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Elemental Hexagrams and the Platonic Solids

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At least early as Plato, in his work Timeus, we have referred the four elements and the quintessence to the five Platonic Solids. It is an accepted fact that Plato did not invent or discover these figures, but is given credit name-wise in a similar way that Pythagoras is given credit by name over the Pythagorean theorem. Neither are responsible for either of these ideas, but we honor them as such anyways.

Golden Dawn teachings have readily available in all corners integrated use of two-dimensional polygons and polygrams.  They have application in ritual, talisman design, meditation, organization of systems of energy, and so on.  Used to a lesser degree are higher dimensional shapes such as polyhedra.  Rightly so, as three-dimensional shapes are much more difficult to create, let alone use outside the context of having the symbol in front of you.  In the case of the Platonic Solids, it is rare to see anything besides the cube or the tetrahedron mentioned in GD teachings.  These are, after all, the simplest and easiest of the polyhedra to visualize as well as construct.  I have heard claims of people using these figures for elemental work, but the more I work with them (and it was a struggle to work up to clearly visualizing some of these solids) I have to wonder if some making those claims weren't just speaking about what they would do with them if they were properly able to create astral versions of these forms.  Simply visualizing the figures aside, it is even more difficult to visualize such figures projected into a sphere (the Celestial Sphere or the sphere of sensation) for practical meditation without much effort and self-training, whereas this is quite simple to do with the two-dimensional polygrams.

I have found that there is a connection between the Platonic Solids referred to the four Elements and the Hexagrams also attributed to the same. This becomes easier to see when the Platonic Solids are in your hand, or if I show you a two-dimensional projection of the figures. Let's start with the Cube, also known as the hexahedron. When looking at a Cube from the perspective of one of its corners, it then outlines the shape of a hexagon. Were we to connect these points, we would then have the shape of a hexagram, the form referred to the Element of Earth, as is the Cube itself.  No triangles naturally occur in a cube as it is entirely constructed from squares.  It is only by turning it to an angle that triangles emerge by connecting the points from the cube projected onto a two-dimensional plane.
The next one in course is the Octahedron. This shape is referred to the Element of Air. You have only to look at this shape for a moment to know what Hexagram it relates to, as this is one of the more obvious ones.


Next, let's look at the Tetrahedron. If you've gone through the Practicus grade in any Golden Dawn order, you should know that this shape refers to the Element of Fire. Aside from the Cube, this is the only figure that gets much attention in any of the old GD papers. Look at the skeleton of a Tetrahedron, look at one made of quartz, or look at one from above, and you will see the presence of the double upward triangle.


Last, let us look at the Icosahedron, the shape referred to the element of Water. This figure has twenty sides, all made of triangles.  You will probably notice that the air hexagram is also visible on this figure.  Consider that liquid is dense gas and that water contains air.


Anyway, the next time you're doing some hexagram work, you might consider visualizing these figures  amidst the elemental hexagrams and see what comes of it.

The Dodecahedron of Space

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We are all familiar in this tradition with the concept of the Cube of Space, which maps the astrological forces upon the faces and edges of a cube for a system of meditation.  I have been mapping out astrological forces upon the other four Platonic Solids.  The first of which is what I will be referring to as the Dodecahedron of Space (12 pentagonal faces).  I initially did some research on how others may have arranged these, but I was entirely unsatisfied by any attempts because of a lack of symmetry and harmony of the energies upon it.  I then sought to arrange them based upon my own meditations and direction.

I was inspired to arranged the zodiacal figures upon the dodecahedron so that the complimentary signs (like Aries and Libra) would be on the opposite faces and also that a symmetrical looping pathway was present, such that the Aries pentagon is adjacent the Taurus one, which is adjacent the Gemini one, etc, looping all the way back to Aries from Pisces.  The remaining symmetry I discovered through meditating upon the symbol, having them arranged as such.

Earth Elemental Signs Coming Together, Active Air Signs Surrounding
Water Elemental Signs Coming Together, Active Fire Signs Surrounding
The first attempt at laying out these figures resulted in a certain pattern emerging.  The three fire signs all met in one vertex, as did the air signs; the passive signs were symmetrically distributed.  It shifting the signs along the pathway I adjusted them so that the passive signs would collect together in one vertex and the active groupings would be equally dispersed.  The logic behind this decision is that the passive elements tend to collect together while the active elements are in motion.


