But in the days of the voice of the seventh angel,
When he shall begin to sound,
The mystery of God should be finished,
As he hath declared to his servants and prophets.

-Revelation, 10:7

 

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The Creatrix or Tiamat-Isis, the White Goddess, is also called “lilium inter spinas” or “the lily among thorns” (Fulcanelli: Master Alchemist, Brotherhood of Life, Albuquerque, New Mexico, 1986, reprinted from the French Le Mystere des Cathedrales, Societe Nouvelle des Editions Pauvert, Paris, 1964). This is to be understood as a reference to the human spinal column consisting of 33 bony segments. These segments are the thorns (spinas), among which there is hidden the lily (lilium). It is otherwise the Heavenly Flower that grows in the midst of the dark Forest. Equivalent to the lily there is the lotus flower.

The spinal column or backbone is given particular importance in ancient Egypt where it is depicted in the form of the “ded” or “tet,” composed of the mystical “t-t”-configuration already encountered and further elucidated in the next chapter. The “ded” is an amulet of the spine of Osiris in his position as the God of the World. It is related to the Nilotic town of Daddu where, according to myth, the backbone of the Slain God was discovered. At this cult center, Osiris was worshipped as the Lord of the Pillars. The Pillars are two by number, one representing the upward flux of energies to the Threshold, the other representing their downward flux into the lower abdomen and to the secret Gateway.
The lily itself, otherwise fleur-de-lys, the well,known symbol of royalty, is but an alternative depiction of the bee. The bee is a significant esoteric symbol, in meaning exactly the same as the spider. Both are so-called sting symbols like the thorn. The Crown of Thorns is a symbol of Death-in-Life. He who wears it is undergoing [a] transformation in the thorny Forest of cyclic darkness.

For the Pilgrim to the Pole, the thread of the spider is like a mystical map giving guidance out of the Web of Illusions. In Sufism there is an aphorism about the mystical cobweb: “I am but a message from God to God.” ( quoted in L. Bakhtiar, Sufi – Expressions of the Mystic Quest, Thames & Hudson, London, 1991).

In the Indian Vedas the bee’s honey, or the gift of the Mother-Goddess, can be equated to the concept of the Soma or the divine Drink bestowing Immortality. In Greek, the bee-bread is called “cerinthos,” ike related words such as cerinos, i.e. waxen or ceraphis, i.e. bee-moth, are derived from the word cer or kar, the reverse of the Sanscrit ark. In classic Greece, Ker or Q’re was the Goddess of Fate, one with the Cretan Bee-Goddess designating Death-in-Life. The Goddess of Fate serves as a linkage with Mesopotamian mysticism where Tiamat has in her possession the Tablet of Fates prior to the rise of Solar Order. That Tablet is the Stone of Fates, the Seed Indestructible. In the Enuma Elish it is related that Kingu, her first-born and appointed leader of the army against the forces of Ea, Marduk, is given that holy Tablet. Eventually, after the defeat of Tiamat and her allies, the gods of Solar Order take into their possession the precious stone Tablet. Thence, forth, mankind has been existing in a state of slavery and ignorance.

Even the Solar deities of Mesopotamia were often depicted by means of Polar symbolism. The Babylonian Trias, Ea, Anu, and Enlil were symbolized by the mountain-like cones akin to the beehive, shaped caps, as found on the so-called Zakro sealings for example. (D. A. Mackenzie, Crete and Pre, Hellenic, Myth and Legends Series, Senate Studio Editions, London, 1994)

In the Rig-Veda, one of the oldest sacred writings of India known so far, there are contained numerous hints at the divine status of the bee and its sweet honey.
The Sanscrit word for honey is madhu, etymologically related to the Greek methu or the Hyperborean medu that is, “mead.” In those writings we are told that it is the “madhu graha” or the “Honey-Ves­sel” on which the Twin Horsemen, named Ashvins, settle to indulge in the precious liquid.

In Vedic astronomy, the word graha can refer to the seven plan­ets. Thus the “madhu graha” can be rendered as the essence of the planets, implying the Seed Divine. The Honey-Vessel is one in mean­ing with the Grail Chalice in which the blood of the transformed is reported to have been preserved. In Indo-European lore the Ashvins settle on the Vessel like the Dove settles on the Stone in Wolfram von Eschenbach’s “Percival.” Here, in two esoteric traditions, thou­sands of years set apart in time, we are encountering the same under­lying Polar symbolism.

The prominent Vedic gods Vishnu, Krishna, and Indra are collec­tively called the Nectar-Born-Ones. Vishnu himself is represented as a bee of etheric blue which rests on a lotus flower. In Indian writ­ing there is an aphorism relating to this depiction Q. Ph. Glock, Die Symbolik der Biene, Heidelberg): “When the sun rises, the lotus flower opens, and frees the bees from their prison.”

