OSIRIS ISIS 5 ISIS OSIRIS
THE
MAGICALALPHABET
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THE SUN DANCES
Prayers and blessings from the Gaelic
Alexander Michael 1960
"SHE OF MY LOVE IS THE NEW MOON"
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NEW MOON
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MOON |
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NEW MOON
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NEW MOON
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FULL MOON
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-CRESCENT MOON |
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SUN |
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EARTH |
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MOON |
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DIVINE |
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THOUGHT |
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LOVE |
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MAZDA |
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LIGHT + HEAT |
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INCANDESCENCE |
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SATURN |
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NATURS |
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NATURES |
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SATURN IN TRANSIT
BOUNDARIES OF MIND BODY AND
SOUL
Erin Sullivan 1991
Page186
"...Campbell says, 'The hero whose attachment to ego is already
annihilated passes back and forth across the horizons of the world, in and
out of the dragon, as readily as a king through all the rooms of his
house. And therein lies his power to save6 The latter stages of
this transit propose a new way of 'seeing' life, and.how one can
participate in it. They can also be fraught with terror and anxiety, for
one's boundaries are dissolving and the identity, as it has been for along
time now, is slowly but,.certainly becoming eroded. Saturn, in its dark
and most primitive form, is bound up with the ego and its control
mechanisms. A real sense of peripheral invasion occurs something on
the horizon beckons, but it cannot be seen. The boundless deep of the
unconscious is filled with primordial images that arise spontaneously,
both while awake and while asleep. Irnages and sensations creep in,
occupying what used to be superfunctional space in the consciousness.
Because of this preoccupation with the unconscious mind one can retreat
into solitude which, though important on one level, should not be carried
into extreme isolation from the people and things that one values. This,
of course, means re-evaluating precisely what it is that one does
value.
The hero must now join, collectively, with all heroes from all
time and, divesting himself of the now useless protective devices, make
himself available for more magical tools. In more pragmatic terms, one must
allow the contents of the unconscious to rise and to be the guiding factor
in the continuing joumey.
THE THRESHOLD STRUGGLE
(ASC.)
There he encounters a shadow
presence that guards the passage. The hero may defeat or conciliate his
power and go alive into the kingdom of the dark (brother-battle;
dragon-battle; offering, charm), or be slain by the opponent and descend
in death (dismemberment, crucifixion). Beyond the threshold, then,
the hero journeys through a world of unfamiliar yet strangely intimate
forces, some of which severely threaten him (tests), some of which give
magical aid (helpers).
Joseph Campbell
7
HERO WITH A THOUSAND FACES
Joseph Campbell 1949
INITIATION
THE ULTIMATE BOON
Page 190
The agony of breaking through personal limitations is the agony of spiritual growth. Art, literature, myth and cult, philosophy, and ascetic disciplines are instruments to help the individual past his limiting horizons into spheres of ever-expanding realization. As he crosses threshold after threshold, conquering dragon after dragon, the stature of the divinity that he summons to his highest wish increases, until it subsumes the cosmos. Finally, the mind breaks the bounding sphere of the cosmos to a realization transcending all experiences of form-all symbolizations, all divinities: a realization of the ineluctable void.
So it is that when Dante had taken the last step in his spiritual adventure, and came before the ultimate symbolic vision of the Triune God in the Celestial Rose, he had still one more illumination to experience, even beyond the forms of the Father, Son, and Holy Ghost. "Bernard," he writes, "made a sign to me, and smiled, that I should look upward; but I was already, of myself, such as he wished; for my sight, becoming pure, was entering more and more, through the radiance of the lofty Light which in Itself is true. Thenceforward my vision was greater than our speech, which yields to such a sight, and the memory yields to such excess."
Page 191
"There goes neither.the eye, nor speech, nor the mind: we know not; nor do we see how to teach one about It. Different It is from all that are known, and It is beyond the unknown as
well." 168
This is the highest and ultimate crucifixion, not only of the hero, but of his god as well. Here the Son and the Father alike are annihilated-as personality-masks over the unnamed. For just as the figments of a dream derive from the life energy of one dreamer, representing only fluid splittings and complications of that single force, so do all the forms of all the worlds, whether terrestrial or divine, reflect the universal force of a single inscrutable mystery the power that constructs the atom and controls the orbits of the stars.
