Forging of the Sampo, 1893 (oil on canvas) by Gallen-Kallela, Akseli Valdemar (1865-1931); The smith serves the purpose of the alchemist. The ability to work with metals is the craft of the smith and metals refers to different ways of thinking. Lead is the concrete thought. Gold is spiritual divine thought. By changing the concrete approach to divine inspiration and divine wisdom is the transmutation of lead into gold.The fire of the smithy is the metabolic process. The bellows is the breath. The fluid pushed by the lungs. (Painting Used for Educational Purpose Only) A Deeper Look into the KalevalaWhat is a Sampo and why is it required as a payment in order to ask for a maiden’s hand in marriage? The authors of Hamlet’s Mill suggested that the Sampo is the Pole Star along with the stars of the northern hemisphere forming a wheel or canopy of light. Stories involving heroes such as Krishna, Gilgamesh, Samson, and Ilmarinen are widespread. Yet their meaning still requires study. Answers are hard to come by. The epic poem provides a series of instructions. At first glance it may sound like a fantasy. A desire to know more involves the creation of many stories to explain the meaning. The wonderment it provides and a calling from the story leads one to ask. Is this just a story for children or does the epic provide instructions of transformation? Can one really change themselves or must we rely on theater as a means for escapism? One such story offers these very instructions. The ability of the reader to comprehend this information comes only from within their own self. A search by logic alone with not provided the knowledge presented in an epic and will be written off as a mere fairy tale. A curious collection of poetic material was performed by singers on a certain region of the earth. Its origin is unknown. The various parts combine together to form the unified name of Kalevala. That is pronounced KAH-lev-AH-la. A source written in English can be found here. It is composed of 50 Runes (Cantos-subdivision of a poem). By a small sample of hearing you can understand that the poems speak of a great undertaking by men and woman in places no one has ever heard of. The descriptions are so fantastic. They speak of the creation of the world and a mission to find a wife. An example of Rune 18:1-40 can be accessed to hear how it sounds when sung. This particular rune is called Valinamoinen finds the lost word. The poems were learned and sung in different locations in a space that included some 140,000 square miles. The structure of the poems were not in any recognizable order. However when the words were eventually compiled and written down a definite story line was apparent. This task of compilation was accomplished by Elias Lönnrot (1802-1884). Working on leads provided by Zacharias Topelius (1818 – 1898), and encouraged by his professor Reinhold von Becker (1827-1843) at the Turku University, he (Elias Lönnrot) began taking trips in Finland (1828 – 1844) to collect information on these poems. He made an estimated 11 such field trips to obtain what he could. Elias heard and met some great singers who were knowledgable about the epic. One was Juhana Kainulainen (1788-1847) and the other was Arhippa Perttunen (1769-1841). For those readers interested in the finer points. The work was released in printed form in two parts. Part one in December 1835 and part two in March 1836. The edition currently known of is the one published in 1849. Attempts at estimating how old these poems actually are only leads one astray. It would appear that the work is very old. Well into the distant past. A connection to the use of language and myth is related to this work. A certain Jacob Grimm (1785-1863) read the work. He and his brother collected various stories and released a book with title Children’s and Household Tales in 1812. Several titles later it has been called Grimm’s Fairy Tales. Another important fact is Jacob’s work on the German sound shift that bears the name Grimm’s law. This was first observed by Rasmus Christian Rask (1787-1832). Language does change with speakers over time. Additional examples provided here. This useful law allows the study and search for lost languages no longer spoken. By a careful observation of the dates one can begin to learn when the poems, myths, and fairy tales were collected and studied for their content. The same such use of songs was applied in Aquitaine France between the 11th and 13th centuries. The name given to these performers was Troubadours. An example of their work can be found here. They spoke the language of Occitan (langue d’oc). Dante Alighieri (1265 – 1321) described the efforts of Troubadour Arnaut Danièl as [il miglior fabbro]. The words translate as the best smith. This type of work can be found presently in Bangladesh by the Baul ( বাউল ) musicians and singers. If you are wise to what is going on you may find such works appearing outside your own door. As such no one knows their origins yet the messages can be heard. In the case of the Kalevala we will soon explore the meanings of these messages. Attempts at understanding what the Sampo is has brought to bear many interesting ideas. The fact that much has been done implies that the nature of the Sampo intrigues our minds. With its multi-colored cover the urge is even greater for it must be a great treasure. if it is