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Re: Monas Hieroglyphica discussion?

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  • Terri Burns
    ... Having heard from a couple of others off-line . . . I think I will! Tomorrow I ll put up the first couple of posts-- look for text and commentary on the
    Message 1 of 7 , Nov 1, 2005
      --- In AlchemistRoyalAdvisorDrJohnDee@yahoogroups.com, "Aaron"
      <Aaron@L...> wrote:
      >
      > Cool! Go for it!
      >
      > LVX
      > Aaron
      >
      >

      Having heard from a couple of others off-line . . . I think I will!

      Tomorrow I'll put up the first couple of posts-- look for text and
      commentary on the first two theorems.

      LVX,

      Terri
    • ClaireNoaell@aol.com
      In a message dated 11/1/2005 9:29:50 A.M. Central Standard Time, ... Having heard from a couple of others off-line . . . I think I will! Tomorrow I ll put up
      Message 2 of 7 , Nov 1, 2005
        In a message dated 11/1/2005 9:29:50 A.M. Central Standard Time, burnst@... writes:
        --- In AlchemistRoyalAdvisorDrJohnDee@yahoogroups.com, "Aaron"
        <Aaron@L...> wrote:
        >
        > Cool!  Go for it!
        >
        > LVX
        > Aaron
        >
        >

        Having heard from a couple of others off-line . . . I think I will!

        Tomorrow I'll put up the first couple of posts-- look for text and
        commentary on the first two theorems.

        LVX,
        Hi Terri,
        I meant to weigh in .. Was going to write you off list.. but I'll ask here instead so you and Liz might read my inquiry into whether or not you've been able to be in touch with each other.
        Hope all is well on both sides of Earth.
         
        Happy All Saints and All Souls Days!
        Betsy
      • Terri Burns
        I ve just uploaded a file which sould help out discussion. It s from Diane Di Prima s prefatory material in The Hieroglyphic Monad By John Dee translated and
        Message 3 of 7 , Nov 2, 2005
          I've just uploaded a file which sould help out discussion. It's from
          Diane Di Prima's prefatory material in

          The Hieroglyphic Monad
          By John Dee
          translated and with a commentary and introduction by J. W. Hamilton-
          Jones
          preface by Diane di Prima
          New York : S. Weiser, 1975

          She's written a little article called "Working With the Hieroglyphic
          Monad: Suggestions For A Way In" which gives readers of the Monas an
          idea of how they might mentally play with the glyph. Since the
          graphics are the thing, you'll need to download the .pdf.

          I'll paste in the text below, but you won'd "see" the article at all
          without downloading the file.

          ***********************

          From the "preface" by Diane di Prima:

          THE HIEROGLYPHIC MONAD: DEE'S INTENT

          Dee calls the Hieroglyphic Monad a "magical parable" and even to
          begin to comprehend his aims and method we must come to an
          understanding of the Doctrine of Correspondences which lies at the
          heart of all magical practice and is the key to the hermetic
          quest. "As above, so below" reads the muchquoted Emerald Tablet of
          Hermes Trismigestus. Thus seen, the material world is a clearly
          defined alphabet for the reading of divine intention, and in the
          process of transmuting base metal, the adept transmutes his own
          nature, and vice versa. Alchemy is not a matter of "either-or", as we
          are led to believe by the Jungians and other well-meaning
          reductionists: "either a spiritual discipline, or an obscure and
          bastard form of chemistry". It was and is a resounding and holy use
          of natural, celestial, and super celestial law, which results at one
          and the same instant in the transformation of the magus and of the
          material universe.