The Two Signs Ruled by Mars Connected by the Highlighted Line


Directly Opposite the Mars Line is the Line Connecting the Two Signs Ruled by Venus

The next thing I noticed relates to the planets.  If we consider the line that connects the two faces referred to the signs ruled by Mars (Aries and Scorpio), it is directly opposite, parallel and coplanar with the line that connects the two signs ruled by Venus.

The Two Signs Ruled by Jupiter Meet at the Highlighted Line

The Two Signs Ruled by Mercury Meet at a Line that is Directly Opposite the Jupiter Line
The same occurs with the pair of Jupiter signs and the Mercury signs.  Also the same occurs between the two signs ruled by Saturn and the two luminary signs ruled by the Sun and the Moon - Leo and Cancer.  The results of these relationships relates to the Tree of Life, the middle pillar and the other two pathways that cross through Tiphareth, and these three planes intersect in the center of the dodecahedron.  The sun lies at the center of the dodecahedron with the twelve signs revolving around it.

The Two Signs Capricorn and Aquarius Ruled by Saturn

The Two Luminary Signs Directly Opposite Those Ruled by Saturn
Additionally, there are also nice repeating symmetries for the groupings of cardinal, fixed, and mutable signs.  This particular pattern can really only be seen in three dimensions, so in the example of the Kerubic signs below the signs are labeled per their location, though the faces are hidden from sight.

Symmetrical Arrangements of the Kerubic Signs, only Visible in 3D
Another interesting pattern is found by analyzing the colors on the dodecahedron.  Look at the primary colors: red for Aries, blue for Sagittarius, and yellow for Leo.  If you look at the Aries pentagon, all the adjacent faces have red in them.  The same applies to the other two primary colors.

Aries and Red, Surrounded Only by Colors with Some Amount of Red in Them
In a future blog I will provide instruction on how to create this and other Platonic Solids.
Happy Meditating!


Constructing a Dodecahedron

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So one of the basic tenants of sacred geometry meditations is actually constructing the figures.  There is no better way to instill their symbolism and mathematical qualities into the mind. In the context of two-dimensional polygons and polygrams, construction is only done with a compass and ungraduated straight edge. Having been working with and meditating upon the three-dimensional geometric figures, I decided to apply this practice to constructing platonic solids. That, and having Ptah as a patron, I like building things.


For constructing such a thing out of wood, you will need:
  • Wood
  • A band saw
  • A disc sander
  • 5-minute, 2-part epoxy
  • Wood putty
  • Sand paper
  • A utility knife
  • Your favorite Bob Vila flannel shirt (optional).
There are variations on the tools you can use. For example, since I didn't have access to a band saw at the time I cut the twelve pentagons using a laser, from a vector file on my laptop.

You will need to begin by drawing 12 congruent pentagons onto a piece of wood, or multiple pieces of wood more likely. Ideally create yourself a perfect pentagon using a rule and compass or computer software can also do this for you. In either case, you will need a template to keep your pentagons consistent. To minimize the amount of wood needed, arrange these pentagons in a way that minimizes empty unused space on the wood. Make sure your lines are dark enough to see, and then take your piece of wood to your band saw. Be sure to wear safety goggles.

Take your wood to band saw and cut out your twelve pentagons. Error on the side of cutting outside the lines. You can sand these down later, but you can't add more wood back on. Again, these can be cut out by other means as well, such as with a laser.

Once you have your twelve pentagons, you will then need to take these pentagons to the disc sander. A disc sander is needed over any other type of sanding tool, because you can change the angle at which you are sanding, and the angle is the important part. We are now sanding the five edges, so that they will perfectly line up with the other faces of the dodecahedron when we get to the gluing process.

A dihedral angle is the angle between to joined faces of a polyhedron. The disc sander needs to be set to half of the dihedral angle, as the joining face will take up the other half of the angle. For a dodecahedron, the actual dihedral angle is about 116.6 degrees. Half of that would be 58.3 degrees, and this is what we need. However, the sander needs to be set to the complementary angle of 121.7 degrees (180 - 58.3). This can be set with a protractor. I personally cut out a piece of wood on the laser with the proper angle as a I didn't have a protractor handy at the time. Either way, it will not be exact, but you should get it as close as you can.


Set one of your pentagons on the disc sander, the side with the pencil marks facing you. Make sure you are wearing eye protection and begin sanding. Sand until you have sanded right on the pencil line. Keep the edge of the pentagon even with the face of the sander. Repeat the process five times per pentagon for all twelve of them.

