The performer is often trying to establish the cross road of art, success, and craft. Although a science of how we make decisions has been know for many years it has not been utilized by many. A comedy of this process was incorporated into a novel by Honré de Balzac. The title of course is The Quest For The Absolute. This text makes for an interesting play. The word, in the title, absolute is the outcome when three variables are defined. These are will, thought, and feeling. We are confronted by a fourth dimensional equation. This equation involves three independent variables indicated by our will, out thought, and our emotion. These three quantities provide the four variable which is dependent upon the other three. A coordinate system of a person can be constructed to show where the planes of will, thought and feeling originate. Just as for the performer a similar set of three planes exist. The actions involved on the stage result in generating a set of variables in the three planes of the audience. The performer wants to know what actions will give the desired outcome. In this case the absolute value. The response of the audience is gauged the same way in neuroscience. We must work with the senses. The human response is needed as no quantitative measurement of desire, emotion, and intellect is possible. Unless we use Art as the interpreter. The hermetic literature of the emerald tablet and Kybalion describes a three plane system. This is described in terms of where your thoughts are derived. Such planes include a spiritual plane, a mental plane, and a physical plane. By this structure their are different levels of thoughts. These thoughts can evolve in different directions. They may evolve on all three plane to eventually take form as your idea. A thought may not ever reach the stage of being unveiled to your friends and family. The planes where thoughts are born and grow is congested. An incomplete thought can lead to an obsession. Therefore it is important to be diligent with your mind. In Art the goal to communicate on all three planes is an important one. This is referred to as reaching your audience. Just how this is done can be understood and applied by studying how thinking changes on these planes. It is an incorrect notion that the registering of a sensation puts a thought onto these planes. The construction of a world is brought about upon these planes. The mind makes interpretations and constructs a model. The model is changed as new changes in sensations are identified. A new sensation must be identified. The continual stimulation of the same sensation does not lead to a change. The mind only relies on change when building the model.
How theater can be effective is in the planing of a sequence of sensations to be sent out to the audience. This can lead to the build up of activity on these mental planes. By observing the sequences a buildup will result in a value. This is a response from the audience to the art presented by the actors. It is on the stage where a four dimensional answer will be sought. This response is what is termed the absolute from Balzac's novel. The thinking plane of Taurus and the feeling plane of Leo involve different rotations about the fixed cross. This cross interacts with the soul. The function of this cross is concerned with the integration of the personality with the soul. Following the mutable cross the fixed cross is concerned with the experiences of the soul. The five worlds of human attainment are regulated at this point. These include three human and two superhuman states. Because thinking and feeling operate on two different planes there is always a moment of silence as we shift from one plane to another. If mental activities are confined to one plane, but if a shift in consciousness is demanded we suddenly feel as through we have to grope around as we get our bearings in a new world. This also means how we take in a play will be affected the same way. A scene with heavy emotion cannot segue into a different scene heavy in intellectual development. The energy from the received emotion has to be discharged through music, or release of tension by the acting on stage. Knowledge of the land is far more useful than the map. Those that are comfortable in one plane over the other spend a good deal of their experiences in that plane. There is almost a feeling of regret in having to leave that plane to shift into another. Any opportunity to shift back is welcomed and looked forward to with a sense of fullness and happiness. These planes are not static. As we become exposed to different types of music, sounds, colors, and dialogue our mind becomes dynamic. Through theater we are able to initiate the cyclic evolutionary process of the root. This root of course is the nerves that extend into our pelvic bone, hip bone. stomach, prostrate, throat, and cardiac. The root by growing and evolving can assist the conscious that occupies the thin layer of the cerebral cortex. This aid comes about through the growth and health of the trees in garden of Eden. The nervous system responds to spiritual growth as well. The cerebrum gets much attention. In the Rig Veda the deities of Brahma, Indra, and Shiva overshadow others in the pantheon. This is because they are closer to the cerebrum. The other deities, nymphs, and nature spirits are not thoroughly identified. It is the deity of Vishnu that is unique. The multiple transformations of Vishnu are reported as 24. There is of course others that are