northanger (northanger) wrote,


And besides all that, she had a wicked sense of humor. No less a judge of poetic justice than William Butler Yeats reported approvingly of her pranksmanship. Like the time she snookered a gullible disciple with a story of how the Earth is actually shaped like a dumbbell, having a twin orb stuck on to it at the North Pole. Chapter Twenty

• And the connecting thread of the AIN SOPH is extended through the worlds of the Ten Sephiroth and is in every direction.

• …seeing that Malkuth and Kether be in different planes or worlds, the lines of transmission of these forces are caught up and whirled about by the upper cone of the hour glass symbol into the vortex wherethrough passeth the thread of the unformulated, i.e. the Ain Soph.

• Also the action of the Spirit of Malkuth of Yetzirah transmitting unto Kether of Assiah will equal that of continued vibratory rays, acting from the centre to the circumference, and thus bringing into action the force from the “Thread of the Unformulate” MEZLA. Note

Kabbalah Unveiled [+][+][+]
Q.B.L. or The Bride's Reception [+]
The Vision & the Voice [+][+]
The Influence from Kether {MZLA & MZL} [+]
alt.magick: Mezla
Kabbalah for Health and Wellness
Trees of Life from the Book of Sefer Yetzirah
Merkabah Tree from the Book of Ezekiel and Isaiah

Then meditate on the Name that unites the two [Chokhmah-Wisdom and Binah-Understanding]. This is Ab (72), the Tetragrammaton expanded with Yod's:

יוד הי ויו הי

This expansion [has a numerical value of 72] the same as that of Chesed-Love (חֶסֶד). This is the upper Chesed, which brings about the Higher Union. It is called Destiny (Mazla, מַזְלָא), and it is created through the Neshamah of the saint, when he ascends on high in Binah-Understanding. This involves the Feminine Waters of Binah-Understanding. It is the mystery of the statement, "Thus has it arisen in Thought," 76 [since Thought is Binah-Understanding]. Yichudim

• • • • • • 

All these active factors are in turn united in the tenth Sefirah, Malkuth or Shekhinah, God's royal rule, into which they flow as into the ocean. The living forces of the Godhead pass into Creation through the medium of the last Sefirah, represented in symbols of receptivity and femaleness. We thus arrive at a fixed canonic image of the Sefirotic tree, represented as shown on page 44.

While the image of the Seirotic tree is represented in other structures, this one is the most widespread. The Sefiroth are thus not a series of ten emanations of aeons emerging from one another; on the contrary, they constitute a well-structured form, in which every part or limb operates upon every other, and not just the higher ones on the lower. The Sefiroth are connected with one another by means of secret "channels," tsinoroth whereby each radiates into the other and in which the other is in turn reflected. The specific nature of each potency is deeply rooted in itself, but every potency likewise contains some aspects of all the others. Moreover, each one repeats in itself the structure of the whole, and so on ad infinitum — a point elaborated by the later Kabbalah. It is through this process of infinite reflection that the whole is reflected in every member and thus, as Moses Cordovero explained, becomes a whole. שיעור קומה [+]

YHVH = 26

24 × 26 = 624

Squares of Ab, Sag, Mah & Ben = 624

Emanation and the Concept of the Sefirot
Kabbalah, Gershom Scholem

In the literature of the Kabbalah the unity of God in His Sefirot and the appearance of plurality within the One are expressed through a great number of images which continually recur. They are compared to a candle flickering in the midst of ten mirrors set one within the other, each of a different color. The light is reflected differently in each, although it is the same single light. The daring image of the Sefirot as garments is extremely common. According to the Midrash (Pesikta de-Rav Kahana), at the creation of the world God clothed Himself in ten garments, and these are identified in the Kabbalah with the Sefirot, although in the latter no distinction is made between the garment and the body — "it is like the garment of the grasshopper whose clothing is part of itself," an image taken from the Midrash Genesis Rabbah. The garments enable man to look at the light, which without them would be blinding. By first growing used to looking at one garment man can look progressively further to the next and the next, and in this way the Sefirot serve as rungs on the ladder of ascent toward the perception of God (Asher b. David, Perush Shem ha-Meforash). (pp.103–4)
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Into this inchoate mixture, which is the hylic aspect of the future universe, there descends from the primordial, space-encompassing Ein-Sof a yod, the first letter of the Tetragrammaton, which contains a "cosmic measure" or kav ha-middah, that is, the power of formation and organization. This power may be seen as belonging to the attribute of mercy (Raḥamim).

