In
Hermetic culture, initiates have always compared the properties of the
spiritual substance preceding matter to that of an ocean, because its water
fills the “void” (vidia translates as knowledge
in Sanskrit) as would water in any container. This ocean echoes the cosmic
sea of dark energy to which David Böhm alluded.
Since the homophone of sea (mer),
mother (mère) comes from mater
in Latin, we can weave interesting semantic links between mother (mère), sea (mer),
mercury (the Latin avatar of Hermes-Trismegistus), mater, matrix
and Mary ((Marie)
(which is the anagram of love (aimer)).
If
this invisible matrix is at the origin of all manifestation, the assumption
that she is a virgin is obvious and the symbol of the black virgin (vierge noire)
(black, in opposition to the synthesis of the 6 colors of the visible spectrum, expresses the
absence of light), as well as that of the virgin Mary (vierge
Marie), becomes more explicit from the point of view of theosophy,
since the holy virgin (sainte vierge), the queen mother (reine mère), is
the ordinary representation of the mercury of the Philosophers.
Strangely enough, the anagram of dark energy (énergie noire) is unknown queen (reine ignorée),
which reminds us of the parable in verse 1:5 of the biblical poem Song of
Songs, probably born of the love between King Solomon and the Queen of Sheba : « I am black, but I am beautiful (...) ».
In the
twelth century, in his secret book on the hidden
art and the Philosopher's Stone, the alchemist Artephius
presented the water of the wises (l’eau
des sages) in this way : « How precious and magnificent is this water !
For without it the work could not be perfected :
therefore it is called the vessel of nature, the womb, the matrix, the
receptacle of the dye, the earth and its nurse, it is the fountain in which the
King and Queen wash, and the mother that must be placed and sealed on the womb
of her child who is the Sun. »
Are
you beginning to understand how the Cabalists deliberately blurred the lines
back to the primordial ocean by handling a deliberately convoluted
lexical field in order to define a single thing, that is, in this case, the
uniqueness of matter, the materia prima ?
In the
Corpus Hermeticum, verse 16 of the
excerpt from a speech by Hermes to Tat states that
: « everything that exists is in motion; only non-being is immobile ». Unity, a preliminary state to
divine manifestation, could then be imagined as energy in the form of
stationary waves, and when this energy is vectored, the whole is set in motion
creating space, time and, consequently, matter. The universal matrix is born from
the rupture of the spatial equilibrium of unity, this first impulse is The strong Force of all forces, its Spiritus
Mundi and its Holy Spirit, it is the passage from the ain
soph to the ain
soph aur in the tree of
life of the Hebrew kabbalah.
A
Cabalist would break down the word HOLY (SAINT) into 3 parts: S, AIN and
T. The silent T is the outline of an immaterial cross and expresses the center.
AIN is the abyss, the non-existence in Hebrew and is heard as one
(un) in French and S is the letter of manifestation because it
undulates like the graphic representation of a pulse. In other words, the
vibratory signature of the saint resonates with the first impulse from the
center of unity. This is the reason why the soul of a saint, his spirit, will
always be close to God and his creation. The different states of matter could
be compared to the rungs of a ladder where the matrix Force condenses,
crystallizes, in more or less regular forms.
The
adept Fulcanelli outbids the generation of the Wheel of Fire. by giving the best
definition of alchemy that you can find : « Alchemy
is the permutation of form by Light, Fire or Spirit ».
Even
if metallic transmutation seems to be a reality according to the testimony of
Irenaeus Philalethe (1628-1665),
making gold to get rich has never been the purpose of alchemy. Here again, many
have been misled into not understanding the Cabalistic scriptures. To separate
the pure from the impure is to go from a vile matter to a rectified matter. The
simpler and more orderly the molecular arrangements become, the more matter and
the matrix source gradually tend towards reunification, towards unity.
Matter is purified in a revolution that is the reverse of the Luciferian fall (Lucifer
is the Latin word for Light bearer. Lucifer appears for the first time
in Greek mythology where he is the guardian of the horses of the solar god
Apollo), hence the concept of the Nietzschean eternal return. The famous
immortality, about which dreamers fantasize so much, is perhaps finally only
the search for eternity, for absolute immobility, where the eternal rests, as
close as possible to unity. The realm of the science of the adepts is
therefore, by definition, outside of time and space. Unlike modern science,
which is concerned exclusively with matter, alchemy, magic and astrology focus
directly on the matrix and the natural laws of the invisible that animate it.