That font of life is the core of the individual, and within himself he will find it-if he can tear the coverings away. The pagan Germanic divinity Othin (Wo tan) gave an eye to split the veil of light into the knowledge of this infinite dark, and then underwent for it the passion of a crucifixion:
I ween that I hung on the windy tree,
Hung there for nights full nine;
With the spear I was wounded, and offered I was
To Othin) myself to myself)
On the tree that none may ever know
What root beneath it runs.169
The Buddha's victory beneath the Bo Tree is the classic Oriental example of this deed. With the sword of his mind he pierced the bubble of the universe-and it shattered into nought. The whole world of natural experience, as well as the continents, heavens, and hells of traditional,religious belief, exploded-together
Notes to Page 191
168 Kena U panishad, 1: 3 (translation by Swami Sharvananda; Sri Rama
krishna Math; Mylapore, Madras, 1932).
169 Poetic Edda, "Hovamol," 139 (translation by Henry Adams Bellows;
The American-Scandinavian Foundation; New York, 1923).
Notes to Page 190
167 "Paradiso," XXXIII, 49-57 (translation by Norton, op. cit., Vol. Ill, pp. 253-254, by permission of Houghton Miffiin Company, publishers).
THAT HE AS IN SHE THAT IS THEE THAT IS ME
THE TWO HANDS OF GOD
Alan Watts
1963
AN EXPLORATION OF THE UNDERLYING UNITY OF ALL
THINGS
Page 75
THE COSMIC DANCE
"What is more exuberant than Hindu sculpture?
I am
thinking of those ovoid domes of stone at Konarak, Bhuvaneshwar, and
Khajuraho, which look, at first sight, as if they had decomposed into the
kind of squirming vitality that one finds upon overturning a rock, as if
they were alive with anthropoid maggots, swarming together in a colossal
rout of dancing, fighting, and copulating. But close inspection reveals
that the stone has come alive in figures of unbelievable grace and lilting
sensuousness-at one time vividly polychromed, but now perhaps all the
better for being the combination of drab gray rock and endlessly dancing
form. One must look at these temple figures in the light of classical
Hindu dancing-an art in which jeweled bodies move as if they were plants
suspended in water, where muscles are an ivory liquid, and where legs,
hips, belly, shoulders, and head move quite independently in their own
planes. Such exotic, rich, and jungle-like displays of human fecundity are
perhaps repellent to the Western, and especially Anglo-Saxon, taste. But
to penetrate the depth and grandeur of Hindu /Page/ mythology and
philosophy, one must somehow allow oneself to enter into this seething
imagery, and then feel, one's way down through its bewildering variety to
the simple and presiding intuition which underlies it.
In a world of
intense heat, of the most startling extremes of fertility and aridity,
wealth and poverty, and where life is cheap and security almost unknown,
the human mind can acquire a peculiar sensitivity. Somehow the world seems
lacking in solidity. External forms and surfaces are now diaphanous, and
now bristling with the sharpest points. Nothing is certain but
change, and change is less apt to be gradual and orderly
than sudden and unforeseen. It is not surprising, then, that to the Hindu
consciousness the world has seemed like an arabesque of smoke, and that
its totally unrliable transitoriness has been the principal ground for
conidering
it to be fundamentally unreal. But the word
maya by which this peculiar unreality is described, is not necessarily a
term of contempt, as if the world were merely an illusion to be dismissed.
Maya also means art and magic, and thus a
seeming solidity evoked by divine power. But under the spell of this power
the Hindu does not feel himself entirely a victim. However obscurely, he
knows or feels that the source of this enchantment is in some roundabout
way himself- as if being alive and human were to have got delberately lost
in a labyrinth.
For the presiding intuition of the
Hindu world "view is that the whole universe of multiplicity is the lila,
or play, of a single energy known as Paramatman, the
Supreme Self. The coming and going of all worlds, all beings, and
all things is described as the eternal outbreathing and inbreathing of
this One Life-eternal because it is beyond all dualities, comprising
non-being as much as being, death as much as life, still/Page 77/ ness as much as motion. One of the principal symbols
of the Paramatman is the Swan, Hamsa,
flying forth from its n.est and returning, and the
syllable ham stands for
breathing out, sa for breathing
in. As the exhalation and inhalation are repeated endlessly, ham-sa-ham-sa-ham-sa-ham, there is
also heard saham, that is, sa aham, "He I
am"-which is to say that the essential self of every being is the Supreme
Self.
