Tag Archives: sephirot

Occult References in “Promethea: Book 4” by Alan Moore

promethea_4

As with the first three books in this series, this volume is also steeped in occult mysticism and symbols. The text and artwork are so rich that it would be too much to cover in a single blog post, so I will just touch on some of the key passages that stood out for me.

The first passage I want to discuss is the conversation between Sophia and John Dee.

Dee: Know, child, that here is understanding. That was all of what we sought, and so we crave no higher place. For my part, I communed with angels told of in the Book of Enoch, Hebrew adept sacred to this third domain. In this third realm, form becomes possible. The number one suggests a single point. With two points, we may describe a line. With three points, we may enclose a space in two dimensions. We plot a triangle. Seen thus, the triangle is symbol to the element of water. It is here are Binah that all water, all compassion, has its origin. At Binah is the cup that overfloweth.

Sophia: You mentioned the biblical Book of Enoch, and he angels it speaks of. Did they truly teach you their language? The Enochian language?

Dee: Aye. It was dictated by the spirits in my scrying glass, as too were shewn the tables that map all existence. Boards of twelve squares by thirteen, being all together one hundred and fifty six, and on each square were symbols. Viewed from o’erhead, each square appeareth like unto a ziggurat with flattened summit, all arrayed in rows, a mighty township.

The conversation takes place in the sephirot of Binah, as Sophia is exploring the kabbalistic tree. The scene draws from kabbalah, as well as from John Dee’s conversations with spirits, in which he details the Enochian language. This is all very arcane and if you are interested I encourage you to study it more on your own (to download a free copy of John Dee’s book that is referenced, go to Archive.org).

As they continue to explore Binah, the group encounters the Shekinah, which simply put is the divine feminine aspect of the godhead. At this point, the dual aspect of the divine feminine is revealed.

Am I Marie. Girded with clouds and covered with the firmament am I made Queen of heaven… In my compassion have I not stooped low, so that my aspect is cast down? Behold, I am the Shekinah, I am the Bride, and on the World’s streets ragged go I, and reviled. In me there is descended the Sophia, that is Wisdom’s female face… That understanding is poured out like unto blood from me. Like noble wine, Mine essence runneth down into the Earth, and therein is degraded and made bitter. Yet it giveth succor to all things. Mother am I, that sways the great dark cradle of the night. Then am I Isis, am I Hecate, am I Selene. Black am I, like to the hidden Moon, or as a Womb. I taketh in, and I receive.

Finally, Sophia and Barbara make it to Kether, the crown of the kabbalistic tree of life. It is here that they encounter the unity of god, the divine one as the all and source of all existence.

Sophia: Here we are again.

Barbara: Something from nothing. One from none.

Sophia: One… Just the idea of one, of something, for that to even exist… where there was only nothing. This is God.

Barbara: Yes, and God… is one…

Sophia: And all, God is all. One is all. One perfect moment.

As heady as the text is, the artwork that accompanies it is stunning, beautiful, and full of graphic symbolism that adds infinite depth to the story. I highly recommend reading the text slowly and spending time exploring the visual panels that are such an integral part of this book.

There is one more volume left in the series. I plan on reading it soon, so check back.

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“Who Goes With Fergus” by William Butler Yeats

irishwoods

Who will go drive with Fergus now,
And pierce the deep wood’s woven shade,
And dance upon the level shore?
Young man, lift up your russet brow,
And lift your tender eyelids, maid,
And brood on hopes and fear no more.

And no more turn aside and brood
Upon love’s bitter mystery;
For Fergus rules the brazen cars,
And rules the shadows of the wood,
And the white breast of the dim sea
And all dishevelled wandering stars.

I read this poem after doing morning meditation, and it really spoke to me.

To understand this poem, you first need to know what Fergus symbolized for Yeats. According to M.L. Rosenthal, Yeats called Fergus the “poet of the Red Branch cycle, as Oisin was of the Fenian cycle of mythical tales of ancient Ireland.” So essentially, Fergus represents the archetype of the mystical poet who gives up pursuit of the worldly to seek the spiritual realms.

