of the universe.
(2) To swear an oath upon the ‘sacred book.’
(3) All work is to be done By The Three Great Lights, the sacred book of rules, the compass, and the square.
(4) Prohibitions by principles on religion and politics.
(5) Masculinity
(6) Traditionalism in the applications of ‘the aspects’.
(7) Purity in aspect, and in relation to that of Origin.

Alchemy has its origins in the Greek colonists of the Late Classical Egyptian period. They discovered an advanced and complex archaic science, which supposedly, could give one advanced powers over matter, there are transcripts and stories of ancient Greeks up to their waists in the Mediterranean sea, trying to control the waves with their hands as the Egyptians did.

Hermes by alchemists of the earliest Western period, is identified with Throth of the Egyptians, who later, Mericurius by the Romans. The very basis of this knowledge is founded in an ancient Pharaoh who’s true name can never be spoken. All knowledge of true alchemy first came into the world from this unknown, unnamed one, called by the hermetical sciences Hermes Trismegistus.

He gave the Pharaohs the hieroglyphic arts in the ancient times, and created the Tabula Smaragdina, or the emerald tablet, which appears through out history, for it is a guide to divining the one true substance of reality’s essence in which all things are purified and creation is realised by an infinite power at the core of the cosmological principle, which is the alchemist principle of the universal eye turned inwards towards the centre of the universe.

The application of Hermeneutics (in accordance with the Germanic order of the Holy Trinitarians: Buch der Heiligen Dreifaltigkeit) is through the natural, supernatural, divine, and human sense. (Emanations in the Four Zoas?)

Alchemy stands divided on this point. The divisions and applications are the work of alchemists, and are not ordered for people undisciplined in these areas to fuck around with, - not that I’m saying there is anything in it, but the wrong sort of application, if there were, in someone who had not devoted his time and energy into the foundations of alchemy can create distortions. The alchemist literally works to bend reality around them. You can see why such a philosophy, or system would be so unsettling to Masonic thinkers.

Now this is important for reading Blake, if, and only if, he is an alchemists. Alchemists invoke this ‘four fold’ vision in order to see the universe in its true form. They believe in the construction, and application, thus of the hermaphrodite, and this is important also.

The hermaphrodite is the application of the intellect, Hermes, and of physical, sensual experiences, Aphrodite, by the application of the two, alchemists can think it terms of picture images, in order to open the universal eye to look inwards, and apply the universal principle, that is, to literally see with the minds eye – seeing, as in when you look down the road, or look at a tree, but thinking, as in intellectual knowledge, Thus thoughts are contained in a vast four fold vision, of seeing things in their true entity and entirety.

Hermes + Aphrodite = Hermaphrodite.

Now I’m pretty sure Blake is of a particular order of Alchemists, not the order I study which is why it took me a bit to crack it, but that of the Fioreian School, of the Paracelsus era. The prima doctrina of the Paracelsian alchemetical era is taken from Paracelsus dictum “that which lives on reason lives against spirit”

Blake writes in images and symbols, in the way of an alchemist, the visionary aspect is thus of an order which, if the alchemist method were true, would seek to bring him to alliance with the Tabula Smaragdina by application of the hermaphrodite principle. I can make three last points on the alchemists working out of the Paracelsus era, without giving away any of the aspects of cosmogony in the ruling principles of pleroma and kenoma.

(1) The Paraclesus era is considered as one of the purist and most radical of the alchemical orders. It existed and apposed the time of ‘the rose and the cross’ which is the Masonic great over coming of alchemy by the rise of the Masonic Rosicrucians. The flaw of which, that lead to the rise of the hybrid Masonic order, is contained in Empedocles, and the doctrina of duel suns. The Paraclesians developed a different system of division to deal with these principles.

(2) The divisors of alchemy are prohibited to anyone who has not studied the schism between the influences of Platonic and Zoroastrian dualism, because without a solid training, and self discipline, one can easily mistake the eida (paradigmatic forms in the ‘real world’) and the eidola, (shadowy semblances of an apparent world) and be induced to madness.

(3) Albrecht Durer says “If someone really possessed these inner ideals of which. . . . speaks, then he could draw his whole life from them and create artwork, after artwork, without ever reaching an end”. . .

