Michael Wynn's Occult Reference Library
GOTHIC,GOTHICS

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18276066 GRIMM JACOB TEUTONIC MYTHOLOGY VOL 1

he meanwhile pagus had expanded its narrow meaning of kw/xt; into the wider one of ager, campus, in which sense it still lives on in it. paese, fr. pays; while 2mganus began to push out gentilis, which was lapsing into the sense of nobilis. all the romance languages have their pagano, paycn &c, nay, it has penetrated into bohem. pohan, pol. poganin, lith. pagonas [but russ. j)or/a?i= unclean. the gothic hdithi campus early developed an adj. haithns agrestis, campestris^ paganus (ulph. in mark 7, 2(i renders fk\r]i/is by liaitlind, the old h.g. heida an adj. lieidaii, mid. h. and dutch heide heiden, a.s. hu:l) jtcc^in, engl, heath heathen. old norse heitji hei'sinn; swed. and dan. use /leffiit'wj. the o.h.g word retains its adj. nature, and forms its gen. pi. heidanero. our present heide, g

al affinity, it is quite true that the german and the norse dialects and poetries have their peculiarities of form and finish; but it would seem incredible that the one race should have had gods and the other none, or that the chief divinities of the two should have been really different from one another. there were marked differences no doubt, but not otherwise than in their language; and as the gothic, anglo- saxon and old high german dialects have their several points of superiority over the old norse, so may the faitli of inland germany liave in many points its claims to distinction and individuality. intkoductioxn. 11 2. the joint possession, by all teutonic tongues, of many terms relating to religious worship. if we are able to produce a word used by the goths in the 4th century, by

re, which ever and anon breaks out: thus the agreement of the o.h.g. muspilli, 0. sax. mudspelli, with the eddie muspell, of the o.h.g. itis, a. sax. ides, with the eddie dis, or of the a. sax. brosinga mene with the eddie brisinga men, affords perfectly conclusive evidence. 4. the precisely similar way in which both there and here the religious mythus tacks itself on to the heroic legend. as the gothic, fraukish and norse genealogies all run into one another, we can scarcely deny the connexion of the veiled myths also which stand in the background. 5. the mingling of the mythic element with names of plants and constellations. this is an uneffaced vestige of the primeval intimate union between religious worship and nature. 6. the gradual transformation of the gods into devils, of the wise

mythologies of neighbouring nations, especially of the celts, slavs, lithuanians and finns, wherever they afford confirmation or elucidation. this extension of our scope would find ample reason and justification in the mere contact (so fruitful in many ways) of the languages of those nationalities with teutonic ones, particularly of the celtic with old frankish, of the finnish and lithuanian with gothic, and of the slavic with high german. but also the myths and superstitions of these very nations are peculiarly adapted to throw light on the course taken by our domestic heathenism in its duration and decadence. against the error which has so frequently done damage to the study of the norse and greek mythologies, i mean the mania of foisting metaphysical or astronomical solutions on but hal

reme being has always with one consent been called by the general name god. the dialectic varieties are: goth. gu, a.s, o.s, o. fris. god, o.h.g. cot, 0. norse gocf; swed. dan. gud, m.h.g. got, m.l.g. god; and here there is a grammatical remark to make. though all the dialects, even the norse, use the word as masculine (hence in o.h.g. the ace. sing, cotan; i do not know of a m.h.g. goten, yet in gothic and 0. norse it lacks the nom. sing, termination(-s -r) of a masc. noun, and the gothic gen. sing, is formed guffs w^ithout. the connecting vowel i, agreeing therein with the three irreg. genitives mans, fadrs, br6(5rs. now, as o.h.g. has the same three genitives irreg, man, fatar, pruodar, we should have expected the gen. cot to bear them company, and i do not doulit its having existed, th

ts pi. apcotir; whether the m.h.g' dcr aptgot' in geo. 3254. 3302 can be correct, is questionable; we have taken to 1 ovbeh ayados d jj (is 6 oeos, i\raik 10, 18, luke 18, 19, wliich ingothic is rendered 'ni livashuii ]nuseigs alja ains gus, but in a.s' nis nan man god ijuton god ana. god is the giver of all good, and himself the highest good, smnmum bonum. thiis plato names him ro dyadoi. y 2 in gothic the rule is to change th into d belore a vowel in inflection, as, fass, fadis, fada, fus; haubi's -dis -da -s. the peculiarity of gus is that it retains th throughout the sing, gus, guss, gusa, gus; though in pi. and in derivatives it falls under rule asain. teans. god. 15 usiug ahgott as a masc. throughout, yet our pi. gutter itself can only be explained as originally^neuter. since the_tru

ou; iw. 6254. got min vergaz; ecke 209. got heete sin vergezzen; trist. 9243. genaxlelicher trehtin, wie vergaeze d^ ie min so? trist. 12483. for other examples, see gramm. 4, 175. god, by regarding, guards: daz si got iemer sclwnwe! iw. 794. 0. engl. god you see! god keep you in his sight! 22 god. among substantive epitliets are several vvliicli god lias in common with earthly rulers (see suppl: gothic frdiija os. frdho, fro, as. fred; which name i shall treat of more fully by and by. ohg. truhtin, mhg. trehtin, os. drohtin, as. dryhtcn, on. drottinn. ohg. jieriro, mhg. jierrc, which however, when used of god, is never contracted into her, any more than dominus into the romance domnus, don. conspicuous above all is the name father (see suppl. in the edda, alfod'r (siem. 46' 88* 154^ sn. 3

r kunde in so gemezzen, tit. 130. 1. anders denne got uns maz, do er ze werke ilber mich gesaz, parz. 518, 21' ein bilde mezzen' is therefore the same thing as' ein bilde schaj^en' to create (troj. 19805, or giezen to cast, mould (walth. 45, 25. ms. 1, 195^ 2, 226; and in suchenwirt 24, 154 it says' got het gcgozzcn uf ir vel, ir mlindei rot und wiz ir kel; which throws a significant light on the gothic tribal name gduts, a.s. gcdt ohg. k6z (see suppl. as. scippcnd, creator, ohg. sccfo, scephio, mhg. scjicpfa-re, wh. 1, 3. nhg. schopfer. some of these names can be strung together, or they can be intensified by composition: drohtin god, hel. 2. 13. wcddand fro min, hel. 148, 14. 153, 8. frcd dryhten, beow. 62. 186. lif-frcd, cil^dm. 2, 9. 108, 18. 195, 3. 240, 33. beow. 4. the earthly cunin