Astrology
allows us to gauge the energetic variations of celestial Fire. Alchemy
is the manifestation of this Fire in organisms, a priori, inanimate
(minerals and plants) and magic in animate organisms (human beings and
animals). The magician has always had a perfect mastery of cosmic Fire, this
Force that he makes pass through his body, in order to modulate it, then to
redirect it according to the use he wanted to make of it. Either for positive
purposes if the love of God filled his heart (white magic), or to sow division
and destruction if he was seduced by the dark side (black magic).
If we
push the reasoning as it should be, on the horizon of intellectual honesty, it
appears that the driving principle of all existence, the force underlying life,
is generated by a matrix that originates outside the boundaries of our reality.
In 1922, Niels Bohr, Nobel Prize winner in physics, said :
« All
the things we call real are made of things that cannot be considered real ».
Since the matrix Spirit is outside the sensible and measurable field,
how is it possible to perceive its substance in the world accessible to men?
~
If
this creative Force is the cause of tangible effects, its signature must
necessarily be observable in nature. It is therefore possible to glimpse the
mechanisms of this matrix by adopting the mentality of an insatiably curious person ; that is, by opening our eyes wide. In this will,
specialization in one field or another would be a serious mistake, the
Philosopher of nature must open the field of possibilities to all scientific
fields, from astronomy to mineralogy; in other words, to all visible phenomena
between heaven and earth. The imprint of The Force must be present
everywhere, and as the emerald tablet suggests, in the infinitely large as well
as in the infinitely small. The work consists of noting its traces and then
finding the analogies that link them.
It was
while working on this task that the mathematician Leonardo Fibonacci noticed in
the thirteenth century AD that an arithmetic sequence was linked to growth in
the biological world. In the progression
of this sequence, each new number is the sum of the two preceding it, that is ; 0, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144... and so on. The higher the numbers become, the more
the ratio between a number and the one that precedes it tends towards a
mathematical constant with a value of 1.618. This ratio of proportion was
defined by the Greek Euclid, father of geometry born in the fourth century
before the birth of the prophet Jesus, as the division of a segment between
extreme and average reason. This ratio is invariably repeated in all the
creations of nature, where the phyllotaxis of the vegetal world is probably the
most explicit example.
We can
observe spiral arrangements of this numerical matrix in flowers, romanesco cabbage and pine cones, but also in the shells of
nautilus and gastropods. These analogies are quite amazing because they are not
limited to these few examples, they find a universal echo in the 3 kingdoms of the living
world (mineral, vegetal, animal). Nature makes geometry, automatically, without
square or compass. Nature does not need a plan, it is the plan. Its
architecture, especially when it is expressed in a helical (helical, helix
have the same etymological root as Helios ; the
Greek solar neter) and logarithmic way, is
simply dazzling. I will never understand why most of you still remain stoic in
front of such beauty and elegance ? Don't you have
eyes to see ?
Nowadays,
the ratio equal to 1.618 is better known as the golden ratio, it was popularized
by Matila Ghyka in the
twentieth century and results from a cross between semantics and mysticism. The
etymology of the word gold comes from aor, aour or our in the Semitic languages and
translates into light. When one remembers the prologue of St. John where
it says: « The Word was god (...) The Word was the true Light », the
correlation between God, The Word, The Light and the golden ratio
becomes more than obvious for synonymic reasoning and alchemical thought. If
you were looking for a concrete proof of the existence of God, the golden ratio
would give your argument a factual dimension that would be difficult to refute.
Especially since the Greek symbol of the golden ratio: Φ, defined in the early Christ worshippers : The Force of God, the Will (the
Telesme of the Emerald Tablet) or the principle
of concentration of the Spirit in matter.
Φ's signature is also evident in human
anatomy. Among the multitude of examples, we could cite, the case of the navel (nombril)
is the most significant. Indeed, knowing that the word Navel (nombril) is
the phonetic counterpart of nombreel, the
Cabalists would break it down into nombre and el
to find its true essence. As el is the name of God given by the Semites,
this point, so special to the Vitruvian man, is the physical revelation of
God's number in the proportions of the human body. On the one hand, it is from
this point that the mother's nourishing energy was breathed into us, and on the
other hand, and this is what interests us here, it divides, on average, the
distance between the feet and the head by the ratio of the golden ratio. The
verse 1:27 of Genesis which states that «
man was made in the image of God
» is not a parable, it must be
understood literally, in the first degree.