This in-and-out rhythm or undulation goes on
endlessly through every dimension of life. It is the birth-and-death of
innumerable universes, not only succeeding one another in kalpa-periods
of 4,320,OOO years, but also
co-existing in untold myriads. Small universes compose great universes:
our galaxies are the dust in another cosmos, and the dust in our world
contains suns and stars-infinitely small or infinitely great according to
the point of view. An individual is therefore a vast cosmos in his
own right, and the ups and downs of his life are just the same ups and
downs as those of the macrocosms beyond him and the microcosms within
him. To the eye of wisdom size makes no
difference: every mote, every being, every cosmos is an exemplar of the
one archetypal rhythm. All beings-divine, human, demonic, or animal-are,
as it were, under the spell of the Juggler, tossing and catching the
multitudinous balls of the worlds with his thousands of
. arms and
hands, simp.ltaneously giving delight with the display of skill and
terror with the thought that a ball might drop. Yet the skill and
resourcefulness of the Divine Juggler are endless. The pall that seems to
drop and shatter simply bursts into a million more Jugglers; the disaster
turns out with unfailing astonishment to be a new tour de force} though it
is all part of the game that this shall never be expected. Yet there is a
clue for the wise. In all images of the /Page 78 /
many-armed divinity there is one hand raised and unmoving, with palm
toward the beholder-the gesture of "Fear not." It is just a game
(plate 21) .(omitted)
This, then, is the underlying
theme of those Hindu art forms depicting the myriads of gods and goddesses
in their loves and wars: it is the endless complication of a: single
principle, complicated by an infinite capacity for maya for
concealing the stratagem. Now you see it, now you
don't.
At some time between B.C. 500 and A.D. 100 there was
compiled that great epic of Hindu mythology, the Mahabharata. One section of this
epic, The Lord's Song or
Bhagavad-Gita, has been regarded for
centuries as the most authoritative epitome of Hindu doctrine, taking the
form of a discourse between the warrior Arjuna and Sri
Krishna, the incarnation or
avatar of Vishnu-one of the many names under which the Supreme Self is
known. The scene of the Gita is a battlefield where opposing forces are encamped before
their engagement. Krishna
appears in the role of Arjuna's charioteer, and their
conversation begins with Arjuna's despondency at the prospect
of having to do battle with his own kinsmen. The battle is, of course, a
symbol of the whole struggle of life-and-death, and Krishna's encouragement of his
reluctant master, Arjuna, must
be taken not so much as the praise of military valor as of fearlessness in
the face of all life's terrors. The immediate importance of this discourse
is that at one point Krishna
reveals himself to Arjuna in his divine fonn, at which moment the Gita gives us. the most vivid picture
of the cosmic vision which I
have been describing, the beautiful and terrible dance of the Divine Juggler and the maya of his innumerable fonns and
manifestations.
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9 |
9 |
9 |
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ME |
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9 |
9 |
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EGO |
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18 |
9 |
Krishna says:
I am the Self existing in
the heart of all beings. I am the beginning, the
middle and also the end of beings.
Among purifiers, I am the wind; among warriors, I am Rama; among fishes, I
am Makara (the shark); and among rivers, I am
the Ganges.
O Arjuna, of all creations I am
the beginning, the middle and also the end; of all sciences, I am the science of Self-knowledge.
Of
syllables, I am "A," and Dvandva (copulative) of
all compound words. I am inexhaustible Time;
I am the Dispenser, facing everywhere.
I am all-seizing Death; I am
the origin of all that is to be; of the female I
am fame, prosperity, speech, memory, intelligence, constancy and
forgiveness.
I am gambling among the
fraudulent; I am the prowess of the powerful.
I am Victory, I am
Perseverance, I am the Goodness of the
good.
I am the Rod of disciplinarians; I am the Polity of the seekers of conquest. I am the Silence of secrets;
I am the Wisdom of the wise.
O Arjuna,
whatever is the seed of all beings, that also am I Without Me there is no
being existent, whether moving or unmoving.
There is no end to the
manifestations of my Divine Power; what I have
declared is only a partial statement of the vastness of my divine
manifestation.
Whatever being there is, glorious, prosperous or
powerful, know thou that to have sprung from a portion of My
splendor.
O Arjuna, what need is there for
thee to know these details?
I alone exist,
sustaining this whole universe by a portion of Myself.
Arjuna said:
The supremely profound word regarding
Self-knowledge, spoken by Thee out of compassion for me, has dispelled this my delusion."