Creation, therefore, is conceived of as a double activity of the emanating Ein-Sof following on ẓimẓum: the Emanator acts both as a receptive substratum in the light of the reshimu, and as a form-giving force which descends from the essence of Ein-Sof to bring order and structure to the original confusion. Thus, both the subject and object of the process of creation have their origin in God but were differentiated from each other in the ẓimẓum. This process is expressed in the creation of "vessels" (kelim) in which the divine essence that remained in primordial space is precipitated out: at first this takes place still hylically, in the vessel called "primordial air" (avir kadmon), but subsequently it assumes a clearer form in the vessel called "primordial man" (Adam Kadmon) that is created by a raising and lowering of the "cosmic measure," which serves as a permanent connection between Ein-Sof and the primordial space of ẓimẓum. (p.130)
- - - - -
Its length was made up of the alphabets of the Sefer Yeẓirah and had 231 "gates" (i.e., possible combinations of the 22 letters of the Hebrew alphabet in the progression אב·אג·אד etc.) which form the archistructure of divine thought. Its breadth was composed of an elaboration of the Tetragrammaton according to the numerical value of the four possible spellings of the fully written names of its letters, viz., the "name" 45 (יוד הא ואו הא), the "name" 52 (יוד הה וו הה), the "name" 72 (יוד הי ויו הי), and the "name" 63 (יוד הי ואו הי), which were the "threads" of the "weave" that were originally situated in the hem of the garment. This primordial Torah contained potentially all that could possibly be revealed through the Torah to be given on earth. (p.132)

The Sephirotic tree of the Kabbalah, an important source for Llull, is another bubble diagram. Gershom Scholem explains that mysticism is possible only after accepting the idea of a great abyss between God and humanity with a search for a "hidden path" to join them. En-Sof, the infinite and concealed God, like the Llullian "A," can only be described through negation. The outpouring of visible light from En-Sof through the Creator, "has a mystical shape which can be conveyed by images and names." [+] The Godhead appears through attributes like Llull's dignities such as goodness, severity and justice that are not metaphors but actually manifested in creation. The ten attributes or spheres called the Sefiroth form a dynamic unity, a tree. In the thirteenth century the Sefiroth were developed into a theosophical system to describe the hidden process of divine life that is instrumental, where anyone with the correct formula could succeed in operating the "magical mechanism."

The Sefirotic tree provides a "mystical topography of the Divine realm." The ten emanations are a network, constituting a well-structured form, where every part or limb operates on the others. The Sefiroth are connected by means of secret "channels" or tsinoroth, radiating into each other. The upper and lower extremities of the channels are often shown open to reflect the light of En-Sof, the sap of the tree, passing through these openings as a seminal flux to germinate the world. The Sefirotic tree is the "skeleton of the universe," spreading its branches into the whole of creation. Cosmology [+]

Some One Myth: Yeats's Autobiographical Prose [+]
Shirley C. Neuman

…and if I were not four-and fifty, with no settled habit but the writing of verse, rheumatic, indolent, discouraged, and about to move to the Far East, I would begin another epoch by recommending to the Nation a new doctrine, that of unity of being (pp.46–7)
- - - - -
He sought a symbol which would establish an "equivalent expression" not only between macrocosm and microcosm but between historical moments, which would be dynamic and cyclic, in keeping with Madame Blavatsky's theory of Nature. As a consequence, in A Vision, he translated his "mingling of contraries" into diagrams of opposing gyres. They originally represented Empedoclean Discord and Concord and turn, the tip of each touching the base of the other, in opposite directions, one expanding as the other contracts. Defining by analogy, Yeats identifies the first gyre as antithetical, realized by "conflict with its opposite" and separating man from man, the second as primary, treating of externals, uniting man with man (VII, 71-72). These gyres, with their opposed patterns of growth and diminishment, determine the nature of civilizations; when, for example, the antithetical cone waxes, it produces a corresponding antithetical culture. The gyres reveal the unity inherent in their opposed actions when the symbol is translated into a natural image: "The resolved antinomy appears… in the whirlpool's motionless centre, or beyond its edge (VII, 195). (pp.47-8)
- - - - -
The impulse to set these triangles spinning Yeats also owed to theosophy and the doctrines of the Golden Dawn. Madame Blavatsky termed Fohat, "the dynamic energy of Cosmic Ideation," [+] a " 'Fiery Whirl-wind' " which, she explained, "is the incandescent cosmic dust which only follows magnetically, as the iron filings follow the magnet, the directing thought of the " Creative Forces." [+] The Golden Dawn's use of the hour-glass figure as symbol of the transmission of forces from Malkuth (earth, physical body) to Kether (heaven, spirit) makes Blavatsky's dynamism more concrete. In one of the documents Mathers claimed to have received from the Order's "Hidden and Secret Chiefs," the transmission of forces is described: in this case (seeing that Malkuth and Kether be in different planes and worlds) the lines of transmission of these forces are caught up and whirled about by the upper cone of the hour-glass symbol into the vortex, where and through passeth the thread of the unformulate — (i.e., Ain Soph [Infinity], Etheric link.) Hence they are projected in a whirling convolution (yet according to their nature) through the lower cone of the hour-glass symbol into Kether" (my italics).[122] (pp.48–9)
[122] Reproduced in R.G. Torrens, The Golden Dawn: The Inner Teachings (N.Y.: Samuel Weiser, 1973), p. 182. The passage is substantially the same as that reproduced by Israel Regardie, The Golden Dawn: An Account of the Teachings, Rites and Ceremonies of The Order of the Golden Dawn (4th rev. ed.; Saint Paul, Minnesota: Llewellyn Publications, 1971), IV, 251.