found then of course this means great riches. Who would not want wealth? This also drives the desire to find out not only where it lies but also what it is. The singers dedicated to introduce the Sampo themselves offer little insight. We do however have clues. Those patient enough to hear the songs my gain the insight at least where to look for this heavenly creation. An important point is that the Sampo must be constructed with the knowledge of metals for the Smithy Ilmarinen is required to build a forge. The artistry and authorship of the Sampo belongs solely to the one with a understanding of metals. The blacksmith works with iron. The origin of the word is not clear. To produce any thing requires working with primordial material. This is represented as black. The mastery of working with metals appears frequently. In a work called Genesis 4.22 there is a smith called Tubalcain ( תּוּבַל קַיִן – Tū́ḇal Qáyin ). He works with Barzél ( בַרְזֶל ) and Nechosheth or Nachoshét ( נְחֹ֫שֶׁת ). To understand the meaning of these words requires knowledge of what a smith actually does. The object is said to gleam like the sun. That orb is round. Perhaps the very Sampo is a wheel of light. The Greek word of Augoeides ( Αυγίδης ) describes the Sampo as a luminous body. This is the sun-body (nous-νοῦς) carnated in flesh. The activity of the smith means that the intellect must fully be involved in the construction. The spontateous creation still requires the conscious mind to be active and not passive. This means refraining from fantasy and absent minded wandering. This is required, for both night and day conscious efforts are necessary to work as a united team. The sub conscious must be brought into the day. The use of the forge is the source of the heat the alchemists speak of. That is the physical body. The composition of the Kalevala is designed to be sung. The procedure is very specific. Two people face each other. The passages are sung alternatively by each person. In this method the figures are required to hold each other’s hands. The importance as to why these methods were chosen cannot be underestimated. How often have you learned of a performance, or procedure yet failed to experience the magic. The transformation promised is not given. This is felt in anguish and disappointment. Plays are constructed with music to kindle and allow the mind centers to awaken. The sensation of flying is one possibility when listening to a layered musical piece as a climax builds up before the release in the composition. This can have dramatic effects on the nervous system and this is what the performers are seeking. Therefore understanding of words alone will not be informative to the reader. The committing to paper of the poems also require the musicianship. An example of delivering the passages from the Kalevala. Notice how they demonstrate the holding of the hands. The performers are brothers. They are Poavila Jamanen and Triihvo Jamanen. The photo is circa 1894 in Uhtua. Photo Source Unknown. The words are accompanied with a musical instrument called a Kantele. It is a harp. This instrument is constructed in the Kalevala. Two are made. One is made from the jawbone of a giant pike and the hairs from a stallion. The other is made from a birch tree. The strings come from the hairs of a maiden. Example of the Kantele music here. Why the harp is included in the poems becomes clear when the requirements to construct the heavenly body is realized. In the Kalevala the steps are declared to be four. These are Number 1 rowing the boat. Number 2 Playing the Kantele. Number 3 Taking the Sampo. Number 4 The Sampo is broken into fragments. This can be misconstrued as a simple plot. I assure you it is far more complicated than it appears. Each of this efforts are necessary for the solar body to carnate. You will be aware in the retrieval of the Golden Fleece. A process of rowing is necessary by Hercules and Jason. This actual description is necessary. How the breath changes during rowing points the way. The playing of the harp where the nerve fibers the strings are activated. The accessing the of the Solar body from its hiding place and its decomposition just as in the breaking of the Eucharist ritual shows the power of the solar round body being released. If the Kalevala were practiced by an individual it would be learned that it is a shaman method of initiation. The first written observation (1778) of the use of body movements and positions of the rune singers comes from the work of Henrik Gabriel Porthan. Entitled De Poësi Fennica, published in five parts between 1776-1778. He was professor of Rhetoric at the Turku academy. A dissertation on Finnish poetry. During the singing the two performers begin to rock their bodies slowly. Sitting facing each other. These performers right hands are engaged together in a clasp. Research in the methodof Rune singer has ever since been referred to Porthan’s work as a reference. The real value of learning the method of singing is how we change. The objective of the runes is to construct and release this sun body within our very self. While instruction for what must be done is displayed in the poem. That is those who quest for action may find what they seek. More information is also provided. During the boat ride the Sun-body aids in the formation of the new water body. When the Kantele is plucked