Thinking it odd that a Hexagram being a six-sided figure, and six (6) representing Venus .. Love... Peace, that somehow - and as always, not coincidentaly - the word HEX crept into the English language, with such usage as "I'll place a HEX upon you!" a most negative "curse"...Linda Goodman - Star Signs.





Star of David OR Star of Lucifer?
By Jim Searcy

Acts 7:42-43: Then God turned, and gave them up to worship the host of heaven; as it is written in the book of the prophets, O ye house of Israel, have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness? Yea, ye took up the tabernacle of Moloch, and the star of your god Remphan, figures which ye made to worship them: and I will carry you away beyond Babylon.

Amos 5:26-27 But ye have borne the tabernacle of your Moloch and Chiun your images, the star of your god, which ye made to yourselves. Therefore will I cause you to go into captivity beyond Damascus, saith the LORD, whose name is The God of hosts.

Moloch, Chiun and Remphan are all names for the star god, Saturn, whose symbol is a six pointed star formed by two triangles. Saturn was the supreme god of the Chaldeans.

The hexagram was brought to the Jewish people by Solomon when he turned to witchcraft and idolatry after his marriage to Pharaoh's daughter in 922B.C. It became known as the Seal of Solomon in Egyptian magic and witchcraft. David had absolutely nothing to do with the hexagram and that star most certainly did not, in any way, represent God's people. Solomon gave himself up to satanic worship and built altars to Aashtroeth and Moloch (Saturn).

The hexagram faded from Jewish usage for 2,600 years. Then in the 1800’s, in Germany, it was adopted by Mayer Rothchild to mark his house. The six pointed star was used as the Rothchild coat of arms. It is difficult to pin down the date at which the six pointed hexagram star became known as the so-called Star of David. In fact the earliest Jewish application of the symbol outside the Rothchild banking and financial empire is 1873. That was the year that the Magen David was adopted as a Jewish device by the American Jewish Publication Society. It is not even mentioned in the rabbinic literature searches. Other than that fact, no one seems to know when or how the Occult or Satanic star, became the Star of David. What should a Christian or observant Jew have to do with this symbol, NOTHING, absolutely NOTHING. Keep the symbol out of your house. The evidence is overwhelming that it is a cursed symbol which may give demonic ground or license.

The hexagram has remained in use within the occult and is prominent in the rituals and worship of Druids, Freemasons, Astrology, New Age, and Wicca. Witches often have this hexagram symbol, of the so-called Star of David, tattooed on the abdomens or palms of witchcraft initiates.

The so-called Star of David is essentially a hexagram, nothing more, nothing less. There is no Biblical or Jewish evidence that traces this ancient occult symbol with King David of Israel. However, there is evidence that it was used by King Solomon, after he turned to pagan gods and the occult, late in his life. It is a very sobering thought and strong case against OSAS that Solomon’s soul would end up in hell. Here is a man to whom God appeared twice, whose father was King David, who was used by God to write so much scripture, Proverbs, Song of Solomon, and Ecclesiastes.

I Kings 11:4-9 For it came to pass, when Solomon was old, [that] his wives turned away his heart after other gods: and his heart was not perfect with the LORD his God, as [was] the heart of David his father. For Solomon went after Ashtoreth the goddess of the Zidonians, and after Milcom the abomination of the Ammonites. And Solomon did evil in the sight of the LORD, and went not fully after the LORD, as [did] David his father. Then did Solomon build an high place for Chemosh, the abomination of Moab, in the hill that [is] before Jerusalem, and for Molech, the abomination of the children of Ammon. And the LORD was angry with Solomon, because his heart was turned from the LORD God of Israel, which had appeared unto him twice,

The great goal of freemasonry is to rebuild Solomon’s temple – The OCCULT ONE and NOT THE HOLY ONE.

A Masonic book called The Second Mile, an Eastern Star book, reveals that the "six pointed star is a very ancient symbol, and one of the most powerful." The hexagram is used in magic, witchcraft, sorcery and occultism and the casting of zodiacal horoscopes by astrologers. "It was considered to posses mysterious powers."

The six pointed star is used by magicians and alchemists. The sorcerers believed it represented the footprints of a special kind of DEMON called a trud and used it in ceremonies both to call up demons and to keep them away (O. J. Graham, The Six Pointed Star, New Puritan Library, 1988, p.35).

Bill Schnoebelen, a former Satanist, says, "To the sorcerer, the hexagram is a powerful tool to invoke Satan." In fact, the word "hex" -- as to put a "hex" or "curse" on people -- comes from this word.

If you examine the so-called "Star of David," or hexagram, closely, you will discover something astonishing. It has six points, forms six equilateral triangles, and in its interior forms a six sided hexagon -- thus it reveals the number of Satan’ antichrist beast, -- 6 points, 6 triangles, and the 6 sides of the hexagram -- 666 !!!

This ancient occultic figure is also a pagan symbol of sexual union and reproduction. The triangle pointing downward represents the female sexual organ, and the upward pointing triangle represents the male phallus. Joined together in the hexagram, they represent sexual union, to paganism and the occult, the union of the active and passive forces in nature. Thus the hexagram was a part of Satan's original "sex worship" rites and symbols of the sexually oriented rites and ceremonies of BAALISM -- Nimrod and Semiramis -- Easter (Astarte) and Baal -- Venus (Aphrodite) and Bacchus.

David J. Meyer, a former witch and occult practitioner, now editor of The Last Trumpet newsletter and a Christian, declares, "When the male triangle penetrates the female triangle it produces the six-pointed crest of Solomon or hexagram, the most wicked symbol in witchcraft."

The hexagram was used in ancient pagan Egypt as a tool to communicate with the dead. Of course we know they were actually demons, conjured up, posing as the dead. The dead are not able to communicate with the living. Some of the verses of Ecclesiastes are strong on this point such as 3:19-20 and 9:10.

How did this ancient symbol of the occult, and Lucifer, Satan, the devil, find its way to be a symbol of the Jewish people, and become the major symbol today of the Jewish people, even being on the Israeli flag?

The first martyr of the Christian church, Stephen, in his defense before the Sanhedrin, warned the Jewish nation, as he reviewed the history of Israel. (Acts 7:42-43). God's Word warns us, in the prophecy of Amos. (Amos 5:26). This star was undoubtedly the SIX-POINTED STAR -- the star associated with sexual depravity, and whoring after false gods. It is the Hexagram from occult, magic, and neocromancy of Egypt! But, how did this figure become popular in Israel?

In one word, the answer is Solomon. Solomon, after he became king of Israel, violated all the specific commands of God to kings, on an unprecedented scale. Those special commandments of God to the kings, which Solomon violated like no other, are found in Deut 17:15-19. There is NO Wonder that the goal of freemasonry is to rebuild Solomon’s temple. 1 Ki 3:1 And Solomon made affinity with Pharaoh king of Egypt, and took Pharaoh's daughter, and brought her into the city of David, until he had made an end of building his own house, and the house of the LORD, and the wall of Jerusalem round about. The influence of the daughter of Pharaoh, king of Egypt, was no doubt considerable, as she was pre-eminent and most exalted among all of all his wives.

Solomon who loved the Lord in the beginning of his reign, turned away from the true path of worship as he grew older. 1 Ki 11:1-2 But king Solomon loved many strange women, together with the daughter of Pharaoh, women of the Moabites, Ammonites, Edomites, Zidonians, and Hittites; Of the nations concerning which the LORD said unto the children of Israel, Ye shall not go in to them, neither shall they come in unto you: for surely they will turn away your heart after their gods: Solomon clave unto these in love.

1 Ki 11:9 And the LORD was angry with Solomon, because his heart was turned from the LORD God of Israel, which had appeared unto him twice,

Solomon worshipped, among other gods, Ashtoreth (Eastarte, Isis, Venus, Aprhodite), Milcom or Molech, and Chemosh. These satanic rituals included human sacrifice, witchcraft, and sexual orgies. Solomon built high places, temples, and altars, for these pagan abominations, for all his foreign wives, and joined them to burn incense and do sacrifice to their gods. It was, without any doubt, Solomon, and NOT David, who adopted the Hexagram, which became known as Solomon's Seal, or Solomon’s Shield. He became a wizard, or consulter of demons, and the walked in forbidden occult powers of darkness, of Lucifer, Satan, the devil. Thus the hexagram became a prominent symbol in ancient Israel which can be traced no farther back than Solomon. He adopted it from the pagan nations around him.

There is no evidence to connect the hexagram with David, his father. There is no reason to believe that David, a man after God's own heart, would ever adopt a Satanic, occult, or pagan symbol for his "shield." But Satan the devil, the chief of liars and deceivers, would certainly love to have you think so! (Rev.12:9; John 8:44).

Why and how did the six-pointed star -- the pagan occult symbol -- become connected with the MODERN state of Israel? It was adopted as the family crest or shield by the Rothschild family during the 19th century. The Rothschilds bought a great deal of property in "Israel," from the Turks and Arabs, and were largest financial supporters of the Zionist movement in the early decades. The influence of the Rothschilds and their heavy financial support of Israel, led the Jewish nation to adopt the so-called "Star of David" as their own symbol as a nation.

As God's people, we should have NO PART in the use of these perverted, corrupt, occult, Luciferian symbols, and everything they represent! They are an abomination in the eyes of our Holy, Almighty God!