•    •    •    •

Envisioning Ireland: W.B. Yeats's Occult Nationalism
{Chapter Five: Yeats's 'fanatic heart': The Golden Dawn, Secrecy and Anti-Semitism}
Claire Nally

Yeats describes this process as the 'surrender of ancient unity to anarchic diversity.' A latent fear of individualism emerges, as by necessity it encourages a variety of opinions which Yeats associates with chaos and disintegration. In terms of the language the poet employs the issue contains a political inflection. Yeats affirms the necessity of tradition, orthodoxy and state or executive control over the random impulses of specific parties. Here Yeats emerges as the defender of tradition, hierarchy and the ascendancy of the collective over the rights of the individual, which on the surface suggests an assent to a form of politics coinciding with his later authoritarian period. However, Yeats's association with and eventual break from MacGregor Mathers in 1900 presents a very different picture. In the Florence Farr Emery debacle, Yeats refers to the 'autocracy like that we have thrown off with so much difficulty.' This schism essentially signalled a revolt against the autocratic government of MacGregor Mathers from his home in Paris. As Harper explains, 'Autocratic from the beginning, he [Mathers] became increasingly so as he attempted to rule in absentia.' Of his first acquaintance with Mathers, Yeats commented he was 'a figure of romance… his studies were two only — magic and the theory of war, for he believed himself a born commander.' Given to anti-Semitic predispositions…
- - - - -
{228} Of course the identification of the Jew as a shrewd, grasping money-lender is common in anti-Semitism. However, the text of A Vision simultaneously supports an opposing ideological viewpoint. It is this oscillation (at the foundation of A Vision itself) which Marjorie Howes gestures to in her discussion of Yeats and eugenics: 'the most useful way to assess Yeats's late politics — and the conception of nationality they embody — is to approach them through the recognition that Yeats's central political philosophy during these years was, in his words, a "race philosophy" which accorded with European fascism in some respects and differed from it in others.'

•    •    •    •

Yeats's Nations: Gender, Class, and Irishness
Marjorie Howes

In recent years there has been much debate and little agreement over Yeats's late politics, particularly their relationship to fascism. The question of “Yeats's fascism,” however, does not generate the most revealing answers about his work and attitudes during the 1930s. This chapter will argue that the most useful way to assess Yeats's late politics – and the conception of nationality they embody – is to approach them through the recognition that Yeats's central political philosophy during these years was, in his words, a “race philosophy” which accorded with European fascism in some respects and differed from it in others. This race philosophy, with, of course, some changes of structure and emphasis, provides a thread of consistency linking Yeats's construction of Anglo-Irishness in the 1920s, his increasing preoccupation with authority and public order in postcolonial Ireland, his interest in eugenics, his flirtation with fascism, and the harsh rhetoric of On the Boiler and Purgatory. The model of Irish nationality in Yeats's later works extended and refigured his Anglo-Irish meditations and his definition of kindred as both tradition and its crisis. Most of the elements of this nationality were in place by the time he became explicitly interested in the British eugenics movement, but his particular version of eugenic thinking was crucial to it throughout the 1930s.

When I say that the intellectual structures of Yeats's Anglo-Irish nationality in his later years were eugenic, I am not referring simply to the thematic preoccupation with degeneration, lineage and breeding that Paul Scott Stanfield has traced quite ably in Yeats's work beginning as early as 1904.

[1] Fonts: Society of Biblical Literature has three for Greek and Hebrew. Added font-stack: SBL Hebrew, Ezra SIL, Cardo.

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