Krishna says:
"9am the Self existing in
the heart of all beings. 9am the beginning, the
middle and also the end of beings.
Among purifiers, 9am the wind; among warriors, 9 am Rama; among fishes, 9
am Makara (the shark); and among rivers, 9 am
the Ganges.
O Arjuna, of all creations 9 am
the beginning, the middle and also the end; of all sciences, 9 am the science of Self-knowledge.
Of
syllables, 9 am "A," and Dvandva (copulative) of
all compound words. 9 am inexhaustible Time;
9 am the Dispenser, facing everywhere.
9am all-seizing Death; 9 am
the origin of all that is to be; of the female 9
am fame, prosperity, speech, memory, intelligence, constancy and
forgiveness.
9 am gambling among the
fraudulent; 9 am the prowess of the powerful.
9 am Victory, 9 am
Perseverance, 9 am the Goodness of the
good.
9 am the Rod of disciplinarians; 9 am the Polity of the seekers of conquest. 9 am the Silence of secrets;
9 am the Wisdom of the wise.
O Arjuna,
whatever is the seed of all beings, that also am 9 Without 9 there is no
being existent, whether moving or unmoving.
There is no end to the
manifestations of my Divine Power; what 9 have declared is only a partial statement of the
vastness of my divine manifestation.
Whatever being there is, glorious,
prosperous or powerful, know thou that to have sprung from a portion of My
splendor.
O Arjuna, what need is there for
thee to know these details?
9 alone exist,
sustaining this whole universe by a portion of Myself.
1 |
I |
9 |
9 |
9 |
2 |
AM |
14 |
5 |
5 |
4 |
THAT |
49 |
13 |
4 |
4 |
THAT |
49 |
13 |
4 |
2 |
AM |
14 |
5 |
5 |
1 |
I |
9 |
9 |
9 |
14 |
- |
144 |
54 |
9 |
1+4 |
- |
1+4+4 |
5+4 |
- |
5 |
- |
9 |
9 |
9 |
Arjuna said:
The supremely profound word regarding
Self-knowledge, spoken by Thee out of compassion for 9, has dispelled this my delusion."
THE BOOK
ON THE TABOO AGAINST KNOWING
WHO YOU ARE
Alan Watts 1969
Page 107
"But I define myself in terms of.you;
I know myself only
in terms of what is "other," no matter whether I see the "other" as below me or above me in any
ladder of values. If above, I enjoy the kick of
self-pity; if below, I enjoy the kick of pride.
I being I goes with
you being you. Thus,
as a great Hassidic rabbi put it, "If I am
I because you are
you, and if you are
you because I am
I, then I am not
I. and you are not
you." Instead we are
both something in common between what Martin Buber has called I-and-Thou and I-and-It-the magnet itself
which / Page 108 / lies between the poles, between I myself and everything
sensed as other."
1 |
I |
9 |
9 |
9 |
2 |
ME |
18 |
9 |
9 |
3 |
IVE |
36 |
18 |
9 |
3 |
EGO |
27 |
18 |
9 |
10 |
EGOCENTRIC |
99 |
54 |
9 |
10 |
CONSCIENCE |
90 |
45 |
9 |
- |
EGOCENTRIC |
- |
- |
- |
3 |
EGO |
27 |
18 |
9 |
7 |
CENTRIC |
72 |
36 |
9 |
10 |
EGOCENTRIC |
99 |
54 |
18 |
1+0 |
|
9+9 |
5+4 |
1+8 |
1 |
EGOCENTRIC |
9 |
9 |
9 |
- |
EGOCENTRIC |
- |
- |
- |
2 |
EG |
12 |
12 |
3 |
2 |
OC |
18 |
9 |
9 |
3 |
ENT |
39 |
12 |
3 |
1 |
R |
18 |
12 |
3 |
1 |
I |
9 |
9 |
9 |
1 |
C |
3 |
3 |
3 |
10 |
EGOCENTRIC |
99 |
54 |
18 |
1+0 |
- |
9+9 |
5+4 |
1+8 |
1 |
EGOCENTRIC |
9 |
9 |
9 |
I
THE
NINTH
LETTER OF THE ENGLISH ALPHABET
3 |
THE |
33 |
15 |
6 |
6 |
NINETY |
87 |
33 |
6 |
4 |
NINE |
42 |
24 |
6 |
13 |
|
162 |
72 |
18 |
1+3 |
|
1+6+2 |
7+2 |
1+8 |
4 |
- |
9 |
9 |
9 |
3 |
|
45 |
9 |
9 |
I |
|
9 |
9 |
9 |
3 |
EGO |
27 |
18 |
9 |
2 |
ME |
18 |
9 |
9 |
10 |
EGOCENTRIC |
99 |
54 |
9 |
10 |
CONSCIENCE |
90 |
45 |
9 |
5 |
VOICE |
54 |
27 |
9 |
6 |
REASON |
72 |
27 |
9 |
7 |
THOUGHT |
99 |
36 |
9 |
7 |
REALITY |
90 |
36 |
9 |
4 |
REAL |
36 |
18 |
9 |
3 |
ITY |
54 |
18 |
9 |
6 |
DIVINE |
63 |
36 |
9 |
4 |
LOVE |
54 |
18 |
9 |
THE SPLENDOUR THAT WAS
EGYPT
Margaret A. Murray
1963
Page 101
"In many countries the Divine King was allowed to reign for a term of years
only,
usually
seven or nine or multiples of those
numbers".