This popular Jewish symbol, is not as Jewish as people are led to believe. It is very popular. It appears on many synagogues and as well as on THE NATIONAL FLAG OF ISRAEL. The star symbol IS VERY OLD and was used as a decoration by MANY ANCIENT CULTURES. The oldest known example dates back to the time of Noah, almost 4,400 years ago. However, by NO MEANS is this star the oldest Jewish symbol, any more than it should be considered Jewish at all. The oldest known symbol of Israel, is NOT the falsely so-called Star of David; but, THE BURNING BUSH as mentioned in Exodus. Exo 3:2 And the angel of the LORD appeared unto him in a flame of fire out of the midst of a bush: and he looked, and, behold, the bush burned with fire, and the bush was not consumed.

Though not the oldest of the symbols of Israel, the NEW, soon to be, flag of the Nation of Judah, which will emerge when Jewish people look upon Him whom we have ALL pierced. The NEW FLAG will be the 7 branched candle stand, the gold Menorah on a sky blue background. Some say the burning bush symbolized Israel, A NATION NOT CONSUMED. In spite of many nations trying to annihilate the Jews, God has promised to preserve them and this has proven true in history.

The star of Solomon, or Luciferian star, dates back over 4000 years, and was in many ancient cultures. This is very important because THIS STAR HAS BEEN CONNECTED TO FALSE PAGAN WORSHIP and Moses had a very difficult time getting the people of Israel to forsake this false religion. During the Middle Ages the symbol became connected with MAGIC and protection, along with the pentagram or five-pointed star. The connection with magic DATES MUCH EARLIER THAN THE MIDDLE AGES for both stars. This can easily be proven by a quick study on magic and witchcraft.

The so-called Star of David also called the Shield of David, or Mogen David, in reality,k is the Seal of Solomon, when he turned reprobate, Luciferian, and was fully given over to the occult. The STAR OF DAVID IS NOT MENTIONED IN SCRIPTURE.

Though the phrase "Star of David" itself does not appear in the Bible, it is obvious that THERE IS A STAR MENTIONED. ALSO WE SHOULD TAKE SPECIAL NOTE OF TWO TABERNACLES MENTIONED IN SCRIPTURE

There always have been TRUE an FALSE tabernacles. There were TWO TABERNACLES in the wilderness. The true and the false. Notice how the Word of God clearly identifies these two tabernacles and places THE FALSE ONE WITH A STAR.

THE TRUE - Psa 78:59-60 When God heard this, he was wroth, and greatly abhorred Israel: So that he forsook the tabernacle of Shiloh, the tent which he placed among men;
THE FALSE - Amos 5:25-26 Have ye offered unto me sacrifices and offerings in the wilderness forty years, O house of Israel? But ye have borne the tabernacle of your Moloch and Chiun your images, the star of your god, which ye made to yourselves.

THE TABERNACLE OF YOUR MOLOCH AND CHIUN your images, the STAR OF YOUR GOD, WHICH YE MADE TO YOURSELVES.
STEPHEN MENTIONS THIS STAR IN ACTS 7

Acts 7:42-43 Then God turned, and gave them up to worship the host of heaven; as it is written in the book of the prophets, O ye house of Israel, have ye offered to me slain beasts and sacrifices by the space of forty years in the wilderness? Yea, ye took up the tabernacle of Moloch, and the star of your god Remphan, figures which ye made to worship them: and I will carry you away beyond Babylon. THE TABERNACLE OF MOLOCH, AND THE STAR OF YOUR GOD REMPHAN, figures which ye made to worship them..."
THE FALSE TABERNACLE AND THE TRUE TABERNACLE ARE ALSO MENTIONED IN HEBREWS

Heb 8:1-2 Now of the things which we have spoken this is the sum: We have such an high priest, who is set on the right hand of the throne of the Majesty in the heavens; A minister of the sanctuary, and of the true tabernacle, which the Lord pitched, and not man.

THE GREAT HIGH PRIEST, AFTER THE BETTER MELCHESEDEC ORDER, JESUS CHRIST, who is set on the right hand of the throne of the Majesty in the heavens; A minister of the sanctuary, and of THE TRUE TABERNACLE, WHICH THE LORD PITCHED, AND NOT MAN.

During the LAST TWO CENTURIES the six-pointed star has become a distinct Jewish symbol. One motive was the desire to have a common Jewish identification similar to the Christian cross and Islamic moon god crescent. It is important that we know that it has ONLY BEEN THE PAST TWO CENTURIES that the star has become a distinct Jewish symbol.

Though the Nazis used the star as A BADGE OF SHAME during World War II, it is said the symbol came to represent unity and hope. The reality is that the he Jewish people in Hitler's time were not thinking of unity and hope. They were thinking of SURVIVAL.

It really is sad that a symbol of Satan, witchcraft, magic, and the occult, now days represents the Jewish nation. Today, the falsely so-called Star of David almost has pre-eminence over the God ordained and much older MENORAH, or seven branched candelabrum, as a symbol of Jewish tradition.

THE BURNING BUSH is slightly older, by a matter of months, than the Menorah, and BOTH have a TRUE and direct connection to the Jewish nation. The Star of Solomon, falsely called the Star of David – DOES NOT. We will soon see God remove the veil. Then we will see this falsely so-called Star of David removed from any association with the people and land of Israel. The nation of Israel will soon become the nation of Judah. We will KNOW when God removes the veil and saves the whole nation in one day. We should KNOW how we will know.

Zec 12:9-11 And it shall come to pass in that day, that I will seek to destroy ALL the nations that come against Jerusalem. And I will pour upon the house of David, and upon the inhabitants of Jerusalem, the spirit of grace and of supplications: and they shall look upon me whom they have pierced, and they shall mourn for him, as one mourneth for his only son, and shall be in bitterness for him, as one that is in bitterness for his firstborn. In that day shall there be a great mourning in Jerusalem, as the mourning of Hadadrimmon in the valley of Megiddon.

2 Cor 3:14-16 But their minds were blinded: for until this day remaineth the same veil untaken away in the reading of the old testament; which veil is done away in Christ. But even unto this day, when Moses is read, the veil is upon their heart. Nevertheless when it shall turn to the Lord, the veil shall be taken away.

We will KNOW because we will see the dark symbol of Satan and the occult, replaced on their National flag, with LIGHT from either the Burning Bush and/or the Menorah. Maranatha. Alleluia Yeshua. Bruning Bush, or Menorah, or Both, let the symbol of the God who is Light, the God of Israel, be the symbol of Light, rather than darkness.


While ye have light, believe in the light, that ye may be the children of light. For ye were sometimes darkness, but now are ye light in the Lord: walk as children of light: Ye are all the children of light, and the children of the day: we are not of the night, nor of darkness.

Star of David OR Star of Lucifer?

Very interesting.

I found some of the things said in this article biased because of the Christian perspective. I'm very dubious about whether or not is is fair to call a symbol in itself "evil", and so on.

However, it's all very fascinating.

Molech was an "owl god" apparently, mentioned in the Bible, a passage where people are forbidden to sacrifice children to this "god".

Thats why a lot of people are suspicious about Bohemian Grove, with that great big owl structure where they perform strange, ritualistic shows for entertainment......

The mysteries surrounding the Masonic religion are also very interesting; its structure, the secrecy, the conspiracies.......

Oh, I don't know CD, I don't know. This essay does not 'feel' divinely inspired to me, nor do some of the passages cited.

I can't judge Solomon as easily as this author ... or dismiss him as having anything to do with evil.

It shows me there is mystery involved here which has to do with the masculine and feminine... theme of "Gooberz" ... and the six-pointed star of the two overlaid triangles still feels symbolic of Love themes.

Could a 'hex' (dark connotation) be nothing more than a wall drawn around the points the star, showing the imprisonment in this world of the divine masculine and feminine, hindering their light from shining and extending?

Let's keep researching. I am wondering if the story of Solomon is more metaphor than actual history. I started goggling and read that NO trace of Solomon's reign has been found or unearthed, which is odd if he had such a mighty kingdom.

As soon as my PC lets me, I'll bring back some info and links.

And also, on another thread there was talk of the Star of David in 1666 which was not mentioned in this one. I have to go back and check that again.

Keep communicating your thoughts, please! Thank you so much!

"The mysteries surrounding the Masonic religion are also very interesting; its structure, the secrecy, the conspiracies....... "

Hi ListenstoTrees, Great to have you spiral here!!!!!

There have been some new commercials looking for men to join Freemasons. An actor plays Ben Franklin and says "secrets" are good things, that the Founders were Freemasons who worked behind closed doors to do good, and that Freemasons "give $3 Million to charity every day" in secret, "hidden from the world." All righty, then.

Actually just from observing with open eyes and ears everything that goes on that we can see publicly, it does look like there are rather many politicians around the world working in concert to give us the world we have, to reflect the most common mindsets. Various flashbacks and images pop into my head of the last bunch of crazy years... I am just guessing that these humans probably genuinely do think they are working for the good of all and for a 'peaceful' New World Order. But also looking at actions, it seems they have a weird way of going about it.

It doesn't seem like they travel by good King Arthur's mottoes such as "Might FOR Right" rather than "Might IS Right."

So it just seems that some people, out of a fearful view, regard conquer and control as the path to peace, once and for all.

Whatever, until minds change... No doubt it is all part of a Divine Plan toward At~One~Ment.

