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  1. Seraphim's Avatar
    Seraphim -
    That is nice and cool pics thanks for sharing. Dr. Bob was on some good stuff it looks like. I like the angels wings and the crow on the drivers side with the Light and the old school flames look cool too. The way he painted "S)He is Coming" is also interesting.
    Updated 08-20-2019 at 12:26 AM by Seraphim
  2. Greg Marcus's Avatar
    Greg Marcus -
    He was a dreamer, a thinker, a speculative philosopher... or, as his wife would have it, an idiot.
    -Douglas Adams
  3. Greg Marcus's Avatar
    Greg Marcus -
    Well except for his end, right? I hope a hanging is not in my future. I actually have used "Kasaubon/Casaubon" as an alternate nickname quite a bit. I think Eco said it was after Isaac, but Eliot's seems so on the nose for Eco's book:

    In George Eliot's Middlemarch, Edward Casaubon spends his life in a futile attempt to find a comprehensive explanatory framework for the whole of mythology. He is writing a book which he calls the Key to all Mythologies. This is intended to show that all the mythologies of the world are corrupt fragments of an ancient corpus of knowledge, to which he alone has the key. Poor Mr Casaubon is, of course, deluded. His young wife Dorothea is at first dazzled by what she takes to be his brilliance and erudition, only to find, by the time he is on his deathbed, that the whole plan was absurd and she can do nothing with the fragments of the book that she is supposed to put into order for publication.
    Of course, this "ancient corpus" has a name, which I only learned much later.. the "Perennial philosophy". not unconnected to how i came to study in the first place.
  4. Florius Frammel's Avatar
    Florius Frammel -
    And I thought you'd prefer "Belbo" ;-)
  5. Greg Marcus's Avatar
    Greg Marcus -
    ha. I'd prefer to be Morpheus.
  6. theFool's Avatar
    theFool -
    shall we call you Neo as nickname?
  7. Seraphim's Avatar
    Seraphim -
    Greg thanks for sharing.
  8. Greg Marcus's Avatar
    Greg Marcus -
    "Dag the Wise or Dagr Spaka was a mythological Swedish king of the House of Ynglings (dated to the 4th century by 16th-century historiographer Johannes Magnus). He was the son of Dyggvi, the former king. According to legend, he could understand the speech of birds and had a sparrow that gathered news for him from many lands. When the bird was killed on one of these trips, Dag invaded Reidgotaland (considering the date and location, apparently Gothiscandza), in order to avenge it. There he was ambushed by a thrall and killed."

    I'm hardly an expert on this - it was a quick tangent while studying nostradamus "back in the day". It was interesting that this all came up in memories as it was an active thread in the forums.
  9. Seraphim's Avatar
    Seraphim -
    Thanks Greg, so how do we learn this language? How do we dissect these words to find the Truth?

    "What unsuspected marvels we should find, if we knew how to dissect words, to strip them of their barks and liberate the spirit, the divine light, which is within," Fulcanelli writes.

    I would like to talk to birds and be like this cool guy some day, straight up beast master. Still undecided on the outfit.
    Updated 06-18-2019 at 01:11 AM by Seraphim
  10. pistachio's Avatar
    pistachio -
    Yes, it's surprisingly just a literary analysis of Faust's tale, with some very insightful historical tangents. It's clear the author is at least familiar with the subjects of sacred geometry, and occultism in general, from the materials cited and compared to the literary works'. While the occult information is approached from a purely academic angle, it's definitely heartening to see academics so well informed and passionate about their studies nowadays.
  11. Greg Marcus's Avatar
    Greg Marcus -
    Wow that is excellent. thanks so much. I wouldn't have guessed the serious and academic tone from the machine translation. It sounded like some occult gibberish.
  12. pistachio's Avatar
    pistachio -
    Just realized that the Wayback machine is a thing a couple hours ago, been translating this ever since. It's pretty hard to translate complex literary concepts, and there's quite a few terms I have literally never seen in my life. Areas might sound weird in English, as I tried to keep the structure mostly the same, but at least it should make much, much more sense than Google Translate. I've translated up to your quoted paragraph, to provide a bit of context, but if you think there's any worth in translating the rest of it, I'll do so tomorrow. Excuse any mistypes in the text, mind the horrible, constricted formatting, which the original page had, and if you want clarification, ask and you shall receive.
    --Here goes--

