M. le jmd sometimes thinks I am unlearned, and Rosanne thinks me a mad Myrddin of the Caledonian Wood (I wish) only some of whose mutterings and wailings can be made out (just joking). By the way, I would probably be with the druids of both sides on a hillside somewhere observing, judging (intervening to stop the fight once we determine one side or the other has ‘made its point’, unless the other side is Roman, in which case annihilation is the only point), and working out the lay of the struggle for the winter halls.
Rosanne said:
When you get to the Futhark -you become Etruscan again...and I do not as yet understand 'Bardic numbering'
Bardic numbering? Okay (using symbolic ‘shorthand’):
B counts the fingers of the newborn’s hand.
L teaches the similarity of two manifestations (2 x 7).
N reaches for return-to-beginning (13).
F (spring) duplicates nature (2 x 4).
S (pollen?) duplicates that duplication (2 x 8).
H separates (no-thing or space).
D-of-midsummer (oak) has 12 merry men.
T (11) is the turning of one of them.
K’s nut is fallen from the nine hazels of wisdom.
Kk duplicates this (2 x 9).
Mmm is when one threefold thing encounters another of its kind (2 x 3).
G serpentine ivy climbs down the Tree as
desire’s grasping-in-both-hands (10).
P is for
poetry, meaning manifestation itself (7).
Ss is strife between two ten-fingereds (2 x 10).
R is fifteenth, completes the ogam consaine, and has an extra hand (15)
(Aa is 1’s outer aspect, three manifestations or 3 x 7.)
A begins the Logos and is 1 everywhere (can’t ‘defend’ the unassailable).
O is spring’s waxing moon, the elements flourishing (4).
U is summer’s full moon, nature’s quintessence (5).
E is autumn’s waning moon, or second thoughts (2).
I is onset of winter, the threefold death.
(Ii-yod is a spark generated by interplay of 10 and 9, where
and = “+”.)
I take it R’s ‘extra hand’ represents what controls us from without (sense impressions and heredity), eventually bringing about our (and the year’s) demise.
Now for the futhark. In it there are two sequences where letters’ bardic numbers (first in each number-pair) match their predecessors’ Greek/Hebrew number (second in each number-pair): Ii(19,10) – g(10,3) – I(3,7) – P(7,80) in the middle
aett and B(5,2) – E(2,5) in the 3rd
aett, the former occurring right smack dab in the middle of the futhark. Look at the three
aetts stacked on top of one another (in Keltic equivalents), w/ ‘mothers’ in bold and bardic-to-Greek number sequences in italics (
g is the lesser or selfish desire, called ‘harvest’, G the greater or generous desire, called ‘gift’):
3)... T –
B – E –
M – L – Ng – O – Aa
2)... H – N –
Ii – g – I – P – Ss –
S
1)... F – U – D –
A – R – K – G – Q
You see, the thinker, sagittary, is on the macrocosmic hexad (hexagram based on vertical axis), while doer and knower are on the microcosmic hexad (based on horizontal axis, which begins to curve away immediately upon leaving the vicinity of the body). The natural ‘enlargeability’ of the macrocosmic hexad is what makes the thinker the part of self that exerts influence on the macrocosm. Viewed from the fount whence all three
aetts spring forth, namely backbone (which means we should probably turn the
aetts around), M and A only reach out halfway, while the one letter of the Logos (AUM) which is significantly altered in sound when switching from Egyptian (
w or ‘quail chick’) to bardic (mother-letter shin) reaches all the way ‘out’ (to the end), enabling its sound to
be corrupted. The A of the fallen (off-balance) doer is the only one that does not contain a centered (balanced) bardic-to-Greek-number sequence: being
one in all traditions, it denotes number-sequence-and-mother-letter-in-one. The central four embody the
means of grasping the handle turned towards us in TdM’s X LaRoue deFortune: they show a mechanism involving the acquisitive desire (
g or ‘harvest’) and the spark yod (Loki’s mistletoe): one must
acquire ere one can
bestow.
Can you say in a timeline what you think occurred? Like the mystics left here in.....? and went there in ..... and used this and it spread to ... ??? It would greatly assist me. Make it plain...
Boy, you don’t want much (just joking)! Here’s basic chronology, as I discern it.
First, my initial assumptions (more properly, deductions) are: that upright, sentient beings with ten fingers are as essential to the cosmos as atoms, that there was no beginning for either (“duh” for the cosmos, considering conservations laws), and that the zodiac of the human body has always existed. The figures constituting the zodiac at present are merely the current forms symbolizing man’s parts: ram as headbutt, bull as neck, twins as shoulders, crab who walks perpendicular to ram’s forwardness, the lion-hearted, the virgin whose womb is the issue, scales to weigh, then the division of paths – closed (whole) versus open-and-extended (S-shaped) – into serpentine (S-like) or scorpion-and-eagle-like (rising behind unto the apex of the round), then the thinker Sophia as half-man half-beast (link between knower and doer) acting at a distance (w/ arrows), and knower as goat capable of climbing the precipitous vertical back side of the round, then two more that, coming after (beyond) goat-like selfness (straight back), are a bit foggy to me, mere self that I am, though I take the sometime water-pourer water-carrier as primarily the latter, to symbolize the back-of-the-shoulders where a horizontal pole would rest, and the (two) fish as the feet (being odoriferous). Ankles as water-carrier points to their nature as bodily ‘extremities’ needing circulation, fish/feet being what the water/blood needs circulating
to. To see these symbols in the stellar heavens is mere projection, though the heavens
are the ‘hands’ of a clock whose face is the seasons, spring springing towards the ram, fall falling on the scales (and summer ‘busting out all over’, being nature’s ‘bosom’). (I know, the original was “Spring is bustin’ out all over,” but what can I say, the song got it wrong: spring bursts UP and summer OUT.)