In this poem, Yeats asks the people of Ireland, who will follow the path that Fergus took, to turn away from the hopes and fears of daily life and pursue the mystic, which is symbolized by the woods, the sea, and the wandering stars. It is worth noting that Yeats uses three metaphors to describe the mystical realm. I believe this is intentional, evoking the trinity as well as the kabbalistic crown which represents the godhead. In kabbalah, the crown of the Tree of Life is comprised of three sephirot: Keter, Binah, and Chokhmah. Combined, these three symbolize the godhead from which all existence is manifested.

I could not help but wonder if Yeats was writing about himself, seeing himself as the one who is going forth with Fergus to explore the “shadows of the wood.” I suspect that he did see himself in this role, but that he was also reaching out to others to join him on this path, essentially saying “I am going with Fergus to explore the mysteries of the divine. Who else is willing to join me on this quest?” I for one am glad that Yeats extended this offer.

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Kabbalistic Symbolism in “Promethea: Book 3” by Alan Moore

Promethea_3

In this volume of the graphic novel, Sophie and Barbara (two incarnations of the goddess Promethea) proceed on a journey through alternate realms using the sephirot in the kabbalistic tree as a means to ascend the higher realms of existence. They begin by analyzing the diagram of the ten sephirot connected by the twenty-two paths. Barbara comments that the symbol resembles a game of hopscotch, which I thought was a clever analogy considering that the sephirot essentially allows one to “hop” into another realm.

Promethea_Hopscotch

The paths that the women take lead them from the lowest sephirah, Malkuth, which represent the physical world, and begin to work backwards toward the godhead. Following the reverse emanation from the divine crown, they proceed in this order:

  • Malkuth
  • Yesod
  • Hod
  • Netzach
  • Tiphereth
  • Geburah

While in each of the sephirot, they encounter symbols associated with each realm. The details are far too complex for me to elaborate on in this short post, but I will provide a couple brief examples.

When the women move from Malkuth into Yesod (Foundation), they cross the river Styx, symbolizing the transition from the conscious mind to the subconscious. It is the place where fact and fiction meet, creating the myth, which is eternal. It is associated with the moon, dreams, and imagination, all of which figure prominently in the text and the rich illustrations.

Next, they move into Hod (Splendor). This is associated with magic, mysticism, and the intellect. Here the path becomes the symbol for infinity and the women engage in a circular discussion that could go on for all eternity.

Promethea_Infinity

After exiting the loop of infinity, they continue through Hod and meet the god Hermes, who explains how language, story, and mathematics are the basis for our human reality.

Hermes:

Ha ha! Real life. Now there’s a fiction for you! What’s it made from? Memories? Impressions? A sequence of pictures, a scattering of half-recalled words… Disjointed hieroglyphic comic strips, unwinding in our recollection… Language. To perceive form… even the form or shape of your own lives… you must dress it in language. Language is the stuff of form. Mathematics, for example, is a language. Consider the forms it produces… This magic square of eight is called The Knight’s Tour. Connect its numbers in sequence and you produce the magic line of eight. Do you see? Mathematics is a language, a human invention, a fiction… and yet it creates such elegant form. It creates splendor. It creates truth.

Barbara:

So… everything’s made from language? We’re made of language? Even you?

Hermes:

Oh, especially me. How could humans perceive gods… abstract essences… without clothing them in imagery, stories, pictures… or picture-stories, for that matter.

Sophie:

Picture-stories?

Hermes:

Oh, you know: Hieroglyphics. Vase paintings. Whatever did you think I meant? Besides, what could be more appropriate than for a language-god to manifest through the original pictographic form of language?

Sophie:

Uhh… so like, what are you saying?

Hermes:

What am I saying? I’m saying some fictions might have a real god hiding beneath the surface of the page. I’m saying some fictions might be alive… that’s what I’m saying.

This only scratches the surface of the rich symbolism that is embodied in this book. Every page, every panel, contains both visual and textual symbolism and metaphor. But don’t be intimidated. While this is very complex and heady material, the story is still great and accessible, and the artwork is phenomenal. I highly encourage you to explore all the books in this series.

I will leave you with one more quote from this book, which I believe aptly sums up our reality.

“Man walks through a forest of symbols.”