the Sun-body donates to the new air body. The breaking up of the sun-body produces the fire that unites heaven with earth. This involves the molding of the new fire body. The Kalevala contains a trinity. This is Ilmarinen, Valinamoinen, and Leminkainen. Valinamoinen is the seer and is the source of will. He supplies the divine consciousness and wisdom. Leminkainen provides love and blessing. He is the transformed higher emotional “I”. This highly ordered love is necessary for the formation of the different bodies (Sun, Water, Air, Fire). Ilmarinen is the initiate. He seeks out the truth, as we all must do individually. These three characters appear as different individual actually describe one person. Why the Sampo does not yield to the prying of the intellect on the physical plane is because the consciousness, illuminated by the day, does not have ownership to the Sampo. This is guarded by those responsible for its safety. This land is represented as darkness. In the Kalevala this is the land of Pohjola. One of its rulers is called Louhi. This land causes much hysteria in attempts to find its location in academic studies. Geographers and archaeologists wish the place to be in Lapp-land. Much is written about this. The land in question is in fact the physical body. This land has some important citizens and animals living there. In some texts a serpent represents fire that can travel in the spine when activated. By no means is this a universal symbol. In the Kalevala this same fire is represented as Pohjola’s well behaved and reliable ox. Much speculation about the Kalevala points to the conclusion that the place of Pohjola is well endowed with women, while the location of the home of trinity lacks any women. The conclusion provided since the epic is about traveling to Pohjola in the hopes of getting married. In fact since Pohjola represents the body it is obvious why the young maiden resides there. The imagery represents the soul. The steps to forge the Sampo at Pohjola are described in Rune 10 (X). The title is Ilmarinen forges the Sampo. It is worth pointing out the objects made prior to the Sampo. The forge itself is the same alchemy term of the crucible. This is where we mix all the parts of our selves together and apply heat. The symbol of the crucible is a cross. On the first day Ilmarinen bent his body and looked at the bottom of the forge to see what was made by mixing the metals under the influence of fire. The magic fire produced a cross-bow. Bright as the moon-beams. It was a Golden-Bow with tips of Silver. On the shaft was shining Copper. Despite the bow being strong and wondrous it was ill-natured. Always seeking a hero. Ilmarinen broken the bow into pieces and placed all of them back into the forge. He requested that his workers operate the bellows. The bellows mean the lungs. The use of breathing is necessary. On the second day the bottom of the forge produced a purple boat. The ribs were gold in color. Although an object of beauty its purpose was evil. A strong desire to seek trouble and rush into combat. Ilmarinen did not trust the boat and had it destroyed. All the remains were returned to the fire. The bellows continued to operate by the workers. On the third day the forge produced a magic cow. The appearance was stunning. The horns were made of gold. On top of her head contained the bear of heaven. Her brow had a disc of sunshine. The personality was not good. This heifer enjoyed running without thinking. Waisting all her treasures. Not satisfied with this creation the cow was cut into many pieces and sent back to the fires of the forge. On the forth day what appeared at the bottom of the forge was a plow. It rose from the fire and the metals. The point was formed from gold. The beam was made of copper. The handles were made of silver. This surely was wonderful. Yet the plow felt joy destroying the fields of barley and corn. The metal smith destroys the plow to prevent further damage and places all the pieces back into the forge. At this stage Ilmarinen lets the winds attend to the bellows. These are the winds of heaven. The winds are described by the four directions. The East wind, West wind, South wind, and North wind. These winds rush, roar, cry, and howl. The winds operate for three days. A discussion of these winds would be useful. They are applied in Yoga. The rune indicates yogic procedures for the forging actually takes place in yourself. The East wind has a center in the heart. The activities of talking, singing, and the arts originate here. The West wind has a center in the anus and intestines. Nutrients from food are harvested. South wind has a center in the blood vessels. The wind is involved in the bending of the limbs and joints. The North wind has a center in the throat and controls muscle function. One the third night Ilmarinen viewed the bottom of the forge and found the Sampo rising. The lid produced the many colors. He then with his tongs removes the Sampo and uses his hammer to make the Sampo perform its functions. The Sampo when completed Grinds one measure at the break of day. Grinds a measure fit for eating, Grinds a second for the market, Grinds a third for the store house. The Sampo is placed in a stone mountain. This mountain is hidden in a hill of copper. No will be able to find the Sampo for the creation is itself hidden by nine locks. This information