The Larousse
dictionary explains that Φ [ phi ]
is the 21st letter of the Greek alphabet (21=3x7), corresponding, in ancient
Greek, to an aspirated [ p ] and, in modern Greek, to an [ f ]. It is
transposed by [ ph ] in the French words coming from Greek. The
first syllable of the words Philosophy, Physics, Phyllotaxis,
Firmament, Force and Fire underlines the intimate
relationship that these words have with the golden ratio. Etymology is a
science to be handled with the utmost seriousness because, as you may have
realized earlier, the keys of investigation offered by this tool are
unequalled.
In the
face of all these sympathies, it seems to me not very presumptuous to affirm
that Φ, the true swirling
pivot of universal harmony, is the organic imprint of a Creative Matrix
whose structure is subject to the laws of geometry and arithmetic. Plato
understood this very well since he declared: « God, always, makes geometry
» and « Geometry attracts the soul
towards the truth, and forms the Philosophical Spirit, by forcing the soul to
raise its gaze upwards, instead of lowering it. »
Historians
say that the golden ratio was named phi in honor of the sculptor Phidias (480-430
BC),
famous for having participated in the construction of the Pantheon in Athens,
where the ratio so precious is exalted in the proportions of its facade. Should
we be astonished that the golden ratio was already used five centuries before
the Christian era by Greek architects, but also, according to the work of René
Adolphe Schwaller de Lubicz
(1887-1961), by
their Egyptian colleagues? We do not think so, because all the Artists worthy
of the qualification have always made their works resonate with this signature.
In their desire to mimic (singer) nature (to hear holy G (saint G),
where G is a graphic presentation of the spiral), they made it the canon of
beauty. Whenever Φ is
used, it is a syncretic tribute to nature and the creator that is celebrated.
From the grandiose pyramids of the Giza plateau to the abstract paintings of Kandinsky,
Φ has always been the prerogative of
Artistic genius and the mark of a symbiotic relationship with the universe.
This form of expression was certainly born of a necessity, that of revealing
and glorifying in the material world the intelligence of the divine creation.
~
No
matter what our contemporaries think, the Art of before the twentieth century
had nothing in common with the one which is proposed to us since. The word “art”
has become, in spite of itself, a catch-all term in which any ‘‘creative’’
delirium can find its place. It is enough to frequent the galleries to become
aware that art has become an intellectual masquerade and a visual pollution on
which charlatans try to make their fortune. Already in 1973, Jean Phaure described this hype with the objectivity that it
deserved : « Modern art is a black magic, sometimes in the most operative sense of
the term, and has for eschatological function, as the psychoanalysis, to put
back in the field of our consciousness our infra-psychism populated of all the
psychic and demonic residues that had in the previous phases of the cycle been
contained in these cellars by the sacred art, the religions and the initiatory
knowledge ». No need for a
doctorate in art history to realize that creativity is, in comparison with the
achievements of our past, the victim of a process of ordered destruction.
Indeed, how can we put on the same pedestal the paintings of Jackson Pollock or
Pablo Picasso with those of Michelangelo, Raphael or Botticelli
? Unfortunately for our awakening and our well-being, this imposed form
of intellectual terrorism is not limited to the borders of Art, but rots all
the pillars on which rests the emancipation of a healthy and balanced society.
To
this, we must add that a person's creativity does not necessarily make him an
Artist. The masters are formal and are always there to testify to this; one
does not become an Artist overnight, perfecting one's Art requires a lot of
work and a spiritual asceticism of every moment. Without having gone through
the purification and rectification of one's soul - to show holiness - it is
practically impossible to receive divine inspiration, to resonate with The
Force and to be one with the grace of its quintessence. Leonardo da Vinci (1452-1519)
drives the point home a little deeper and dismantles the overly hasty self-qualifications : « The artist, unceasingly occupied in
contemplating creation, pays perpetual homage to the creator. Our so patient
study of the divine work, requires more efforts than to sing matins ».
Art
induces a fusional relationship with the sacred and in this sense, it must reflect
the divine space. In order to achieve this, every detail must be carefully
thought out, measured and weighed, absolutely no element can be the fruit of
chance and as Jean Phaure pointed out, this type of work is the antithesis of
spontaneous art. The arithmetical proportions and the geometrical lines
organize a harmonious and resonant composition. The choice of colors matches
the symbolism of the figures and volumes. Mythological and religious archetypes
are mixed with Cabalistic references of all kinds. And of course, never forget
to remember the Hermetic character of the form, that is to say, as the adage of
the tradition stipulates; to show, to signify, and to hide... All at the same
time. The divinity does not speak... It
means, it suggests !