11 out of 12 Faces Pieced Together
Then comes the fun, yet potentially frustrating, part. I like to use 5-minute epoxy, as it dries fast and holds very strong. If you can, I would use a dremel or some other tools to roughen up every edge that will be glued to another piece of wood, to give it some tooth to hold onto. Take three pentagons. Make sure they fit together nicely (you may need to do some adjusting here and there with the sander to get all the pieces to fit together). Mix up just enough epoxy to glue just these three pieces together. I recommend a plastic knife or a wooden popsicle stick for mixing and applying the glue. Keep in mind this kind of adhesive is serious, and will stick to things. Do not do this on your nice table. Do it on some newspaper in your garage. Make sure to follow the instructions. Usually you need to mix the two parts of the epoxy together for about 30 or so seconds. Apply the epoxy only to the parts of the wood you are currently gluing. The hard part is holding the three pieces together and constantly adjusting them to keep them in line until the glue dries. Making sure the glue is mixed together for the proper amount of time can make this process easier and quicker.

Those first three pieces are the hardest. After that, I recommend gluing one piece on at a time, adjusting each single piece with the sander as needed.

When you are done, it is very possible that there may be a gap between one or more of the edges. Use some wood putty to fill in any such gaps, and let it dry over night. Then sand down the wood filler with some sandpaper and use the utility knife to cut off any excess epoxy (cut away from your face, man).

Put on a coat of primer and then do with it what you will.

I recommend a series of meditations with the thing just as a plain white symbol. At some point you may wish to paint it in appropriate symbolism. This could be to paint it black or white, pertaining to the quintessence and the universe. You may also elect to paint the twelve faces in symbolism and/or colors of the zodiac.

The Easy Way Out

Or you could just use some sturdy, easier to use, material such as corrugated cardboard.  Cut out twelve congruent pentagons, tape together using your favorite tape.  For the dodecahedron, just know that three pentagons meet at every vertex (not that you could make it any other way).

Be warned that masking tape doesn't hold up very well under paint.  I made a set of all five Platonic Solids this way and had to use a layer of gesso on top of the paint to keep the tape from peeling.

The Five Platonic Solids Painted in Elemental Colors


Have fun.

Printable Dodecahedron

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I had been meaning to make an easily printable version of the Dodecahedron of Space, and today Andrew from the blog Wanderings in the Labyrinth rekindled my interest in doing so.  For anyone interested, though I still suggest making one from twelve pentagons as it is a valuable exercise in and of itself, here it is:

Printable Dodecahedron - Click to Enlarge

Note that I did not draw the usual flaps that these paper models usually have for joining adjacent faces.  You'll have to do that much all by yourself (it's simply a matter of leaving some extra paper on some of the edges).  I would highly recommend printing to something more sturdy than your usual paper, such as card stock, so that it hold up through all of the folding and taping or gluing.  You might also consider laminating the whole thing to increase its durability, but in that case normal paper would probably be better.

Cheers

Tesseract Meditation

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There is a valuable series of meditations on the basic objects of geometry that is a progressive series of meditations on the point, the line, and the cube.  Most people stop here, if they even truly take it that far.  However, for those interested, there is certainly more that can be done in this series.

Charles Hinton (a late 19th century philosopher, Theosophist, and mathematician) coined the word Tesseract, the term that refers to the four-dimensional analog of a cube.  In other words, a Tesseract is to a cube what a cube is to a square.  I prefer to use his word as opposed to hypercube, as hypercube doesn't have as exact of a definition.  A Tesseract is not exactly a hypercube, it is more specifically a four-dimensional hypercube.  There are hypercubes of any number of dimensions, real or imagined.

I developed a model loosely inspired by Hinton's work (a warning that some supposedly went insane meditating upon Hinton's model), and decided to actually build it out of wooden cubes, as two-dimensional diagrams are missing two whole dimensions and make it more difficult.  It stands around 6 inches tall.  Here is a photo of the model, which I've enhanced with white lines:

A Colored Model of an Unfolded Tesseract

The shape of the model is an unfolded Tesseract.  In a similar sense, if you were to unfold a cube into two dimensions, you would have a cross of six squares.  Unfolding a Tesseract into three dimensions produces a sort of cross of eight cubes.  This is only one of many ways to unfold it, but the most appealing and simple.

The system is based on color.  The model represents an inner mentally-produced world.  The colors are set up in pairs.  There are four pairs of flashing colors: yellow and violet, red and green, orange and blue, white and black.  The black cube is represented by the hidden cube at the center.  If you were to travel from the center of any cube in any of the six directions corresponding to the faces of the same cube the distance of two cubes, you will arrive in the cube corresponding to the complimentary color.  Travel two more cubes in the same direction (or any for that matter) and you will arrive at the cube where you began.  The model is to help keep track of the cube you're in and the other colored cubes relating to your place in space while you are training yourself.