Now, a timeline, hardest part of the whole thing really, as I have uncovered several facets of a lava-encrusted gem and now am asked to explain the forces that both formed it and encrusted it? which is what I’m trying to get help with (among other things) by talking to use guise in the first place... but here goes my best attempt:
WEATHERTIME, by G.K.Spain
in weathertime were proud birds
that beat their wings against the sky
long ago when unclouded rainstorms
still dwelt on the earth
they were the ancestors of sparrows
who speak to us in high shrill tones
melodies that echo
their ancient tongue
in the end every species
must inevitably see the world
as such a tiny simple thing
that tinkering with it lose all its glamour
and so they make of it
a single vast plaything
a huge canvas on which to sprinkle
colors as the birds have done
(Sorry, I got carried away.)
Now to specifics (though I need to read Graves carefully a third time to pin down anything approaching an accurate map of influences). Remnants of the last civilization – destroyed by vast inundations around the time Plato said it was, according to archeological evidence, and based partly on hydraulic works (?) often using stones of immense size moderns couldn’t even move without cracking I dare say – seemingly clung to NW Africa in its Neolithic phase then spread their lore with the amber trade to the British Isles and, by sea or land, east to Egypt, though its exact trace prior to Egypt is lost in the fog of time, things then being devastated chaos with little surviving of the former heights. But I take it knowledge underlying the bardic numbering system – understanding what form matter currently takes and why (chemical valence, biochemistry, particle structure), man’s task and importance in the scheme of things, and the moral basis of reality – decayed over time but the numbering system and arrangement of sounds persisted in Britain clear up till the Kelts came, to whom it was passed by the previous ‘wizards’ or ‘fairies’, the Sidhe, Britain being where druids went for their deepest training. It was also the probably place of Apollo’s ‘hyperborean’ priesthood,
Apollwn (
w=omega) a name reflecting bardic calendar principles when translated into numbers.
The system of phonetics, of
letters (evidently tree-letters), spread though the Mediterranean: it can be seen to be a body of water with distinct currents but one fluid. The currents are trees with branches: Hebrew and Meroitic branched off from Egyptian, Libyan and perhaps ogham itself (I’ve not yet determined) from tifinag, the Orphic or pre-Homeric Greek perhaps a ‘trunk’ in itself, but all showing relationship to the central figure of Cauldron and Egg, though whether druids’ “serpent’s egg” was the third or the fourth wheel and whether the Orphic egg might not be the second wheel in a sense (it is spoken of as dividing into sky above and ground below) I’m not sure. I don’t KNOW the exact meanderings and confluences in their intricate temporal development, I simply see strongly outlined traces of the bardic system in every original alphabet, though later developments distort, such as Latin’s development of gamma into our
c (which makes Irish preference for hard C over K idiotic!) and the earlier hardening of bardic I into zayin or zeta.
It is possible that Egypt itself was the fount for all this, but I do not press that case, as it seems more likely it was seafarers that spread it, not Nile-worshipers. For the horizon on a calm sea is flat (like Texas) and ogam consaine, tifinag, AND Phoenician were all seafarers’ scripts. But it could well have been an order based at Pharos that later disappeared, so I’ll not pass judgment. The Egyptians wielded great power, certainly, and the geodetic arrangement of letters based on Giza=libra shaped even Gnostic thought, Egypt being considered ‘the body’ or prison of the soul (it symbolized the sensual or earthly).
Twelfth-century Provence/Languedoc saw confluence of the two most well-preserved (both no-doubt considerably decayed) branches of this ancient tree on which Aesop and others had fed, the only possible explanation I have found for the sudden emergence of Qabbalah in that culture – a renewal of Merkabhah but with a new, deep understanding or teaching that was never revealed, despite moderns’ claims that what WAS written down is Qabbalah, which is absurd and contradicted by those writings themselves (which is why I distinguish the spelling and call the flotsam
Kabbalah).
Concurrence of Markabhah and bardic stipulations include: S as head and M as ‘belly’ (loins) with A the bridge between them, confinement of the seven ‘doubles’ of Merkabhah to the manifested, satirical half of the year (as
double entendre?), the not-rooted-in-the-ground nature of yod (Ii being mistletoe), and numerous individual symbolic ‘hits’, happy agreement between tree-symbol and Hebrew letter, as with vav (ura the heather or marriage bed) meaning ‘and’ in Hebrew, or B (birch, birth-tree) being bet, ‘house’ (as in ‘house of’), and so on (think of a house as man’s ‘nest’ and you’ll get it).
Having reconstructed much of the old science through contemplation of the two systems, bardic and Markabhic, some group or other that were fundamentally Gnostic and thus not specifically Jewish OR Xian (to which Masonry is related somehow) preserved the knowledge embodied in commonly understood symbols formed into the very specific and intricate structure of the TdM trumps – with or without a ‘tooling-up’ period represented by earlier not-quite-so-complete versions such as the Cary sheet. Perhaps I was the perfect candidate for fitting the pieces together because I too am neither Xian nor Jewish yet have deep respect and love for both halves of the Judeo-Christian ‘ethic’ and revere the ancient strands both preserve.
Does any of this help? (Feel free to question or attack me on particulars.) The worlds were the basis of Ezekiel’s vision but ‘God’, not Ezekiel, invented them: they are part of the science that is so VERY old and decayed it needs renewing from time to time: it has survived a dozen millennia since the Disaster so far, if one consider me alone knowing it (seemingly) a ‘survival’. Oh well, perhaps SOMEone out there is listening... (hopefully you)
[Edited to correct 4th line of pome, which I finally remembered how went]