Blue is the color of the Heavenly City of Luz, known in biblical tradition. Luz in Hebrew is the kernel of the fruit, implying the Seed Indestructible and the Innermost Sanctuary.

The Creatrix is the Mother-Bee. Man can thus be compared to a bee, her offspring. The rise of the esoteric luminary frees him from the labyrinthine Forest like the bees are freed from their hive and like the Fish is liberated from the Net in which it is caught.

Connected with the graha concept, there is another word worth examining at this point. It is madhu-kara or “Maker of Honey.” The word kara is, of course, also derived from kar. The “Maker of Honey’ is like the “Maker of the Stone.” Stone and honey merge into one when the Veils are lifted.

In Vedic teaching, the Ashvins appear in a chariot that is drawn by white horses, described as honey-storing. They are white in color and indicate the Whitening of the Stone. We can equate the horses of the Ashvins with the Ambrosial Swans in Greek mysticism. These are conceptually connected with the nymph, goddess Leda, otherwise, Nemesis, mentioned earlier. Horses and Swans serve the same purpose in Polar symbolism. Their symbolism, when appear, ing as a couple, is identical with the Double-Spiral of Creation, being the Spirals of Evolution and Involution. In ancient India we findJivatma and Paramatma or the Two Birds that abide in the same Tree of Life (R. Guenon, Fundamental Symbols, 1995).

In Indian religious texts (R. T. H. Griffith, Hymns of the Artharva-Veda, Hindu Series, Benares, 1920) we can also read of a so-called Honey, Lash, or Whip that is in possession of the Heavenly Twins. The Lash is said to instill divine sweetness and inspiration. As can be gathered from Vedic lore, the Lash is equivalent to the morning breeze or the first appearance of the Ashvins in the auroral spectrum. The light of morning is the Mystical Aurora already spoken of in previous contexts. The red of the morning symbolizes the Advent of the Messenger. Here, it is possible to link up the Ashvins with the Red Kings of Hebrew theology. Theirs is the Mystical Aurora and the Purple Robe of Kingship.

One of the Nectar-Born-Ones, the eminent god Vishnu, belongs to the race of the Maruts. The Sanscrit word Marut served as root for the Latin Mars. Vishnu belongs to the fifth planetary plane of Mars, corresponding with the fifth chakra of vocalization in the human body. It is the energy center where wisdom [and] knowledge attained can be communicated in spacetime. Its element is air or ether in which any kind of sound can be transmitted.

It must be mentioned here that the bee as a symbol of Resurrection is identical with the frog. The Egyptians linked the process of human transformation with Hekt, the Frog Goddess, a variant form of the Great Mother.

On this planet, the fifth chakra of vocalization is characteristic of the human species. Lovecraft writes that the human organs are not adaptable to the modes of communication of the Old Ones. Indeed, the fifth chakra in man is a mode whereby the Wisdom of [the] Fifth Element can be communicated; something, that, however, is only applicable to communication in the sensory spectrum. Actual spiritual revelation and initiation into Polar Wisdom cannot be identified with the fifth chakra. Knowledge is whitened, and the entry into the Palace of Eight Pillars is granted when the Gateway-out­of-Space-Time is opened in the human body. There in the Palace of Eight Pillars, and only there do the Old Ones suffer man to behold their likeness.
The concept of the divine Drink bestowing Immortality can be found in Hyperborean tradition as well. There we are told it is falling from the World-Ash Yggdrasil. The concept is the same as the one found in the Bible where we can read of the so-called manna, the “dew from heaven.” In Exodus 16:31, we can read: ”And the taste of it (manna) was like wafers made with honey.” Again, we realize how fundamental, underlying Polar Tradition is even in the Solar­oriented Semitic religions.

Now of further significance is the House of the Bee itself and its form. Lovecraft alludes to its meaning in esoteric symbolism in his description of the ice-buried City of the Old Ones in his Antarctic epic where we are told of “cubes and caves of those echoing, vaporous, wormily-honeycombed mountains.”

The house of the bee is hexagonal in shape and esoterically exact­ly the same as the hexagram, a symbol often used, but seldom prop­erly understood.

The sting symbols, either bee or spider, sometimes ant, symbol­ize the Web of Manifestation. So the House of the Bee or the Web of the Spider is designated by the hexagram. It consists of two tri­angles interlaced and is originally derived from the Polar moun­tain- or water-ideogram, respectively, the sign of two mountains or the double-wave. The symbol of the Mountain of Two Summits consists of two triangles or pyramids, bases open, positioned next to each other. The synonymous water-ideogram consists of two wave lines.

