alchemy

WHAT’S UP DOC? Lines of communication V…

| Stuart France

*

…Cara… ‘I reign over you, saith the God of Justice.

ELEXARPEH

COMANANU

TABITOM.

Move therefore and show yourselves.

Appear unto us; open the mysteries of your Creation, the balance of

Righteousness and Truth.’

*

Bugs: The three names are the Angels who rule over the Tablet of Union in the Enochian System devised by Doctor John Dee and Edward Kelley…

Cara: So, some questions… What are Angels? Anybody… (discuss)

Bugs: Who numbers them? (we do…)

Cara: Who gives them names? (we do…)

Bugs: What is the Angelic function?

Cara: So… Horizonal polarity, the mundane oppositions of the world which as we have seen are interchangeable and are ever flipping, versus… Vertical polarity… World/Otherworld… Heaven/Earth… Human/Divine, we’d like to propose two definitions.

Bugs: Horizontal Polarity encompasses, ‘Everything we know or think we know.’ … which is mutable.

Cara: Vertical Polarity encompasses, ‘Everything we don’t know or don’t think we know.’ … which is immutable.

Bugs: The Angelic function is to mediate between the poles of a vertical polarity.

Cara: From whom to whom? (discuss)

Bugs: From here to where? (discuss)

Cara: Angelos means, ‘messenger’.  In Christian Mysticism where the divine is regarded as the beloved, the angel is the lovers ‘chaperone’

Bugs: In Sufi Mysticism where the divine is spoken of in terms of an intoxicating beverage

The ‘Wine-house dispenser’, or ‘bar-tender’, is the angel.

Cara: Also, in Islamic mysticism we have Al Khidr –  who is Another Green or Verdant Man…

And, somewhat inevitably, an angel.

Bugs: The function of al-Khiḍr as a ‘person-archetype’ is to reveal each companion to

themselves, to lead each companion to their own theophany, because that theophany

corresponds to their own ‘inner heaven,’ to the form of their own being, to their eternal

individuality.

Cara: This latter, then, conforms to the idea of ‘contact’.

Bugs: And in Magical Tradition to, ‘Conversation with the Holy Guardian Angel’….

Cara: Where language fails in its attempt to adequately describe this state…

Art… Dance…Music… may succeed…

Intro music…

Bugs: So, we would like to conclude this presentation with a piece of music.

This piece of music, in our opinion, possesses the ability to make the ‘beyond’ tangible.

Before we do that for you we would like to rearrange things slightly as a symbolism and an act of sacrifice

Cara: As you move your intent should be ‘I move, in order, to achieve my vertical polarity.’

(seat swap) S1-N9, N8-S2, S3-N7, N6-S4, (S5-N5, already accomplished) S6-N4, N3-S7, S8-N2, N1-S9)

Bugs: (closes curtains and dims any lights.) Explain meditation… Seed thoughts. ‘Never perfect always changing. Ever changing always perfect.’

Music…O Holy One… by John Tavener…

Cara: reads… (over start of music)

Most subtle of the shifting forms and yet most constant too.

Whose moonlit transformation cannot change the heart that’s true.

It harkens to each season’s turn and reads the twilight air

And listens to the inner song and knows both foul and fair.

Between two worlds It journeys and in both It can be seen

In adoration of the moon yet always clothed in green…

END

Rabbit Excerpt abridged from ‘Watership Down’ – by Richard Adams

Thanks to those Companions who acted as Adjudicators, and all those whose contributions to this presentation helped make it work…

WHAT’S UP DOC? Lines of communication IV…

| Stuart France

*

…’All colour had faded from the sky and although the big board by the gate creaked slightly in the night wind, there was no passer-by to read the sharp, hard letters that cut straight as black knives across its white surface.
They said…’

Bugs… (pause) CARROTS! (pause) Reads…

THIS IDEALLY SITUATED ESTATE
COMPRISING SIX ACRES
OF EXCELLENT BUILDING LAND
IS TO BE DEVELOPED
WITH HIGH CLASS MODERN RESIDENCES
BY SUTCH AND MARTIN, LIMITED
OF NEWBURY, BERKS

Cara… In the context of the story then, this notice spells doom for the rabbits and the warren…

Bugs… So, what’s going on? Why have we presented you with these cards?