regin, ginregin (supers potestates) have entirely this technical meaning. ragnarokr (goth, ragine riqvis? dimness, darkness of gods) signifies the end of the world, the setting of the divine luminaries. ssem. 89' has "rognir ok regin" coupled together, rognir (cf. 196) being used to distinguish the individual ragincis (raguneis, masc. these ok regin would be goth, ragina, as the hopt and bond are gothic hafta and banda, all neut. the same heathen conception peeps out in the os ^r^rt^tgiscapu, reganogi^ac^w, hel. 79, 13. 103, 3, equivalent to fatum, destiny, the decree and counsel of the gods, and synonymous with tr^wwgiscapu, hel. 103, 7, from ivurd, fatum. and again in^^dorfogiscapu, hel. 6q, 19. 147, 11. we have seen that metod likewise is a name for the su]dreme being, which the christi

d, they saw never a hero so winsome, their gods must be like him. the more reason is there for my note on siegfried (cli. xv, of whom the nib. 84, 4 says: der dort su mruclun gat (see suppl. god. 27 heatlicn poetry. t>nt those gen. plurals regano, metodo again point to the plurality of the binding gods. the collection of augustine's letters contains (cap. 178, in the altercatio with pascentius, a gothic or perhaps a vandal formula sihora armcn, the meaning of which is simply /cypte exerjcrov even if it be an interpolation, and written in the fifth or sixth century, instead of at the end of the fourth, it is nevertheless remarkaljle that sihora should be employed in it for god and lord. ulphilas would have said: fniuja armai. the inf. armen, if not a mistake for arme, might do duty as an im

eaven, bending of the body (of which bidjan gave a hint, folding of hands, bowing of knees, uncovering of the head. these gestures grow out of a crude childlike noti.n of antiquity, that the human suppliant presents and submits himself to the mighty god, his conqueror, as a defenceless victim (see suppl. precari dsos ccclumque snspicere is attested by tacitus himself. germ. 10. genuflectere is in gothic knussjan, the supplicare of the eomans was flexo corpore adorare. falling down and bowing were customs of the clirislians too; thus in hel. 47, 6. 48, 16. 144, 24 we have: te ijedu hntgan. 58, 12: te drohtine hnigan. 176, 8: te bedu fdlan. 145, 3: gihneg an kniobeda. in the s61arlio3 is the remarkable expression: henni ec laut, to her (the sun) i bowed, sam. 126; from liua inclinare. falla

in gotis; nine women are to read it nine sundays' so ez morginet; the ninth has to read the psalm domini est terra, in such a posture' daz ir lih nict more die erde, wan die ellehogin unde diu chnic' that her body touch not the ground, except at the elbows and knees; the others are all to stand till the lighted candle has burnt out; diut. 2, 292-3 "we cannot now attach any definite meaning to the gothic uviliudon ev'^apiareiv; it is formed from aviliud %api9, which resembles an 0. sax. alat, olat gratiae; does it contain lius cantus, and was there moreover something heathenish about it (see suppl. the old forms of prayer deserve more careful collecting; the norse, which invoke the help of the gods, mostly contain the gnuoc, ein scliajicl daz er uf trunc von gimmen unci von golcle fin, daz

. lastly, the derivation from ferre, offerre, is confirmed by the german phrase' ein opfer bringen, darbringen^ ophar, opfcr could hardly be the goth. ai))r bwpov, in which neither the vowel nor the consonant agrees. the wei. ubert, gael, iobairt, ir. iodbairt (sacrificiixm) probably l)elong also to offerta* when sozomen hist. eccl. 6, 37 in a narrative of athanaric uses ivpoakwelv ka\ dvfiv, the gothic would be inveitan juh blutan '36 worship. lii. 2, 37; he construes it with an ace. of the person: idlotan fraujan is to him simply deiim colere, with apparently no thought of a bloody sacrifice. for xarpeia eom. 12, 1, he puts uotinassus, and for d6o
ibid. 405. it is plain that here the word has more of a heathen look, and was not at that time used of christian worship; with the thing, the words for it soon die out. but its universal use in norse heathendom leaves no doubt remaining, that it avas equally in vogue among goths, alamanni, saxons, before their conversion to christianity. the on. verb hloia, pret. blet and blotagi, takes, like the gothic, an ace. of the object worshipped; thus, gragas 2, 170, in the formula of the trygdamcd: sva visa sem (as widely as) kristnir menn kirkior soekia, heisnir menu hof hlota (fana colunt; and in the edda: thor hlota, mik hlota, hlota&i 06in. seem. ill, 113, 141, 165: always the meaning is sacrificio venerari. so that in goth, and on. the verb brings out more the idea of the person, in ohg. and

ndn. 2, 29. sacrifice. 37 lihamina.blotelsd holocaustum, molbech's ed. pp. 171. 182. 215. 2-1'j. also the o.swed. uplandslag, at the very beginning of the churchbalkr has: sengin skal affgiisum hlotcc, with dat. of person, implying an ace. of the thing. the true derivation of the word i do not know^ at all events it is not to be looked for in blos sanguis, as the disagreeing consonants of the two gothic words plainly show; equally divergent are the ohg. pluozan and pluot from one another; besides, the worship so designated was not necessarily bloody. a remarkable passage in the livonian rhyming chronicle 4683 tells of the sameits (schamaits, samogits: ir hluotcldii der warf zuo hant sin loz nach ir alden site, zuo hant er uiiotete alles mite ein quek. here, no doubt, an animal is sacrifice

h this the norwegian sagas of thor, who appears at weddings when invited, and takes up and empties huge casks of ale. i will now turn once more to that account ot the suevic ale-fuh (cupa) in jonas (see p. 56, and use it to explain the heathen practice of viinnedrinking, which is far from being extinct under christianity. here also both name and custom appear common to all the teutonic races. the gothic man (pi. munum, pret. munda) signified i think; gaman (pi. gamunum, pret. gamunda) i bethink me, i remember. from the same verb is derived the ohg. minna= minia amor, minnon= minion amare, to remember a loved one. in the on. lansuase we have the same man, munum, and also minni memoria, minna recordari, but the secondary meaning of amor was never developed. it was customary to honour an abse

ht out: the solemn carryinfj about of divine images. the divinity was not to remain rooted to one spot, but at various times to bestow its presence on the entire compass of the land (see ch. xiv. so nerthus rode in state (invehebatur populis),and berecynthia (ch. xiii, so fro travelled out in spring, so the sacred ship, the sacred plough was carried round (ch. xiii isis. the figure of the unknown gothic god rode in its waggon (ch. vi. fetcliing-in the summer or may, carrying-out winter and death, are founded on a similai view. holda, berhta and the like beings all make their circuit at stated seasons, to the heathen's joy and the christian's terror; even the march of wuotan's host may be so interpreted (conf. ch. xxxi. frau gaudeu. when fro had ceased to appear, dietrich with the ber (boar