In Polar Tradition both symbols indicate the secret Gateway or the place where the Black Light of Spirit rises and brings the emer­gence of the Thrice-Great-One. While the Solar symbol of two pyra­mids interlaced represents the Weave, the very “entangledness” in space-time, the Gateway closed, the original Polar ideogram means the free flux of spiritual energies leading to Resurrection, the Gate­way open. The hexagram can therefore be called a symbol of the Threshold or of Saturn asleep. The Polar ideogram, on the other hand, indicates the Titan awakened, the rise of the Esoteric Luminary between the Two Summits, the return of the Old Trinity, and the restoration of the Order of Yore.

The hexagram as it is presently understood does not mean spiritual liberation. On the contrary, it emphasizes the status of man untransformed, implying stagnation, but not Involution. It is the Pilgrim’s task to tear open the “hexagrammatical” design. In Love, craft’s “Through the Gates of the Silver Key,” we are told that after having performed the Rite, He of the Stone is meeting spiritual beings that are seated on quasi-hexagonal pillars. The meaning of the form of the pillars has now become obvious. Lovecraft openly alluded to the Threshold to be crossed.

Only the individual who attains knowledge-illuminated of labyrinthine spacetime is able to look behind the curtain. Only he is able to lift the Veils and behold the spiritual Vistas of Vastness beyond the Barrier of Light. Man has in him the Key to let himself out of the Dungeons, to free himself from the Torturer named “matter,” to receive the Ray, scale the Oldest Mountain, reach the Pole and Transpolaria: Umbilicus Dei.

With the slaughtering of Tiamat, the esoteric thread giving guidance out of labyrinthine spacetime went lost for the majority of mankind. Polar Tradition holds the keys out of the illusions of mate, rial appearance. Yet, wherever and whenever possible, Solar order, keepers have been suppressing the Tradition. They did so in biblical times, and they did so in medieval times when Templars attempted to establish a Spiritual Church in Europe. And they do so these days. The faces and the banners they carry may have changed, but not their intention to suppress genuine spirituality. Some of these order, keepers may have attained some degree of knowledge, yet in them, and without realizing it, Truth is still overpowered by a struggling Minotaur, afraid of dying to live.

The Drink of Immortality is exactly the same as the Plant of Immortality, the latter having various equivalents in Asian spirituality. We have the Fungus of Immortality, called “li chih” in Chinese lore, appearing depicted on jade ornaments (B. Laufer, Jade: A Study in Chinese Archeology and Religion, Field Museum of Natural History, Chicago, 1912). Jade is the color of the Heart, and its usage in ancient China always implies the Mystic Pole Tradition. “Li chih,” otherwise “li ki,” is considered to be a felicitous plant, because it is said to absorb the “vapors of [the] earth.” The Plant of the Gods grows on the Island of the Blest. And in relevant myth there is either one island or several islands, the number varies according to teaching. In the works of Tung-fang Shuo, who lived in the second century B.C., there appear ten sacred Islands or two groups of five. In Japan­ese mythopoetry the Island of the Blest, called Horaizan, has three mountains and on the chief island, Horai, the Tree of Life grows.

Lieh Tze, a Taoist philosopher-alchemist, who probably lived in the first and second century A.D., writes of the Islands of the Blest to be located to the “east” of the Gulf of Chihli in a fathomless abyss into which flow all the streams of the Earth and the river of the Milky Way. “Chihli” is [the] reverse of “Li chih,” and the abyss into which the waters are sucked is like the hidden vortex at the North Pole mentioned by Western occultists such as Athanasius Kircher or John Dee. In whatever form we may encounter it through the ages and cultures, the Plant of Immortality is always fundamentally linked with the concept of the Land of the Living.
In Lovecraft, we have the fungus symbolism as well. In “Through the Gates of the Silver Key,” we are told about Carter’s mystical journey: “Someday his descent into the solar system may be told. He saw Kynarth and Yuggoth on the rim, passed close to Neptune, and glimpsed the hellish white fungi that spot it … ”

Yuggoth is Pluto in Lovecraft and in “The Whisperer of Dark­ness” it is the “forbidden” and “unknown” “world of fungus life.” On both trans-Saturnian planets grows the Plant of Immortality unmistakably referring to the Old Trinity. Yuggoth is mentioned in several stories. In “The Whisperer of Darkness” Lovecraft tells of its mighty cities of “black stone.” Here we are provided with a dis­tinct hint that the concept of the Fungus of Immortality is crucial to the lore of the Black Stone and the process of whitening it.

Lieh Tze further reported that the Islands of the Blest, five in number in this case, are inhabited by “white souls” or saintly sages who have attained Immortality. Their bodies are described as “trans­parent,” such as the Islands themselves are sometimes said to be transparent as “glas,” implying the esoteric mode of transformed being, or the Whiteness of the Stone.