Cara… A spanking, brand new pair of Bunny ears for anyone who can tell us?

(Interplay)

Bugs… If no takers… Well, you are all now Rabbits anyway…Why?

Because you are in the same position in relation to the first inscription on the card as the rabbits in the story are to the second… (both Cara and Bugs elaborate on that position) So, to emphasise that position…

*

Cara… In the darkness and warmth of the burrow Hazel suddenly woke, struggling and kicking with his back legs…

Bugs… It was Fiver, who was clambering over him, clawing and grabbing like a rabbit trying to climb a wire fence in panic.

*
Cara… ‘Fiver! Fiver, wake up… It’s Hazel. You’ll hurt me in a moment. Wake up!
He held him down. Fiver struggled and woke.

*
Bugs… “Oh, Hazel! I was dreaming. It was dreadful.
You were there.
We were sitting on water, going down a great, deep stream, and then I realised we were on a board, like that board in the field.
There were other rabbits there but when I looked down the board was made of bones and wires…
I was looking for you everywhere and trying to drag you out of a hole in the bank.
You said, “The Chief Rabbit must go alone, and you floated away down a dark tunnel of water.”

*
Cara… Well, you’ve hurt my ribs, anyway.
Tunnel of water… What rubbish!
Can we go back to sleep now?

*

Bugs… “Hazel – the danger, the bad thing. It hasn’t gone away.

It’s here – all round us.

Don’t tell me to forget about it and go to sleep.

We’ve got to get away before it’s too late.”

*
Cara… repeats… ‘The bad thing.

It hasn’t gone away.

It’s here… all around us…’

So, we ask again…

Is our script.

Our unknown script good or bad?

Repeats invocation…

*
Bugs… Is it worthy or unworthy of ridicule?

If any Companions claimed to know at outset let them reveal, alternatively, Reveal…

This is a fragment of angelic language used by Dr John Dee.

It is part of an invocation…

*

Cara… ‘I reign over you, saith the God of Justice.
ELEXARPEH
COMANANU
TABITOM.
Move therefore and show yourselves.
Appear unto us; open the mysteries of your Creation, the balance of
Righteousness and Truth.’

to be continued…

WHAT’S UP DOC? Lines of communication III…

| Stuart France

*

… Bugs… The small rabbit came closer to his companion, lolloping on long hind legs.

“Let’s go a bit further, Hazel,’ he said. “You know, there’s something strange about the warren this evening, although I can’t tell exactly what it is. Shall we go down to the brook?”

*

Cara… “All right, Fiver,” answered Hazel, “and you can find me a cowslip when we’re there. If you can’t find one, no-one can.”

*

Bugs… Hazel led the way down the slope, his shadow stretching behind him on the grass.

They reached the brook and began nibbling and searching beside the wheel-ruts of the track.

It was not long before Fiver found what they were looking for.

Cowslips are a delicacy among rabbits, and as a rule there are very few left by late May in the neighbourhood of even a small warren.

This one had not bloomed, and its flat spread of leaves was almost hidden under the long grass.

They were just starting on it when two large rabbits came running across from the other side of the near-by cattle-wade.

Fiver had already turned away.

*

Cara… Hazel caught up with him by the culvert, “I tell you what, let’s go across the brook. There’ll be fewer rabbits and we can have a bit of peace, so long as you think it’s safe?”

*

Bugs… “No, it’s safe enough,” answered Fiver. “If I start feeling there’s any danger I’ll tell you. It’s not danger I feel tonight, it’s, oh, I don’t know, something oppressive, like thunder. I’m not sure what, but it worries me. All the same, I’ll come across the brook with you.”

*

Cara… The two rabbits ran over the culvert.

The grass was wet and thick near the stream and they made their way up the opposite slope, looking for drier ground.

Part of the slope was in shadow, for the sun was sinking ahead of them, and Hazel, who wanted a warm, sunny spot, went on until they were quite near the lane.

As they approached the gate he stopped, staring…

“Fiver, what’s that? Look!”

*

Bugs… A little way in front of them, the ground had been freshly disturbed.

Two piles of earth lay on the grass.

Heavy posts reeking of creosote and paint, towered up as high as the holly trees in the hedge, and the board they carried threw a long shadow across the top of the field.