m must have been very similar to them. on the gabel-heath in mecklenburg the wends as late as the 15th century walked round the budding corn with loud cries; giesebrecht 1, 87 chapter iv. temples. in our inquiries on the sacred dwelling-places of the gods, it will be safest to begin, as before, with expressions which preceded the christian terms temple and church, and were supplanted by them. the gothic alhs fem. translates the jewish-christian notions of mo (matt. 27, 5. 51. mk. 14, 58. 15, 29. lu. 1, 9. 21. 2 cor. 6, 16) and iep6v (mk. 11, 11. ig. 27. 12, 35. 14, 49. lu. 2, 27. 46. 4, 9. 18, 10. 19, 45. john 7, 14. 28. 8, 20. 59. 10, 23. to the goth it would be a time-hallowed word, for it shares the anomaly of several such nouns, forming its gen. alhs, dat. alh, instead of alhais, alhai

erm. 43: apud naharvalos antiquae religionis lucus ostenditur; praesidet sacerdos muliebri ornatu, sed deos interpretatione romana castorem pollucemque memorant. ea vis numini, nomen aids; nulla simulacra, nullum peregrinae superstitionis vestigium. ut fratres tamen, ut juvenes venerantur. this alcis is either itself the nom, or a gen. of alx (as falcis of falx, which perfectly corresponds to the gothic alhs. a pair of heroic brothers was worshipped, without any statues, in a sacred grove; the name can hardly be ascribed to them^ it is the abode of the divinity that is called alx. numen is here the sacred wood, or even some notable tree in it^ 1 unless it were dat. pi. of alcus [or alca akkr. a wendicliolz, boliem. holec, which has been adduced, is not to the point, for it means strictly a

mple; 258, 11 calhstcde (palatium, aedes regia. in andr. 1042 i would read' ealde ealhstcdas (delubra) for' eolhstedas, conf. the proper names ealhstdn in kemble 1, 288. 296 and ealhhcard 1, 292 quasi stone-hard, rock-hard, which possibly leads us to the primary meaning of the word^ the word is wanting in oist. documents, else it must have had the form air, gen. als. of another primitive word the gothic fragments furnish no example, the ohg. ivih (nemus, diut. 1, 492; 0. sax. vah masc (templum, hel. 3, 15. 17. 19. 14,8.115,4. 119,17. 127,10. 129, 23. 130, 17. 154, 22. 169, 1; friduwih, hel. 15, 19; as. wih wiges, or weoh weos, also masc: wiges (idoli, csedm. 228, 12. jjisne wig wursigean (hoc idolum colere, caedm. 228, 24. conf. wigweorsing (cultus idolorum, beow. 350. weohweorsing cod. ex

mely, a masc. vear dii, idola, and a neut. ve loca sacra. gutalag 6, 108. ill: haita a liult ej^a hauga, a vi ejja stafgar]?a (invocare lucos aut tumulos, idola aut loca palis circumsepta; trua a liult, a hauga, vi oc stafgar; a; han standr i vi (stat in loco sacro. in that case we have here, as in alah, a term alternating between nemus, templum, fanum, idolum, numen, its root being doubtless the gothic veiha (i hallow, vaili, vaihum, ohg. wihu, weih, wihum, from which also comes the adj. veihs sacer, ohg. wih; and we saw on p. 41 that wihan was applied to sacrifices and m^orsliip. in lappish, vi is said to mean silva. still more decisive is a third heathen word, which becomes specially important to our course of inquiry. the ohg. jiaruc masc, pi. haruga, stands in the glosses both for fan

ALEISTER CROWLEY AD MEIORUM CTHULHI GLORIAM

rary world that dwarfs his initial successes with weird tales magazine in 1923. he died, tragically, at the age of 46 on march 15, 1937, a victim of cancer of the intestine and bright's disease. though persons of such renown as dashiell hammett were to become involved in his work, anthologising it for publication both here an abroad, the reputation of a man generally conceded to be the "father of gothic horror" did not really come into its own until the past few years, with the massive re-publication of his works by various houses, a volume of his selected letters, and his biography. in the july, 1975, issue the atlantic monthly, there appeared a story entitled "there are more things, written by jorge luis borges "to the memory of h.p. lovecraft. this gesture by a man of the literary statu

an; teitan tiamat azathoth aiwass) azag-thoth the dunwich horror choronzon pazuzu shub niggurath pan sub ishniggarab) out of space the abyss absu; nar mattaru ia! io! iao! ia (jah; ea; lord of waters) the five-pointed grey star carven the pentagram the ar, or ub (plough sign; the original pentagram and the sign of the aryan race) vermis mysteriis the serpent erim (the enemy; and the sea as chaos; gothic; orm, or worm, great serpent) this is, of course, by no means a complete list but rather an inspirational sampling. meditation upon the various things mentioned in the mythos will permit the scholar to draw his own conclusions; research upon the etymology of both lovecraft's and crowley's respective literature enables the occultist to discover the ancient names and numbers for much of his o

ALEISTER CROWLEY EQUINOX EQ I 4 3

ll the false water-nymphs that flattered he killed with his resounding curse- o fool of god! as if it mattered! so, nothing better, rather worse, out of the blue bliss of the pool came dripping that inveterate fool! 62 xxiii now still he holdeth argument "so grand a beast must house him well; hence, now beseemeth me frequent cathedral, palace, citadel" so, riding fast among the flowers far off, a gothic spire he spies, that like a gladiator towers its spear-sharp splendour to the skies. the people cluster round, acclaim "sir knight, good knight, thy quest is won. here dwells the beast in orient flame, spring-sweet, and swifter than the sun" sir palamede the saracen spurs to the shrine, afire to win the end; and all the urgent men throng with him eloquently in. sir palamede his vizor drops;

ALICE BAILEY THE LABOURS OF HERCULES

age is that of the intellect. the great need of hercules now is to develop his intuition and to become familiar with that instantaneous recognition of truth and reality which is the high prerogative and potent factor in the life of a liberated son of god. meaning of the story eurystheus, therefore, sent hercules to capture the golden horned keryneian doe or hind. the word "hind" comes from an old gothic word, meaning "that which must be seized, in other words, that which is elusive and difficult to secure. this doe was sacred to artemis, the goddess of the moon; but diana, the huntress of the heavens, the daughter of the sun, also claimed it and there was a quarrel as to ownership. hercules accepted the charge of eurystheus and set out to capture the gentle hind. he was a whole year huntin