Hi there Listens to Trees,
it had not been my intention to post about the Seal of Solomon at all, basically the info presented it'self because I had done a search looking for something that would clarify the term "Hexaist" not sure on spelling. I had read that the word is refering to Christians, so searched it trying to check the spelling, and came across The Seal of Solomon info so that is probably why the post concentrates so much on Christianity.There was another site too and that info/link is posted on the Water thread,which could have been a better choice when starting the thread.

Pisces Dreamer


Yes did find another site later, there was a lot to read and at the time just rushed in with the post because of the 69 Masculine Feminine Mystery.


A Hex "negative curse" implies that a wish or dominating influence has been made over something or someone to bring about misfortune. Dictionaries refer to it as an Evil curse or charm, and Evil spell. Hexa as a prefix means "six" as in Hexagon. Also before vowels hex-.It is a Polygon having six angles and six sides.

A Hexagram is a six pointed starlike figure formed of two equilateral triangles placed concentrically with their sides parallel, and on opposite sides of the centre. A figure of six lines.

After seeing the hexagram overlaid on a clock face, some of the points were unchecked.The top of the triangle pointing down is at 6, all other points and especially the top of the triangle pointing upwards does not sit at 9...



C.D.

"After seeing the hexagram overlaid on a clock face, some of the points were unchecked.The top of the triangle pointing down is at 6, all other points and especially the top of the triangle pointing upwards does not sit at 9..."

CD, Could you kindly explain this a little more? I missed what was meant or intended by placing a hexagram or six-point star over a clock. I know that if the star corresponds to MF, then the 69 yin yang -- but why placed over a clock?

I do remember on the "Old H.O.M.E." thread there was mention of clock C-lock -- C= Light
Light-lock
So is Time a (temporary) lockdown of Light?

Thanks!

Pisces Dreamer

If you have a copy of Star Signs you would have to look at the Lexigram Chapter, page 379.

Linda wrote that she had been taught that there was an identical pyramid built to precisely the same measurements as The Great Pyramid of Giza, joined at the base, directly below it.

The reason for the construction and design of the identical pyramids joined base-to-base was to "keep the pole star centered", to "prevent any further axial excurtions of the North and South Poles."

The triangle had reminded her of the Great Pyramid, the base to base drawing of the pyramids revealed a diamond-shape which created the figure 4.
and wrote next to it, equals the 4th DIMENSION of Time or the ETERNAL NOW, which equals... The power of the Giza Pyramid.

Guess that is why she overlaid it on a clock face, mind you the sketches done are only two dimensional...

Q:Is Time the lockdown of Light? The overlay of the two triangles would represent that lockdown perhaps.

Funny that you should ask that, because in an article called all screwed up , I read about twisted and polarised light this was quite a few years ago now, and wouldnt you know it, they've used the clock-face to represent where the angles are...

BTW,There are a few lines later in this piece below that you may find interesting, so my apologies for all the reading, oh and their mistakes not mine ;)...




MYSTERIES OF THE GREAT OPERAS
by
Max Heindel
[1865-1919]

FAUST
CHAPTER VI
THE WAGES OF SIN AND THE WAYS OF SALVATION

"The wages of sin is death," says the Bible, and when we sow to the flesh we must expect to reap corruption. Neither should we be surprised that one who is negative of character, like the class described as the Sons of Seth, represented by marguerite in the Faust myth, falls a prey to this law of nature at an early date after his measure of sin has been filled. The speedy apprehension of Marguerite for the crime of matricide is an illustration of how the law works. The holy horror of the church that was remiss in not guarding her while there was yet time, is an example of how society seeks to cover up its negligence, and holds up its hands, shocked by the crimes for which it is itself, in a great measure, responsible.

Had the priest sought the confidence of Marguerite instead of coveting the jewels, he might have protected her from the fat that befell her, and though she might have suffered by losing her lover, she would have remained pure. It is, however, through the intensity of sorrow that the suffering soul finds its way back to the source of its being, for we have all as prodigal sons left our Father in Heaven; we have wandered afar from the realms of spirit, to feed upon the husks of matter, to gather experience and to gain individuality.

When we are in the slough of despair we being to realize our high parentage and exclaim, "I will arise an go to my Father." membership in churches, or the study of mysticism from an intellectual point of view, does not bring the realization of the WHITHER, which is necessary before we can follow the Path. But when we are bereft of all earthly support, when we are sick and in prison, we are nearer and dearer to the Savior than at any other time. Therefore, Marguerite in prison and under the ban of society, is closer to God than the innocent, beautiful and pure Marguerite, who had the world before her when she met Faust in the garden.

The Christ has no message for those who are satisfied and love the world and its ways. So long as they are in that condition of mind he cannot speak to them nor can they hear His voice. But there is an infinite tenderness in the words of the Savior: "Come unto me all ye that labor and are heavy laden, and I will give you rest." the sinning soul symbolized by Marguerite in her prison cell, standing alone, ostracized by society as a moral and social leper, is impelled to turn her eyes heavenward and her prayer is not in vain. Yet, even to the last moment, temptations beset the seeking soul. The gate of hell and the gate of heaven are equally close to the prison cell of Marguerite, as illustrated by the visit of Faust and Lucifer who endeavor to drag her from prison and impending death to a life of shame and bondage. But she stands firm; she prefers prison and death to life and liberty in the company of Lucifer. She has thus stood the test and qualified for the Kingdom of God.

Solomon was the serf of Jehovah and as a Son of Seth he was bound to the God who created him and his ancestors. But in a later life, as Jesus, he left his former Master at the Baptism and then received the Spirit of the Christ. So every Son of Seth, must some day leave his guardians and take a stand for Christ, regardless of the sacrifice entailed thereby, even though life be the price.

Marguerite in her prison cell takes that important step and qualifies for citizenship in the New Heaven and the New Earth, BY FAITH in Christ. Faust, on the other hand, remains with the Lucifer Spirit for a considerable time. He is a more positive character, a true Son of Cain, and though the wages of sin must eventually bring him death, salvation may come through a purer conception of love and through works.

In the second part of Faust we find the hero broken in spirit over the disaster which has befallen Marguerite through his instrumentality. He realizes his fault and begins to climb the road of redemption. He uses the Lucifer Spirit, bound to him by the bargain of blood as a means of attaining his end. He becomes an important factor in the affairs of state of the country whither he has journeyed, for all the Sons of Cain delight in statecraft as the Sons of Seth love churchcraft.

Not content, however, to serve another, under existing conditions, Faust sets the diabolical forces under his command to create a land, to raise it out of the sea and make a New Earth. He dreams a Utopian dream of how this free land shall be the home of a free people who shall dwell there in peace and contentment living up to the highest ideals of life.

These ideals are generated in his soul by the love of a character called Helen, which is a love of the loftiest and most spiritual nature, entirely separate from the thought of sex and passion. In the course of time he sees this land rise from the sea but his eyes are growing blind, for he is shifting this gaze from an earthly to a heavenly condition. While he thus stands looking at the forces marshaled by Lucifer, toiling at this behest day and night, Faust realizes that he has made real the claim of Lucifer, to be

"The power that still

Works for good though scheming ill."

He sees his work with the lower forces nearing completion, but his sight grows dimmer, and with that intense longing which comes to the soul to see the fruitage of its works, he desires to retain his sight until all shall have been accomplished and his Utopian dream shall have become a reality. Therefore, as the vision before him--the land rising from the sea and the happy people who live upon it in good fellowship--fades from his sightless eyes, he utters the fateful words named by him in his bargain with Lucifer;

"Whenever to the passing hour

I say, 'Oh stay! thou art so fair,

Then unto thee I give the power

To drag me down to deep despair.

Then let me knell no longer linger,

Then from my service thou art free;

Fall from the clock the index finger,

Be time all over then for me."

By terms of that bargain, when Faust has uttered the fateful words the forces of hell are loosed from bondage to him, and he in turn becomes their prey: at least so it would seem. But Faust did not desire to stay the march of time for the purpose of enjoying sensual pleasures nor of gratifying selfish desires, as contemplated by the bargain. It was for the realization of an altruistic and a noble ideal that he wished to stay the passing hour. Therefore, he is really free from Lucifer, and a battle between the angelic forces and the hosts of Lucifer finally results in the triumph of the former, who carry the seeking soul to the haven of rest in the kingdom of the Christ, while they utter the following words:

"Saved is the noble soul from ill,

Our spirit peer. Whoever

Strives forward with unswerving will

Him can we aye deliver.

And if with him celestial love

Hath taken part, to meet him

Come down the angels from above;

With cordial hail they greet him."

Thus the Faust of the myth is an entirely different character from the Faust of the stage; and the drama which begins in heaven where permission was given Lucifer to tempt him, as Job was tempted in ancient times, also ends in heaven when the temptation has been overcome and the soul has returned to its Father.

Goethe, the great mystic, fittingly ends his version with that most mystic of all stanzas found in any literature:

"All that is perishable,

Is but a likeness.

The unattainable

Here is accomplished.

The indescribable,

Here it is done.

The Eternal Feminine

Draws us on."

This stanza puzzles all who are not able to penetrate into the realms where it is supposed to be sung, namely heaven.

It speaks of all that is perishable being but a likeness, that is to say, the material forms which are subject to death and transmutation are but a likeness of the archetype seen in heaven. "The unattainable here is accomplished"--that which seemed impossible on Earth is accomplished in heaven. No one knows that better than one able to function in the realm, for there every high and lofty aspiration finds fruition. The indescribable longings, ideas and experiences of the soul, which even it cannot express to itself are clearly defined in heaven; the Eternal Feminine, the great Creative Force in Nature, the mother God, which draws us along the path of evolution, becomes there a reality. Thus the Faust myth tells the story of the World Temple, which the two classes of people are building and which will be finally the New Heaven and the New Earth prophesied in the Book of Books.