alluded to the necessity of coping with the parasympathetic nervous system. This involves nerve systems to 1 Stomach, 2 Duodenum, 3 Jejunum and Ileum, 4 Spleen, 5 Gallbladder, Liver, 6 Colon, 7 Pancreatic head, 8 Appendix, 9 Kidneys and Ureters. This reveals that the Sampo is tailored to the individual initiate and not to a group. Only the individual can undergo these transformations on a personal journey, struggle and effort. Thew information of how is provided in the Rune songs. The application must still rely upon the one going through the initiation. A map showing where the nerve connections from the organs are routed through the spine. Show For educational purpose only What is the message behind the boat stopped by the shoulders of a Pike? The symbology of the Pike is the impure habits ideas and thoughts picked up along the way. The initiate must purify and remove all obstacles that the thoughts produce to prevent the objectives of the initiate. The purification occurs in two directions. In the beginning from the outside moving to the inside. Second from the inside to the outside. Why is this necessary? Thought formation does not come from external sense stimuli alone. This is a stumbling problem in the philosophy of Tabula Rasa. The Wilhelm Gottfried Leibniz and John Locke exploration leaves many in doubt. The initiate; however, has no choice but ignore all these worlds and find the truth. The purification must also extend into the inner consciousness and the parts of the physical body which are not dense but invisible to eye and machines constructed by the mind. When the inner etheric world is also purified and developed then the day and night worlds can be united. This involves lifting the pike out of the water by Valinamoinen resulting in the great fish breaking into two pieces. The tail end falls back and returns to the water. By eating some of the fish’s head the brain now develops the permanent powers of the water body. This means no longer intermittent moments of insight. Now it will be on going as a permanent mental function. The purest part of the water body go into making the Kantele (Harp). By constructing the harp the water body will be used in part to make the air body. Valinamoinen himself ponders the remains of the bones after the meal and “sees” that the bones can be used to make this Kantele. The ingredients to make the Kantele are from the head and the heart. By playing this instrument the initiate becomes the conscious device through which the influence of the God head acts. Here through the sounds the influence of the divine life and consciousness will fill out and be felt among the solar system. Examples of the Kantele. Many types exist with different number of strings. The Kantele is the piece between the head and the heart. Through this air body the the initiate is able to be filled with the Holy Spirit. There is change in face. A brightness emerges and a charming effect is experienced by those in the surroundings. This occurs when the higher self becomes victorious. The words “finding yourself” have been used to describe this event. In the beginning each one of the members of the trinity attempts to play the Kantele. Of course Ilmarinen and Leminkainen both try without success. Only Valinamoinen is able to do this. Why? This trinity arrives at the location of the locks and Valinamoinen begins playing. The animals come toward the campsite and surround Valinamoinen as he fills the animal nature with goodness. The music alone is not enough to open the nine lock. It is Ilmarinen now with a unified conscious and sub conscious mind that must cooperate with the music and what Valinamoinen brings with him. This results in the actively opening of each and every one of the locks. Music with intent and preparation can then and only then achieve the awakening of the dormant psychic ethereal force centers. In order for the body to be a temple of the Holy Spirit the mind centers in these organs must be conquered. This is not an easy task. Blacksmith statue in Brussels
The origin of Fire is discussed in Rune 9 (IX). The verses provides important clues. This one in particular: “Of the mothers air is the oldest, Water is the oldest brother, And fire is second brother”. The word Air represents the beginning of thought. The emotional world is represented by Water. The word Iron is the younger brother of fire. This is obtain in the verse “Iron hastened Fire to visit, His beloved elder brother, Thus to know his brother better.” What of Iron then? Fire dwells with the Gods. This is pure reason. Iron is a close relative. Iron is lower powers of reason. It is the application of logic. Here is why Iron wants to know the older brother. Iron forged in fire experiences divine knowledge. The role of the smith is to bring the light of reason. The use of sacred fire is shown by the Prometheus myth. The word Yishai (יִשָׁ֑י ). Written as Jesse relates to fire from the sun. The term stem of Jesse indicates to be associated with the race of the sun. Therefore a distinction can be made a world based only on iron. A so called iron age lacks reason from the knowledge of the divine. All attempts are based on logic. Conclusions can only be successful if the assumptions are correct. Which cannot of course be proven. This is why logic alone is not sufficient.
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