Tag Archives: corresponences

“Transcendental Magic: Its Doctrine & Ritual” by Eliphas Levi: Part 1 – Doctrine

Many years ago, I owned a small business that was next door to a used book store. I had a nice little barter deal going with them, where they gave me books and I provided them with food and beverages. They knew the kinds of books I was interested in, and would let me know when books arrived that might be of interest. This was one of those books, and it has been on my shelf for 15 years, but I am finally getting around to reading it. I believe that we read books exactly when we are supposed to.

Eliphas Levi was a nineteenth-century occultist and magician, whose real name was Alphonse Louis Constant. “’Éliphas Lévi’, the name under which he published his books, was his attempt to translate or transliterate his given names ‘Alphonse Louis’ into the Hebrew language.” (Source: Wikipedia) The text that I have is translated from the French original by Arthur Edward Waite, famous occultist and poet, best known as the co-creator of the popular Rider-Waite Tarot Deck.

The book is divided into two parts: Doctrine and Ritual. I finished reading the first half of the book, and decided to take a break, allow myself to digest what I read, and share my thoughts. I plan on reading the Ritual portion in the near future and will write about that half when I’m done.

As with all great occult texts, much is hidden for the reader to discover, and this book is no exception. In his introduction, Levi points out that the structure of the text is symbolic.

The numbers and subjects of the chapters, which correspond in both parts, are in no sense arbitrary, and are all indicated in the great universal key, of which we give for the first time a complete and adequate explanation.

(p. 31)

As mentioned already, the text is in two parts, itself symbolic of divine duality: masculine/feminine, body/spirit, positive/negative, theory/application, as above-so below, and the list goes on. But now it gets deeper. Each of the two sections contains 22 chapters. These correspond to the 22 letters of the Hebrew alphabet, and to the 22 cards that comprise the Major Arcana in the tarot. This makes sense, since Levi stresses the importance and power of kabbalah and tarot as complete magical systems. So with this foreknowledge, each chapter should be read and interpreted through the lens of the corresponding tarot card, and the kabbalistic meaning of the corresponding Hebrew letter. Now, this level of interpretation is way beyond the scope of this blog post, so suffice to say that if you are not familiar with these magical systems, then this is not a text you should be attempting to read.

In the first chapter of the Doctrine (for correspondences, think Aleph and The Fool), Levi provides a definition of magic for those who are starting out on the path.

Before proceeding further, let us define Magic in a sentence. Magic is the traditional science of the secrets of Nature which has been transmitted to us from the Magi. By means of this science the adept is invested with a species of relative omnipotence and can operate superhumanly—that is, after a manner which transcends the normal possibility of men.

(p. 36)

So essentially, the study of magic is the study of the hidden laws of Nature. For me, this is why I see a strong relationship between physics and the occult. Both seek to understand the laws of Nature which form the inner and outer universes. Once an understanding of the natural laws is gained, then one can manipulate reality based upon interaction with forces that exist at the quantum level. But know that these things should not be taken lightly. Remember the Fool as he is about to step blindly off the cliff if he fails to heed the warning from the dog.

OK, if you’ve followed me this far and your head has not exploded yet, then you are ready for the last thing I want to talk about regarding the Doctrine. I’ll begin by citing Levi again.

Diseased souls have an evil breath and vitiate their moral atmosphere – that is, they combine impure reflections with the Astral Light which permeates them and establish unwholesome currents therein. We are often assailed, to our astonishment, in society by evil thoughts which would have seemed antecedently impossible and are not aware that they are due to some morbid proximity. This secret is of high importance, for it leads to the unveiling of consciences, one of the most incontestible and terrible powers of Magical Art. Magnetic respiration produces about the soul a radiation of which it is the centre, and thus surrounds it with the reflection of its own works, creating for it a heaven or hell. There are no isolated acts, and it is impossible that there should be secret acts; whatsoever we will truly, that is, everything which we confirm by our acts, remains registered in the Astral Light, where our reflections are preserved. These reflections influence our thought continually by the mediation of the DIAPHANE, and it is in this sense that we become and remain the children of our works.

(p. 108)

So the premise here is that our thoughts have a direct influence on the world around us. Basically, our thoughts create our realities. Now if this seems a little “new agey” you should know that this is supported by scientific experimentation in quantum physics. Photons react based upon the intended way that researchers choose to measure them. If it is decided to measure them as waves, then they become waves. If it is decided to measure them as particles, then they become particles. But they can only be one or the other, not both. Essentially, our thoughts and our will impact the structural reality of the world around us at a sub-atomic level. If you want to learn more about this, check out this article from Science Magazine.