BLACK SERPENT1

iew. interviews are usually scheduled in a public place like a restaurant or coffee shop. it helps to lessen the discomfort and ensures everyone s safety. do not be surprised if several people show up. the interviewers will usually be one or more members of the clergy and//or another trusted member(s) of the group. when dressing to attend the interview there is no need to dress special. save your gothic outfits for clubbing. there is also no need to wear every amulet you possess or to wear a black inverse pentagram t-shirt. jeans and a solid color shirt work well. one amulet is fine. my point being that you don t want to scare the interviewers into thinking you re not serious or that you re trying too hard especially if the group consists of older people, which you can find out during the

BLAVATSKY H P ANTHROPOGENESIS

n. this is well testified by the seven vases in the temple of the sun, near the ruins of babion in upper egypt; the seven fires burning continually for ages before the altars of mithra; the seven holy fanes of the arabians; the seven peninsulas, the seven islands, seven seas, mountains, and rivers of india; and of the zohar (see ibn gebirol; the jewish sephiroth of the seven splendours; the seven gothic deities, the seven worlds of the chaldeans and their seven spirits; the seven constellations mentioned by hesiod and homer; and all the interminable sevens which the orientalists find in every ms. they discover. what we have to say finally is this: enough has been brought forward to show why the human principles were and are divided in the[[vol. 2, page] 604 the secret doctrine. esoteric sc

CHRONOLOGIA RORISPERGIUS

f the heart, written in arabic in around 1075, denote the first complete assimilation of muslim ascetic theology into judaism -s.d. goitein, ebrei e arabi, 1980, p. 179> 1162 to 1227- life of genghis khan, conqueror of china and russia, invader of europe and islamic empire, destroyer of assassin power. approximate beginnings of the wandering of the gypsies of north india. 1163: work begins on the gothic cathedral of notre-dame de paris. 1165 prester john letter addressed to manuel commentus, emperor of byznatium. c.1165- 1210 jehan bodel troubadour from provence. c. 1165- c. 1230 eleazar ben judah of worms. sodei razayya("secrets of secrets) in 4 parts -1st part is a study of creation (sod ma'aseh bereshit, containing an exegesis based on the 22 letters of the hebrew alphabet as the source

DAVID ICKE AND THE TRUTH SHALL SET YOU FREE

ry few have dared to disclose the secrets, even after leaving the craft. in fact, while people may cease to pay their fees or turn up at the lodge, the oaths still apply. there is no mechanism by which a mason, once initiated, can unswear his oath. such oaths were invented to create fear and control. they were not part of the rituals of stonemasons, as some of their few surviving rule books, the 'gothic constitutions' as they are called, have proved. the penalty for revealing the secrets in those days was to be thrown out of the lodge. it beats having your bowels burnt to ashes, for sure. the freemasonry rituals and oaths are based on a piece of invention in the eighteenth century- the freemason story of hiram abif. according to the freemasonry invention, hiram abif was the architect of so

are called, have proved. the penalty for revealing the secrets in those days was to be thrown out of the lodge. it beats having your bowels burnt to ashes, for sure. the freemasonry rituals and oaths are based on a piece of invention in the eighteenth century- the freemason story of hiram abif. according to the freemasonry invention, hiram abif was the architect of solomon's biblical temple. the gothic constitutions of the stonemasons make no reference to such a man, but he became the freemasons' martyr figure. invention has it that hiram refused to betray the secrets to three fellow craft masons armed with masonic tools. they murdered him when he would not reveal his secrets, so the myth goes, and king solomon ordered a search when hiram appeared to be missing. hiram's body was discovere

DAVID ICKE CHILDREN OF THE MATRIX

eye of gopta and of the four ends of the earth" when he became emperor.3 in the indus valley clay seal records, sargon and manja or menes also called themselves and their dynasty gut or got("goth" to the romans) and used the titles bar or par which means "pharaoh, according to waddell.4 gut or got became "god, a term used by the later goths. all non-latin languages in europe are derived from the gothic, including english, and the ancient swedish language is still called "sueo-gothic".5 the former name for denmark was "goth-land" and a derivative was jut-land.6 gothic architecture, so beloved of the bloodlines and the illuminati, comes from the same source and the horned headgear worn by the kings and leaders of european tribes and kingdoms: but these symbols, styles, and customs, go much

the kings and leaders of european tribes and kingdoms: but these symbols, styles, and customs, go much further back to atlantis and lemuria. the name "catti" for the ruling clan of the ancient britons on pre-roman coins is a dialectic form of goti or "goth".7 when the illuminati built the great "christian" cathedrals of europe, full of pagan symbolism on ancient pagan sacred sites, they used the "gothic" style of architecture. the symbolism of the "eye of gopta" may relate to the widely used illuminati symbol, the all-seeing eye or eye: horus, which you will find at the top of the pyramid on the us dollar bill and on the reverse of the great seal of the united states. the same symbols used by this ancient sumerian dynasty are still used by the illuminati today, because they are the same bl

a. the reason is simple. they have the same base origin. as waddell says in phoenician origins of britons "i had recognised that the various ancient scripts found at or near the old settlements of the phoenicians, and [those known as] cyrian, karisn, aramaic or syrian, lykian, lydian, corinthian, ionian, cretan or "minoan, pelasgian, phrygian, cappadocian, cilician, theban, libyan, celto-lberian, gothic runes, etc, were all really local variations of the standard aryan hitto-sumerian writing of the aryan phoenician mariners, those ancient pioneer spreaders of the hittite civilisation along the shores of the mediterranean and out beyond the pillars of hercules [between spain and north africa] to the british isles."40 in truth, this was the nordic race and the nordic-reptilian "aryans" retur

l.a. waddell. the emphasis by the serpent cult on the female is also confirmed. the edda text was found in iceland in the 12th century and was believed by scholars to be of icelandic and scandinavian origin. waddell reveals in his book, british edda (christian book club, california, 1929) that it is actually written in old briton, a language closely linked to old english, anglo-saxon, and eastern gothic. and gothic came from the sumerian, which came from atlantis/lemuria. the edda is not of icelandic origin, but british.12 it was taken to iceland, it appears, by settlers from scotland, orkney, the hebrides, and north britain. among them were the culdees, who had their headquarters at st andrews in scotland, an area with strong illuminati connections to this day.13 the "culdees" came from "

l of about 3000bc. the "peace treaty" also led to the marriage between thor/indara/adam and a priestess of the serpent cult known as "eve" or "gunn-ifa, the edda says. the story of the marriage of her-thor (ar- thur) and his "queen" guin-eve-re, is a version of this, waddell suggests.37 he adds that "eve, despite being the "chief vestal priestess" of the serpent cult of eden, was, nevertheless, a gothic "aryan. however, the edda says that she was a "ward" of el and "born of the sea-froth or seafoam kin. she was later represented by the greeks as "aphrodite" or "sea-froth, and aphrodite was said to be born from the sea- the amphibious anunnaki? the constant connection of the goddess with the sea can be seen with the phoenician barati, who became the british "britannia. the famous british so