possible. The parts of thought worked upon at the fixed cross involve the development of consciousness. The ability to refine thought forms. The need to intensify life experiences. At the fixed cross desire is transmuted into aspiration. The egotistical nature in the Aquarius-Leo staff learns to become decentralized and works with group-conscious states. Along the Taurus - Scorpio staff the material life is replaced by the spiritual. The purification of the water constellation aids the material earth of Taurus. To understand how the planes involving feeling and thinking are affected by the will it is important to realize that the forces generated by the zodiac constellations undergo a series of cycles. Taurus is the Mother of illumination. Change of outcome is carried out by the line of evolution. The construction of this line involves seven ascending constellations. These constellations are the following: [Aries, Fire], [Taurus, Earth], [Gemini, Air], [Cancer, Water], [Leo, Fire], [Virgo, Earth], and [Libra, Air]. The ascending constellations are associated with five descending constellations. These five constellations are [Scorpio, Water], [Sagittarius, Fire], [Capricorn, Earth], [Aquarius, Water], and [Pisces, Water]. These are about as useful as a title which can be recognize, but lacks any meaning. They are in fact part of a sophisticated address system for the mind. A series of impulses are passed along into different regions of the mental powers. This means our mind is not static hence the personality also will change. Every zodiac constellation has an impulse that operates in a cyclical fashion. This cycle is one type of evolution. There are other cycles. Zodiac Impulses 1 Aries -- Unconscious will. At this point the soul passes from death to rebirth. Tarot key 4. Title Emperor. Fire. 2 Taurus -- Conformation. Here the mental and physical natures are formed by the soul. Tarot key 5. Title Hierophant. Earth. 3 Gemini -- Conscious will. Here the soul experiences an increase in consciousness. Tarot key 6. Title Lover. Air. 4 Cancer -- Self consciousness. This is the rise in the quality of the individual. Tarot key 7. Title Chariot. Water. 5 Leo -- Sensory perceptions. Tarot key 8. Title Strength. Fire. 6 Virgo -- Marriage --- Focus the sense perceptions upon exterior objects. Tarot key 9. Title Hermit. Earth. 7 Libra -- The illusions of pain and pleasure and their synthesis reacting upon the soul. Tarot key 11. Title Justice. Air. 8 Scorpio -- Desire ---This provides the gratification of needs derived from the experience released upon the soul by the gate of Libra. Tarot key 13. Title Death. Water. 9 Sagittarius -- Indulgence. The attachment to worldly goods. Tarot key 14. Title Temperance. Fire. 10 Capricorn -- Maturity --- This provides a satisfaction to the material existence. This represents a high Philosophical level of understanding. Tarot key 15. Title Devil. Earth. 11 Aquarius -- Compensation --- The paying of the karmic debts and the eventual detachment from this time frame. Tarot key 16. Title Star. Air. 12 Pisces -- Completion --- The ending of connection to matter and the return of the spirit. This constellation is in the celestial sea. No land is present. Here the evolution has completed one cycle. Tarot key 18. Title Moon. Water. Any play must include this cycle. The audience enters the story at their own individual entry point depending on their own frequency of revolution. The underlying structure of a play shares the same skeleton of the major arcana of the tarot deck. The images of the pictures included the 12 zodiac constellations. The real implication of the major arcana is that when all the images are viewed a story of how spirit makes it descent from mind into matter, and ultimately returns. The combination of the keys The World 21 with the Fool 0 signify the complete and closed circuit. A play must also include this closed path in order for the play to be successful. The use of open circuit stores fit the current broken mind where ego dominates. It is after all the role of art to assist the higher mind in connecting with the lower mind. The use of edge with color is a new visual language the rudiments have yet to be work out. Use in various art forms provides stimulation to the viewer. The way to learn how we response is to learn the language of how our mind moves in and transfers to different planes by the use of triggers within the art. Goethe pointed out in his play about Faust that symbols arise originally from dreams. The transitory nature of the angelic world is the source of symbols. when confronted with a symbol we spend time trying to understand its meaning. The use of logic and analysis led to false avenues. To learn of symbols we must enter the world of Briah. This is known as the world of creation. Nothing has permanence. Any concept that maybe recognized as having a form will dissolve. The introduction of random behavior into an art will provide a way to enter this world. The literary cut up method, by Biron Gysin in the decade of the 1950s. This can be used by any art. The introduction of notes into a piece of music can lead to new compositions. The more random notes introduced the more alive and interesting the music becomes. A similar method can be used in film and the production of paper collages. We experience events in the cut up fashion. Our ideas appear to us in a nonlinear fashion. Those ordered events utilized in explaining a logical narrative do not occur to us in that manner.