There are a few further things linking Blake directly with Masonry. (Other than the symbols and images contained in his works – see the ancient of days, and see if you can spot the 7 key Masonic symbols, go have a look at the Kirkwell Scroll to find out what they are)

In 1723 the new order of unified Masonry was founded in London, with much work leading up to it.

Blake worked on Jacob Bryant’s Ancient Mythology. Bryant’s mythology is important later because Mackie’s Masonic encyclopaedias are based on it.

It explains his associations with various radicals, who otherwise he would not have come into contact or association with, and further, it makes sense of the works themselves.

At that time in England Masons and Alchemists were very much still at war with one another.

Blake was literally in a hot bed of Masonic activity, and the last dying remnants of true Alchemy, before the overcoming, and Masonic subjugations and hybridisations of the Golden Dawn, and the Rosicrucians.

(no subject)

Oh the William Blakery of it all!

Seriosuly though, some of the stuff is starting to freak me out. The four zoas are really messing with me, that round cube object floating in space - almost like it's trying to impose itself on our concept of reality, the book of Ahania, The Marriage of Heaven and Hell, you read enough Blake, and it really makes you start to question things, in an uncomfortable, squeamish way. Some of his art work is just inspiriing in that breathy way, when you start to fold the details, poems, and words around in your mind, other stuff really, really gives you that horrible feeling of the uncanny in your gut.

In particular this.

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I’ve been having nightmares about this image.

Seriously I can’t get it out of my mind. The platonic aspects of the cave itself, the sun as distant knowledge, or the true reality that makes all the other forms of reality real, in the Platonic sense, yet the utter impossible, despairing, unobtainable nature of it - worse the three characters locked together, in ‘this’ reality, and Oh God, the look, the utter fear on Bromion’s face. That shocked madness, like he has seen through this world and into the something else.

This is something I turned up in the discussion, which really creeped me out, and has literally been giving me nightmares.
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You see the way Bromion is looking beyond the frame, Marie? How traumatized his face is at seeing something beyond our vision, some unknown force, or object that is not of this world, something of the elsewhere?

Look at the contortion of facial features, the eyes, the way the knees are brought together to protect the genitals. In fear, he looks as though retreating from it, like he is pushing his body up against Oothoon, and yet is unable to look away, caught in the stark horror of whatever he sees, but is hidden from the rest of us.

And this same haunting verse, over and over

Then Bromion said, and shook the cavern with his lamentation:--

`Thou knowest that the ancient trees seen by thine eyes have fruit;
But knowest thou that trees and fruits flourish upon the earth
To gratify senses unknown -- trees, beasts, and birds unknown;
Unknown, not unperceiv'd, spread in the infinite microscope,
In places yet unvisited by the voyager, and in worlds
Over another kind of seas, a 1000 nd in atmospheres unknown?
Ah! are there other wars, beside the wars of sword and fire?
And are there other sorrows beside the sorrows of poverty?
And are there other joys beside the joys of riches and ease?
And is there not one law for both the lion and the ox?
And is there not eternal fire, and eternal chains
To bind the phantoms of existence from eternal life?'" -

Each part, each utterance is a strange haunting when you read it:

- "Thou knowest that the ancient trees seen by thine eyes have fruit;
But knowest thou that trees and fruits flourish upon the earth
To gratify senses unknown -- trees, beasts, and birds unknown;
Unknown, not unperceiv'd, spread in the infinite microscope," -

What are these fruits, what are these things unseen? What strange realities lay beyond the infinite microscope, what horrors are there beyond the senses, what birds, beasts, and animals are in the unknown, what has he seen there that would cause him to react to Theotormon's inner withdrawal and sufferings so much?

Theotorman (which illicits Bromion's speech) -

"Tell me what is a thought, and of what substance is it made?
Tell me what is a joy, and in what gardens do joys grow?
And in what rivers swim the sorrows? And upon what mountains
Wave shadows of discontent? And in what houses dwell the wretched,
Drunken with woe, forgotten, and shut up from cold despair?"

But this second part of Bromion's speech is so much stranger, and much more haunting still.

- "In places yet unvisited by the voyager, and in worlds
Over another kind of seas, a 1000 nd in atmospheres unknown?
Ah! are there other wars, beside the wars of sword and fire?
And are there other sorrows beside the sorrows of poverty?
And are there other joys beside the joys of riches and ease?
And is there not one law for both the lion and the ox?"