e bush, george w. bush, bill clinton, the british royal family, and others, profess to be such strong christians while taking part in satanic ritual. they know what it really means. to them christianity is the worship of the serpent gods, especially el and balder, and other illuminati symbols and deities. the knights templar secret society funded and 170 children of the matrix designed the famous gothic cathedrals that became shrines to the serpent goddess. between 1170 and 1270, some 80 cathedrals and 500 churches were built in france alone and dedicated to "our lady (el, semiramis, mary. the knights templar were controlled by the serpent cult/illuminati, but many of their members would have not been aware of this- just like the vast majority of freemasons today. the templars used the red

ation where many of the saviour-gods in the jesus mould are said to have been born. the reptilian underground network? the red rose of el the many versions of el are said to be goddesses of sexuality and fertility, and of the moon and venus. the stone baptismal bowls found in every christian church are symbolic of the "magic stone bowl" of the serpent cult or illuminati described in the edda. the gothic "christian" doorways and the ridges around them are depictions of the vulva and many even have a clitoris symbol at the top of the arch. the same is depicted in windows and especially the rose windows of the gothic cathedrals. at chartres they have a window featuring the "rose of france" with "mary" in the centre. rose windows face west, the sacred direction of female deities. the red rose

that the locations of these major cities were selected because they were above underground reptilian-nefilim tunnel and cavern systems and/or they were on significant vortex points. phoenix, arizona, is built on one of these ancient networks, as is los angeles- the city of the "angels. lauren savage, the webmaster of davidicke.com in texas, says that every county in that state has a building with gothic european architecture (i.e. reptilian, which could not normally have been afforded by texas when these settlements were built in the 1870's. many have gargoyles. these buildings, he says, are the county courthouses sitting above underground tunnels and basement systems. dallas is an example serving the dragon: the present (2) 265 with its underground tunnels beneath dealey plaza where presi

moral character. at the death of this animal this energy is liberated suddenly. for the highest spiritual [sic] working one must accordingly choose that victim which contains the greatest and purest force. a male child of perfect innocence and high intelligence is the most satisfactory and suitable victim."13 the satanic mansions some of the most important centres for satanic ritual are the often gothic mansions and castles of the european royal families and aristocracy and their offshoots in the united states. i remember a visit to hearst castle in california, the vast mansion of the newspaper tycoon and high illuminati initiate, randolph hearst, which is now open to the public during the day. it is one of the darkest places i have visited and still consumed by deeply unpleasant other dim

f devonshire, and at clivedon house, the former mansion of the satanic astor family. this theme was portayed by the stanley kubric film, eyes wide shut, which stars tom cruise and nicole kidman, and explores the subject of satanism among the elite. kubric died immediately after the movie was finished. it features a satanic cult involving the high and mighty of an american city who meet at a large gothic mansion. such places are located all over the world. in belgium, for example, there is the mothers of darkness castle where the british royal family and the illuminati elite of europe perform many of their major rituals, and there is balmoral castle in scotland, where the british royal family spend their summer holidays. the isle of light- and darkness i live on the isle of wight, a few mil

DAVID ICKE THE BIGGEST SECRET

ls research, evolvedthrough harri or heria, the title for the ruling goths, and from the hittite title of harri, arrior aryan: hare stones are aryan stones. just as han khrishna means aryan khrishna, veryappropriate given that the hindu religion was the work of the aryans. you also havecastlerigg stone circle near keswick in cumberland. the word rig was a title for gothickings and princes and the gothic came from the aryans. ancient depictions of aryan kingsin cilicia have them wearing the gothic style of dress. the name of keswick itself meansabode of the kes- the cassi or khatti clan of the hittites- and the county ofcumberland has evolved throughnames like cymry and cumbersfrom its origin, sumer. the termaryan comes from a phoenicianword, arri, meaning noble one.thus we get the names su

le named in the mesopotamian king listsand the predynastic civilisers of early egypt also turn out to be of the aryan race. weare looking at the same people here, no doubt whatsoever, and within this race are thereptile-aryan bloodlines which have increasingly held the reins of power from theancient world to the present day. as l. a. waddell points out, the english, scottish,irish, gaelic, welsh, gothic and anglo-saxon languages and their writing, and theentire family of aryan languages, derive from the aryan phoenician language via thehittite and sumerian. about half of the commonest words used in the so-called englishlanguage today are of sumerian, cyprian or hittite origin with the same sound andmeaning. sumerian, the language of the gods, is the parent language for most of theworld, al

even further back in history,maybe atlantis or even the area today called the british isles. as waddell says:i had recognised that the various ancient scripts found at or near the old settlements ofthe phoenicians, and (those known as) cyprian, karian, aramaic or syrian, lykian, lydian,corinthian, lonian, cretan or minoan, pelasgian, phrygian, cappadocian, cilician,theban, libyan, celto-iberian, gothic runes etc, were all really local variations of thestandard aryan hitto-sumerian writing of the aryan phoenician mariners, those ancientpioneer spreaders of the hittite civilisation along the shores of the mediterranean and outbeyond the pillars of hercules to the british isles.39official history asks us to believe that the people of britain were savages who werecivilised only after the roma

o the orthodox christian, jesus is the only begotten son of god who died so oursins could be forgiven. but you will find exactly the same claims for a stream of godsin the ancient world long before the name of jesus was even heard of. indeed, weknow his name wasnt jesus because thats a greek translation of a hebrew name. theterm son of god would seem to originate at least as far back as the aryan gothic kingsof cilicia who took the title son of the sun god, a tradition adopted by the pharaohsof egypt.1 to many in the new age, jesus is sananda, a high initiate of some spiritualhierarchy who incarnated to infuse the earth with the christ energy. or, depending onwho you talk to, he was an extraterrestrial on a similar mission. to others he wasclaiming to be the king of the jews by right of hi

e its creation has been the manipulation of fear. nothinglimits peoples potential to express their true selves more than fear. it becomesunderstandable, therefore, why so many christian churches were built on ancient pagansites and why so many satanic rituals are performed in churches under the cover ofdarkness. it was the templars, with their knowledge of the esoteric arts, who financedthe great gothic cathedrals of europe between 1130 and 1250. the gothic style can beshown to have originated with the aryan race in the middle-near east. the gothiccathedrals which were funded and designed by the templars included westminsterabbey, york minster in northern england, chartres in france not far from paris, andnotre dame in paris itself. notre dame (our lady: isis/semiramis/ninkharsag) wasbuilt