Faust Chapter VI

Hi CD

A quick response to your post before I read on the new stuff you've posted.

I will have to look at "Star Signs" again. Busy life and it gets shelved along with so much other stuff... So it looks like a good time to bring it out, especially with all the new posting about Forgotten Melodies, purple plates, etc.

That last post of mine up above-- Of course I should have corrected that C= speed of light ... and time and all its illusions are made 'real' by the slowing down of vibrations.

I'm still spinning on having that strange dream pointing me to the Mystery of the Great Pyramid, back in November... Lots of interesting stuff about it being put together with your wonderful help.

Love,

Pisces Dreamer,
Time and all its Illusions made real by the slowing down of vibrations...Oh! you mean that great Density, which is our Destiny to Pierce the Veil that opens the doors of perception to transcendant consciousness and new levels of Time experience !!?

Thoht this might be intersting as Good Friday is nearly upon us




MYSTERIES OF THE GREAT OPERAS
by
Max Heindel
[1865-1919]

CHAPTER VII
PARSIFAL: WAGNER'S FAMOUS MYSTIC MUSIC DRAMA

As we look about us in the material universe we see a myriad of forms and all these forms have a certain color and many of them emit a definite tone; in fact all do, for there is sound even in so-called inanimate Nature. The wind in the tree tops, the babbling of the brook, the swell of the ocean are all definite contributions to the harmony of Nature.

Of these three attributes of Nature, form, color, and tone, form is the most stable, tending to remain in STATUE QUO for a considerable time and changing very slowly. Color on the other hand, changes more readily: it fades, and there are some colors that change their hue when held at different angles to the light; but tone is the most elusive of all three; it comes and goes like a will-o'-the-wisp, which none may catch or hold.

We also have three arts which seek to express the good, the true and the beautiful in these three attributes of the World Soul: namely, sculpture, painting and music.

The sculptor who deals with form seeks to imprison beauty in a marble statue that will withstand the ravages of time during millenniums; but a marble statue is cold and speaks to but a few of the most evolved who are able to infuse the statue with their own life.

The painter's art deals pre-eminently with color; it gives no tangible form to its creations; the form on a painting is an illusion from the material point of view, yet it is so much more real to most people that the real tangible statue, for the forms of a painter are alive; there is LIVING beauty in the painting of a great artist, a beauty that many can appreciate and enjoy.

But in the case of a painting we are again affected by the changeableness of color; time soon blots out its freshness, and at the best, of course, no painting can outlast a statue.

Yet in those arts which deal with form and color there is a creation once and for all time; they have that in common, and in that they differ radically from the tone art, for music is so elusive that it must be recreated each time we wish to enjoy it, but in return it has a power to speak to all human beings in a manner that is entirely beyond the other two arts. It will add to our greatest joys and soothe our deepest sorrows; it can calm the passion of the savage breast and stir to bravery the greatest coward; it is the most potent influence in swaying humanity that is known to man, and yet, viewed solely from the material standpoint, it is superfluous, as shown by Darwin and Spencer.

It is only when we go behind the scenes of the visible and realize that man is a composite being, Spirit, soul and body, that we are enabled to understand why we are thus differently affected by the products of the three arts.

While man lives an outward life in the form world, where he lives a form life among other forms, he lives also an inner life, which is of far greater importance to him; a life where his feelings, thoughts and emotions create before his "inner vision" pictures and scenes that are ever-changing, and the fuller this independent life is, the less will the man need to seek company outside himself, for he is his own best company, independent of the outside amusement, so eagerly sought by those whose inner life is barren; who know hosts of other people, but are strangers to themselves, afraid of their own company.

If we analyze this inner life we shall find that it is twofold: (1) The soul life, which deals with the FEELINGS AND EMOTIONS: (2) the activity of the Ego which directs all actions by THOUGHT.

Just as the material world is the base of supply whence the materials for our dense body have been drawn, and is pre-eminently the world of form, so there is a world of the soul, called the Desire World among the Rosicrucians, which is the base from whence the subtle garment of the Ego, which we call the soul, has been drawn, and this world is particularly the world of color. But the still more subtle World of Thought is the home of the human Spirit, the Ego, and also the realm of tone. Therefore, of the three arts, music has the greatest power over man; for while we are in this terrestrial life we are exiled from our heavenly home and have often forgotten it in our material pursuits, but then comes music, a fragrant odor laden with unspeakable memories. Like an echo from home it reminds us of that forgotten land where all is joy and peace, and even though we may scout such ideas in our material mind, the Ego knows each blessed note as a message from the home land and rejoices in it.

This realization of the nature of music is necessary to the proper appreciation of such a great masterpiece as Richard Wagner's Parsifal, where the music and the characters are bound together as in no other modern musical production.

Wagner's drama is founded upon the legend of Parsifal, a legend that has its origin enshrouded in the mystery which overshadows the infancy of the human race. It is an erroneous idea when we think that a myth is a figment of human fancy, having no foundation in fact. On the contrary, a myth is a casket containing at times the deepest and most precious jewels of spiritual truth, pearls of beauty so rare and ethereal that they cannot stand exposure to the material intellect. In order to shield them and at the same time allow them to work upon humanity for its spiritual upliftment, the Great Teachers who guide evolution, unseen but potent, give these spiritual truths to nascent humanity, encased in the picturesque symbolism of myths, so that they may work upon our feelings until such time as our dawning intellects shall have become sufficiently evolved and spiritualized so that we may both feel and know.

This is on the same principle that we give our children moral teachings by means of picture books and fairy tales, reserving the more direct teaching for later years.

Wagner did more than merely copy the legend. Legends, like all else, become encrusted by transmission and lose their beauty and it is a further evidence of Wagner's greatness that he was never bound in his expression by fashion or creed. He always asserted the prerogative of art in dealing with allegories untrammeled and free.

As he says in RELIGION AND ART: "One might say that where religion becomes artificial, it is reserved for art to save the spirit of religion by recognizing the figurative value of the mythical symbol, which religion would have us believe in a literal sense, and revealing its deep and hidden truths through an ideal presentation. * * * Whilst the priest stakes everything on religious allegories being accepted as matters of fact, the artist has no concern at all with such a think, since he freely and openly gives out his work as his own invention. But religion has sunk into an artificial life when she finds herself compelled to keep on adding to the edifice of her dogmatic symbols, and thus conceals the one divinely true in her, beneath an ever-growing heap of incredibilities recommended to belief. Feeling this, she has always sought the aid of art, who on her side has remained incapable of a higher evolution so long as she must present that alleged reality to the worshiper, in the form of fetishes and idols, whereas she could only fulfill her true vocation when, by an ideal presentment of the allegorical figure, she let to an apprehension of its inner kernel-the truth ineffably divine."

Turning to a consideration of the drama of Parsifal we find that the opening scene is laid in the grounds of the Castle of Mount Salvat. This is a place of peace, where all life is sacred; the animals and birds are tame, for, like all really holy men, the knights are harmless, killing neither to eat nor for sport. They apply the maxim, "Live and let live," to all living creatures.

It is dawn and the wee Gurnemanz, the oldest of the Grail Knights, with two young squires under a tree. They have just awakened from their night's rest, and in the distance they spy Kundry coming galloping on a wild steed. In Kundry we see a creature of two existences, one as servitor of the Grail, willing and anxious to further the interests of the Grail Knights by all means within her power; this seems to be her real nature. In the other existence she is the unwilling slave of the magician Klingsor and is forced by him to tempt and harass the Grail Knights whom she longs to serve. The gate from one existence to the other is "sleep," and she is bound to serve him who finds and wakes her. When Gurnemanz finds her she is the willing servitor of the Grail, but when Klingsor evokes her by his evil spells he is entitled to her services whether she will or not.

In the first act she is clothed in a robe of snake skins, symbolical of the doctrine of rebirth, for as the snake sheds its skin, coat after coat, which it exudes from itself, so the Ego in its evolutionary pilgrimage emanates from itself one body after another, shedding each vehicles as the snake sheds its skin, when it has become hard, set and crystallized so that it has lost its efficiency. This idea is also coupled with the teachings of the Law of Consequence, which brings to us as reapings whatever we sow, in Gurnemanz's answer to the young squire's avowal of the distrust in Kundry:

Under a curse she well may be

From some past life we do not see,

Seeking from sin to loose the fetter,

By deeds for which we fare the better.

Surely 'tis good she follows thus,

Helping herself while serving us.

When Kundry comes on the scene she pulls from her bosom a phial which she says she has brought from Araby and which she hopes will be a balm for the wound in the side of Amfortas, the King of the Grail, which causes him unspeakable suffering and which cannot heal. The suffering king is then carried on stage, reclining on the couch. He is on his way to his daily bath in the near-by lake, where two swans swim and make the waters into a healing lotion which assuages his dreadful sufferings. Amfortas thanks Kundry, but expresses the opinion that there is no relief for him till the deliverer has come, of whom the Grail has prophesied, "a virgin fool, by pity enlightened." But Amfortas thinks death will come before deliverance.