Near one of the posts, a hammer and a few nails had been left behind.

The two rabbits went up to the board at a hopping run and crouched in a patch of nettles on the far side, wrinkling their noses at the smell of a dead cigarette-end somewhere in the grass.

*

Cara… Suddenly Fiver shivered and cowered down. “Oh, Hazel! This it where it comes from! I know now – something very bad! Some terrible thing – coming closer and closer.”

He began to whimper…

*

Bugs… “What sort of thing – what do you mean?  I thought you said there was no danger? “

Cara… “I don’t know what it is,” answered Fiver wretchedly. “There isn’t any danger here, at this moment. But it’s coming – it’s coming. Oh, Hazel, look! The field! It’s covered in blood!”

*

Bugs… “Don’t be silly, it’s only the light of the sunset. Fiver, come on, don’t talk like this, you’re frightening me!”

*

Cara…The sun set behind the opposite slope.

The wind turned colder, with a scatter of rain, and in less than an hour it was dark.

All colour had faded from the sky and although the big board by the gate creaked slightly in the night wind, there was no passer-by to read the sharp, hard letters that cut straight as black knives across its white surface.

They said…

to be continued…

WHAT’S UP DOC? Lines of communication…

| Stuart France

Presentation from, The Jewel in the Claw workshop, April 2018…

 

*

For those with eyes to see…

*

Floor Set up

Altar, placed centrally on chequered floor and covered… With, placed on it, top-hat, upended, with, placed in it, rabbit mask and ears x2, and ‘pack-of-cards’, all also covered. South and North lined with nine chairs for Companions.  Adjudicator 1 (male) to sit on central chair of South. Adjudicator 2 (female) to sit on central chair of North. Two chairs in East. One chair in West.

Bugs and Cara initially sit on chairs in East. When all Companions have entered and are seated Cara and Bugs rise to stand, simultaneously, and Cara walks clockwise to stand in front of the west chair.

*

Bugs: Friends, Britons, Countrymen…Welcome to our presentation. In keeping with our Shakespearean theme this year, we have determined to develop some of the concepts of the weekend…

Cara: Horizontal Polarity!

(Bugs and Cara walk anti-clockwise. Bugs to stand before West chair. Cara to stand before East chairs. On the way, Bugs hands Adjudicator 2 Gold Parchment with a sonnet printed on it. On reaching the West Bugs declares…)

Bugs: Love!

Cara:  recites the Shakespearean sonnet as a ‘lover’…

Being your slave, what should I do but tend

Upon the hours and times of your desire?

I have no precious time at all to spend,

Nor services to do, till you require.

Nor dare I chide the world-without-end hour

Whilst I, my sovereign, watch the clock for you,

Nor think the bitterness of absence sour

When you have bid your servant once adieu;

Nor dare I question with my jealous thought

Where you may be, or your affairs suppose,

But, like a sad slave, stay and think of nought

Save, where you are how happy you make those.

   So true a fool is love that in your will,

   Though you do anything, he thinks no ill.

(Adjudicator 2 ‘follows’ the recital from the Gold Parchment. On finishing the reading Cara and Bugs switch positions again but this time they move clockwise. On the way Cara hands Adjudicator 1 Silver Parchment with the sonnet printed on it. On reaching the East, Bugs declares…)

Bugs: Loathing!

Cara: recites the same Shakespearean sonnet but this time as a ‘loather’…

(Adjudicator 1 ‘follows’ the recital from the Silver Parchment. On finishing the reading Cara moves clockwise to the South to collect Adjudicator 1 and leads him to the central altar. Bugs moves clockwise to the North to collect Adjudicator 2 and leads her to the central altar. Both Adjudicators follow the central line of the ‘board’ and square corners around the altar, to stand facing each other centrally as directed by Bugs and Cara. Once at the altar they are asked to verify that both the scripts are the same. When they have done so they swap parchments and then are led to opposite seats and re-seated.)

Bugs returns to East.

Cara returns to West.

(During the following exchange they circle the altar, alternating between East and West as they speak.)

Bugs: Ladies and Gentlemen, please, a hand for our adjudicators…

Cara: And so, we see, that, Horizontal Polarities are interchangeable, and represent two sides of the same coin…

And we can also see, that, opposite ‘emotions’ can be evoked by the self-same words?