"SEVEN OR
NINE
OR
MULTIPLES OF THOSE
NUMBERS"
THE MAYAN
PROPHESIES
Adrian G. Gilbert and Morris M. Cotterell
1995
Appendix 7
Page 345
'Mayan numbers - summary
nine = magic number of the Maya.
All relevant numbers compound to nine.'
ALL
RELEVANT NUMBERS
COMPOUND
TO
NINE
THE SUPER
GODS
Morris M. Cotterell
1997
Page 188
"The recurring 9999 is
an invitation to round up this number to 269,
i.e. 260 and 9."
THE
RECURRING
9999
THE
9ECU999NG 9999
NUMBER
9
THE SEARCH FOR THE SIGMA CODE
Cecil Balmond
1998
Page 45
"From ancient times number nine was seen as a full complement; it was the cup of
special promise that brimmed over"
"FROM ANCIENT
TIMES
NINE
WAS SEEN AS A FULL
COMPLEMENT"
BHAGAVAD-
GITA
As it is.
A. C. Bhaktivedanta Swami Prabhupada
Page 287
THE CITY OF NINE GATES
"When the embodied living being controls his
nature and mentally renounces all actions, he resides happily in the city
of nine gates."
"The body consists of nine
gates (two eyes, two nostrils, two ears, one mouth, the anus and the
genitals.)"
GURDJIEFF A
BIOGRAPHY
James Moore
Page 344
The
Enneagram
"Gurdjieff's most cherished symbol was his enneagram, or nine sided
figure; he extolled it as a universal glyph, a schematic diagram of
perpetual motion."
NINE
SIDED
THE ELEMENTS OF THE
GODDESS
Caitlin Matthews
1989
"WE ARE ENTERINGTHE TIME
OF THE NINE POINTED STAR
THE STAR OF MAKING REAL UPON EARTH THE GOLDEN
DREAM OF PEACE THAT LIVES WITHIN US"
Brooke Medicine
Eagle
Page 38
"THIS ENNEAD OF ASPECTS
IS ENDLESSLY ADAPTABLE FOR IT IS MADE UP OF
NINE, FOR EXAMPLE 54, 72, 108, THEY ALWAYS ADD
UP TO NINE"
THE HOLY
BIBLE
C 17 V 24
GENESIS
AND ABRAHAM WAS
NINETYYEARS OLD AND NINE
WHEN HE WAS CIRCUMCISED IN THE FLESH OF HIS FORESKIN
AFTER DEATH
Leslie
D. Weatherhead 1923
Page
99
'The
Christian conception of God does not allow even one per cent.of failures -
it is not enough to have
ninety-nine
sheep out of a flock of a hundred safe
in the fold"
WORK DAYS OF
GOD
Herbert W Morris D.D.circa 1883
Page 278
"He was mindful of the lowest and the least of
the works of his hands. He would not have this one revolted world perish.
Leaving the "ninety and nine"on the bright
celestial plains, He came down to seek and to save "the one stray
sheep."