The use of props on stage is key to the beginning ascent into matter by the mind. This is indicated in the painting above. The tools of a magician are in fact the tools used by the mind but drawn in a metaphorical language. The cups colored in blue and red are used in emotion and divine inspiration. The knives are our intellect. The coins are our materialization, and ways to organize our ideas. The wand is our will.
Within us lies the necessary components to manifest increasingly higher forms of expression and intellect. Like any muscle this gift must be employed to receive the benefits. As a result of the requirement to shift planes we fall into a cycle of habits.The only way out the cycle requires a shock of self expression. By developing within we realize there is no need to be lead blindly. New developments become possible when we try a what if rather than follow what is believed to be written down. In human knowledge what is written down is what was tried in the beginning. Knowledge is always changing. A repeated cycle only leads to new applications of will. Only through the use of earth can a process be realized. From earth water and air can be derived to explain the new observations made from the newly discovered process. It is known through fencing that repeated operations lead to hypnotic sleep states. The playing of repeated music phrasing has this same result. The introduction of new sensation gives stimulus for the growth of new endeavors. It will be on stage that the fire and motivation to innovate human development will occur.
Movement along the arcs labelled B to F, F to G, G to H, H to D, and D to A spell out the evolutionary path from stone to plant to animal to human to adept. The inclusion of spirit in matter is the process known as involution. The life world is transferred into dense substances of the material world. By involution the living forces are clothed in matter and take on the properties of form. The involution is the reverse of evolution. The adept is transferred into human, lower forms can be animal types, plants, and finally the inhabitants of the inorganic world.
to Structure viewed too quickly becomes the archetype for a symbol. A image we barely recognize when observed in a dream can be used to establish the foundation. A symbol ultimately is a representative of underlying cosmic forces. They do not reveal themselves directly. They appear to us in celestial observation. The constellations and the symbols that arrive from stellar phenomena go into the construction of our written text system. The star patterns go into making our words. When beginning to learn a writing system a period of non verbal introduction is required as the mind constructs models. The formation of words comes later. This reflects on the origin of our writing systems. From pictures came glyphs, and these in turn construct words. We forget about this and fail to grasp why children need time to learn language. Once they arrive in the physical body the connections to the etheric and astral are not fully made. The stars need more time to construct their higher functions into the nerves. The application of picture and production of music by the students should come before the emphasis on written language. Showing by theater how words form will aid in the building of the necessary complexes.
The highest level of mental cognition is non-verbal. Our first analysis always begins without the application of mapping words to objects. Once recognition and understanding are achieved we begin to formulate words to the models we create from the information we abstract from our senses. This is why the region marked "event" is placed above the domain of inference. Better and better conclusions can be obtained if our mind is allowed to work with our senses.