Bugs: The written word, it seems, needs context…

Cara: But if we cannot trust the written word what can we trust?

to be continued…

The Alchemist: ‘A Violet Duke’?…

| Stuart France

Eugène Viollet-le-Duc - Wikipedia

Architect in the guise of Thomas-the-Apostle.

*

If our Alchemist was pulling his beard,

it would be because he and the grotesques surrounding him

on the tower balustrades of Notre-Dame, Paris,

were not actually mediaeval statuary at all,

but nineteenth-century restorations.

*

Charged with the task of renovation, in eighteen-hundred-and-forty-four,

Eugene Viollet-le-Duc, found only the stumps

of claws and talons on the tower corners

but with the help of a body of stonemasons

he set about re-envisioning the cathedral’s mediaeval past…

*

File:Gargoyles and chimeras 1, Notre-Dame de Paris 2011.jpg - Wikimedia Commons

*

They did a pretty good job!

*

If our Alchemist was tugging at his beard,

it was doubtless because

he was not an alchemist at all,

but the wandering jew, Ahaservus,

as some have made claim, doomed to wander

the annals of time forever in search of his messiah…

*

Gargoyle Notre Dame - Free photo on Pixabay

*

But, well, really, our ‘Violet Duke’

had put enough occult blinds in his work

to obscure the Christ Spirit itself,

though that was far from his intent…

*

And if our Alchemist was stroking his beard?

*

If he was stroking his beard he too would be

contemplating the prospect of statuary which

had been spread out before him but apparently

just out of both reach and gaze of scrutiny.

*

Notre-Dame de Paris - Wikipedia

*

The restoration undertaken by Viollet-le-Duc

included a reconstruction of the cathedral’s central spire

which had been dismantled in seventeen-hundred-and-ninety-two,

and repair of the angelic horn-blower which topped the apex of the nave.

*

The spire he made octagonal and along four of its edges,

he placed copper-statues

of the Evangelists, and the Twelve Apostles.

Instead of Judas Iscariot, though, he included a self-portrait,

in the guise of Thomas-the-Apostle.

*

Unlike all the other figures who faced outwards

and looked far and wide to the horizons of Paris

Viollet-le-Duc faced the spire and looked up to the heavens.

Except, he appeared to have his eyes closed,

and raised an uncertain hand to his forehead in a gesture of concern.

Was he straining to hear something indistinct from above?

Had he just been struck by an omission of extreme importance?

Or was this merely Thomas-the-Apostle in the throes of his doubt?

First Things First…

| Stuart France

 

3

*

 One is All…

*

In Alchemy there are no short cuts.
Many are those who have spent a life-time seeking its treasure in vain.
On the other hand, everything it promises to reveal is freely given at the outset.
One need only attend properly to its stories and dictates to succeed in the quest…
*
THE TREASURE OF ALEXANDER
In my native land where I was an orphan there stood a stone statue upon a golden column on which was written:
‘Behold! I am Hermes, he who is three-fold in Wisdom. I once placed marvelous signs openly before all eyes; but now I have veiled them by my wisdom so that none should attain them unless he be a sage like my good self…’
On the breast of the statue one could read:
‘Let him who would learn and know the secrets of creation and of nature look beneath my foot.’
I reflected on what this might mean and started to dig beneath the plinth…
Before long I came to a dark underground chamber in which winds arose and blew without ceasing.
I could go no further.
Exhausted by my toil and full of chagrin at my failure I sat down to rest and immediately fell asleep.
It was then that an old man appeared, resembling myself in build and appearance.
‘Arise and enter into this chamber so as to obtain a representation of nature!’ He said.
‘I cannot,’ I replied, ‘for I can see nothing in the darkness, and the winds that blow there will put out every torch flame.’
‘Then why don’t you put your light into a glass vessel…’ He said.
I immediately awoke, set a light inside a glass, as instructed, and entered the chamber.
There before me sat an Ancient Man on a Golden Throne, holding in his hand an Emerald Tablet on which was written:
‘This is the secret of the world and nature… the knowledge of creation and the cause of all things’…
*
All…Ex…Andros…
Could anything be clearer or simultaneously more obscure?
How many Fairy Tales commence with a ‘Native Orphan’ who ends by first recognising and finally realising their ‘High Estate’?
And what should be made of our immobile Stone Figure which stands upon Gold?
He is a God, no less, yet he points not at heaven above but below to the earth.
Or of the Old One who appears in dream as our ‘bodily’ twin?
A simulacrum…
Nature’s representative advises we still the flickering, buffeted flame of our minds eye in order to see…
Deep in the Dark of Earth our enthroned kin who holds…
A Jewel in the Crown…
*2*