          Dee's monad represents the alchemic process and simultaneously the
          genesis and evolution of cosmos. This is the Work which the magus,
          partaking of the divine, furthers: the redemption and transmutation
          of the worlds. To "raise", as Dee has it, "the element of Earth thru
          Water into the Fire." Whether, in the Jacob's ladder reaching from
          heaven to earth, the planes of manifestation are envisaged as ten, as
          in the Tree of Life; as four: "natura, horizon temporis, horizon
          aeternitas, horizon mundi supersupremi", as in Johannes Pistorius,
          Dee's contemporary; or simply as three: terrestrial, celestial and
          supercelestial (Agrippa, et al.); it is in all cases cabbalistic
          truth that the same forces operate and the same forms manifest on
          each separate plane (level) (sephirah). Mathematics is uniquely the
          clearest and most flexible expression of the relations between these
          forces and forms.

          The monad is Dee's expression of these relations: it is diagram, at
          once, of process and goal. From the point in the center of the
          circle, the entire glyph unfolds, theorem by theorem; yet it was
          always there; was produced instantaneously; and we feel that its
          shape is inevitable. It is expressive of mathematical relation as
          universally applicable as "e = mc2", and Dee sets it to work on many
          different levels of learning. In his dedicatory letter to Maximilian
          II, he states that his book will re-organize the science of the
          grammarians, reveal a new notion of number, revolutionize geometry
          and logic, make obsolete the present practice of music, optics and
          astronomy, and broaden for both the cabbalist and the philosopher the
          understanding of his art. He goes further, and gives hints as to how
          to use the monad in each of these fields: the grammarians are to
          consider the genesis and meaning of the shapes and sequences of the
          letters of the three major alphabets-Greek, Latin and Hebrew-in
          relation to the monad; numbers are to be treated as corporeal and
          discrete: "their souls and formal lives are separated from them and
          enter our service"; the geometer will find that "in the square
          mystery of this Hieroglyphic Monad, an altogether perfect circle is
          rendered"; the astronomer will be able to observe by its means the
          orbits of the heavenly bodies "at any given time and without any
          mechanical instruments" without ever leaving his desk.

          Once, he seems to point directly to mechanical and technical
          information hidden in this work: the optician, he says, will come to
          condemn his own foolishness. He has labored long and hard to shape a
          mirror on the appropriate parabola so as to shatter any given materia
          with the violent heat of the sun's rays, but here in "The
          Hieroglyphic Monad" "a line is revealed . . . from which, when
          rotated. . . a form can be made which . . . can reduce any Stone, or
          even any Metal, to a powder with the force of truly the greatest
          heat". [Given that the Philosopher's Stone often appeared in the form
          of a reddish powder, it is as if Dee is here describing a qualitative
          jump, a technical advance in the alchemic process, similar to the
          discovery of potentization in homeopathy by Samuel Hahnemann some 200
          years later.]

          Dee also describes the monad as representing a particular spiritual
          discipline, in a passage of his letter that is reminiscent of certain
          Tantric texts:

          "There is present, hidden in the most central point of our
          Hieroglyphic Monad, a terrestrial [i.e., physical] body. How this
          body may be activated by Divine force, the monad teaches without
          words. When activated, it copulates (in a perpetual marriage) with
          the sun and the moon-even if before this, whether in heaven or
          elsewhere, the sun and moon were completely separate from this body.
          When this mariage has been performed. . . the Monad can receive no
          further nourishment on its native soil, and no drink, until the
          fourth, and truly great, metaphysical Revolution is completed. When
          this is done, the nourisher [of the Monad, i.e., the Magus] will
          first be metamorphosed, and afterwards will rarely be seen by mortal
          eye. This, 0 Great King, is the true, often discussed, and blameless,
          invisibility of the Magus."

          WORKING WITH THE HIEROGLYPHIC MONAD: SUGGESTIONS FOR A WAY IN

          If one picture is indeed worth a thousand words, one glyph like the
          Monad is the condensation of 10,000 pictures. Hence its power. We
          have the assurance of the several Dee scholars of the present day
          that the key to the interpretation of "The Hieroglyphic Monad" is
          lost. The text itself seems to require the accompaniment of an oral
          teaching, and indeed, Dee records at least two instances in which he
          had an audience with a royal personage specifically to explain this
          work, and it seems that in both cases he left his royal patron in a
          state of satisfaction and at least partial enlightenment. These
          instructions being lost to us, we may, with clear conscience, turn to
          our own interpretive fancies and intuitions.

