I.N.R.I. –

Igne Natura Renovatur Integra

 

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In his widely acclaimed essay “Supernatural Horror in Literature” (in Dagon and Other Macabre Tales, Arkham House Publishers, Sauk City, WI, 1987) Lovecraft writes: “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.”

For decades this opening phrase has been interpreted but superficially. Behind this rather exoteric-sounding statement, there can be discovered a profound esoteric meaning.

The “fear” Lovecraft spoke of beyond the ordinary appearance of words, is the fear of matrical man to lift the veils of illusions.

The individual who cannot transform the energies during space, time existence will be confronted with them after having discarnated. This applies to any form of discarnation that happens without the transformed one’s spiritual-conscious control of energies. In certain states of existence, for example, described in the Tibetan Book of the Dead, the divine self is freeing itself from the bonds of matter. If there is still space-time definition and illusory ego, no spiritual unity can be achieved. Due to a fear of dying that is awakening from the illusions of material appearance, the self cannot emerge and be liberated, the individual cannot become entitative and is thus “bounced back” into manifestation. Literally, the ego is starting in “mortal” fear and cannot cross the Barrier of Light. This process results in another incarnation.

This fear of the untransformed, discarnated individual is the “old, est” and “strongest” kind of “fear.” As the ego is matrical by definition it is consequently ignorant of non-matrical states of being. Therefore we can say that that which Lovecraft means by “unknown” is rather to be called the sensorily unknowable.

Evidently, Lovecraft’s work mirrors his own struggle with the ego and the sensational illusion called “fear.” He experienced all that himself. It is the matrical fear of animal-man; the Minotaur is afraid of insight as the wild animal is afraid of the all-devouring fire. But the task is to burn it in the Fire Divine.

Both ego-less animal existence and man’s ego, which is but matri­cal sensory cognition, originate in the same Matrix of Dream. This must be transcended. It is Polar insight, the inward-looking way that leads out of this cyclic Matrix. However, the man’s ego, being the man­god, fears mystical dissolution, because it means its “death.” Only if “death” is realized as an illusion by experiencing it mystically in life, can essencification and spiritual unity be achieved. The ego fears “death” because it does not know that there is none. “Fear” is the sword the ego wields, yet its iron melts away in the black heat of Wisdom.

In Lovecraft’s stories, the elements of decay and death prevail. These are emotional patterns typical of the one approaching and crossing the seventh plane of the Threshold. The Poleward Pilgrim knows of these illusions. The transformative way across the Bridge of Fog, from animal-man to god-man, is painful. Everyone claiming the contrary is speaking with a Minotaurian voice.

The Way leads through the Tomb of the Individual toward the Emergence of the Entity. The same is applicable to humanity. Sat­urn is throwing its charnel light toward this planet. But the Pilgrim must know that Saturn is but the Threshold, not the Destination.

Religion and society are immersed in a decisive clash these days. The swords are being brandished; however, they are not sharp. The final stab comes from somewhere else. Humanity must undergo the Baptism of Fire; therefore, we say that at this stage it is like a Dweller in the Ashen Place.

After having transformed, man is man no more. But one thing must be stressed at this point. Many will end up in what is com­monly called “madness.” The reason is that the Vastness of spiritual being that can be experienced grinds the ego accustomed to causal limitations. Isn’t Truth like a Mill Stone, and isn’t Cardea the God­dess of Arcadia? A certain disposition is necessary before the Pole­ward Way can be taken. There must be esoteric guidance. This Guid­ance is called the Green Ray, received in the fourth chakra because by Heart must the Pilgrim know his Destination.

When spatial-temporal circumstances are being annihilated with­out prior disposition, insights or even brief glimpses into the Vastness can be wrongly reconnected with the Matrix due to a strug­gling and dying ego. Then, the result is neither compatible with matrical existence nor with the One Reality beyond the Threshold. That can result in confusion or madness.

In this sense, and only in this sense, the Way to the Pole is elitist. A certain disposition and preparedness, which is natural, is absolute­ly requisite for embarking upon actual transformation. Therefore, only by following the Way of the Heart, can transformation be truly achieved. The readiness of the heart, the receptibility of the fourth chakra, is the first step out of matrical entangledness. This pre­paredness is a stage of individual development already undergone, a natural disposition that cannot be taught. Before receiving the Green Ray of Guidance, life itself is the only initiator.

Only if there is the preparedness to dissolve, can the individual begin the process of mystical Involution to leave matrical existence that serves but reproductive purposes to keep the dream-cycle going. It is a fact and to many, it may not sound “nice,” but the many are needed for the few to awake.