    Faust's name is associated to not only an entire Luciferian library, but even the invention of the printing press, or, under his own name, the art of magic reaching into the period of the Counterreform to equivalate cuars imprimendi //not romanian//. The mistifycation began with Thritemius, writing with utmost |obedience/innocence| around 1506, in the chronicles of the Spanheim monastery of the Metz diocese, that the invention of the printing press was realized in the year 1450, in the city of Metz, where "a citizen, of the name Iohannes Gutenburg, meeting too great difficulties in the finalization of the new device, asked for the counsel and help of nobles (bonorum virorum) Ioannes Fust and others, towards the ending of the labor underway" (ed. 1601, p.366). From here, though, "Ioannes Fust" becomes one "Ioannes Faustus", to the Lutheran Matthäus Judex, in his De typographiae inventione (1566), from where the character is taken by John Foxe in the second edition of his famous martirologic protestant Actes and Monmentes (1570). Here, the author presents to us the "german Ioannes Faustus" as the "ironmonger" who, "foremost, engraved the letters of the alphabet in metal and who, setting black ink onto the metal afterwards, set the form of the letters upon paper" (ed. 1570, p.837). Moreover, "seeing he all things well underway, gave counsel to others, a certain Iohan Guttemberg and Peter Schafferd, swearing them to silence for the span of a year" (ibid.)
    It can be said, as such, that the association of the art of the printing press and the art of magic carries the signs of Protestant environments. It was never intended to demonize the new invention, rather to set it in the realms of fantasy and miracles, in an age when the covert copying of the Calvinian Bible, known as the Geneva Bible (1560), required a good marketing plan. Likewise, protestants have always made use of the imagery of magic as an emotional tool to capture attention, convinced of the propagandist utility of a theme, which- as Calvin put it in his Argument 109 at Deuterenom- existed since the dawn of time throughout all peoples. Calvin still, when asked whether wonders and witchcrafts are possible, answered: "Why not? We have for example the Pharao's witches, in Exodus 7-8, who brought forth toads, much like Moses had. This does not mean the Devil has any actual power, and we cannot conceive that he could battle against God. we know well that he's placed under God's power, and cannot do anything without prior permission from God" (ed. 1583, col. 669 a-b).
    Conversely, the legend of Faust the socerer suffered in itself a strange process of Lutheran naturalization, the famous necromancer becoming considered nowadays, in an age when the protestant typographist Ioannes Manlius was publishing the Locorum commvnicvm collectanea (1568) at Frankfurt, being a former student in the Wittembergensi Academia and a disciple of Melanchton!
    Up until the "reformation" of Faust the necromancer, an entire library was compiled regarding this fictional inventor of the printing press.
    Full of wonders and magical recipes, this entire library would illustrate fully not only the magic of the printing press, but also the fact that magical arts themselves had survived, named, by the papists, "the israelites' magic", and which the Bible expulsed outside the law. Afterwads we have the sixth and seven apocryphas of the Bible's magical arcana, attributed to Moses, and considered one of the first books of the Faustian library. These are books which will inspire the dreams of the entire Occident, speaking to the Rennaisance reader of an "art which promised- as Faust's dark angel said to Marlowe- all the hidden ceremonies of nature" (I, 103-104). An art which had not yet knelt at the feet of science. But was it an art, or a science itself? Asked more and more, the question split into two dedicated works, regarding the two paths towards knowledge- complementary, in nature- which started from the same magical vision towards the universe, except that one raised man towards the heavens, while the other raised demons towards man.
    In order to illustrate them as opposites, Goethe resized an important character from Marlowe's Faust, transforming "Wagner the servant", "phlegmatic, slow of thinking, and inclined towards debauchery", as he appears in Marlowe's, into a bonafide practician of the white path, of the occult sciences. Laborious, modest, and virtuous, the new Wagner keeps only the title of "famulus" (latin for 'servant'), from the old. As an illustration of the fulfilled magus, he succeeds in realizing Paracelsus' dream and the ideal of any practitioner of the occult sciences: the creation of an artificial man, a "Homunculus", illustrating here the fulfillment of luciferian vanity to approach divinity.
    Opposed to Faust, the representative of magical arts, the new Wagner is not attracted to "vulgar stays", nor romantic trips, and instead of the "way of the senses", as Faust describes his own destiny, he prefers a laboratorium filled with a microcosm of books promising the gold of total knowledge: "I know, to be fair, so much already, yet I wish to know all still". Moreover, and always as opposed to Faust, of Urfaust, who declares himself lost in the smoke of consciousess (Wissensqualm), the new Wagner is obsessed by archetypical knowledge (Weisheit), the way "which leads to springs (zu den Quellen steigt)".
    But what are Goethe's heroes reading within the decorated alchemical laboratory, according to the casting instructions of act II, scene 1, "in the fashion of the Middle Ages, with all sorts of installations towards fantastical purposes"? First, we need to remember "Nostradamus' book of secrets (dies geheimnisvolle Buch, Von Nostradamus)", probably the Prophecies which contemporaries have called "the new ancient oracle". Afterwards is mentioned a book in which Faut "sees the sign of the macrocosmos", a possible reference to the 53rd engraving (Schema de Mundo Archetypo) in Georg von Welling's Opus mago-cabbalisticym et theosophicum..., Frankfurt, 1719. This is the book which Goethe was reading around 1770-1773, exactly around the time he began to take an interest towards the Faustian myth. And when Faust talks about the division of the sky into spheres, about the spirit of Easter and about the choir of angels, it's likely the author was referencing Johann Georg Hagelgans, Sphaera coelestis mystica(1739). Finally, when Wagner and Faust are polemyzing about "the spirit of ages" (Geist der Zeiten), the verses reference the concept of the hagelian Zeitgeist/genius seculi, so much debated around that time, and ironized by Herder: "Is he a genius, or a demon? Or a ghoul, risen from forgotten graveyards?, or maybe a gust of wind blowing with the seductive sounds of a wind harp?".
  13. pistachio's Avatar
    pistachio -
    I'm a bit late on this post, but if you have a copy of the original Romanian text from the page, I'd be happy to translate it for everyone here. I'm ever surprised of the scale of Romanian occultism, which I didn't even know existed back when I lived in the country.
  14. Schmuldvich's Avatar
    Schmuldvich -
    Awesome, Greg!!! Amazing collection!
  15. Seraphim's Avatar
    Seraphim -
    Quote Originally Posted by zoas23