Page number missing assumed to be
415
"Silver Songs : Contains 180 Beautiful Melodies for the Sunday School, Home
and Sacred Use"
"Companion volume to "Silver Songs" "Golden
Songs"
"Among the numerous tunes are the following : -"
"Are you one of the
"Ninety and Nine"
NINE
PLANETS
ARISES THAT SUN SETS THAT SUN
SETS THAT SUN ARISES THAT SUN
OSIRIS THAT SON SETS THAT SON
SETS THAT SON ORISIS THAT SON
8 |
FREEWILL |
90 |
45 |
9 |
4 |
FREE |
34 |
25 |
7 |
7 |
FREEDOM |
66 |
39 |
3 |
"I am He that lives, and was dead;
and, behold, I am alive forevermore."
Revelation
1:18
19th Century Shaker tune, adapted by Sydney Carter,
1963
I danced in the morning when the world was begun,
And I
danced in the moon and the stars and the sun,
And I came down from
heaven and I danced on the earth,
At Bethlehem I had my birth.
Refrain
Dance, then, wherever you may be;
I
am the Lord of the Dance, said he.
And I'll lead you all wherever you
may be,
And I'll lead you all in the dance, said he.
I danced for the scribe and the Pharisee,
But they
would not dance and they would not follow me;
I danced for the
fishermen, for James and John;
They came to me and the dance went
on.
Refrain
Dance, then,
wherever you may be;
I am the Lord of the Dance, said he.
And I'll
lead you all wherever you may be,
And I'll lead you all in the dance,
said he.
I danced on the sabbath when I cured the lame,
The holy
people said it was a shame;
They whipped and they stripped and they
hung me high;
And they left me there on a cross to die.
Refrain
Dance, then,
wherever you may be;
I am the Lord of the Dance, said he.
And I'll
lead you all wherever you may be,
And I'll lead you all in the dance,
said he.
I danced on a Friday and the sky turned black;
It's
hard to dance with the devil on your back;
They buried my body and they
thought I'd gone,
But I am the dance and I still go on.
Refrain
Dance, then,
wherever you may be;
I am the Lord of the Dance, said he.
And I'll
lead you all wherever you may be,
And I'll lead you all in the dance,
said he.
They cut me down and I leapt up high,
I am the life
that'll never, never die;
I'll live in you if you'll live in me;
I
am the Lord of the Dance, said he."
Dance, then,
wherever you may be;
I am the Lord of the Dance, said he.
And I'll
lead you all wherever you may be,
And I'll lead you all in the dance,
said he."
FOUR QUARTETS
T.S. Eliot 1943
BURNT NORTON
Pages 13/20
I
"Time present and time
past
Are both perhaps present in time future,
And time future
contained in time past.
If all time is eternally present
All time is
unredeemable.
What might have been is an
abstraction
Remaining a perpetual possibility
Only in a world of
speculation.
What might have been and what has been
Point to one
end, which is always present.
Footfalls echo in the
memory
Down the passage which we did not take
Towards the door we
never opened
Into the rose-garden. My words echo
Thus, in your
mind.
But to what purpose
Disturbing the dust on a bowl of
rose-leaves
I do not know.
Other echoes
Inhabit the garden. Shall
we follow?
Quick, said the bird, find them, find them,
Round the
corner. Through the first gate,
Into our first world, shall we
follow
The deception of the thrush? Into our first world.
There they
were, dignified, invisible,
Moving without pressure, over the dead
leaves,
In the autumn heat, through the vibrant air,
And the bird
called, in response to
The unheard music hidden in the
shrubbery,
And the unseen eyebeam crossed, for the roses
Had the
look of flowers that are looked at.
There they were as our guests,
accepted and accepting.
So we moved, and they, in a formal
pattern,
Along the empty alley, into the box circle,
To look down
into the drained pool.
Dry the pool, dry concrete, brown edged,
And
the pool was filled with water out of sunlight,
And the lotos rose,
quietly, quietly,
The surface glittered out of heart of light,
And
they were behind us, reflected in the pool.
Then a cloud passed, and
the pool was empty.
Go, said the bird, for the leaves were full of
children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very
much reality.
Time past and time future
What might have been and
what has been
Point to one end, which is always present.
II
Garlic and sapphires in the
mud
Clot the bedded axle-tree.
The trilling wire in the
blood
Sings below inveterate scars
Appeasing long forgotten
wars.
The dance along the artery
The
circulation of the lymph
Are figured in the drift of stars
Ascend to
summer in the tree
We move above the moving tree
In light upon the
figured leaf
And hear upon the sodden floor
Below, the boarhound and
the boar
Pursue their pattern as before
But reconciled among the
stars.