Matrix is reproduction, reproduction is an expansion in space-time; expansion is a continuation of cyclic dreaming. The cycle is the element in which the Seed must awake. It does not mean anything else. Awak­ening is Liberation. No one can liberate man, only man himself. And beyond the Threshold of Light, there are those awaiting the Awaken­ing One. To the inward-looking one, Vistas of Vastness are opened in the Black Light, and the Pilgrim is guided onward in Ways of Old. The Light the Pilgrim sees is as radiant as a multitude of stars, and by Heart and Wisdom, he understands these words craven in Onyx.

Tiamat-Isis is the Creatrix. She is mother, wife, and widow at the same time. She creates and is the created. But she is also the widow, for she is the symbol of the exile of manifest existence. She is wid­owed light desirous for Marriage; and for the achievement of Res­urrection, man, her son, must be sacrificed. In the Shadowless Land, there is shadow no more. There will be Terra Nova. This cycle is the world of correspondences. Wing to Wing, frequency to frequen­cy. Only during transformation can the deep meaning of life be fully illuminated; only then, can the mystical interactions of Polaria and Transpolaria be understood by the heart (by Heart capitalized refers to the Heart Planet). Two are in One, yet there is only One.

We can call Lovecraft an Esoteric Pioneer, a venturer behind cur­tains drawn. Except for a few initiated friends, most people were totally ignorant of his esoteric activities. Even in his letters, written to many correspondents, he remained silent. Compared to the num­ber of stories left, his epistolary legacy is huge. But not everything has yet been unearthed. It is known that one of his closest friends and protege, Robert H. Barlow, went to his home in Providence after his death in order to act in accordance with a mysterious “Instruction in Case of Decease,” set down by Lovecraft in 1936, saying that he alone was authorized to take manuscripts, documents, and so forth, in his possession (Addendum #2 in Lovecraft Library: A Catalogue, Necronomicon Press, Rhode Island, 1980).

It must be emphasized, however, that many people thought Bar­low behaved inexplicably strangely. After being at Lovecraft’s home, he vanished for months without passing on the material to the pub­lishers and friends of Lovecraft; August Derleth and Donald Wan­drei. And one of the common friends, Clark Ashton Smith, broke off their friendship because of “unethical demeanor” (in L. Sprague de Camp, Lovecraft: A Biography, Doubleday, New York, 1975).

But there is something else that must be pointed out: In 1941, four years after Lovecraft’s death, a bookseller came into the house in 66 College Street to look through the belongings of his Aunt Anni Gamwell. Bound up in heaps among papers he discovered manuscripts written by Lovecraft. Obviously, they had not been taken by Robert Barlow years before. But why had he come to the late author’s home? What else, apart from manuscripts, could have been his reason?

Lovecraft was an alchemist and occultist. As we have seen so far in the cases of Shub-Niggurath, Kadath, and Cthulhu he was a gift­ed phonetic cabalist, speaking the Green Language of the Birds. And as we shall see in the following chapters in the context of Yog­Sothoth, Nyarlathotep, and Azathoth, he practiced the art of encod­ing to a masterly degree.

Among those writers, Lovecraft admired were Jules Verne (1828-1905) and Edgar Allan Poe (1809-1849). Exoterically, his admirations could be seen as “obligatory;” esoterically, however, there was a distinct, but hidden connection between these three writers.

In Poe’s epic tale entitled “The Narrative of Arthur Gordon Pym,” we find the mystical sounds “tekele-li,” too (explained earlier in this chapter). Poe left the tale unfinished, as according to a note append­ed to it we are told that a few “remaining chapters were irrecover­ably lost through the accident by which Pym perished.” (Note as published in E. A. Poe, The Narrative of Arthur Gordon Pym of Nan­tucket, Penguin Classics, London, 1986). The said tale is on Pym’s adventures in Antarctica. In the course of events, a subterranean system of caves is found by the protagonist and a friend of his; they explore and eventually flee in panic. The tale ends mysteriously. At last, the two explorers are driven toward a cataract of white vapor, and Poe further tells us: “Many gigantic and pallidly white birds flew continuously now from beyond the veil, and their scream was the eternal Tekele-li, as they retreated from our vision. But there arose in our pathway a shrouded human figure, very far larger in its pro­portions than any dweller among men. And the hue of the skin of the figure was of a perfect whiteness of the snow.”

It must be said here that the above expression “cataract of vapor” hides an esoteric-alchemical symbolism. The word vapor, often used by Lovecraft in descriptions in “At the Mountains of Madness,” implies Polar lore. Vapor contains the word pyr, Greek for fire, in turn, derived from pur, as explained earlier in this chapter. Apart from the alternative meanings combined with this word, the “cataract of vapor” is a hint at the Fog of Fire. But it also indicates the mystical Isle of Isis.