Amfortas is carried out, and four of the young squires crowd around Gurnemanz and ask him to tell them the story of the Grail and Amfortas' wound. They all recline beneath the tree, and Gurnemanz begins:

"On the night when our Lord and Savior, Christ Jesus, ate the Last Supper with his disciples He drank the wine from a certain chalice, and that was later used by Joseph of Arimathea to catch the lifeblood which flowed from the wound in the Redeemer's side. He also kept the bloody lance wherewith the wound was inflicted, and carried these relics with him through many perils and persecutions. At last they were taken in charge by Angels, who guarded them until one night a mystic messenger sent from God appeared and bade Titurel, Amfortas' father, build a castle for the reception and safe-keeping of these relics. Thus the Castle of Mount Salvat was built ON A HIGH MOUNTAIN, and the relics lodged there under the guardianship of Titurel with a band of holy and chaste knights whom he had drawn around him. It became a center whence mighty spiritual influences went forth to the outside world.

"But there lived in yonder heathen vale a black knight who was not chaste, yet desired to become a Knight of the Grail, and to that end he mutilated himself. He deprived himself of the ability to gratify his passion, but the passion remained. King Titurel saw his heart filled with black desire, and refused him admittance. Klingsor then swore that if he could not serve the Grail, the Grail should serve him. He built a castle with a magic garden and populated it with maidens of ravishing beauty, who emitted an odor like flowers, and these waylaid the Knights of the Grail (who must pass the castle when leaving or returning to Mount Salvat) ensnaring them to betray their trust and violate their vows of chastity. Thus they became the prisoners of Klingsor and but few remained as defenders of the Grail.

"In the meantime Titurel had turned the wardenship of the Grail over to his son Amfortas and the latter, seeing the serious havoc wrought by Klingsor, determined to go out to meet and to do battle with him. To that end he took with him the holy spear.

"The wily Klingsor did not meet Amfortas in person, but evoked Kundry and transformed her from the hideous creature who appeared as the servitor of the Grail to a woman of transcendent beauty. Under Klingsor's spell she met and tempted Amfortas, who yielded and sank into her arms, letting go his hold upon the sacred spear. Klingsor then appeared, grasped the spear, inflicted a wound upon the defenseless Amfortas, and but for the heroic efforts of Gurnemanz he would have carried Amfortas a prisoner to his magic castle. He has the holy spear, however, and the king is crippled with suffering, for the wound will not heal."

The young squires spring up, fired with ardor, vowing that they will conquer Klingsor and restore the spear. Gurnemanz sadly shakes his head, saying that the task is beyond them, but reiterates the prophecy that the redemption shall be accomplished by a "pure fool, by pity enlightened."

Now cries are heard: "The swan! Oh, the swan!" and a swan flutters across the stage and falls dead at the feet of Gurnemanz and the squires, who are much agitated at the sight. Other squires bring in a stalwart youth armed with bow and arrows, and to Gurnemanz's sad enquiry, "Why did you shoot the harmless creature?" he answers innocently, "Was it wrong?" Gurnemanz then tells him of the suffering king and of the swan's part in making the healing bath. Parsifal is deeply moved at the recital and breaks his bow.

In all religions the quickening spirit has been symbolically represented as a bird. At the Baptism, when Jesus' body was in the water the Spirit of Christ descended into it as a dove. "The Spirit moves upon the water," a fluidic medium, as the swans move upon the lake beneath the Yggdrasil, the tree of life of Norse mythology, or upon the waters of the lake in the legend of the Grail. The bird is therefore a direct representation of highest spiritual influence and well may the knights sorrow at the loss. Truth is many sided. There are at least seven valid interpretations to each myth, one for each world, and looked at from the material, literal side, the compassion engendered in Parsifal and the breaking of his bow mark a definite step in the higher life. No one can be truly compassionate and a helper in evolution while he kills to eat, either in person or by proxy. THE HARMLESS LIFE IS AN ABSOLUTE ESSENTIAL PREREQUISITE TO THE HELPFUL LIFE.

Gurnemanz then commences to question him about himself: who he is, and how he came to Mount Salvat. Parsifal displays the most surprising ignorance. To all questions he answers, "I do not know." At last Kundry speaks up and says: "I can tell you who he is. His father was the noble Gamuret, a prince among men, who died fighting in Arabia while this child was yet in the womb of his mother, Lady Herzleide. With his last, dying breath his father named him Parsifal, the pure fool. Fearing that he would grow up to learn the art of war and be taken from her, his mother brought him up in a dense forest in ignorance of weapons and warfare."

Here Parsifal chimes in: "Yes, and one day I saw some men on shapely beasts; I wanted to be like them, so I followed them for many days till at least I came here and I had to fight many manlike monsters."

In this story we have an excellent picture of the soul's search for the realities of life. Gamuret and Parsifal are different phases of the life of the soul. Gamuret is the man of the world, but in time he became wedded to Herzleide, heart affliction, in other words. he meets sorrow and dies to the world, as all of us do who have come into the higher life. While the bark of life floats on summer seas and our existence seems one grand, sweet song there is no incentive to turn to the higher; every fiber in our bodies cries, "This is good enough for me," but when the billows of adversity roar around us and each succeeding wave threatens to engulf us, then we have wedded heart affliction and become men of sorrows, and are ready to be born as Parsifal, the pure fool or the soul who has forgotten the wisdom of the world and is seeking for the higher life. So long as a man is seeking to accumulate money or to have a good time, so miscalled, he is wide with the wisdom of the world; but when he sets his face toward the things of the Spirit, he becomes a fool in the eyes of the world. He forgets all about his past life and leaves his sorrows behind him, as Parsifal left Herzleide, and we are told that she died when Parsifal did not return to her. So sorrow dies when it has given birth to the aspiring soul that flees from the world; he may be in the world to perform his duty but is not of the world.

Gurnemanz has now become imbued with the idea that Parsifal is to be the deliverer of Amfortas and takes him along to the Grail Castle. And to Parsifal's question, "Who is the Grail?" he answers:

That tell we not; but is thou has of Him been bidden,

From thee the truth will not stay hidden

Methinks they fact I rightly knew.

The land to Him no path leads through,

And search but severs from Him wider,

When He Himself is not its guider.

Here we find Wagner bringing us back into pre-Christian times, for before the advent of Christ, Initiation was not free to "whosoever will" seek in the proper manner, but was reserved for certain chosen ones such as the Brahmins and the Levites, who were given special privileges in return for being dedicated to the temple service. The coming of Christ, however, wrought certain definite changes in the constitution of mankind, so now all are capable of entering the pathway of Initiation. Indeed, it had to be so when international marriages took away caste.

At the Castle of the Grail, Amfortas is being importuned on all sides to perform the sacred rite of the Grail service, to uncover the holy chalice that the sight of it may renew the ardor of the knights and spur them on to deeds of spiritual service; but he shrinks, from fear and pain the sight will cause him to feel. The wound in his side always starts to bleed afresh at the sight of the Grail, as the wound of remorse pains us all when we have sinned against our ideal. At last, however, he yields to the combined entreaties of his father and the knights. He performs the holy rite, though the while he suffers the most excruciating agony, and Parsifal, who stands in a corner, FEELS SYMPATHETICALLY THE SAME PAIN, without realizing why, and when Gurnemanz eagerly asks him after the ceremony what he saw, he remains dumb and is thrust out of the castle by the angry, because disappointed, old knight.

The feelings and emotions unchecked by knowledge are fruitful sources of temptation. The very harmlessness and guilelessness of the aspiring soul renders it often an easy prey to sin. It is necessary to soul growth that these temptations come in order to bring out our weak points. If we fall, we suffer as did Amfortas, but the paid evolves conscience and gives abhorrence of sin. It makes us strong against temptation. Every child is INNOCENT because it has not been tempted, but only when we have been tempted and have remained pure, or when we have fallen, repented and reformed are we VIRTUOUS. Therefore Parsifal must be tempted.

In the second act we see Klingsor in the act of evoking Kundry, for he has spied Parsifal coming towards his castle, and he fears him more than all who have come before, BECAUSE HE IS A FOOL. A worldly-wise man is easily entrapped by the snares of the flower girls, but Parsifal's guilelessness protects him, and when the flower girls cluster around him he innocently asks, "Are you flowers? You smell so sweet." Against him the superior wiles of Kundry are necessary, and though she pleads, protests and rebels, she is forced to tempt Parsifal, and to that end she appears as a woman of superb beauty, calling Parsifal by name. That name stirs in his breast memories of his childhood, his mother's love, and Kundry beckons him to her side and commences to subtly work upon his feelings by recalling to his memory visions of his mother's love and the sorrow she felt at his departure, which ended her life. Then she tells him of the other love, which may compensate him, of the love of man for woman, and at last imprints upon his lips a long, fervent and passionate kiss.

Then there was silence, deep and terrible, as if the destiny of the whole world hung in the balance at that fervent kiss, and as she holds him in her arms his face undergoes a gradual change and becomes drawn with pain. Suddenly he springs up as if that kiss had stung his being into a new paid, the lines on his pallid face become more intense, and both hands are clasped tightly against his throbbing heart as if to stifle some awful agony-the Grail cup appears before his vision, and then Amfortas in the same dreadful agony, and at last he cries out: "Amfortas, oh, Amfortas! I know it now-the spear wound in thy side-it burns my heart, it sears my very soul. * * * O grief! O misery! Anguish beyond words! the wound is bleeding here in my own side!"