in france not far from paris, andnotre dame in paris itself. notre dame (our lady: isis/semiramis/ninkharsag) wasbuilt on a site dedicated to the goddess diana, and chartres was placed on an ancientsacred site which once attracted druids from all over europe. the famous chapel ofkings college, cambridge which was based upon the cabalistic tree of life symbol,was described as one of the last great gothic structures built in britain.3 its design wasapparently inspired by the 14th century cathedral at albi in the languedoc in southernfrance, one of the primary centres for both the templars and the cathars. in the 12thand 13th centuries the cathar religion, which challenged many beliefs of the romanchurch and contained much esoteric knowledge, was the dominant faith in much ofsouthern france

say of isis. this female force, like all energy, is neutral. you can createsomething positive or something malevolent, but to do either you need to harness the139female, the creative force. hence you have the constant female symbolism by thebrotherhood in all its forms. it is the balanced, positive expression of the female energythat they have sought to suppress, not the female energy itself.the gothic cathedrals and christian churches are full of sun, astrological, goddessand sexual symbolism. the great gothic doorways and the ridges around them aredepictions of the vulva and many even have a clitoris symbol at the top of the arch. thesame is depicted in windows and especially the rose windows of the gothic cathedralswhich face west, the sacred direction of female deities. carvings on ot

the sheela-na-gigsymbols in old churches, particularly prevalent in ireland, represent naked women withspread legs and inside the alters of churches have been found stone phallic symbols. mygoodness, what will the vicar think? the often shell-like receptacle for the holy wateris goddess symbolism also, and churches were actually built as a symbolic womb. thespiders web and maze decorations of the gothic and other cathedrals and churchesrefer to the female goddess energy, the intuitive, creative force, which weaves andspins the fate of the world. this is also the symbolism of the spider woman legends ofthe native american traditions and the names of sacred places like spider rock inarizona. a book by fred gettings, the secret zodiac (routledge and kegan paul,1987, features the zodiac mosaic

and churchesrefer to the female goddess energy, the intuitive, creative force, which weaves andspins the fate of the world. this is also the symbolism of the spider woman legends ofthe native american traditions and the names of sacred places like spider rock inarizona. a book by fred gettings, the secret zodiac (routledge and kegan paul,1987, features the zodiac mosaic in the marble floor of the gothic church of sanminiato in florence, italy, which dates from 1207. gettings suggests that the churchwas built to align with a rare conjunction of mercury, v enus and saturn in the sign oftaurus at the end of may that year. astrology, which can be traced back to thebeginning of known history, was a very important art to the templars and was taught inthe school at chartres. when christians go to

greece, the v ehm-gerichte of westphalia, germany, the roman collegia, the french compagnons, andthe rosicrucians.28 the official (and inaccurate) story is that freemasonry emergedfrom the lodges of the stone masons who worked on the great churches and cathedrals,craftsmen with the knowledge of sacred geometry. they had enjoyed a close connectionwith the knights templar since the building of the gothic cathedrals. but by the time ofhenry viii, their work was in decline. far from building more cathedrals, henry setabout looting the monasteries and the fraternities, brotherhoods and guilds to raise somemuch needed cash. to survive, the masonic guilds began to open their doors to non-masons, people from the professional classes, the businessmen, merchants, landownersand the aristocracy. it w

DAVIDSON DAN SHAPE POWER

of the maze is to guide the person through the shape power pattern and tune them into the energies associated with the pattern. its other obvious function is to channel earth energy. most labyr inths create clockwise and counterclockwise energy vortexes with subtle difierences and effects. these single-path, magical mazes are found in many places, such as china, united states, peru, england. the gothic cathedral at chartres has a labyrinth inlaid in the floor of the nave. 3.5 earth energy experience in the summer of 1995, i decided that i needed to know more about how to personally manipulate aetheric energy. a few days later, in a very vivid spiritual experience, i found myself in an open area with three beings. it was a beautiful place, green grass, a few nice trees, and peaceful but wi

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oe is a greek word synonymous with the latin clamor, signifying the english word cry, and it is possible that the cry of the ox. boo .may have suggested this exclamation, since this sound would quite naturally be very terrifying to a young child. there may be some connection between this monosyllable and the bogle-boe or bwgwly of welsh people. according to one writer, it was the name of a fierce gothic general whose name like those of other great conquerors was remembered as a word of terror (see also bogey) bohmius, jean author of a work entitled pyschologie, a treatise on spirits, published at amsterdam in 1632. nothing is known of the author. boirac, emile (1851.1917) rector of the dijon academy and noted french psychical researcher. in the course of his study of human emanations, he r

withdrew his materials in 1988, pending availability of a safer permanent venue. membership of the bram stoker club, which is open to the general public, involved associate membership of the philosophical society. members receive the club s newsletters and may participate in club activities, including lectures on themes related to bram stoker and irish supernatural literature, the showing of rare gothic films, and the promoting of public recognition of bram stoker and his work. after the disruption concerning the archives, the bram stoker society reemerged as the parent body of the bram stoker club. the club may be contacted c/o david lass, hon. secretary, regent house, trinity college, dublin 2, ireland. the bram stoker society an organization to encourage the study, appreciation, and pre

er society an organization to encourage the study, appreciation, and presentation of the work of bram stoker in his own country, to maintain friendly relations with the dracula society and similar organizations on matters of common interest, to facilitate research into the irish associations of the stoker family, to advise or promote tourist visits to locales associated with bram stoker and other gothic novelists, to campaign for plaques to be placed on irish sites associated with the stoker family, to plan social events (such as lectures, film shows, and discussions) connected with bram stoker and related irish authors, and to press for the establishment of a permanent bram stoker museum in dublin. the society was founded in 1980 by leslie shepard, the current chairman. in 1983, through t

ity from some other pen than the alchemist s. however, there are certain books he undoubtedly wrote, notably aenigma ad alchimiam (1572) and breviary of natural philosophy (1557. breviary was subsequently reprinted in the theatrum chemicum of elias ashmole. encyclopedia of occultism& parapsychology. 5th ed. charnock, thomas 273 chartres cathedral a superb example of twelfth- to thirteenth-century gothic architecture, believed by some occultists to enshrine ancient mysteries of religious inspiration. for example, in his book the mysteries of chartres cathedral (1972, louis charpentier claims that the cathedral is built on the site of powerful and ancient earth currents. he examines the mystery of the amazing architecture of the cathedral, its historic connection with the knights templar, an