‘Stone of the Wise’

*

PROJECTION OF GOLD
In truth, it is certain and without doubt that whatever is above tends toward that which is below and whatever is below tends toward that which is above for the accomplishment of the One Perfected Thing.
As all things are discovered by one, alone through contemplation so all things are born from this one, alone by permutation: its Father is the Sun, its Mother is the Moon, the Wind bears it in its Belly, the Earth nurtures it in its Heart; Power of all powers it contains the subtle and penetrates the solid and is the progenitor of all wonder in the world yet its efficacy is only perfected through embodiment.
In order that the little world may be re-created in the image of the great world the Spirit must be separated from the Body gradually by the regulated heat of a gentle flame: it rises to heaven from earth and falls back to earth from heaven and thus it acquires the inferior and superior powers for the glory of the whole world and the dissipation of all darkness…
This is the Way of Perfection…
I alone transmit this threefold wisdom which is why I am called The Thrice Raised Hermes.

– The Emerald Tablet

First Matter?

| Stuart France

The origins of the Grail Legend?

*

‘The alchemists disagreed on just about every aspect of the Great Work, except one: that it is impossible to succeed without the secret.’
– Patrick Harpur.

*
I am reminded of ‘The Riddle of the Elements.’
The Ancient Greek Philosophers would each in turn trumpet the virtues of a particular Element claiming that it alone was primary and the source of the others, all the time, knowing full well that the solution to the riddle lay in sourcing the Four from a Fifth Element of an entirely different and more spiritual realm known as the Quintessence.

*
The Alchemists appear to be engaged in a similar process, describing the First Matter in terms of three ‘Spirituous Essences’, though the solution this time may be of a different order –
One in Three rather than Four from One.
They also seem to be describing the various products of a process at each stage of its operation simultaneously, thus for e.g. they might have described the process of evaporating sea-water as… Water… and… Salt… as well as its catalyst…Heat or… Fire…

*
Why would they do this?
To widen the scope of a mind mired in linear time?
Possibly, certainly, when one realises that the Fruit is in the Seed and not vice versa, or that the Body is in the Mind… a perspective is instilled, which opens up wide vistas to the Imagination.
Indeed, this technique only seems strange to a mind which habitually regards its own reality as an actuality.

*

As magicians for e.g. we might ask, in Tarot,
How is the ‘High Priestess’ ‘The Empress’?
Or, how is ‘The Fool’ ‘The Magus’?
Or indeed, in the case of ‘The Fool’, how does this key equate with any of the other major keys?
But here the equivalencies seem at the very least, much easier to accept, if not actually natural, simply because we work with these energies in an ‘Imaginal Realm’.

What the Alchemists are really doing is describing the lower in terms of the higher and in some cases what we are reading is, as it were, a Fourth Dimensional description of a Three Dimensional event.

The event itself appears to be an internal unification or better; a re-unification of polarised energies or ‘opposites’, or even, as the Alchemists would have it, a marriage, or wedding but what is the product of that wedding?

*

THE STONE OF MERCURIOUS

Moon’s Flux
Sun’s Seed
Earth’s Crux
Fire in the Sea
Blood from a Tree

 

Accelerated evolution

| Sue Vincent
Inner Temple-image by Matt Baldwin-Ives
Inner Temple-image by Matt Baldwin-Ives

Spiritual growth is a journey unique to each one of us and taken whether we will or no. It is a natural evolution against which we may fight, actively resisting change or more usually with apathy and inertia. Or we may choose to jump into the flowing stream willingly, seeking the adventure of new destinations, unknown and unfamiliar landscapes seen in the light of increased understanding and awareness.

Some choose to walk their personal path alone, others choose the companionship along the way that a group, faith or school can provide. Within these are found many paths that lead towards a single, lambent Centre that is known by many names and yet transcends them all.