So I have barely scratched the surface of the first half of this dense book. But that is all I feel I should share. Those who are interested in these studies can explore the text on their own. I will be sharing my thoughts on the Ritual portion of the book once I finish that. Until then, keep reading cool and interesting stuff.

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“Richard III” by William Shakespeare: Deformity and Evil

To really understand this play, you must have a basic understanding of the concept of the great chain of being.

For Medieval and Renaissance thinkers, humans occupied a unique position on the chain of being, straddling the world of spiritual beings and the world of physical creation. Humans were thought to possess divine powers such as reason, love, and imagination. Like angels, humans were spiritual beings, but unlike angels, human souls were “knotted” to a physical body. As such, they were subject to passions and physical sensations—pain, hunger, thirst, sexual desire—just like other animals lower on the chain of being. They also possessed the powers of reproduction unlike the minerals and rocks lowest on the chain of being. Humans had a particularly difficult position, balancing the divine and the animalistic parts of their nature. For instance, an angel is only capable of intellectual sin such as pride (as evidenced by Lucifer’s fall from heaven in Christian belief). Humans, however, were capable of both intellectual sin and physical sins such as lust and gluttony if they let their animal appetites overrule their divine reason.

(Source: Wikipedia)

To emphasize the importance of this concept, Shakespeare uses the word “knot” extensively throughout the text, symbolizing things from marriage to physical form. And just as Shakespeare and other Renaissance thinkers believed in the correspondence between the worldly and the divine realms, they also believed that the physical and the spiritual aspects of an individual were also knotted together.

Richard is a despicable character who seems to lack any redeeming qualities. He revels in his depravity and it is impossible to feel any sense of empathy for this person who is presented as the English equivalent of a Caligula. But what I find the most interesting is that Shakespeare establishes a clear connection between Richard’s physical deformities and his evil nature. In fact, during Richard’s opening soliloquy, the connection is immediately established.

But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;
I, that am rudely stamp’d, and want love’s majesty
To strut before a wanton ambling nymph;
I, that am curtail’d of this fair proportion,
Cheated of feature by dissembling nature,
Deformed, unfinish’d, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them;
Why, I, in this weak piping time of peace,
Have no delight to pass away the time,
Unless to spy my shadow in the sun
And descant on mine own deformity:
And therefore, since I cannot prove a lover,
To entertain these fair well-spoken days,
I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate the one against the other:
And if King Edward be as true and just
As I am subtle, false and treacherous,
This day should Clarence closely be mew’d up,
About a prophecy, which says that ‘G’
Of Edward’s heirs the murderer shall be.
Dive, thoughts, down to my soul: here
Clarence comes.

(Act I: scene i)

We can contrast this with a description of Edward, whose physical beauty reflects the nobler qualities of a human being.

Hath she forgot already that brave prince,
Edward, her lord, whom I, some three months since,
Stabb’d in my angry mood at Tewksbury?
A sweeter and a lovelier gentleman,
Framed in the prodigality of nature,
Young, valiant, wise, and, no doubt, right royal,
The spacious world cannot again afford
And will she yet debase her eyes on me,
That cropp’d the golden prime of this sweet prince,
And made her widow to a woeful bed?

(Act I: scene ii)

And again, Shakespeare reiterates that an individual’s face, or physical expression, is a direct reflection of what that person is like inside, and the thoughts and feelings that the person has within.

I think there’s never a man in Christendom
That can less hide his love or hate than he;
For by his face straight shall you know his heart.

(Act III: scene iv)

In our modern society, we want to tell ourselves that we do not judge others by their appearances, when in actuality, we still do. Studies have shown that individuals are considered more trustworthy if they have a nicer appearance. And there is the whole issue of judging blacks and people who look Arabic strictly upon how they look. We are not going to change this part of our collective being overnight, but we need to acknowledge this tendency and work toward changing it.

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Meaning of Abracadabra in “Midnight’s Children” by Salman Rushdie

MidnightsChildren

Not too long ago, I went to a lecture by Salman Rushdie at the University of North Carolina – Asheville. He was so inspiring that I ended up purchasing a copy of Midnight’s Children (click here to read my thoughts on his lecture). Since I was reading Infinite Jest at the time, it took a little while to get around to it, but I finally did so and finished reading it the other day.

Anyway, the book is amazing and rich in imagery and symbolism. I filled several pages of reference notes in my journal as I worked through the novel. So then the question became: What do I write about? I didn’t want to just write a summary, so I decided to focus on the word “abracadabra,” which is also the name of the last chapter in the book, and share my thoughts on how this word ties in to the overall story.