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“When You Are Old” by William Butler Yeats

OldWomanByFire2

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face;

And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead
And hid his face amid a crowd of stars.

This is such a sad and poignant poem. Yeats appears to be writing to Maud Gonne, entreating her to read his words when she is old and nearing death in order to remember the love he felt for her. There is some beautiful symbolism included, particularly the fire, which represents both her life and the passion that Yeats felt for her. The fire is dying and turning to embers, or “glowing bars.” The shadows are the fading memories of the past.

While this is a beautiful and touching poem about his feelings for Gonne, there is more to it. As with most of Yeats’ poems, there is something mystical hidden within the lines. Yeats was well versed in kabbalah, so I suspect he was making a reference to the Shekhinah, which is essentially the divine feminine aspect of the godhead.

“In the imagery of the Kabbalah the shekhinah is the most overtly female sefirah, the last of the ten sefirot, referred to imaginatively as ‘the daughter of God’. … The harmonious relationship between the female shekhinah and the six sefirot which precede her causes the world itself to be sustained by the flow of divine energy. She is like the moon reflecting the divine light into the world.”

(Source: Wikipedia)

The unnamed woman to whom Yeats is speaking in the poem is described as having a “changing face,” which establishes the connection to the moon and reinforces the symbolic relationship between Maud Gonne and the Shekhinah.

Finally, I think there is a third interpretation to this poem. I believe that the woman to whom Yeats is speaking is also a symbolic representation of Ireland. Yeats was writing in the peak of the Irish Renaissance, and he felt it was paramount to restore Irish mythology to the national identity. Therefore, Yeats was implying that when the flames of the Irish Renaissance are not burning as brightly as before, then Ireland should refer back to his poems, to rekindle the passion and interest in the rich mythology that is part of Ireland’s heritage.

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Nameless: Issue 1

Nameless

Alex Hurst, a fellow blogger, suggested I check out this graphic novel (she has a great blog: click here to check it out). When I asked about it at the local comic store, the owner agreed that I might like it. So I picked up the first installment.

I will say that there are some things I like about this issue, and some things that do not work for me. I suppose I should get the negative stuff out of the way first.

The story seemed a little choppy for me. It could be that the writer is just establishing the story and the characters, but it just felt a rough. Also, and this is just a personal thing, the abundance of foul language seemed unnecessary to me. I am definitely not one who is offended by curse words, and the language did not offend me in the least. I just felt it was not necessary and did nothing to add to the natural language of the characters. In fact, it made the language seem contrived. Including curses for the sake of including curses is not a sign of good writing, in my humble opinion.

What did work for me was the inclusion of references to kabbalah and astrology, particularly the connection between sephirot. The fact that the writer knows about the connection between Malkuth and Yesod bodes well. But this is not enough to justify following another arc right now. In fact, I am trying to reduce the number of comics I am following for a little while to focus on some other things.

Thanks for stopping by. Cheers!

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“Odyssey” by Homer: Book III – The Lord of the Western Approaches

BullSacrifice

This book takes place in Pylos. Telemachus and Athena (disguised as Mentor) arrive and witness a religious ceremony in which 81 bulls are sacrificed to Poseidon. Afterwards, they meet with Nestor who relates what he knows about what happened to Odysseus after the Trojan War.

The number 9 appears several times in this book. First, at the ceremony, there are nine congregations and each one is offering nine bulls, for a total of 81 bulls. It is also worth noting that 81 in some forms of mystical numerology is broken down to 8+1 which again equals 9.

On the shore
black bulls were being offered by the people
to the blue-maned god who makes the islands tremble:
nine congregations, each five hundred strong,
led out nine bulls apiece to sacrifice,
taking the tripes to eat, while on the altars
thighbones of fat lay burning for the god.

(Fitzgerald Translation: p. 35)

The number nine also appears when Nestor is relating events to Telemachus and Athena.

Think: we were there nine years, and we tried everything,
all stratagems against them,
up to the bitter end that Zeus begrudged us.

(ibid: p. 38)

The number 9 is a truly mystical number, and I suspect its prominence in this book has symbolic meaning.