Each path will draw those to whom it speaks, as if both the path and the heart have a voice raised in song, and when the two come together in harmony, something beautiful is born. However, seeking that path that resonates with your own inner song can be a long and painful journey in itself, with many false starts and missed turnings.

One cannot teach spiritual growth. What can be taught, however, is a method, a pathway.

With the Silent Eye we seek to share a path into Consciousness that is an ancient one, not of our devising, but one that has lain hidden beneath an accretion of arcane symbols, correspondences and complex language. It is a natural and simple path, one that we have cleared of the accumulated debris of centuries, the brambles and thorns have been stripped away and it gleams clear and white before us. We have, as Steve once wrote, given it a new life and a new language for the digital age.

To turn one’s face towards this quest for understanding requires both commitment and awareness. There is no quick fix, no instant solution and no magic wand. Results are always dependent upon the dedication of the student. The destination is not reached overnight and the road may be long and rocky. But as with any journey, a well-constructed road, a map and clear direction make it far more certain that the destination will be reached.

The active engagement in this journey has been called accelerated evolution, and that, I feel, is an apt description. The simple act of choosing to actively embrace the changing landscape of the path is, in itself, a powerful thing. The student who joins a Mystery School is guided by those who know the path ahead and can see the pitfalls before them having themselves walked the same way.

Seeds of knowledge are planted in mind and heart, for knowledge can be shared. Understanding grows with the student… and we are all students…and that unfolding is both personal and beautiful.

A question of joy…

| Sue Vincent

“You know, the ancient Egyptians had a beautiful belief about death. When their souls got to the entrance to heaven, the guards asked two questions.
Their answers determined whether they were able to enter or not.
‘Have you found joy in your life?’ ‘Has your life brought joy to others?’”

The Bucket List (2007)

Not bad questions are they? Together they might sum up the whole of the deeper truth of human aspiration. There is no mention of what car you managed to acquire, nor the level of material success you achieved in your life. Not pleasure, not even happiness… Just joy.

Like any word pertaining to our perception of emotion, the definition of joy is a difficult one. The dictionary attempts to define it by using superlatives of other emotions, yet those feelings are personal and their experience both subjective and subject to causative events in our lives.

Joy is something different somehow, transcending reactive emotion and welling up from a deep place, flooding the being from without and within like a clear, sparkling stream of bubbling, laughing Light. Yet though we seek the words, there are none that encompass it. Those who feel it will know it, those who have yet to feel its touch have joy to come.

It is a strange emotion, if emotion it truly is. Its touch comes in a single, blazing moment, yet the light it sheds seems to linger a lifetime, untarnished by sorrow or pain, undiluted by the cares of everyday. Once there it takes up home in the heart and whilst the surface of the mind and emotions may feel the storms and be battered by our very human lives, the kernel of joy seems to become an eternal flame, a sanctuary light at the very core of being. It is always there, underlying the ripples and tumult of emotion, no matter how terrible life and events may appear. Its presence is not dimmed by them. For this reason perhaps we might hesitate to call joy an emotion… and see it instead as a grace.

Joy comes when we are open to the full experience of life. It may touch you when you stand in a summer meadow and see the sky arcing over the hills, when you hold a newborn child, when you stand drenched and laugh at the rain clouds or when your heart feels the touch of the divine… for each of us it is different, unique in its beauty. Once felt, it never leaves, though we may choose to shut it out, turn our backs and walk away.

The second question is curious, ‘Has your life brought joy to others?’ It is not something we can give to others through choice, no matter how hard we try. It cannot be bought, gift wrapped or engendered no matter how desperately we might like to think it possible. We can, perhaps, consciously create the circumstances in which joy might be found through our actions, through our empathy, kindness and love for each other, yet we cannot be the sole cause of joy. It is akin to alchemy where the presence of certain elements can cause profound change, bringing something into being through our own being, through who we are, that may enable a response in joy from another. Perhaps it can be likened to music… where a simply melody can be picked out on a single instrument, but the full glory of the symphony can only be heard when the orchestra plays in harmony. Then the music lifts you and carries you beyond yourself to beauty.

What would you answer to those two guardians of the otherworld should they ask those questions? ‘Have you found joy in your life?’ ‘Has your life brought joy to others?’