It is from the Bowels of Earth the Healing Waters stream forth. There is the Spring of the One, the Fountain, wherefrom issue the Seven Rivers of Creation. And it is that Source that must be looked for. As above, so below.

We return to E. A. Poe. He is allusive in “The Narrative of Arthur Gordon Pym.” The protagonists discover a series of hieroglyphs in the abysmal chambers of underground Antarctica. In his mentioned “Note,” Poe explains them as being of Ethiopian and Arabic origin, having the meaning of “to be shady” and “to be white.” And one of the mural indentures is rendered as perfect Egyptian, meaning “the region of the South.”

For obvious reasons, it was Jules Verne who wrote a sequel to Poe’s unfinished adventures of Arthur Gordon Pym, entitled “The Sphinx of the Icy Regions.” Verne tells the story of the attempt to rescue Pym whose fate at the South Pole is uncertain. The Ice Sphinx, eventually discovered, turns out to be a gigantic “magnetic” mountain, so powerful as to suck all “iron” out of the rescuing ship.

Whether Poe was frank about the origins of his tale or not, he knew what he wrote about. So did Jules Verne.

Poe’s stories are on death, decay, melancholy, and love; his char, acters such as Arthur Gordon Pym are drawn toward the Thresh, old. Poe’s “The Masque of the Red Death” refers exoterically to a plague devastating a medieval country. Esoterically seen, sickle, holding Chronos-Saturn appears attired in red, indicating the Red Kings, the alchemical Red Sulphur and the Mystical Aurora.

And Poe’s “The Fall of the House of Usher” is indeed the Ashen Place. His dramatic “Descent into the Maelstrom,” set up high in the “north,” is all too obvious.

Jules Verne’s Twenty Thousand Leagues Under the Sea contains principal Polar symbolism. His “Captain Nemo,” reverse of “Omen,” is crossing the oceans in his submarine named Nautilus. “N” is the monogram of “Nemo,” and it is identical with the “N” at the center of the Magic Square entitled “Sator-Rotas,” the so-called Square of Five or Square of Mars. The number 13 marks its middle, and it is the Number of Death-in-Life. “Sator-Rotas” is an anagram of ‘Artos,” a Greek name for the constellation of the Great Bear.

Nemo’s ship crossing the oceans underneath their surface is the Nautilus. This symbolism is arcane, too. As mentioned previously, in zoology the Nautilida belong to the Cephalopoda, just like Love, craft’s Octopoda. They are both symbols of human transformation. The Nautilus is a mollusk that has an internal spiral with many little chambers. As it grows, it moves into an ever-larger chamber and seals the previous one with a layer of Mother-of-Pearl.

His Journey to the Centre of the Earth is to be recognized as an allegory as a whole, in that it is dedicated to the Sacred Quest into the Inmost Realm of Creation. Deep in the interior of the Earth the protagonists are faced with the very origins of the human species. And these are indeed “gigantic.”

Verne supplies numerous phonetic codes. One of the main characters, Professor Lidinbrock, is learned in the field of mineralogy, and in that context, we find mentioned such “minerals” as “ghelenites” and “fangasites.” “Ghelenites” is reminiscent of the French word  “gelee” and meant to indicate the alchemical “White Jelly” or “Gelee Blanche.” This “Gelee Blanche” is the Mirror of the Philosophic Art. “Fangasites” is phonetically alluding to the Plant of Immortality, in ancient Chinese Alchemy synonymous with a “fungus.”

The name “Lidinbrock” can be segmented to “Lid-in-brock,” com, posed of lid, German for “eye-lid,” and brock or “brocken,” that is, “lump of coal.” “Coal” is meant to indicate the alchemical “Kohl,” being the “subtle powder of life,” otherwise called the silvery Antimony of the Art, from which a curing elixir can be drawn. It is the Coal within which there burns the hidden fire.

It represents the Eye, and Fulcanelli writes that its symbolism can be equated to the letter “G,” occupying the seventh position in the alphabet.

In the Celtic Tree-Alphabet, “G” stands for “Gort” or “ivy.” “Ivy,” together with vine, are symbols of Resurrection, the former being sacred to Osiris. A particular characteristic is that they are the only trees in the Beth-Luis-Nion that grow “in spirals.”

“Lid-in-brock” indicates the Eye of the Stone, only to be achieved when the Threshold is crossed, and the Underworld illuminated. It is the Black Stone that turns to the White Stone and man can see the All-Seeing Eye.