, ed. a child s garden of vampires. chicago: adams press, 1980. the count dracula book of classic vampire tales. chicago: adams press, 1981. youngson, jeanne, and shelley leigh hunt, ed. do vampires exist? a special report from dracula world enterprises. new york: dracula world enterprises, 1993. count dracula society founded in 1962 by dr. donald a. reed for the serious study of horror films and gothic literature. it is closely associated with the academy of science fiction, fantasy and horror films, dedicated to honoring films and filmmakers in the several genres. the society hosts regular screenings of vampire and horror films and also sponsors an annual gathering at which the ann radcliffe award is given. the count dracula quarterly (also known at various times as the castle dracula qu

ation he attended san diego state university to study creative writing. he left after two years, having already launched his writing career. cunningham jumped from short fiction and magazine articles to books in 1980 with the publication of his first novel, the cliffside horrors. over the next two years he wrote more than a dozen novels in various genres from adventure to horror. he published one gothic romance novel under the pseudonym cathy cunningham and a series of westerns as dirk fletcher. in the mid-1980s he authored two scripts for the popular television program knot s landing. through the 1970s, cunningham continued his study of magic. he made contact with several covens and studied in several different traditions, though ultimately he withdrew from coven participation and decided

mal bones. a second grave in the same church contained a casket with a skeleton in a purple shroud embroidered with gold. however, the weird museum in hollywood, california, exhibited what is claimed to be the authentic skeleton of vlad dracula, believed to have been removed from bucharest. in britain, the dracula society exists to promote the study and appreciation of the work of bram stoker and gothic themes in literature, theater, and film. in the republic of ireland, a bram stoker society was formed with similar aims and fraternal association with the british dracula society. in the united states both the count dracula fan club and the count dracula society carry on the appreciation of dracula and his vampire cousins. most recently, the transylvanian society of dracula, headquartered i

ote the study and appreciation of the life and works of bram stoker; vampire, werewolf, and monster themes in fiction; stage and movie adaptations of dracula, frankenstein, and their derivatives; the sources of stoker and similar writers; and possible links between fictional and encyclopedia of occultism& parapsychology. 5th ed. the dracula society 447 historical persons and places concerned with gothic literature. honorary life members of the society include christopher lee and the late vincent price, famous for their roles in horror movies. the society holds meetings, lectures, and film showings and has organized tours to transylvania by arrangement with the romanian tourist ministry. these tours have traced the route of jonathan harker in stoker s novel dracula and visited localities as

neva in switzerland. subsequently, byron proposed that each member of the company, amid their ingestions of laudanum, attempt to write a ghost story. as a result mary wollstonecraft began her novel frankenstein. several years later polidori expanded the story begun by byron and turned it into the first modern vampire story, published as the vampyr in 1819. these stories generated a whole genre of gothic literature with special reference to vampire themes. fantl, kurt (1914.1994) psychiatrist and lecturer on parapsychology. fantl was born january 25, 1914, in vienna, austria, educated at the university of vienna, and did postgraduate work at st. mary s hospital, racine, wisconsin (1939. during world war ii he worked at the american hospital in chicago (1939.41, st. anthony s hospital, effin

y forewarnynges and thomas nashe s the terrors of the night, or, a discourse of apparitions (1594. an influential work was joseph glanvil s saducismus triumphatus, or, full and plain evidence concerning witches and apparitions (1681, which includes the famous poltergeist story of the drummer of tedworth. it was in the eighteenth century that occult fiction came into its own in the creation of the gothic novel genre. horace walpole s the castle of otranto, first published in 1764, was subtitled a gothic story. walpole was obsessed with the gothic. in 1747 he leased the strawberry hill estate near twickenham, where he spent a decade building what he called a little gothic castle. he lived in a dream world of revival gothic architecture and mock medievalism. other country gentlemen followed w

d the strawberry hill estate near twickenham, where he spent a decade building what he called a little gothic castle. he lived in a dream world of revival gothic architecture and mock medievalism. other country gentlemen followed walpole in remodeling their estates with mock castles, follies, and grottoes. some even employed old men to live as hermits in artificially constructed caverns.a kind of gothic disneyland. walpole s novel launched a thousand imitations and variations. after otranto came clara reeve s the old english baron: a gothic story in 1778, ann radcliffe s the mysteries of udolpho (1794, and matthew gregory lewis s successful sensation the monk (1794. such horrid mysteries became the mainstay of the rapidly developing circulating libraries that were replacing the old-time ba

to came clara reeve s the old english baron: a gothic story in 1778, ann radcliffe s the mysteries of udolpho (1794, and matthew gregory lewis s successful sensation the monk (1794. such horrid mysteries became the mainstay of the rapidly developing circulating libraries that were replacing the old-time ballad and chapbook peddlers in every large town and city in england. stock ingredients of the gothic novel were such plot elements as pure young virgins and chivalrous heroes embroiled with scoundrels of continental origin (usually italians, base monks, cruel inquisitors, and ruthless bandits. they struggled in a fantasy medieval world of gloomy castles, ruined abbeys, dismal dungeons, bloodstained daggers, skulls, sliding panels, secret rooms, magic books, and animated portraits, all in a

iding panels, secret rooms, magic books, and animated portraits, all in a twilight setting of dark forests, pale moonlight, and nameless terrors lurking behind rocks. walpole wrote otranto as a reaction against realism in literature. he initiated a literary form of fantasy fiction, combining mystery, romance, supernaturalism, and sentimentality in a setting of mock medievalism. the success of the gothic novel among the upper and middle classes in england soon led to their merchandising at a more popular level, in abridged and pirated versions in cheap paper-covered pamphlets. these forerunners of today s paperback books sold at sixpence or a shilling each and were known as bluebooks (from the blue paper covers) or shilling shockers. shilling shockers went out of fashion around the opening

n abridged and pirated versions in cheap paper-covered pamphlets. these forerunners of today s paperback books sold at sixpence or a shilling each and were known as bluebooks (from the blue paper covers) or shilling shockers. shilling shockers went out of fashion around the opening of the nineteenth century, largely through sheer exhaustion of their stereotyped characters and plots. meanwhile the gothic impulse had also passed into serious literature in the romantic movement, which in britain included poets like shelley, byron, wordsworth, and coleridge and novelists like sir walter scott. for example, in scott s the monastery, a mysterious sylph rises from a fountain; astrology is introduced into guy mannering, the fortunes of nigel and quentin durward; a ghost story is told in redgauntle