Then again, in the same awful strain: "Nay, this is not the spear wound in my side, for this is fire and flame within my heart that sways my senses in delirium, the awful madness of tormenting love. * * * Now do I know how all the world is stirred, tosses, convulsed and often lost in shame by the terrific passions of the heart."

Kundry again tempts him: "If this one kiss has brought you so much knowledge, how much more will be yours if you yield to my love, if only for an hour?"

But there is hesitation now; Parsifal has awakened; he knows right from wrong, and he replies: "Eternity were lost to both of us if I yielded to you even for one short hour; but I will save you and also deliver you from the curse of passion, for THE LOVE THAT BURNS WITHIN YOU IS ONLY SENSUAL, AND BETWEEN THAT AND THE TRUE LOVE OF PURE HEARTS THERE YAWNS AN ABYSS LIKE THAT BETWEEN HEAVEN AND HELL."

When Kundry at last must confess herself foiled she bursts out in great anger. She calls upon Klingsor to help, and he appears with the holy spear, which he hurls against Parsifal. But he is pure and harmless, so nothing can hurt him. The spear floats harmlessly above his head. He grasps it, makes the sign of the cross with it and Klingsor's castle and magic garden sink into ruins.

The third act opens on Good Friday many years after. A travel stained warrior, clad in black mail, enters the grounds of Mount Salvat, where Gurnemanz lives in a hut. He takes off his helmet and places a spear against a nearby rock and kneels down in prayer. Gurnemanz coming in with Kundry, whom he had just found asleep in a thicket, recognizes Parsifal with the holy spear and, overjoyed, welcomes him, asking whence he comes.

He had asked the same question of Parsifal's first visit and the answer had been: I do not know." But this time it is very different, for Parsifal answers: "Through search and suffering I came." The first occasion depicts one of the glimpses the soul gets of the realities of the higher life, but the second is the conscious attainment to a higher level of spiritual activity by the man, who has developed by sorrow and suffering, and Parsifal goes on to tell how he was often sorely beset by enemies, and might have saved himself by using the spear, but refrained because it was an instrument of healing and not for hurt. The spear is the spiritual power which comes to the pure heart and life, but is ONLY TO BE USED FOR UNSELFISH PURPOSES; impurity and passion cause its loss, as was the case with Amfortas. Though the man who possesses it may upon occasion use it to feed five thousand hungry people he may not turn a single stone to bread to appease his own hunger, and though he may use it to stay the blood that flows from the severed ear of a captor, he may not use it to stay the lifeblood that flows from his own side. It was ever said of such: "Others he saved; himself he could not (or would not) save."

Parsifal and Gurnemanz go into the Grail Castle, where Amfortas is being importuned to perform the sacred rite, but refuses in order to save himself the pain entailed in viewing the Holy Grail; baring his breast he implores his followers to kill him. At this moment Parsifal steps up to him and touches the wound with the lance, causing it to heal. He dethrones Amfortas, however, and takes to himself the wardership of the Holy Grail and Sacred Lance. Only those who have the most perfect unselfishness, coupled with the nicest discrimination, are fit to have the spiritual power symbolized by the spear. Amfortas would have used it to attack and hurt the enemy. Parsifal would not even use it in self-defense. THEREFORE HE IS ABLE TO HEAL, while Amfortas fell into the pit he had dug for Klingsor.

In the last act Kundry, who represents who lower nature, says but one word: SERVICE. She helps Parsifal, the Spirit, to attain by her perfect service. In the first act she went to sleep when Parsifal visited the Grail. At that state the Spirit cannot soar heavenward except when the body has been left asleep of dies. But in the last act Kundry, the body, goes to the Grail Castle also, for it is dedicated to the higher self, and when the Spirit as Parsifal has attained, he has reached the stage of liberation spoken of in Revelation: "Him that overcometh will I make a pillar in the house of my God: he shall go out thence no more." Such a one will work for humanity from the higher worlds; he needs no physical body any more; he is beyond the Law of Rebirth, and therefore Kundry dies.

Oliver Wendell Holmes, in his beautiful poem, "The Chambered Nautilus," has embodied in verse this idea of constant progression in gradually improving vehicles, and final liberation. The nautilus builds its spiral shell in chambered sections, constantly leaving the smaller ones, which it has outgrown, for the last built.

Year after year beheld the silent toil

That spread his lustrous coil;

Still, as the spiral grew,

He left the past year's dwelling for the new,

Stole with soft step its shining archway through,

Built up its idle door,

Stretched in his last found home, he knew the old no more.

Thanks for the heavenly message brought by thee,

Child of the wandering sea,

Cast from her lap forlorn,

From they dead lips a clearer note is born

Than ever Triton blew from wreathed horn!

While on mine ear it rings,

Through the deep caves of thought I hear a voice that sings:

Build thee more stately mansions, O my soul!

As the swift seasons roll

Leave thy low-vaulted past,

Let each new temple, nobler than the last,

Shut thee from heaven with a dome more vast,

Till thou at length art free,

Leaving thine outgrown shell by life's unresting sea!

Parsifal

Dear CD,

That last passage was just gorgeous! I really enjoyed reading it. I love how you find all these treasures while you are searching.

Wonder why we always hear talk of Cain and Seth, but what about Abel? Why is he rarely mentioned in these traditions? Is he simply considered already perfect?

This part:
"So every Son of Seth, must some day leave his guardians and take a stand for Christ, regardless of the sacrifice entailed thereby, even though life be the price."
... I held apart from, because I have been taught that "taking a stand for Christ" is often perceived to entail "sacrifice," indeed "death," after Jesus; but that the real meaning of Jesus' death was that there is no death, only life, that the resurrection was the message, and his sacrifice need not be repeated as for once and for all it served to show us this.

Love,
Donna

"Pisces Dreamer,
Time and all its Illusions made real by the slowing down of vibrations...Oh! you mean that great Density, which is our Destiny to Pierce the Veil that opens the doors of perception to transcendant consciousness and new levels of Time experience !!?"

Yup, CD, all those exact words were also on my mind as I posted that.

Now... sigh... I will dig in to the "Parsival" stuff. Coincidence, or not, with my musical son I watch lots of musicals we have stocked and have just this week watched "Camelot" with him about six times. So, can't wait to see what's above.

I live right at the "American Camelot" of the '60's and am down at that beach just about every day.

It's dark and rainy, got my cuppa chai, reading on...

Thohts... on Parsifal .... WOW CD how did you find this!!!

"but tone is the most elusive of all three; it comes and goes like a will-o'-the-wisp, which none may catch or hold. "

... a lot like the 'present,' eh?

"a legend that has its origin enshrouded in the mystery which overshadows the infancy of the human race. It is an erroneous idea when we think that a myth is a figment of human fancy, having no foundation in fact. On the contrary, a myth is a casket containing at times the deepest and most precious jewels of spiritual truth, pearls of beauty so rare and ethereal that they cannot stand exposure to the material intellect. In order to shield them and at the same time allow them to work upon humanity for its spiritual upliftment, the Great Teachers who guide evolution, unseen but potent, give these spiritual truths to nascent humanity, encased in the picturesque symbolism of myths, so that they may work upon our feelings until such time as our dawning intellects shall have become sufficiently evolved and spiritualized so that we may both feel and know."

What a nice description of what we do here in our spirals at CE.

"Wagner's greatness that he was never bound in his expression by fashion or creed. He always asserted the prerogative of art in dealing with allegories untrammeled and free."
Sounds like a man after my own heart!

"As he says in RELIGION AND ART: "One might say that where religion becomes artificial, it is reserved for art to save the spirit of religion by recognizing the figurative value of the mythical symbol, which religion would have us believe in a literal sense, and revealing its deep and hidden truths through an ideal presentation. * * * Whilst the priest stakes everything on religious allegories being accepted as matters of fact, the artist has no concern at all with such a think,"

... Yes!

"But there is hesitation now; Parsifal has awakened; he knows right from wrong, and he replies: "Eternity were lost to both of us if I yielded to you even for one short hour; but I will save you and also deliver you from the curse of passion, for THE LOVE THAT BURNS WITHIN YOU IS ONLY SENSUAL, AND BETWEEN THAT AND THE TRUE LOVE OF PURE HEARTS THERE YAWNS AN ABYSS LIKE THAT BETWEEN HEAVEN AND HELL."

... The above part reminds me of the 'pit' or abyss within the Great Pyramid, on that link in the Merkaba thread, which you haven't read yet, CD ...

Beautiful mythology here with Parsifal, all through.

Hi P.D.
it was on the same page as Faust by Max Heindel.
A lot of reading in the posts again, thoht I was going to get an early night last night until finding that site. Knew I should head on over here to post it after reading from Forgotten Melodies chapter again.
The Lexigram chapter explains a bit about Extra Low Frequency, sounds and words, Spirits and Sprites

and that the Mind, Soul and Overself Spirit which is never separated (and which always remains outside the body) connect with or lock-in to the body temple of a human infant after this Holy Trinity ordained to be constructed approx nine months earlier.

The Opera of Parsifal had me thinking about The Lance of the Holy Grail or even The Spear of Destiny which has been been associated with the Holy Grail Lance. E.L.F words, and it is worth remembering according to Linda that two ears equals a HEART


spear side., the male side, or line of descent, of a family (opposed to distaff side).

distaff side.,the female side of a family.

di.,a prefix of Greek origin, meaning 'twice', 'doubly', 'two', freely used (like bi-).


distaff., a staff with a cleft end, formally used for holding the wool, flax. from which the thread was drawn in spinning by hand. the female sex. a female heir. a woman.