Below is an animation I made in PowerPoint demonstrating the connections between edges in folding up a cross of six squares into a cube.  It is followed by lines showing the connecting faces when folding up the Tesseract into the fourth dimension in space.  Understanding what faces are connected is crucial to success with this model.


One goal of being able to relate to such geometric figures as the point, line, cube, and tesseract in this context it the expansion of consciousness.  As there is no four-dimensional imagery for the eyes to look upon, the mind is not accustomed to perceiving a four-dimensional world and is unlikely to be able to readily imagine such a figure.  However, training oneself to observe a four-dimensional figure such as the Tesseract is a readily observable expansion of consciousness: perception of the previously imperceivable.

At first, this is not a four-dimensional experience at all.  It is easiest to start out imagining it like a 3D version of PacMan, that somehow you magically arrive at the other end of the cube after traveling through the opposite end.  After spending lots of time connecting with and developing the inner model, it can then develop into a four-dimensional experience.

This is but one method of approaching the creation of a mental model of a Tesseract.  I recommend utilizing many.

Love, Chesed, and the Number Four

The Enochian Angels of John Dee and Edward Kelley

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New Chasing Hermes Podcast
Episode 18: The Enochian Angels of John Dee and Edward Kelley


john dee enochianIn his day, John Dee was famous for his contributions to science and for his role as adviser to Queen Elizabeth. Dee assembled the largest library England had ever seen and his mansion at Mortlake outside London was a popular place to visit for foreign emissaries and prominent thinkers.

But Dee harbored a longing for more knowledge than science could offer. He wanted to know about the world and what lies beyond it. Dissatisfied with the limitations of contemporary wisdom, he turned to the spirit world for guidance. What he found was going to influence the Western Mystery tradition forever.

In 1581 Dee contacts the angels for the first time. He soon has to accept that he is not a talented medium. Enter Edward Kelley, a much younger man of low social background and a nasty habit of necromancy. Kelley is excellent with the crystal ball and the two start a collaboration that will take them through countless angelic worlds. Parallel to their spiritual vision quests, Dee and Kelley sojourned through the European courts entertaining kings and emperors with their seances and alchemical experiments.

Join us in this episode of Chasing Hermes and discover the two men behind the legendary Enochian angelic language. Visit ChasingHermes.com to listen to this episode.

Ganesh and the Resurection

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In light of recent events, I feel compelled to share a connection that I’ve recently stumbled upon. How many others have made this association I can not say, but hopefully you will look into this matter further for yourselves. For it is not my wish to persuade you into any one way of thinking, but rather break down any barriers that might be constricting you from deducing what is true for you.

Not long ago I began taking a liking to the Hindu god Ganapati or Ganesha. Its no doubt that this elephant headed form of deity is the most popular in the Hindu tradition along with being one of the most widely recognized aspects of such a tradition - and who could deny that Ganesh carries easily likable aspects. The large body with an elephants head is effortless to recognize. His most common depictions show him with one tusk, multiple arms holding various tools of his vocation - including his broken tusk, a hatchet, a serpent, and a bowl of treats - wearing a tilaka mark of a crescent moon (or other sectarian marks), and with a rat underfoot.

Typically he is known as the Lord of Obstacles; both the placement and removal of. Ganesha removes physical obstacles in our path so that we continue to move forward and spiritual obstacles so that we can obtain union with the divine. His placement of physical obstacles keeps us in check and teaches ways to get around them, while his spiritual obstacles teach us persistence. However, it is not the attributes - wonderful though they may be - that I wish to display here.
I would like to make mention of one of the common traditions surrounding the birth of Lord Ganesha. The mother of Ganesh is the goddess Parvati who is said to have created him to stand guard over her chambers while she bathed. Parvati created the pot-bellied human from clay and gave him life using her own personal mantra. So we see that Ganesh was the son of Parvati, wife of Shiva - who had no other children - and some legends even state that Ganesh was created by Parvati shortly prior to her wedding to Shiva which alludes to her and Ganesha's purity.

The story goes that after Ganesha was assigned to stand guard over his mother’s chambers his father approached the doorway and demanded entrance. Being loyal to his mother, Ganesha apologized to Shiva and turned him away. Shiva tried again and again to enter the chambers of his wife but the little god refused to let anyone pass. Enraged at being denied to see his wife, Shiva struck the little god Ganesha with his trident and severed his head.

