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Logos



What is the logos, anyway? There are many definitions, for a time “logos” preceded “mythos”—so that Aesop’s Fables were once Aesop’s “logos”. Then there are those who, in an attempt to salvage Christianity in the modern age, make logos synonymous with “reason”—that’s very weak.


Logos: when you shift from intellectual knowledge (“inner reading”) which occurs in physical time through logical connection to imagination or knowledge acquired by images (imum ago = imago = to act through imum or depth) you move from reading what is inside oneself to acting upon what is inside oneself (the depths).


The adept then enters the second dimension of time—duration or psychic time. The third sphere, beyond those two, is where one both reads and acts upon what is within oneself—this is cosmic interiority, and this domain is actualised in eternity or causal time (the third dimension of time).


This knowledge can only be attained in an instant, in a moment of sudden illumination, that is known as “spiritual intuition” (intueor = I am led within = I am led to = I am this or that).


This is what initiates seek to attain when, for example, their master tells them to throw themselves off a high bridge without thought—as they experience enlightenment the normal laws of space and time are suspended.


In this state you no longer know but rather become. In relative terms, you can transfer yourself into other beings.


To return to the second dimension, duration—which manifests as simultaneity. This refers to that which was, which is, and which will be—triply present in an impersonal domain. The triple interrelation is our authentic space—the image represented in time.


In the physical realm, our eyes move over an object in a certain span of time, but in psychic space, known as duration, chronological time has no existence—there is no serial form, just a form image. There is just a figure—figures that appear as translucent psychic bodies and which carry the imum ago (imago) or the inner depths within them. These are the past, present, and future of events in simultaneous form.


It is just as I fall asleep and suddenly find myself overwhelmed by a dazzling white light that exists between my sleeping consciousness and my waking self—and it is like the writing painted on the wall before Belshazzar, or what Koestler called “the invisible writing”.


These forms have relatively stable brightness, but their movement expresses itself as sound—recall the strange unearthly sounds I heard both times at Hartsfell, and you will understand (it is the Orphic kabbalah so spoken of by Serrano, it is the music of the vimanas).


I also sometimes hear voices speak to me in that interstitial space between sleep and wakefulness—these are the voices of light.


These sounds can only be heard with the absolute inner ear—which is called “the ear of the heart”, and this is what it means to have awakened the heart. When Jesus says he speaks for those who have “eyes to see and ears to hear” this is the esoteric meaning of his message—he speaks for those who can hear the music of the imago.


The spheres speak in music (the music of the spheres) and at times harmonise with each other or cancel each other out.


What we see in our physical world constitutes the “corpses” of the struggle between the “writings in light”, the cosmic symphonies—and this is what it means to say that this world is just a reflection of a higher world and subsists upon it.


The objects we see around us are just solidified sounds that want to be awakened from material death by music—hence, in a way, our world is dead while the other world is truly alive.


Nietzsche understood this to an extent—the idea that you can command an object with sound.


We can awaken these cosmic harmonies to life with mantras—sounds that seem meaningless to people, like “abracadabra” or the last words of Jesus “sabachthani” (his own mantra). The mantra is just a symbol to awaken the true sound from its slumber, it is not the sound itself—which is almost indescribable.


Hence all we perceive around us in the material world is really death—it is maya, illusion. The true world of the beautiful Orphic harmonies, our true self, which is a sound, lies behind all this dead matter.


Human language is itself the image of the logos—man aspires to perfect wakefulness, in which in his movement he reveals his interiority as a universal interiority; and just as the leaf is the microcosm of the plant, so the human is an organ of language—and the language is the person entire (as above, so below). And so from all speech we can hear the echo of the universe.


We can either draw the sound archetypes down into existence, or send them upwards into the higher spheres—man is made in the image of God because he is sound instantiated, and so he is the cosmic word in physical form.


All creatures, gods, animals, people, demons, and so on are nothing but alphabetised letters in a language, the cosmic language.


This is a fact appreciated by Borge in his works, with his “Aleph” and “universal library”—and also by Bruce Chatwin in his work on the Aborigines, The Songlines (1987), where he describes Australia as a land mapped through song, and that to travel along the country singing is to find your way (just as the first god on the continent did, singing all the rocks and animals into existence).


Man is the creator of the world—he creates the world through words, because he is the image of the logos, he is the image of God. He speaks everything into existence (“and it was good”)—the quest is to activate this logos within himself, and then to bring the external world into line with this interior state.


Hence man transforms the world into the living word—and this is the “manna from heaven”, for which earthly bread is but a symbol.


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