And what is this last part, which seems to talk almost of hell on earth, and contains the faintest, reference to the image itself, and their fettered form, within the Cave.

- "And is there not eternal fire, and eternal chains
To bind the phantoms of existence from eternal life?' " -

_______

Obviously his arcane knowledge is a knowledge of reality, a Nietzschian universe that apposes the kind of soft love, and the inner longing inside of Oothoon, and thus he draws his power to dominate her through an understanding that the physical universe functions by violence, and that physical might, poverty, and suffering are inescapable conditions of existence in whatever form life takes, - but what about these references to extra-terrestrial spirits and other atmospheres? Extra sensory perceptions, and what not?

Here are some interesting extracts from Swedenborg's Earths In The Starry Heavens - what do you make of them, particularly the last one.

89. On one occasion when spirits of Mars were with me, and occupied the sphere of my mind, spirits from our Earth came and desired to intrude themselves also into that sphere; but the spirits of our Earth became as if insane: this was caused by their being quite out of harmony; for the spirits of our Earth in the Grand Man have relation to the external sense,

72 . . . When such spirits come to a man, they inspire him with a horror accompanied by fear, by which the man is made aware of their coming. Fear may be excited in any person by evil spirits on their approach, especially by those who, during their life in the world, had been robbers. In order that I might know how these spirits act when they come to a man of their own earth, it was permitted that such a spirit should approach me. When he was near, horror accompanied by fear manifestly seized hold of me; yet it was not inwardly that I shuddered, but outwardly, because I knew it was a spirit of such a character.

102. Inasmuch as the spirits of our Earth, in the Grand Man, have relation to natural and corporeal sense, it has been given me to know from manifest experience how the spiritual and the natural man, when the latter is not in faith and charity, fight and contend with each other. Some spirits of the earth Saturn came into view from afar, and then a living communication was opened between them and spirits of our Earth who were of this character. These latter, on thus perceiving the spirits of Saturn, became as if insane, and began to infest them,

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So what do you make of the unearthly references in the image of the cave, with Bromion looking out, beyond the image, as though something beyond the reference of the picture's frame has absolutely shocked him, then his little speech of other worlds, and objects of other perceptions we can not know, and violence as a universal law, and the selections from Swedenborg that talk about violent being from other worlds driving men on earth insane?

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If I stare at the image to long, this particular inking of the Cave itself, I get a shudder. I get one of those horrible momentary shivers of paranoia. If you look at it, I mean really look at it, it feels like you are being watched.

I don’t know why. It just does.

(no subject)

Heaps of people have dropped out of our English course, and the on-line discussion groups are really starting to suffer. My group has only got three other people in it, two of them not the best conversationalist, so I figure, the only ways to solve this problem is to declare a general war on the student body, and see who comes dressed ready for battle. Maybe my cry will raise the lethargic few from beyond the drop-out world, to return once more to the fields of WebCT and wage a bloody war of great literature and discourse.

_________________ Genral email

A challenge to all archrivals.

As you know this is our last WebCT discussion.

So I’m issuing a challenge to all my arch rivals for one last big fantastic hurrah. Some of you I’ve contacted by emails or in person, other’s of you will hear my call. I am like the Vampire Lestat in Queen of the Damned. I am Neo of the Matrix. I am John Holmes in Tropic of Passion. I am Clint Eastwood of the good, the Bad, and the Ugly, I am the fictional ego creation of Bon Jovi, going down, going down, going down, is a great big flame of glory.

I summon all of ye to group 5 for the final battle.

So this is your chance people, I’m declaring pseudo-war on the student body, email MG if you want to change groups, or if you haven’t joined a group yet, cry havoc, and let ye loose the dogs of war.

Surely someone will call my bluff.

Is no one smarting for vengeance?

Come on guys, it will be a great big stack of fun, and a grand way to learn and debate the last topics.


Friendly regards
Timb

Mytho-Philosophic Gods, deities, realms, and peoples.