Often
considered the cornerstone of all the arts, architecture occupies a privileged
place in its relationship with the natural elements. The synchronization
between the properties of a temple and the cosmic cycles has always been one of
the best kept secrets of the high initiatory spheres of the priestly castes. It
is in the resolution of the squaring of the circle that the building is
elevated to the sacred and asserts its operative function by conjugating
celestial and earthly energies within it. When a temple is built according to
the rules of art, its geometric form gives the space its orientation, and like
a needle on a sundial, it also gives the measure of time. In this, the
scientific knowledge of the cycles raises the Architect to the rank of the
initiated and in its finality, it cannot be otherwise.
Sadly,
few truly understand the coding systems used in the Art of the past, and even
if their attempts are successful, the academic doxa automatically labels them
as mildly enlightened. This label justifies all the more the approach of the
Arts through the prism of psychology among modern thinkers, it is necessary to
try to bring an explanation, even phantasmagorical, on the allegories, the
metaphors and the parables of the traditional culture of our masters. In any
case, we will try to decipher some works for what they really were throughout
this thesis. The best way to do this is to use the tools that have been
bequeathed to us, and in this virtuous measure, the Liberal Arts are essential.
The
Liberal Arts are seven in number and are divided into two paths : the
Trivium and the Quadrivium.
-
The Trivium is
defined by the expression of The Word (The Light) through words. It is divided
into 3
subjects:
grammar, dialectics and rhetoric.
-
The Quadrivium refers
to the powers of numbers, the expression of the Word through mathematics and is
divided into 4 subjects: arithmetic, music, geometry and astronomy.
Alongside
these 7 ways, a linguistic axiom from the Hermetic Cabal, called the
language of birds, completes the already well-supplied palette of the
Artist. This kind of slang, qualified as solar and whose principles are
sanctified in the appearance of it initiator (the Egyptian neter with the head of an ibis : Djehuty-Thoth) is based exclusively on the assonance
of words, without ever taking into account the rules of spelling and grammar.
Richard Khaitzine (1947-2013), the
friend we would have liked to have by our side, spoke of it thus
: « This language of the birds is the one revealed by Jesus to the apostles
through his Spirit, the Holy Spirit. Remember this episode from the Gospels. It
is the time of Pentecost and the apostles receive the Gift of tongues in the
form of tongues of Fire, Fire being a synonym for Spirit. But in this case, you
ask, why is it called the language of birds? Because the Holy Spirit, being
volatile in nature, is frequently symbolized by a bird, often a dove. »
In
order to overcome the weaknesses of language and to provide the last
indispensable keys to the opening of the closed kingdom of the magi, the
disciple of Hermes used another means of transmission that is still poorly
understood today : the symbol.
~
The
symbol plays a more than singular role. Stimulating only the psyche, this
figurative sign links man to his imagination and connects his thought to
spheres that cannot be described by words. Indeed, the sound of a word is a
vibration that the ear can hear and in this state, it has already a material manifestation. The word
awkwardly cuts off the dynamics of the idea it wishes to define and it is
precisely to remedy this weakness that the use of the symbol demonstrates all
its effectiveness. By creating a bridge between reality and the uncreated, this
mode of reading gives the mind the possibility to cross the mirror of
appearances and to glimpse the other side of the scene, outside of space and
time. Ferdinand Brunetière (1849-1849) specified : « The symbol is image, it is thought... It
makes us seize between the world and us some of these secret affinities and of
these obscure laws which can well pass the range of science, but which are not
for that less certain, any symbol is in this direction a kind of revelation
».
If a
picture is worth a thousand words, as the ancient Taoist wisdom suggests, a
symbol would be worth a thousand images.
We
could not conclude this brief paragraph without honoring the sharp words of
René Guénon (1886-1951)
because his life and work alone crystallize a spirituality without concessions.
He wrote in his book Symbols of the Sacred Science : « We have already had occasion to speak of the
importance of the symbolic form in the transmission of doctrinal teachings of a
traditional nature (...) Why is there so much hostility, more or less avowed,
towards symbolism ? Certainly, because it is a mode of expression which has
become entirely foreign to the modern mentality, and because man is naturally
inclined to distrust what he does not understand. Symbolism is the most
suitable means of teaching truths of a higher order, religious and
metaphysical, that is to say, everything that the modern mind rejects or
neglects; it is the very opposite of what is suitable for rationalism, and all
its opponents behave, some of them without knowing it, as true rationalists
(...) It is thus that the highest truths, which would not be in any way
communicable or transmissible by any other means, become so to a certain extent
when they are, so to speak, incorporated into symbols which will undoubtedly
conceal them for many, but which will manifest them in all their brilliance to
the eyes of those who know how to see (...). If the Word is thought within and
spoken without, if the world is the effect of the divine Word spoken at the
origin of time, the whole of nature can be taken as a symbol of supernatural
reality. Everything that is, in whatever form, having its principle in the
divine intellect, translates or represents this principle in its own way and
according to its own order of existence ; and thus,
from one order to another, all things link and correspond to each other in
order to contribute to the universal and total harmony, which is like a
reflection of the divine trinity itself. This correspondence is the true
foundation of symbolism, and that is why the laws of a lower realm can always
be taken to symbolize the realities of a higher order, where they have their
deepest reason, which is both their principle and their end. »
In its
vulgar figuration, the holy bol takes the form of a
cup or chalice, during the magical ritual of the mass, at the time of the
Eucharistic sacrament, it collects the Christic blood : metaphorical liquid of the cosmic fluid.