At the still point of the turning
world. Neither flesh nor fleshless;
Neither from nor towards; at the
still point, there the dance is,
But neither arrest nor movement. And
do not call it fixity,
Where past and future are gathered. Neither
movement from nor towards,
Neither ascent nor decline. Except for the
point, the still point,
There would be no dance, and there is only the
dance.
I can only
say, there we have been: but I cannot say
where.
And I cannot say, how long, for that
is to place it in time.
The inner freedom from the practical
desire,
The release from action and suffering, release from the
inner
And the outer compulsion, yet surrounded
By a grace of sense,
a white light still and moving,
Erhebung without motion,
concentration
Without elimination, both a new world
And the old made
explicit, understood
In the completion of its partial ecstasy,
The
resolution of its partial horror.
Yet the enchainment of past and
future
Woven in the weakness of the changing body,
Protects mankind
from heaven and damnation
Which flesh cannot endure.
Time past and time future
Allow but a little
consciousness.
To be conscious is not to be in time
But only
in time can the moment in the rose-garden,
The moment in the arbour
where the rain beat,
The moment in the draughty church at
smokefall
Be remembered; involved with past and future.
Only through
time time is conquered.
III
Here is a place of
disaffection
Time before and time after
In a dim light: neither
daylight
Investing form with lucid stillness
Turning shadow into
transient beauty
With slow rotation suggesting permanence
Nor
darkness to purify the soul
Emptying the sensual with
deprivation
Cleansing affection from the temporal.
Neither plenitude
nor vacancy. Only a flicker
Over the strained time-ridden
faces
Distracted from distraction by distraction
Filled with fancies
and empty of meaning
Tumid apathy with no concentration
Men and bits
of paper, whirled by the cold wind
That blows before and after
time,
Wind in and out of unwholesome lungs
Time before and time
after.
Eructation of unhealthy souls
Into the faded air, the
torpid
Driven on the wind that sweeps the gloomy hills of
London,
Hampstead and Clerkenwell, Campden and Putney,
Highgate,
Primrose and Ludgate. Not here
Not here the darkness, in this
twittering world.
Descend lower, descend only
Into
the world of perpetual solitude,
World not world, but that which is not
world,
Internal darkness, deprivation
And destitution of all
property,
Desiccation of the world of sense,
Evacuation of the world
of fancy,
Inoperancy of the world of spirit;
This is the one way,
and the other
Is the same, not in movement
But abstention from
movement; while the world moves
In appetency, on its metalled
ways
Of time past and time future.
IV
Time and the bell have buried the
day,
The black cloud carries the sun away.
Will the sunflower turn
to us, will the clematis
Stray down, bend to us; tendril and
spray
Clutch and cling?
Chill
Fingers of yew be curled
Down on us? After the
kingfisher's wing
Has answered light to light, and
is silent, the light is still
At the still point of the turning world.
V
Words move, music moves
Only in time; but that which is
only living
Can only die. Words, after speech, reach
Into the
silence. Only by the form, the pattern,
Can words or music reach
The
stillness, as a Chinese jar still
Moves perpetually in its
stillness.
Not the stillness of the violin, while the note
lasts,
Not that only, but the co-existence,
Or
say that the end precedes the beginning,
And the end and the beginning
were always there
Before the beginning and after the end.
And all is
always now. Words strain,
Crack and sometimes break, under the
burden,
Under the tension, slip, slide, perish,
Decay with
imprecision, will not stay in place,
Will not stay still. Shrieking
voices
Scolding, mocking, or merely chattering,
Always assail them.
The Word in the desert
Is most attacked by voices of
temptation,
The crying shadow in the funeral
dance,
The loud lament of the disconsolate chimera.
The detail of the pattern is movement,
As in the figure
of the ten stairs.
Desire itself is movement
Not in itself
desirable;
Love is itself unmoving,
Only the
cause and end of movement,
Timeless, and undesiring
Except in the
aspect of time
Caught in the form of limitation
Between un-being and
being.
Sudden in a shaft of sunlight
Even while the dust
moves
There rises the hidden laughter
Of children in the
foliage
Quick now, here, now, always-
Ridiculous the waste sad
time
Stretching before and after."
THE LORD OF THE
DANCE
"Where past and future are
gathered. Neither movement from nor towards,
Neither ascent nor
decline. Except for the point, the still point,
There would be no
dance, and there is only the dance."