Immediately after this, Parvati emerged and saw her son decapitated by Shiva. Some legends state that Parvati's anger and lament formed the goddess Kali when she threatened to destroy the heavens, earth, and subterranean world. Shiva needed to immediately calm his wife so he sent his ganas or hordes to find a replacement head for Ganesha. The ganas were instructed to take the head of a child whose mother was missing but the first living thing they saw was an elephant facing north - the auspicious direction of wisdom. So they took this head to Shiva who placed it on Ganesha and breathed life into him. Another story of Ganesha’s elephant head is that a demon with an elephant head was slain by Shiva to replace that of the little god. Since the ganas did such a wonderful job Shiva then named this god Ganesha which means lord of the ganas.

This title of 'Lord of the Ganas' is interesting indeed. The very root words that make up the name 'Ganesha' are gana, meaning a group or multitude and isha meaning lord or master. It is not uncommon for this combination to be translated as the God of Hosts. This, coupled with Ganeshas association as the Lord of letters and learning, shows us that Ganesh has a strong connection to Hod, the sphere of learning and education.

But it is not Ganesha's correspondences with the Tree of Life that I find most interesting; it is the story of his creation as a deity that inspires me. He was the son of Parvati who did not give birth to him but made him out of earth possibly as a virgin - if prior to her wedding to Shiva - then the little god was executed after showing the greatest of loyalty and dedication to his creator. And after the lament of his mother and her threat of mass destruction he was resurrected by the force of a caring deity which - perhaps through conquering of a grosser energy - gave him prominence as a god.

Obviously the parallels I’m noting are those between Ganesh and Master Yeheshuah. I’m not suggesting that the story of one form of deity is more correct than the other, but merely that all is connected in some way. These parallels are not as concrete as say the Osiris legend, but the fact remains that these two divine beings gave their lives for a higher purpose and through divine will returned to us as elevated beings. This shows us that dedication, love, knowledge, and faith can lead to renewed life through the mystery of resurrection.

Happy Halloween Azrael

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This time of year is the point where the mercury falls below the point of typical comfort, days are noticeably shorter, the trees are reduced to bare branches, and the last of the fields are emptied. The dry foliage of trees and crops leaves a faint rattling on the chill wind, and as the end of October draws near, images of the Halloween celebration become present where the Angel of Death (in many various forms) plays a major role. His presence known by the frosty mornings, come to kill off the remaining fruits of the year. In this way we see that our world is in a state of flux.

The Angel of Death has been known by many names in many cultures throughout history. The earliest known personification of Death comes from a Neolithic settlement in Anatolia around 700BC, where he is depicted as a large black bird. Later images show tall masculine images or pale figures with black wings to be the Angel of Death. The most widely recognized name today, “Azrael”, comes from Hebrew and means “Whom God Helps”. Early Islamic teachings describe him as having 70,000 feet and 4,000 wings, his whole body covered in eyes, and tongues as numerous as living souls on the earth. Also in Islamic tradition, Azrael was the fourth Angel that God sent to obtain seven handfuls of Earth used in the creation of man and the only one to succeed, which earned him the task of separating body from soul.

When the body dies, Azrael - existing in a realm betwixt Life and Death - receives the soul; being the point of transition from one existence to the next. His task is not to carry the soul to Heaven or cast it into the pit but to sever the threads of life from the body; erasing the name on his great scroll that was written down at the persons birth. For this reason the personifications of Azrael are often accompanied by a tool - usually a scythe or other bladed instrument - with which to cut the thread of life told of by the Ancient Greeks. In Western culture the scythe is his usual tool for its connotations with the time of harvest, which is the transition point between living summer and cold-dark winter.

The task of ending life carries with it stigma of fear leading to misunderstanding - hence, Azrael has become a piece for many a Halloween costume. The encompassing darkness of a grave or tomb gives people chills while its relaxed silence is never acknowledged. The eminent end of life has been challenged by man since the dawn of civilization, though few view it as something that can always be counted on. And walking through a dark cemetery at night unsettles the strongest of men, but it is a hallowed place where the dead can rest peaceably. (Just like living beings, the dead don’t like to wake up from a sound sleep either, so zombies are no cause for concern.) These things are the rawest form of representation for Death and are almost never viewed with a sense of compassion for the weight that Azrael carries, and the positive aspects he brings.