The evocation of a watery substance inevitably recalls the way in which Hermetists associated the behavior of the Mercurial
Spirit with a primordial ocean. Following the analogical reasoning,
the symbol fulfills exactly the same function as its homophone, revealed by the
language of birds ; the holy cup (saint-bol), namely to be the receptacle and the revealer in
the tangible world, of the unspeakable principles of the universal matrix.
I understand that for most of you, Hermeticism
seems quite mysterious, even chimerical, all the more so as this philosophical
current proposes historical and scientific perspectives that the dominant
thought immediately qualifies as irrational. I can already hear the rhetoric of
the most recalcitrant :
« How could the man of antiquity know what modern science is just beginning to
glimpse? Are we not superior to these
hicks of the past ? »
Whatever
he may think, today's man is not aware of his ignorance. We should not blame
him for this. From the nursery school benches to the university lecture halls,
he is pushed to naively repeat what he has learned. And since most of them grew
up in the same system, it is logical that "normal" people are all formatted
in the same way. In his defense, it must be recognized that the quest for
knowledge, intellectual and cultural enrichment is an activity that is no
longer valued. Absolutely nothing is organized to encourage us to read library
books and to multiply our general knowledge. This sad fact is the direct
consequence of a Regalian education constantly
levelled downwards, of the propagation and normalization of the culture of the
artificial (to the detriment of the natural), of the promotion and
standardization of mediocrity by the dominant media, of the stultifying and
hypnotic manipulation of the masses by television, but above all, of the ever-increasing
denial of a transcendent and saving spiritual kingdom. We no longer count the
number of friends who are very proud of their agnosticism… How sad !
At the
dawn of the twenty-first century, the collapse of thought is the image of the
decadence, the degeneration and the decline of our civilization. This
intellectual sclerosis has become an increasingly thorny obstacle to overcome
for those who take the path of spiritual evolution and personal emancipation.
The social conditioning is so powerful that the intrepid, those who still dare
to think for themselves, are often put on the bench of the infrequent and are
unfortunately subject to mockery. It takes a great deal of strength of
character to free oneself from popular vindictiveness and the judgment of
others. This work requires a deep and delicate introspection on oneself, very
few people are ready to suffer to dissolve the illusions of everyday life and free
themselves completely. To be able to empty one's chalice of all the dross, and
then fill it again with a brighter light, is an accomplishment that is earned
over time.
Prudence,
temperance, fortitude and justice are the cardinal virtues necessary to open
the kingdom of God. If perseverance and truth are our loyal servants, the
vertical essence of Solar Fire will illuminate our hearts and the work
we undertake will always be successful. Without this spiritual quest, I would
probably never have found the courage to share with you these few lines,
because the metaphysical currents on which the winds of this demonstration will
carry us are ridiculed by the orthodoxy of the educational system and very
poorly understood by the globalized culture of today. This thesis could never
have been an original stone brought to the edifice, if our usual prejudices had
not been surpassed and if the lands of the unexplored had not been pushed back.
The
scientific study of the main religious symbols is the major axis around which
this thesis will evolve, its Axis Mundi. The veil will be lifted on the
nature of their synchronicity and on the naturalistic nature of the Holy Spirit : matrix
of the sacred science. Like a modern Jason in search of the Golden Fleece,
guided by the clarity of the North Star, we will navigate the most mystical and
least imaginable vibratory oceans.
I invite
you to embark on my ship of exploration and to raise the moorings towards the
most absolute mystery of all : the universal creation,
origin of space-time.
LN
Published October 28, 2021
Post Scriptum : This thesis introduction has been translated with
the help of an artificial intelligence. Although I have made all the
corrections available to me, this text can still be improved. If you want to
help with this task, you are welcome ! (Please send an email to
ludovic@lamatricecreatrice.com)
NOSTR :