In the dictionary there are various abbreviations for sp.,
1. special 2. species 3. specific 4. specimen 5. spelling
6. spirit.

THE (sp)EAR OF DENSITY


gotta go
crazy daisy


Plantard: the pre-Priory of Sion enigma
Philip Coppens

Plantard and the Priory of Sion go hand in hand, so much so that no-one is paying any attention to how he first gained his notoriety - and I do not mean the alleged convictions of child abuse. Before focussing the world's attention on Rennes-le-Chateau, Plantard and Gerard de Sède had teamed up for the book Les templiers sont parmi nous (The Templars Are Amongst Us), in which de Sède tackled the mystery of Gisors and the bizarre claims of Roger Lhomoy.

In essence, Lhomoy had stated that as caretaker of Gisors castle, he had stumbled upon an underground chamber. He had invited some people to witness this find, but then all hell broke loose, and Lhomoy was labelled a fraud - despite intriguing reference that his story might be true, and the claims of fraud were part of a carefully orchestrated disinformation campaign.

However, these were the 60s and scepticism aimed at politicians had to wait another decade before Watergate made certain people's mind more aware of how the powers that are… were. Whether or not he was a bone of contention, de Sède wanted to discuss in this book. It is in the appendix to this book that de Sède introduces Pierre Plantard, who is "merely" introduced as an alchemist.

There is no mention of Plantard being the Grand Master of the Priory of Sion, let alone that he is a Grand Master following in the footsteps of luminaries such as Isaac Newton or René d'Anjou. No, Pierre is just an everyday "Joe Alchemist", with an interest in Gisors, whose opinion, it seems, de Sède felt he should air as an appendix to his main work.

The appendix is definitely alchemical: various constellations are tossed into the alchemical soup, where Plantard makes them simmer for a number of minutes, before adding more imagery and magic squares to his alphabet soup. In the end, on first reading, it is not very comprehensible. For anyone with no alchemical interest or knowledge - no doubt 99.9 percent of de Sède's readers - this is gobbledygook.

Without going into detail, Plantard had made his "alchemy soup" to try to "prove" that Gisors was really not just a castle, but was built with certain knowledge in mind, specifically knowledge concerning the stars, and how Gisors was located in accordance with stellar phenomena, thus making it a true "omphalos", a "sacred centre" of worship.

In itself, this is not remarkable and fits well within the "1960s", where it would be argued that Montsegur was built to incorporate solar alignments to make it a "Solar Temple" for the Cathars, or Gerald Hawkins' endeavours to do the same for Stonehenge. Compared with these examples, it is clear that Plantard failed miserably in his attempt to lift Gisors above the crowd - and it should be stated that it is his own gobbledygook which is responsible for it.

For de Sède's next endeavour, the mystery of Rennes-le-Chateau, Plantard would be transformed into the Grand Master of the Priory of Sion. A different tactic, but it is clear that Gisors was now forever abandoned. However, the appendix was precisely what caught the attention of two authors: de Santillana and von Dechend. Both were academics, writing an essay on star lore, Hamlet's Mill. The book itself has a chequered history: it was not published academically, but commercially, and though the book is quoted by the likes of Robert Bauval, Robert Temple and Graham Hancock, "serious academics" do not touch it with a bargepole.

Again, it is because even though the book is not gobbledygook, it lacks clear focus and a central message. It is a collection of great source material, but not a "great read". The concept of saying what you want to prove, prove it, then state what you have just proven do not apply. Instead, it is a collection of "facts" grouped in various categories. Interesting, valuable, but ultimately suffering from the same faults as Plantard on his first outing. And this is where the remarkable happens: their apparently mutually exclusive worlds met, and Plantard became a footnote in the book.

"We should be glad to learn, moreover, where the archaeologist Pierre Plantard […] got hold of the information on "Canopus, l'oeuil sublime de l'architecte, qui s'ouvre trous les 70 ans pour contempler l'Univers." (p. 299)

The quote was from a de Sède's book: "The Chariot of the Sea, the White Ship of Juno with the sixty-three lights of which Canopus is one, the sublime eye of the architect, which opens every seventy years to contemplate the Universe, the ship Argo that transported the Golden Fleece, in Christianity the modest barque of Peter.

It is the symbolic Ark where nothing profane can penetrate without incurring punishment: 'To the sacriligious a fall, to the thief death within a year.' Only those who are capable of working the cube of the wood of Mars - that magic 'die' entrusted to the vigilance of two children: Castor and Pollux - to perfection, in every sense, can enter there."

Trying to penetrate through the Hermetic as quickly as possible, the star Canopus was identified with the eye of God, who looked at the Universe every 70 years. Canopus is the second brightest star in the night's sky, but only visible South of 36 degrees North - hence completely invisible throughout France, let alone Gisors.

Nevertheless, Plantard was saying that Gisors had been created with alignments to this star - which from an astronomical point was impossible; but from an alchemical point meant that Canopus and Gisors had a "subterranean connection". Canopus, situated South of Sirius, is the main stair of the constellation Argo, the ship, and hence the numerous references to the Golden Fleece and the barque. In essence, Plantard describes it as a "star gate of the righteous", where the evil will fall or die, the righteous will… resurrect - though the latter is not specifically mentioned by Plantard. So where did Plantard get this from? - the question posed by de Santillana and von Dechend.

It took me from approx. 1992 to 2003 to unravel this enigma; many people along the way, such as Wim Zitman and Clive Prince, tried to help, but in the end, it was something which was so remarkable and straightforward that I myself only realised it when the book had already been typeset - and hence had to go trough the entire process once again; pushing its publication from 2003 to 2004. To condense 100,000 words into a few paragraphs: Plantard had used knowledge from ancient Africa, which had been passed on to the ancient Egyptians, had been retained in the Hermetic writings, and had ended up with Plantard.

This placed Canopus as the "Lighthouse of the Universe", who together with Sirius "regulated" the movements of the souls - at the same time, it was identified with the "centre of the Universe", the omphalos, from which Mankind had always aspired to reach Heaven and the Gods - a "star gate for the soul", for those hoping to end the cycle of incarnations and "become a God". Though on reading the above, it might seem difficult to realise, but - trust me - it is remarkable that Plantard in the 60s used this imagery to describe Gisors. And if you do not trust me, trust de Santillana and von Dechend, who expressed their amazement equally.

What can we deduce from this? It shows that Plantard himself had "figured it out", or that he had friends who had told him - friends who had figured it out themselves, or had been part of the Hermetic tradition. The latter seems to be more logical. Furthermore, it suggests that this informal "passing on" of important esoteric lore - which, I believe, Plantard actually understood, though his wording might have specifically obscured the meaning - might have been the inspiration of the Priory of Sion.

After all, the Priory of Sion was a list of people who, in an organised framework, had passed on important information. Plantard himself never specifically stated what the nature of that knowledge was and it was left to the likes of Baigent, Leigh and Lincoln to create a modern urban legend of Mary Magdalene creating the "Horus child" - in itself, it should be said, imagery, when taken at a purely symbolic level, that fits perfectly within the Canopus mythology.

After all, the star Canopus was identified with the encoffined Osiris, set out on the Nile, eventually found by Isis, who would use the deceased body to create divine offspring, Horus, which became identified with the Egyptian Pharaohs. The jump to Jesus, Mary Magdalene and child who are the rightful kings of France is minimal - though at the same time too wide, as it is clear that too many have crossed from the symbolical to the literal interpretation, without any supporting evidence.

Hence, it is clear that long before Rennes-le-Chateau, Plantard had all the seeds to sow the future myth of the Priory of Sion. I also believe that Plantard's specific goal was noble, but was soon hijacked by, well, in essence, Rennes-le-Chateau enthusiasts, and transformed into something which Plantard never thought it could come to.

That his efforts to create some "sacred geography" for Gisors would result in the sacred pentagrams of Rennes-le-Chateau by Lincoln or David Wood seems to have flabbergasted Plantard himself, if we are to interpret certain interviews Plantard gave afterwards. But, in the end, it is perhaps true to say that Plantard himself never carefully looked at his own alchemical thinking: playing with Canopus can be dangerous, and those who are noble (an adjective specifically linked in Africa and Arabia with Canopus) will prosper; those who are not, will fail. But, in the final analysis, it probably happened just it was supposed to happen.

Plantard: the pre-Priory of Sion enigma


The Great Pyramid:Building The Duat In Three Dimensions

CD,

Wow interesting all that found to be under the surface concerning the mysterious Plantard.

The spear and the distaff-- interesting too!

I am pasting below from your link under that re the Great Pyramid, which has a lot to do with the link I posted on the merkaba thread about the Great Pyramid. The link also contains photos and a diagram of the chambers. Jumping around threads here, oh well...