Of all the single digit numbers, nine (9) may be the most profound. Composed of three trinities (3 times 3 equals 9), nine represents the principles of the sacred Triad taken to their utmost expression. The Chaldeans believed 9 to be sacred, and kept it apart in their numerology from the other numbers. Nine has been and in some cases still is considered thrice sacred and represents perfection, balance, order — in effect, the supreme superlative.

(Source: http://www.halexandria.org/dward091.htm)

In kabbalistic numerology, the number 9 corresponds with the sefirah Yesod and represents the power of connection, particularly between the earthly and the divine.

Yesod (Hebrew: יסוד “foundation”) is a sephirah in the kabbalistic Tree of Life. Yesod is the sephirah below Hod and Netzach, and above Malkuth (the kingdom). It is the vehicle, from one thing or condition to another. It is the power of connection.

The sephirah of Yesod translates spiritual concepts into actions that unite us with God.

It is often associated with the Moon, because it is the sphere which reflects the light of all the other sephirot into Malkuth, and it is associated with the sexual organs, because it is here that the higher spheres connect to the earth.

It plays the role of collecting and balancing the different and opposing energies of Hod and Netzach, and also from Tiferet above it, storing and distributing it throughout the world. It is likened to the ‘engine-room’ of creation.

(Source: Wikipedia)

So my interpretation of this section of the Odyssey is that it is establishing a connection between the human and the divine, the conscious and the subconscious, the known and the ineffable. It is also worth noting that this all occurs in the third book, with 3 being the square root of 9.

There are other interesting aspects and passages in this book, but I think this is enough to mull over for now. Of course, please feel free to share any thoughts or things you would like to discuss in the comments section below. Thanks for stopping by.

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“Sonnet 6: Then let not winter’s ragged hand deface” by William Shakespeare – Hidden Number Mysticism?

Shakespeare

Then let not winter’s ragged hand deface
In thee thy summer, ere thou be distilled:
Make sweet some vial; treasure thou some place
With beauty’s treasure, ere it be self-killed.
That use is not forbidden usury,
Which happies those that pay the willing loan;
That’s for thyself to breed another thee,
Or ten times happier, be it ten for one;
Ten times thyself were happier than thou art,
If ten of thine ten times refigured thee:
Then what could death do, if thou shouldst depart,
Leaving thee living in posterity?
Be not self-willed, for thou art much too fair,
To be death’s conquest and make worms thine heir.

And we have yet another fair youth sonnet addressing procreation. But this one is a little more interesting, particularly in the use of metaphors and the incorporation of what may be some number mysticism.

In the first two lines, Shakespeare encourages the young man to have children before he gets too old. I really like the phrase “winter’s ragged hand.” It evokes an image of an old, weathered face, accompanied by aged hands with loose skin draped over the bones.

In lines 3 and 4, Shakespeare uses the vial as a symbol for a woman’s genitalia. The youth is encouraged to find a wife he can treasure and who will bear his children.

With line 5, things start to get a little interesting. References are made to usury, which in Shakespeare’s time was the loaning of money at an interest greater than 10%. We then have the word “ten” repeated five times. The number 10 has mystical significance. According to Pythagoras, 10 is represented by the decad, which is symbolic of the world and heaven and is fundamental to understanding the creation of the universe. For more on Pythagoras’ theory, here is a brief and informative article: Pythagoras and the Mystery of Numbers.

The next thing I would like to point out is the importance of the number 10 in Jewish kabbalistic mysticism. The Tree of Life contains ten sephirot. Basically, the ten sephirot are the divine emanations from God which are the basis of all creation. I do not know if Shakespeare possessed a firm grasp of Jewish mysticism, but I would not be surprised if his contemporaries were studying this and possibly shared some insight.

TreeOfLifeKabbalah

The last thing I want to point out about the number 10 is that the last mention of the number in this sonnet occurs in line 10. I personally do not think this is a coincidence. I suspect Shakespeare did this to emphasize the importance of this number.

I also want to comment on the last line. As I read it, I could not help thinking about Edgar Allan Poe’s classic poem, “The Conqueror Worm.” It is one of my favorite poems by Poe. If you’re interested, click here to read my thoughts on that poem.

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