Life on Earth is a wonder and a miracle; Azrael must take that miracle away at some point, and with a heavy heart. Every minute of every day someone is exiting the world of the living and Azrael is the one to assist that transition. To my knowledge, only Azrael exists in a realm neither purely in Spirit or purely in matter, in the Shadowy Valley of Death. Only one other Angel is said to have experienced a task similar to his and that is the Archangel Michael who is said to have sacrificed the souls of the righteous to God. I imagine that the task of plucking a soul from its body must be a difficult task for one to do every minute of every day. "Alone of gods Death has no love for gifts... from him alone persuasion stands apart."~ Aeschylus (525-465 B.C.)

However, with his solemn command, Azrael is said to be one of the sweetest and gentlest of Angels known. Its been said that he appears to the deceased depending on the life they live or on the way that they expire. If a righteous person dies he comes with angels carrying sweet odors of paradise and if a wicked person dies he comes with demons who pull the soul out with iron spits. Also, there is a piece of Jewish literature which says "that when the soul sees Azrael, it 'falls in love', and thus is withdrawn from the body as if by a seduction." Logically, no soul would willingly pass through the veil by force but by the touch of a gentle loving guide. Much like the Egyptian Anubis who protected and guided the soul through the Duat, provided he was sufficiently honored. This gentleness comes directly from Azrael's Qabalistic correspondence to the sphere of Binah being the dwelling place of the Holy Mother and of Isis. Just as the god Saturn gives birth to its children and consumes them again, the birthing of the Mother and the Ending through Azrael bring life full circle.

We live in a Universe that since its creation has been in constant motion. In physics, energy is everywhere and it is in a constant state of motion or vibration; its what holds our Universe together. This state of motion is sustained by the transition from one state to another - death, if you will. So our Universe is maintained by assistance from the transitional force of Azrael, whose essence is not that of Death but of Transition and of the Life to come; for it is in dying that we are Reborn.

I leave you with a quote from Forrest Gump:

“Don’t you be afraid, sweetheart. Death is just a part of Life.”

The Magical Discipline of Silence

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harparkrat Egyptian God of SilenceFor some time now I've been contemplating the idea of silence. At the outset we take an oath to keep secret anything connected with our work... for most of the groups anyway. Often, I've wondered why; is it really because we think that another person might blaspheme or denigrate this divine knowledge imparted to us? Not so much, blasphemers aren't looking for secrets. This would probably only result in the weakening of our own personal sphere of subjective synthesis, as one author has coined it. What's more, wanting to share this information with anyone not initiated in it is usually the sign of an ego desiring to be inflated and there are few things that could hurt your own personal work more than an unnecessarily inflated ego. Fair enough...

Obviously, there was a time when to talk about such subjects as the occult were not only forbidden, but were punishable by a burning at the stake, but those times seem long behind us, though there have been as many inquisitions as there have been occult revivals and so this could be a reasonable factor as to why an oath of secrecy. However, I feel that this stops short of the mystical-magical implications behind such an oath.

There exists in space and time a place where occultists can read each other's thoughts and ideas as quickly as they are written. I'm sure I'm not the first mind to have thought about the irony of this. Social networking is a meme unto itself. In fact, this blog is one just representation of that. But I digress.

At the heart of secrecy is humility. For we do not keep secrets from the outside world in order to hoard arcane knowledge, or to suppress the masses by our control (or practical use) of universal laws. The reason is however, manifold:
  1. To keep from boasting, 'when one is silent' they are afforded the chance to learn.
  2. To serve humanity.
  3. It acts as a barrier/bridge showing who is courageous enough to ask about these secrets, which shows who is of a like-heart or humble enough to admit they know not.
  4. It saves the occultist from foot-in-mouth disease... one will not discuss what one knows nothing about.

At the core, there are few things which are truly hidden if the pursuer be pure of heart and would actually practice the work. This is probably more esoteric than any technique one could find in the oldest of tomes. Even if you were to put all of the great occult minds of the past onto silicon and download a copy onto your computer, what they've written would mean little lest you put in the time to work. This is what is meant by 'When the student is ready, the teacher will appear' or or when William Blake writes:

To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the palm of your hand
And eternity in an hour.

In other words even if you were to speak of things outside the realm of your student. it couldn't be grasped anyway because they wouldn't have the capacity for it, and so they might begin to loose faith in what you teach them and fall away the Great Work. And if they do understand you, then it seems they were ready to hear that information and it so happens that you were fortunate enough to be the appropriate agent of that. What this really comes down to is the fact that you really can't tell anyone something they aren't ready to hear and as such it would be a greater benefit to the both of you if you were to remain silent.
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