The mystical explorers begin their descent into the Bowels of Earth in a “crater” of an extinguished volcano in “Ice-land.” In the decoded message left by the previous explorer the appropriate time for the beginning of the journey is given. Verne writes that the actual descent is to be embarked upon when “the shadow of Scartaris” falls on the crater “before the calends of July.” The word Scartaris is a codeword, too. Scartaris can be read “Arcs-Istar” or ”Arx Ishtar.” Arx is the Greek word for the Celestial Pole, and Ishtar is Babylonian for the Mother Goddess. Ishtar is otherwise Astarte or Ashtaroth. She is like Cardea, the Millstone of the Heavens, and the Journey into the Centre of the Earth is Jules Verne’s version of Way to the Mystic Pole.

Poe and Verne made use of allegories in which they hid esoteric-alchemical insight they were granted. Lovecraft had become a receptacle of the Ray and brought back glimpses of the One, perhaps more than any other writer could do before him. In this sense he is a pioneer, and, moreover, he is a prophet. His works of encoded revelation constitute the important manifestation of the Mystic Pole.

Tradition in the twentieth century, while this planet is approaching a decisive turning-point in its history. In the original Lore of the Goddess and its many cultural ramifications throughout the ages, there is entombed the essential Lore of the Old Ones and the Wis­dom of the White Stone. This Lore is originally extraterrestrial.

Lovecraft cloaked his profound esoteric insight in the imagery of horror. We can say that because of its characteristic exoteric appear­ance, of the prevalence of horror, Lovecraft’s work became a thresh­old itself. Thus it was given a clear but subtle initiatory nature. Many feel attracted by Lovecraft’s forceful imagery, but only a very few know the reason. Only those with preparedness and already drawn toward the Threshold would be ready to delve into Lovecraft’s work and recover from its depths the eonian Polar message. Who can see the picture behind the letters, can understand the words; who reads the letters and doesn’t see the picture, understands nothing.

As we have seen in many examples, Lovecraft was a master encoder. The Phonetic Cabala is a Language of Revelation. Originally, letters were not only letters but also pictures. The Language of the Birds is the Language of Nature, through which secrets have been passed on for eons. Its achievement is the achievement of primordial purity of sight. Indeed, life is like an open book. And why should it be closed? We are here to read in it. See and understand Ike the Fool. If the Green Language is properly understood as impulses of the One to Creation, the Muses are indeed a bridge to transformation and resurrection. And Apollo rejoices. It is a fact that a certain degree of sensitiveness is required to reach through the Veils of the Goddess, to unveil the Truth in the Image, the One Unmirrored. Artists are very often receptacles of such divine impulses, though most of them do not realize the essential purpose of their creativity.

In materialistic society, the individual’s creativity is, generally speaking, not dealt with properly. It is exploited for the purpose of supporting the man-made and man-maintained system of ignorance. Buddhists say that there are as many religions as there are monks in the world. This is a true aphorism to a certain degree. Manifestation is manifold, and there are manifold ways of creative expres­sion. Yet there is but one Underworld, one Gateway-out-of-Space­Time, for there beyond the fractions of spiritual harmony and the Barrier of Light, there is but One Reality. To reclaim the Land of Spiritual Unity, to let it be in blossom again is the only task and only purpose of man’s existence in space-time. To achieve the Wis­dom of the White Stone, the Barrier of Light must be crossed, the Veils of the Creatrix be lifted.

The Matrix of Dream is like a cabinet of mirrors, the mirrors being veil-like or the veils being mirror-like. The fewer veils there are remain­ing, the more Truth is beheld. The ego that knows but sensory­-deceptive perception can be compared to a “program” requisite to keep the dream going.

We, therefore, say in Transpolaria that it is necessary for the One to dream, so that awakening can be.

Life-dream is a quest. Everything man does is subject to this pur­pose, whether he is aware of it or not. The mother who kills her newborn child out of despair is on her quest, and the mother who is caring and caressing out of affection is on her quest, too. Both are aspects of Truth, but only seen through the respective veils. There is but one destination however interpreted amiss.

The return of the Old Ones is a mutual assimilation of Orders so that the Titan-gods can be in loving embrace with their Titan-god­desses. That is called the Embrace of Old. It is Solar and Polar Tra­ditions reunited.

However, for the terrestrial-global achievement of that sacred Order, the Earth must be baptized as we say. Only in that Baptism of Spirit-Fire will the whole planet be given a new name of old.

This is the seventh cycle of Creation, an expression of the One’s fathoming desire. Six cycles have been there “before,” and this sev­enth one, space-time, is the Cycle of Repose Divine. But as eluci­dated in the Great Cyclic Relation of Worlds and Arktography later in this book, there are eight cycles of Creation existing simultane­ously. The Eighth Plane is the Gateway-out-of-Space-Time. It is Awakening leading into the Presence of the Eternal. And Three Summits are there; the first is the last.

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