"The Great Pyramid: Building the Duat in Three Dimensions
Philip Coppens
What is the meaning of the interior design of the Great Pyramid and its three chambers? Is there a representation of the Duat, the Egyptian concept of the “place” after death, around Gizeh, as many authors have posited? What if the two questions have the same answer? What if the interior design of the Great Pyramid is a three-dimensional representation of the Duat?
What happens to the soul? The question must be as old as Mankind. J.W. Dunne stated that “there can be no reasonable doubt that the idea of a soul must have first arisen in the mind of primitive man as the result of observation of his dreams. Ignorant as he was, he could have come to no other conclusion but that, in dreams, he left his sleeping body in one universe and went wandering off into another.” The possibility that “soul” and “body” were separate, must have been around millennia of years.
So when the body died, what happened to the soul? Did it die also, and if not, what happened to it? In the 21st century, the only answer to that question apart from the various religions that argue in general directions, is the Near Death Experience. Two eminent doctors, Fenwick and Parnia, investigated the experiences of 63 cardiac arrest victims at Southampton General Hospital. They concluded that “these people were having these experiences when we wouldn’t expect them to happen, when the brain shouldn’t be able to sustain lucid processes or allow them to form memories that would last […] Essentially, it comes back to the question of whether the mind or consciousness is produced from the brain. If we can prove that the mind is produced by the brain, I don’t think there is anything after we die because essentially we are conscious beings. If, on the contrary, the brain is like an intermediary which manifests the mind, like a television will act as an intermediary to manifest waves in the air into a picture or a sound, we can show that the mind is still there after the brain is dead. And that is what I think these near-death experiences indicate.”
Whether or not this is true, it is definitely what the experience indicates – and what our forefathers must have experienced. Small wonder therefore that some researchers believe that the Near Death Experience, and similar events in which body and mind dissociate, are at the origin of religion.

The first form of institutionalised religion occurred in Egypt and Sumer. Specifically because of political regimes in Iraq, the fame of Sumer has always failed in comparison with Egypt. Nevertheless, in both cases, notions of what the Egyptians and Sumerians believed to the soul after death – whether true or perceived truth – is generally lacking. In short, the region of death in Egypt was called Duat – very close to the word Death; in Sumer, it was called Nibiru, “Crossing”. Nibiru was not a strange planet circulating our solar system, as authors as Zecharia Sitchin would have us believe, but instead was the region of Death, that “crossing” between the world of the living and the dead – which in Greece was symbolised by Charon, the ferryman who would transfer the soul to the other side of the River Styx. In Egypt, the symbol was that of the Henu Bark, the boat that carried the soul to heaven – the equivalent of the Magur boat of the Sumerians.
The Apkallu, or Anunnaki, would by extension not be astronauts, but would be the spirit aides that help the soul in its negotiations of the Duat, or Nibiru – the neteru, gods, of the ancient Egyptians. The Sumerian shem would not be a spaceship, but the “Celestial Bark”, the Argo, in which the soul would travel in Nibiru. Shem can be translated as “sky chamber” and if our interpretation of the chambers in the Great Pyramid is correct, this name is particularly apt: the chambers were “sky chambers”. The Pyramid Texts were said to be written on the “Henu Bark”, and as they were written on the walls of the burial chamber inside the pyramids, it is clear that the chambers were envisioned as the Celestial Bark – thus explaining the presence of boats next to the pyramids, such as the Great Pyramid.

The Pyramid Texts state how “I am a soul… a star of gold”. In Egyptian symbolism, the soul was placed on a boat, lead by a navigator: the boat would be the instrument for the soul’s exploration of the Duat. The Papyrus of Nu, from the 18th Dynasty, says that the original text was indeed present in the Shrine of the Sacred Boat. The Book of the Dead was literally a map for travel in the Duat.
But what was the Duat? Eastern religions speak of a state following death that is literally a “state of nothingness”. They have called this the “bardo”, which is identical to the Christian concept of Purgatory – or the Egyptian concept of the Duat?

The Egyptian Book of the Dead is not the only map for the travel of the soul after death: the Tibetan Book of the Dead is a similar work. The Tibetan Book is called the Bardo Thodol and is a manual to help the soul in the review of its previous life and the planning of the next life. It is clear that this body of knowledge coincides with the elementary aspects of the Near-Death Experience.
The Tibetan Book describes the various stages that the soul will have to pass through at death. But it is a book for the living as well: it aims to concentrate the mind of the living on their continual preparation for the afterlife, with liberation from the cycle of life and death as the ultimate goal. However, reincarnation is deemed to be the most likely outcome for the majority of human beings who have not attained sufficient spiritual advancement during their life, and preceding past lives.
Some authors, in particular Andrew Collins, have argued that the Duat, the Egyptian Underworld, must have been physically represented underneath the Gizeh complex. This idea has led to various theories, specifically referring to Edgar Cayce, who claimed that a chamber underneath the Sphinx existed, which would hold evidence of the lost civilisation of Atlantis. In more recent years, the discovery of a small door leading from an “air shaft”, the so-called Gantenbrink door, has fuelled speculation that there are as yet undiscovered chambers inside the Great Pyramid.
Though this is certainly a possibility, most if not all of us have missed the point. If we were to ask the question whether anyone doubts the fact that we have identified the core chambers and corridors of the Great Pyramid, the answer would be “no”: it is clear that the current known passages are the main arteries inside the highest building in the world, until the Eiffel tower was finished in the 19th century.
The next question to ask is what these passages mean, if anything. For many Egyptologists, they are merely the visible evidence of a Pharaoh who repeatedly changed his mind, from being buried in the subterranean chamber, to a new room, which is now known as the “Queen’s Chamber”, and eventually the King’s Chamber. Anyone familiar with project management will know that project owners often change their mind, and either request changes, or even alter the scope of the project. But if you were project manager of the biggest building project the world had ever seen, and would ever see for the next 5000 years also, would you agree with these changes? The answer would be “no” – specifically as it is known that Khufu – or Cheops as the Greeks called him – was not a tyrant as Herodotus would have it, but instead an apparently nice man: his father Snofru was easily swayed in his opinions and ideas, but nevertheless successful managed the construction of three pyramids.
Rather than argue that case, let us assume, as more and more Egyptologists do, that the design was always intended to incorporate three chambers. What would that mean? What was Khufu trying to do?
The answer has always been lacking, though speculation has been wild, including theories that each chamber formed part of an operational process in which the Great Pyramid was nothing more – or less – than a power plant.
Let us look at the Egyptian word for pyramid, which is mer. As leading Egyptologist Mark Lehner has pointed out, this is possibly derived from m, meaning “instrument” or “place”, and ar meaning “ascension”. Therefore, the pyramid is either the place of ascension or the instrument of ascension, or both. I.E.S. Edwards also identified mer or mr as “instrument/place of ascension”, but added that the interpretation was “open to justifiable doubt”. What the word meant, nobody knows for sure, as the m-er conjunction is unusual in Egyptian grammar. In Egyptian hieroglyphs, the mer is written as a pyramid, which is definitely capturing the essence.
Again, “ascension” has been interpreted as taking off in a rocket space ship. But the “ascent to Heaven” should perhaps be looked upon in a metaphysical context. After all, though Egyptologists might not have been perfectly able to explain the meaning of the pyramid, it is a matter of fact that the Pyramid Texts speak of a metaphysical journey, of the soul, on his way through the Duat, to reach the Afterlife.

Charles Muses (1919-2000), a man who walked the fine line between New Age and solid research, realised that in the museum of Torino, in Italy, there was a coffin from the Egyptian village of “Two Hills” (Gebelein) which depicted the plan of the Duat, as written down in the Coffin Texts, spell 650.
It visualises the three paths of the soul at death, at the Duat, the Crossing: floating about, return or voyage. It is depicted as a fork in which the central path leads to regeneration (the voyage) and the other two diverge from it, postponing the regeneration.
The Egyptians visualised this in the concept of the Henu Boat, where his navigator guided the soul: once it set off, where did the soul want to go to? Float about, return to shore, or go to an undiscovered country?
Muses identified each path with the types of couch, or bier – or coffin – on which the deceased, and Osiris, the god who had died and had had to face the same trial, laid. The central path (resurrection) was identified with the lion couch, the hippopotamus couch with return to the shore (reincarnation) and the cow couch with the floating about in the Duat.
There are various depictions of the “lion couch”, as this was the path obviously favoured by all those who were buried – and definitely for the Pharaoh. After all, if the Pharaoh did not go on the voyage, who would? Examples of a hippopotamus and cow bier were found in the tomb of Tutankhamun, and his tomb shows that each couch was furnished, as to a large extent, what would happen after death could only be confirmed once the deceased Pharaoh was dead – it was then that the choice had to be made. As Tutankhamun died at a very young age, it is clear that it was not at all clear that his “mission in life” had been fulfilled and that he would have gotten enough brownie points to enter the Afterlife – the realm of the gods, the “First Time”, a point beyond Creation, beyond Time.

The state of the bardo is therefore identical to the encoffined Osiris: though dead, he is not “dead dead”: there is still potential, not for an earthly life, but for a life “elsewhere”. The “soul” is in a “land of nothingness”, a gateway, a crossroads, where the soul is also in need of a guide.
Let us go through each option one by one. At death, the easiest path was the path of reincarnation: one body was exchanged for another and the cycle of life continued. In nature, this cycle was visible in the snake shedding its skin, the sun rising and setting, the seasons, the deer renewing its antlers – symbols and “physical evidence” that has been found at many sacred sites. It was the path chosen by most souls, it seems for a variety of reasons: the sahu, the Egyptian term for soul, might have too much fear to go on a voyage or even dwell in the Duat for too long; the life review might have been specifically negative: life was not led properly, and hence a successive incarnation is required for the soul to grow before it might be ready to return to the Source.
The path of the Cow was to sail about in the Sacred Boat in the Duat. It is believed that this was literally “biding time”: the soul was undecided what to do. It is this state that in popular parlance is known as a ghost: the soul is literally in a state of “nowhere”, it has not gone on. It could also be the state in which certain séances, particularly popular in Victorian England, c