Notice an example can be demonstrated in a play called Taming of the Shrew by Shakespeare. This excerpt is taken from Act4, Scene 5. The actors are making a simulated journey from Verona to Padua. The travel time is estimated to take 17 hours on foot. The time is noon and the sky is clear with no clouds in sight. The intense heat makes the travelers uncomfortable, and sweaty. They are hungry and have no food themselves. They expect to eat in Padua. Any thoughts of further delays or threats to return to their starting point will make them upset. They are edgy. The character name PETRUCHIO decides to make trouble by making a new interruption in the party's journey, this will further delay their arrival time. The lack of food, and presence of hungry makes them cross. PETRUCHIO Come on, i' God’s name, once more toward our father’s. Good Lord, how bright and goodly shines the moon! KATHERINE The moon? The sun! It is not moonlight now. PETRUCHIO I say it is the moon that shines so bright. KATHERINE I know it is the sun that shines so bright. PETRUCHIO Now, by my mother’s son, and that’s myself, It shall be moon, or star, or what I list, Or e'er I journey to your father’s house. [To servants] Go on, and fetch our horses back again.-- KATHERINE Forward, I pray, since we have come so far, And be it moon, or sun, or what you please. PETRUCHIO I say it is the moon. KATHERINE I know it is the moon. PETRUCHIO Nay, then you lie. It is the blessèd sun. The wording can be misunderstood as to the meaning of sun and moon. This couple plays the role of when the Sun of Tiphereth marries the bride of Malkuth. In English this is when the solar deity marries the physical kingdom. The concepts of the Rosencrantz alchemical wedding are described in this play. The German text was published in 1616 AD. The play is estimated to be written between 1590 to 1597 AD.
Splendor Solis is the text upon where this image is derived. A work estimated to be published in 1582 AD. This couple in the above figure answers the question as what the two characters names Katherine and Petruchio refer to. The Moon is under the feet of the queen. The Sun is under the feet of the king. The Alchemical objective is to form a union between this Sun and Moon. This indeed is implied in the Lover key number 6.
This division can manifest in physical observation. The work by Julian Jaynes in 1976 points to what the alchemist were attempting. If the solar and lunar centers do not unite you have a consciousness cut off from the higher mind. The evidence of this is exhibited in the Greek text of Ulysses. If the lower mind becomes split the ego represented by Ulysses has no access to divine thinking from the higher self. Interesting concepts are introduced in The Origin of Consciousness in the Breakdown of the Bicameral Mind. [By Julian Jaynes, Houghton Mifflin 1976] Yet further explorations are waiting and still wait for further authors. Because all is from mind. There are implications. This breakdown will appear in the surroundings if the ego is forced to function alone without all the parts of the mind.
The spinal chord grows as we evolve. There are physical changes as well as mental changes. This of course means that their will be changes that occur in personality. The second transformation of Vishnu involves a Turtle. This animal travels to the bottom of the ocean. At this position the spinal chord is supported on the ocean floor.
By allowing a mediation of study you will be able to observe the turtle in the diagram of the pelvic bone above. Inside the butterfly shape bone sits a the shell of the turtle. The 4 by 4 holes are empty. The nerves of the spinal chord are threaded through these holes. The sacred fire that occultist speak of can be accessed through here. This place of intense heat is the Tartarus of the Greek myth. The reproductive organs reside here.
In play form the spinal chord is represented by the figures above. One source of this information is the Rig Veda. When a child transforms into an adult the spinal chord must make a large physical change. This is shown by the fifth transformation of Vishnu. Here Vishnu is the dwarf boy called Vamana. It is here that we learn about how we make a spurt in our youth, 12-16 years of age. By requesting land from the demon king called Manabali. He is ruler of the child state. The agreement is based on how much land he can cross by taking three strides. As Vamana began to take those strides he began to grow in stature into a giant called Trivikrama. The three strides became heaven earth, earth, and neither world. The three regions that the spinal chord spans. Part of the head called heaven. Earth, the torso. Neither world, the loins.
The three kingdoms of Vishnu. These three structures reveal the different geography encountered by the spinal chord. The colorful design demonstrates another way to represent our being. Note the colorful halos.
The wedding between Sun and Moon involves two paths. These are mapped to the tarot keys Universe, 21 and Temperance 14. The path of Tau is called number 32. The path of Samekh is number 25. This is the way of alchemy and aspiration. This is known as the daughter of the reconcilers and the bringer forth of life. The twenty-fifth path is the intelligence of probation. It is so called because this is the path pf primary temptation by which the creator trieth all rightous persons. When compared with the thirty-second path the 25 appears slightly easier. This introduces us to the bride. We must be careful as the astral world tends to deceive. Number 32 is called the Administrative intelligence. This derives its name because it is where the seven planets receive their instructions. Their course of movement through the heavens occurs on this path. The Magician develops their greatest powers by walking these two paths
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