    Thanks for taking the time to compile all of this.
  16. zoas23's Avatar
    zoas23 -
  17. Greg Marcus's Avatar
    Greg Marcus -
    Interesting thing about bubbles...
  18. tAlchemist's Avatar
    tAlchemist -
    I don't know much about Sacred Geometry, but on the top of my head, I assume that the shapes have to do with the proportions of matter and the shape it forms in order to take form... a form within a form embedded deep within matter so that the inside of Matter can ''balance'' and level without falling apart much akin to blowing bubbles... the oval is a natural form it takes, likewise, Sacred Geometry.

    Am I close? :S
  19. Schmuldvich's Avatar
    Schmuldvich -
    This is awesome! Keep 'em coming!
  20. Greg Marcus's Avatar
    Greg Marcus -
    Johann Georg Hagelgans, who embraced both the negative and the positive use of holy numbers: the devotional and inspirational use of biblical numbers in Sphaera Coelestis Mystica (1739), prefaced by 1 Corinthians 13:12: ‘Now we see but a poor reflection as in a mirror; then we shall see face to face’, and in Sphaera Infernalis Mystica (1740) an exposition on the number of the beast, 666 prefaced by the reassuring verse from John 1:5 ‘The Light shines in the Darkness and the Darkness has not overcome it.’ Hagelgans’ systematic survey of significant biblical numbers is divided into three parts, with eleven chapters sandwiched between an introduction, explaining the aim and use of divine arithmetic, and a defence of his opinions. In the chapter on the mysteries of the number 7 in the context of worship, he writes that once one has noticed the seven penitential, the seven prayerful and the seven praise psalms introduced into David’s Book of Psalms by the God-fearing Ancients, one’s respect and honour for this mysterious and holy number grows. The seven planets, seven metals and seven primary colours belong to the natural world and are a source of wonder in the visible world. The seven wise men of Greece, the seven wonders of the world and the seventy interpreters from Egypt, on the other hand, are all coincidental or formed by humans, and therefore according to Hagelgans cannot be classified as divine numbers.

    Hagelgans classifies numbers 1, 2, 3 and 7 as holy, numbers 4, 8, 12 and 24 as blessed, number 5 as half or imperfect, number 6 as human, numbers 7, 8 and 9 as end or balancing numbers, and number 10 as the most complete number. As he justifies his choice of 10 as the most complete he reveals more interpretations:

    "[Ten] is the most complete number, above all other, and in which all others are contained. It is the end and at the same time the beginning; a double number which is the most special and unique as it can be formed by all the other numbers in several different ways: through multiplication . . . 5  2=10, and through addition with the first four 1+2+3+4=10, with the two imperfect numbers 5 +5=10, with the angelic and human numbers 4+6=10, with the two most holy numbers 3+7=10, with the numbers of the bridegroom and bride 2 + 8=10, and with the first and last numbers 1+9=10."

    "The blind heathen also used this number for their two-faced God Janus, although we teach something better, seeing the origin or source from which its measure, number and density are constructed, finding in the Revelation to St John how God embraced all other possible numbers in this perfect circle."

    - "Bach's Numbers" by Ruth Tatlow
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