          The real key to this book seems to me to be inherent in the glyph
          itself: draw the Monad frequently, look long at it, use it in your
          meditations, and slowly it begins to speak. Read the text with an
          open mind and even more, an open heart: it requires that we use, and
          at the same time subordinate, our powers of reasoning-subordinate
          them to a supra-intellectual faculty that comes into play and makes
          high, non-analytic "sense" for us when we read certain alchemy texts,
          and certain poems. Let the monad enter your dreams: the discoveries
          you make may not be those that Dee foresaw, but if the relations he
          expressed are truly universal, the glyph four hundred years later
          will have many applications he did not anticipate. What is required
          of us is that we "think in symbols", suspending for a while any
          reference to their verbal equivalents-a process not unlike that used
          in hieroglyphic languages or developed by symbolic logic.

          Some elementary "play" with the Monad might look like this:

          [here you have two and a half pages of graphics and commentary.
          Please download the .pdf file of this article, in our files section,
          so see them, as the article will be meaningless without this
          explanation.]

          It is by working with the glyph till we have exhausted our intuition,
          and then referring again to the text, "reading between the lines",
          and then working again with the glyph, that, hopefully, the full
          meaning of this work will re-surface for us. We have the assurance of
          many European adepts-Dee's contemporaries and successors--that "The
          Hieroglyphic Monad" is well worth the effort.

          This process, which we might call "creative memory", is, in any case,
          a small part of the Great Work now going forward: the reconstruction
          and dissemination of the old knowledge, in the fierce light of our
          present desperation. We must seek once again to read the direction of
          the Invisible in its material forms, so to rescue and redeem the
          Earth. As Dee says, "No man may make excuses for his ignorance of
          this, our holy language which. . . I have called the real cabbala:
          the cabbala of that which is."

          Diane di Prima Marshall, California January, 1975

          ACKNOWLEDGEMENTS

          I am indebted to the work of C. H. Josten in "Ambix, XII" (1964) and
          to his publication in full of the Latin text of both Dee's letter of
          dedication and the "Monas Hieroglyphica"; to Peter French's biography
          of Dee, and to Ms. Frances Yates for her insightful books.
        • Liz Forrest
          Hi Terri, just catching up again, or trying to, no access to the web for the past couple of weeks to speak of. Checking on Joe Mason s gematria work with the
          Message 4 of 7 , Nov 5, 2005
            Hi Terri, just catching up again, or trying to, no access to the web
            for the past couple of weeks to speak of. Checking on Joe Mason's
            gematria work with the number 477 found he'd miscalculated but came up
            with great information anyway, but the number should have been 481.
            Mentioning this here, just 'cause I have no time to open up another
            thread and it may or may not relate. 481 = 37x 13 (Kieran's favourite
            number has been 13 and he was born when I was 37. :-) November 8
            will be 888 in the day count I've been keeping since his 'passing'.
            Not much energy capacity left in my phone batteries either so hoping
            to afford new ones soon. Slight movement on the situation here.
            We'll see.

            Can't help wondering about the motivations of the ones who were
            'working' with John Dee. Have you any info on what happened to his
            family/descendants? Love, Liz

            PS: Postal strike brewing here too. Management wants automation so
            demanding workers change work practice to get money they're already
            owed. Hmmmm.
          • Liz Forrest
            Hi Terri, I m interested but no time to remember how to access Yahoo tonight, so maybe Monday I ll figure it out, if you could remind me! I know I took out a
            Message 5 of 7 , Nov 5, 2005
              Hi Terri, I'm interested but no time to remember how to access Yahoo tonight, so maybe Monday I'll figure it out, if you could remind me!  I know I took out a new address or found the old one.  Aarrgghh!  Love, Liz

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