5 |
|
- |
- |
- |
- |
D |
4 |
4 |
4 |
- |
ANC |
18 |
9 |
9 |
- |
E |
5 |
5 |
5 |
5 |
DANCE |
27 |
18 |
18 |
- |
- |
2+7 |
1+8 |
1+8 |
5 |
DANCE |
9 |
9 |
9 |
DANCE
RA ATUM DANCE DANCE ATUM RA
5 |
|
- |
- |
- |
- |
D |
4 |
4 |
4 |
- |
A |
1 |
1 |
1 |
- |
N |
14 |
5 |
5 |
- |
C |
3 |
3 |
3 |
- |
E |
5 |
5 |
5 |
5 |
DANCE |
27 |
18 |
18 |
- |
- |
2+7 |
1+8 |
1+8 |
5 |
DANCE |
9 |
9 |
9 |
4 |
MIND |
40 |
22 |
4 |
4 |
BODY |
46 |
19 |
1 |
4 |
SOUL |
67 |
13 |
4 |
12 |
|
153 |
54 |
9 |
1+2 |
|
1+5+3 |
5+4 |
|
3 |
|
|
|
|
10 |
|
|
|
|
|
R |
18 |
9 |
9 |
|
E+D |
9 |
9 |
9 |
|
E+M |
18 |
9 |
9 |
|
P+T |
36 |
9 |
9 |
|
I |
9 |
9 |
9 |
|
V+E |
27 |
9 |
9 |
10 |
REDEMPTIVE |
|
|
|
10 |
REDEMPTION |
119 |
56 |
2 |
|
|
|
|
|
10 |
|
|
|
|
|
R |
18 |
9 |
9 |
|
E+D |
9 |
9 |
9 |
|
E+M |
18 |
9 |
9 |
|
P+T |
36 |
9 |
9 |
|
I |
9 |
9 |
9 |
|
O+N |
29 |
11 |
2 |
10 |
REDEMPTION |
|
|
|
|
|
|
|
|
5 |
NAVEL |
54 |
18 |
9 |
8 |
OMPHALOS |
99 |
36 |
9 |
18 |
Add to Reduce |
225 |
81 |
27 |
1+8 |
Reduce to Deduce |
2+2+5 |
8+1 |
2+7 |
9 |
Essence of Number |
9 |
9 |
9 |
HERO WITH A THOUSAND FACES
Joseph Campbell 1949
THE WORLD NAVEL
Page 40/41
"The torrent pours from an
invisible source, the point of entry being the center of the symbolic
circle of the unverse, the Im/movable Spot of the Buddha
legend,46 around which the ,world may be said to revolve. Beneath
this spot is the earth-supporting head of the cosmic serpent, the dragon,
symbolical of the waters of the abyss, which are the divine life-creative
energy and substance of the demiurge, the world-generative aspect of
immortal being.47 The tree of life, i.e., the universe itself,
grows from this point. It is rooted in the supporting darkness; the golden
sun bird perches on its peak; a spring, the inexhaustible well, bubbles at
its foot. Or the figure may be that of a cosmic mountain, with the city of
the gods, like a lotus of light, upon its summit, and-in its hollow the
cities of the demons, illuminated by precious stones. Again, the figure
may be that of the cosmic man or woman (for example the Buddha himself, or
the dancing Hindu goddess Kali) seated or standing on this spot, or even
fixed to the tree (Attis, Jesus, Wotan); for the hero as the incarnation
of God is himself the navel of the world, the umbilical point through
which the energies of eternity break into time. Thus the World Navel is
the symbol of the continuous creation: the mystery of the maintenance
of the world through that continuous miracle of vivification which wells
within all things.
13 |
IMMOVABLE+SPOT |
|
|
|
9 |
IMMOVABLE |
92 |
38 |
2 |
4 |
SPOT |
70 |
16 |
7 |
13 |
Add to Reduce |
162 |
54 |
9 |
1+3 |
Reduce to Deduce |
1+6+2 |
5+4 |
|
4 |
IMMOVABLE+SPOT |
9 |
9 |
9 |
"WHERE PAST AND FUTURE ARE GATHERED NEITHER
MOVEMENT FROM NOR TOWARDS
NEITHER ASCENT NOR DECLINE EXCEPT FOR THE POINT
THE STILL POINT
THERE WOULD BE NO POINT AND THERE IS ONLY THE
POINT"