For those of you who are unfamiliar with the etymology of the word, it is Aramaic in origin and roughly translates to something like “I create as I speak.” So the mystical power of this word is that magicians and occultists can use it to conjure or create with the use of a word, similar to the power of the Judeo-Christian god who created all existence from a word (see Genesis).

So here is the passage that I feel is key to understanding what Rushdie is doing on a grand scale with the book.

… yes, and Aadam heard it too, with his flapping ears he heard the rhythm of the magic, I saw his eyes light up as I accepted, and then we were in a third-class railway carriage heading south south south, and in the quinquesyllabic monotony of the wheels I heard the secret word: abracadabra abracadabra abracadabra sang on the wheels as they bore us back-to-Bom.

Yes, I had left the colony of the magicians behind me for ever, I was heading abracadabra abracadabra into the heart of nostalgia which would keep me alive long enough to write these pages…

(p. 519)

At this moment, the protagonist of the story, Saleem Sinai, realizes the mystical power of the written word, that words are magical symbols that can create connections between the past and the present and the future, and that through the use of words, he is creating a mythology that is eternal. These connections, or correspondences, are the building blocks of the myth, because mythology uses symbols to explain things on a grand or cosmic scale. And what I find most fascinating is that what we have here can be described as a meta-abracadabra, since we have Rushdie using the magical power of words to create a story that is a mythology of modern India, but within the story is another story about Saleem using words to write his own myth establishing the correspondences between his life and independent India.

Since I wove in the concept of correspondences, I want to add another quote from the book that elaborates on correspondences.

As a people, we are obsessed with correspondences. Similarities between this and that, between apparently unconnected things, make us clap our hands delightedly when we find them out. It is a sort of national longing for form—or perhaps simply an expression of our deep belief that forms lie hidden within reality; that meaning reveals itself only in flashes.

(pp. 343 – 344)

I firmly believe in the concept of correspondence. All things are connected, and sometimes those connections are obvious, and sometimes they are hidden, as in symbolism. But connections exist all around us, and the power of the written word can help us realize those hidden connections. Abracadabra!

Although this book is rich with symbolism, it is very readable, a terrific story, and has some of the most beautiful use of synesthesia I have ever encountered. I highly recommend reading it. As always, feel free to share your thoughts in the comments section below. Thanks for stopping by, and keep reading engaging stuff.

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“Correspondences” by Charles Baudelaire

From Wikipedia

From Wikipedia

It was at least 15 years ago that I first read this poem and back then it did not have the impact that it did when I read it today. This proves that as you mature and grow as a reader, literature takes on different meanings. Since the poem is a sonnet and therefore short, I will include the translation by Richard Wilbur so that we are all on the same page.

Nature is a temple whose living colonnades
Breathe forth a mystic speech in fitful sighs;
Man wanders among the symbols in those glades
Where all things watch him with familiar eyes.

Like dwindling echoes gathered far away
Into a deep and thronging unison
Huge as the night or as the light of day,
All scents and sounds and colors meet as one.

Perfumes there are as sweet as the oboe’s sound,
Green as the prairies, fresh as a child’s caress,
—And there are others, rich, corrupt, profound

And an infinite pervasiveness,
Like myrrh, or musk, or amber, that excite
The ecstasies of sense, the soul’s delight.

This poem establishes correspondences between objects in Nature and the symbols and archetypes that populate our psyches. Take a look at the first stanza. The “living colonnades” are trees. The imagery evokes a Druid ceremony taking place within a sacred grove. The sound of the wind through the trees helps shift the person’s consciousness so as to be able to perceive the mystical forms around. All types of symbolism are beautifully evoked in this passage. No matter what a tree symbolizes for you individually—strength, spiritual growth, kabbalistic sefiroth—they are all summoned by the words here.

In the second stanza, the senses begin to shift. The echoes and the unison of sound make me think of the collective unconscious. All is connected and there is a shared sense of existence. We are all part of the Divine consciousness.

I really love the third stanza. Here Baudelaire uses synesthesia to describe his mystical experience. I have always found this to be an apt way to describe the ineffable. Scents are likened to sound, color, and touch. I think it works perfectly here.

In the final stanza, Baudelaire expresses a sense of ecstasy as his soul enters a state of bliss as a result of becoming in tune with the infinite, or the Divine. I suspect he realized that, in addition to the correspondence between nature and the realm of symbols, that there is also a correspondence between his soul and the Divine spirit.

I confess that the more I read Baudelaire, the more I appreciate his genius. I think this poem is fantastic and I wish I could read it in French. C’est la vie. I’ll just have to read the translated version again.

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