Human

Bimana: defunct evolutionary theory. The sub-species of primates that man is supposed to be directly descended from, prior to the 1984 discovery of the relations between humans and chimps

Goyim: refers to mass man as cattle to be lead, bred, harvested, and manipulated. Refers to man in his consumerist aspect of modern society. (Origin Hebrew, goy: various, - taken from The Protocols of Zion)

Dasein: man as existing there, the existential state of man as being both in the world, and along side the world. Dasein’s existence is a verb, he is always doing something, and when doing something, it is done in moods. When we talk about the existence of man as existing in states, we refer to him as Dasein. This word has special grammatical properties, in that it may be the subject of a sentence, but it is a chronological verb, and modifies the time sense of sentence by opening up states of existence. (Origin German Heidegger)

Gewesen: Dasein of the past, the ancestors, or forefathers of Gewesen. Gewesen existed, but exist no more. While Dasein as John of today must exist, Dasein as John of yesterday, or last night, or last week, is a non existan being. All Dasein’s of the past exist in Historisch, a mythical realm of Dasein.

Volk: Geist may apply to volk, who possess Geschick, desting, but it may never apply to Goyim, when a people are reduced to Goyim, the process of existing as Goyim is eliminative to the process of Gesit.


Mythology

Urizen: A bodily God of matter, projected by reason. Urizen is the spiritual aspect of Leviathan. It is the body of morals, laws, and beliefs, each person has in conceiving of Leviathan. (English, Blake)

Leviathan: The entity of the state projected by Dasein. Dasein projects himself through Leviathan and thus reduced in his own eyes to the Goyim. (English: Hobbes)

Ahania: The body of existence as sexual pleasure created from the physical existential aspect of Urizen. This is the social aspect of consciousness. Sin is created by transgressing social laws, it is either forgiven, or punished, virtue is the surpassing or meeting of social goods, it is praised and rewarded, neither of these two, sin or virtue, are aspects of the individual. Ahania is the sexual aspect of sin.



Spatio-temporal

Cogito: Cogito is the process of thinking, the sum, is the being, or being in the world, Cogito sum, being in the world, and thinking in the world. The Cogito must always be directed at an object of enquiry. It must concern itself with something in order to be cogito, but it’s mode of existence, the sum, is being as being in the world. (Descartes + Heidegger Orignally Latin)

Moods: Dasein’s moods do not have an object, nor are they directed at objects, rather it is the manner of his existence. For example, Dasein may exist in a state of agitation, or anxiety, this is a mood, however if Dasein is angry at the car, or afraid of his boss, then this is an emotion. (Origin German Heidegger)

Besoren & soren: the chief manner of dasein’s existence, it is both concern and anxiety, while being in the world Dasein is also concerned with matters and objects in the world. (Origin German Heidegger)

Ablben: Biological death. The sheer death of man as an organism. (German, Heidgger)

Aufhebening: Destruction and elevation. The process of dialectic exchange whereby polemics destroy each other, but elevate the understanding. (German: Hegel, meaning to kick something up stairs)

Geist: The intellectual ambitious nature of mankind, personified by a nation. The driving force of a people, race, or species to know, to understand, to create, and to strive for greatness.

Ectasis The process of an object standing forth form the wholeness of the world.

Ulro: Existing in the world as existing asleep. Ulro is the fallen materiel world.


Similitude: The relationship between things in the world, or the metaphysics of objects in their resemblance, characterised in the renaissance “All the world is a stage” “The seasons of life” et cetera. (Classified, Foucault: The Order of Things.)

Heterotopia: the realms on the edge of the organized spaces that makes up society, such as old picnic areas, 18th birthday parties, honeymoons, and closed amusement parks, these are places that don’t exist in the ordinary every day organization of space. (Foucault The order of things)

Cryptotopia: The hidden places of society, such as prisoner interrogation and torture rooms, mental asylums, and maximum security prisons. The spaces that make the functioning of society possible, but do not exist within it.

Emanation: The space where one achieves four fold vision, it is the forth element and the harmony that arises from human, spectre, and shadow, when all are in balance. (Blake)

Blake fascmiles

These are the links I said I'd put up in the tute.

If you go here

Dover Publications

And use the store's online inventroy and data base, you can get your hands on most of Blake's books in full colour facsimiles for a few bucks. I've found it's a stack easier reading his poetry from a full colour reproduction of his work, than trying to navigate a digitail archive, or reading it out of the Norton, where you loose the hermetic and holistic aspect of colour, symbol, and imagery that goes with the poems. The full book of Urizen reads a bit like a mythological comic book. And heaps of the stuff that's hard to understand in the poems because it's abstract, or symbolic, or the difficult language, is made plain by reading in context with the illumination.

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