We are returning to the Soma. The Sanscrit word Soma consists of two words, being so and ma. The so can be found in ancient runic cripts (H. Wirth, Der Aufgang der Menschheit, E. Diederichs, Jena, Germany, 1928) where it is identical with the so-called sign of the loop, reminiscent of the Honey-Lash of the Twin Horsemen. The loop-sign is one with the serpent-sign or the snake-snare, the attribute of the Queen of Heaven in Tibetan Bon religion. In Sumer­ian mysticism, the word so or the serpent-sign is exactly the same as the ku-sound, Semitic nunu that is, “fish.”
The sign of the loop or serpent symbolizes the winter-serpent, astronomically designating the course of the sun until the time of winter solstice. This course can also be called Ku-Bow. It is in this loop where the sun, to be understood both exoterically and esoteri­cally, is caught in the Deeps of the Waters.

The word ma is identical with the m-sign. In Hyperborean script, it was originally written cursively, developed through a variant writ­ing of the Old Norse Hag- or Tree-Rune. Due to usage, the ma became merged with the water-ideogram, the wave-line or double­wave, which is in turn exactly the same as the Mountain of Two Summits. The word ma appears in the Indian word karma, readable “kar-ma,” renderable “Stone of the Water.” This Stone is elsewhere in Alchemy called the “Sophie Hydrolith” (“The Sophie Hydrolith,” in The Hermetic Museum, Samuel Weiser, Inc., York Beach, Maine, 1994). But “kar-ma” can alternatively be understood as the “Essence of the Tree,” the Virgin’s Milk of the alchemist, or the Milky Way in Taoist-Chinese symbolism.

The Water-Deeps are also called the Maternal Well, the Mimis­brunnr in the Eddas. In Hebrew theology, we find its analog in the so-called Well of Calling. It is remarkable that in the New Thamudic language the primordial water-ideogram is changing with the so-called birku-sign or the bi-orka. From the birku, respective­ly, (b)orka, that is, two mountains, the word Omorka is derived. Omorka is a name given to Tiamat-Isis by the Babylonian scribe­priest Berossos in his work “De Oanne,” constituting a concise trea­tise on the very beginnings of human civilization. We are told of a certain Oannes, who came out of the “Red Sea” to bring culture to savage man. In Berossus Oannis is described an aquatic life-form, resembling a fish. It must be said that the symbolism of the “Red Sea” indicates the “Red Elixir.” Fiery are the Waters of Baptism that the planet will have to undergo. C. G. Jung writes in his Mysterium Conjunctionis: “The “Red Sea” is a water of death for those who are ‘unconscious,’ but for those who are ‘conscious’ it is a baptismal water of rebirth and transcendence.”

What is meant here by “unconscious” is matrical existence, the Seed caught in space-time, while “conscious” refers to the Awak­ening from cyclic dreaming. Luzifer fell in a state of “unconscious­ness” on the fourth planet. Therefore, that which is “unconscious” must be made “conscious” again. The “conscious” in this context is the state of the transformed one, and is spiritual awareness; it must not be confused with what is called “conscious” or “consciousness” in the popular sense of the word, in other words, untransformed, matrical existence.

The One is dreaming in the seventh cycle and a sacrifice must be made to break through the Barrier. The Ocean of Night is the “unconscious,” while the Ocean of Day is the ever-conscious, the Waking Divine.

We are returning to the birku or bi-orka sign. In the above-men­tioned word Omorka there is also contained the Vedic word for sun, that is, om. The word Omorka can therefore be translated “Sun between Two Mountains.” Applying the water-ideogram, we obtain a symbol indicating the Holy Place where the Two Oceans conjoin and Wisdom is bestowed like sweetest Soma.

The Vedic “So-ma” can be written “Ku-ma” in Sumerian, since “so” is equatable with “ku,” the sign of the fish. Ku-ma is the Drink indulged in when mystical Midnight has arrived, bringing about the alchemical dissolution of the “hexagrammatical” design of space-time and the exit out of space-time, expressed by the number 13. In Polar symbolism, the Kuma-Drink is identical with the spiritual blood, spoken of so often in Alchemy. It is the concept from which is also derived the Chalice or Cup filled with the blood of the transformed.

In the Vedas, the Chalice of Spiritual Blood is one with the ”Argha” or the Vessel of the Creatrix. Argha means “ashen,” and is not only related to “arka” but should also be recognized as phonetically under­lying ”Agarthi,” a name given to the mythical subterranean realm of sages, said to be located hidden and nearly inaccessible somewhere in Asia. Agarthi is very often quoted in esoteric literature. The Argha contains the Drink of Immortality. It is indeed the Arcadian Gift.

 

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