onastery, a mysterious sylph rises from a fountain; astrology is introduced into guy mannering, the fortunes of nigel and quentin durward; a ghost story is told in redgauntlet; and ghosts figure in woodstock. in the bride of lammermoor, scott deals with the scottish belief in prophecy, and in waverley a highland chief is awestruck by a peculiar omen. perhaps the most influential expression of the gothic impulse in english literature was formed at that strange opiumsoaked literary house party of shelley, byron, mary wollstonecraft (later shelley s wife, claire clairmont (mary s stepsister, and j. w. polidori, at the villa diodati, geneva, in the summer of 1816. byron had been reading a book of ghost stories by jean baptiste eyries titled fantasmagoriana (1812) and proposed, we will each wri

te eyries titled fantasmagoriana (1812) and proposed, we will each write a ghost story. byron himself drafted a fragment that polidori later expanded into the vampyre; polidori produced a trifle about a skull-headed lady who was punished for peeping through a keyhole, but wollstonecraft began her masterpiece published in 1818 as frankenstein or the modern prometheus. frankenstein relied less upon gothic ruins than emotions of wonder and terror generated by the mysterious powers of nature and science, and so led the gothic novel into a science-fiction genre. meanwhile folklore themes of monsters and vampires became new stereotypes of the gothic impulse. in the twentieth century these gave birth to hundreds of horror stories and sensationalist movies. another offshoot of the gothic imaginati

ce-fiction genre. meanwhile folklore themes of monsters and vampires became new stereotypes of the gothic impulse. in the twentieth century these gave birth to hundreds of horror stories and sensationalist movies. another offshoot of the gothic imagination during the nineteenth century was the mystery novel of such writers as wilkie collins. in the woman in white (1860) and the moonstone (1868, a gothic architectural setting was metamorphosed into a gothic atmosphere of strange hidden mysteries, motives, crime, and sensational suspense. out of this was born the ro- encyclopedia of occultism& parapsychology. 5th ed. fiction, english occult 557 mance of large country mansions, culminating at the end of the nineteenth century in such gothic novels as daphne du maurier s rebecca. the country h

ange hidden mysteries, motives, crime, and sensational suspense. out of this was born the ro- encyclopedia of occultism& parapsychology. 5th ed. fiction, english occult 557 mance of large country mansions, culminating at the end of the nineteenth century in such gothic novels as daphne du maurier s rebecca. the country house detective thriller of writers like agatha christie also has roots in the gothic story as developed by writers like wilkie collins and edgar allan poe. in the fall of the house of usher, the pit and the pendulum, and premature burial, all published in the 1840s, poe reverted to a classic gothic format expressed in the short story rather than the full-length novel. three irish writers made a notable contribution to the gothic novel with supernatural elements: charles rob

ents: charles robert maturin (1782.1824, joseph sheridan le fanu (1814.1873, and bram stoker (1847.1912. in maturin s novel melmoth the wanderer (1820) there is strong emphasis on episodes of terror, but the complex plot structure hinges upon the classic theme of a pact with the devil. le fanu wrote several short stories on supernatural themes, green tea being one of the most outstanding, but his gothic masterpiece was undoubtedly the longer story carmilla, in which he developed the vampire theme. it is a story of a female vampire, with a strong suggestion of lesbian love, set in a dreamlike landscape in an old castle in styria, a region in austria. carmilla, first published in 1871, was read by another irishman, bram stoker, when he was a young part-time drama critic in dublin. it was to

ical note. the popular novelist h. rider haggard (1856.1925) was celebrated for his great adventure stories like king solomon s mines, but there are themes of fantasy and reincarnation in his stories she (1886) and ayesha (1905. another great nineteenth-century writer was the playwright oscar wilde (1854.1900, who also wrote a whimsical ghost story, the canterville ghost (1887, and the terrifying gothic story the picture of dorian gray (1890. the ghost short story flourished during the nineteenth century, encouraged by numerous magazines and christmas supplements. the journal all the year round, founded by dickens, published a number of stories of the supernatural. at a more popular level, writers like g. w. m. reynolds (with wagner, the wehr-wolf and the necromancer) and thomas preskett p

the nineteenth century, encouraged by numerous magazines and christmas supplements. the journal all the year round, founded by dickens, published a number of stories of the supernatural. at a more popular level, writers like g. w. m. reynolds (with wagner, the wehr-wolf and the necromancer) and thomas preskett prest (with varney the vampire, or the feast of blood) had replaced the old sentimental gothic romances with extravagantly written full-length shockers. other writers of the period included mrs. j. h. riddell (with weird stories, 1884, and the banshee s warning, 1894, and margaret oliphant (a beleagered city, 1880, and stories of the seen and unseen, 1889. on a lighter note, f. anstey (1856.1934) created his own characteristic genre of humorous fantasy with vice-versa (1882, the tint

ENCYCLOPEDIA OF OCCULTISM AND PARAPSYCHOLOGY VOL 2

ay before. both of these writers might have known better if they would have turned to fuchsius (with whom dr. bond appeared to be equally acquainted, who in his work de curandi ratione, published as early as 1548, had an excellent chapter (i, 31) on the causes, symptoms, and cure of nightmare, in which he attributed it to repletion and indigestion, and recommends the customary discipline. much of gothic literature has been ascribed to dreams and nightmares. horace walpole s famous story the castle of otranto (1764) derived from a dream in which walpole saw upon the uppermost banister of a great staircase a vision of a gigantic hand in armor. in 1816, mary shelley had a gruesome and vivid nightmare which was the basis for her story frankenstein. nearly seventy years later, novelist robert l

ir fortunes is supposed to have originated with the pythagoreans. onomancy had two rules: first, that an even number of vowels in a man s name signifies something amiss in his left side; an uneven number, a similar affection on the right. second, of two competitors, success was based on the competitor with the longest name; thus achilles triumphed over hector. according to caelius rhodiginus, the gothic king theodotus practiced an unusual version of onomancy recommended by a jew. the diviner advised the prince, on the eve of a war with rome, to enclose 30 hogs in three different sties, having previously given some roman and others gothic names. on an appointed day, when the sties were opened, all the romans were found alive, but with half their bristles fallen off; all the goths were dead

sion of onomancy recommended by a jew. the diviner advised the prince, on the eve of a war with rome, to enclose 30 hogs in three different sties, having previously given some roman and others gothic names. on an appointed day, when the sties were opened, all the romans were found alive, but with half their bristles fallen off; all the goths were dead. from this, the onomantist predicted that the gothic army would be destroyed by the romans, who would lose half their own force. the system uses the rationale of jewish gematria to assign numerical values to the letters of names. sources: waite, arthur edward. the occult sciences. n.p, 1891. reprint, secaucus, n.j: university books, 1974. onychomancy divination by fingernails. it was practiced by watching the reflection of the sun in the nail

he ambassador hotel, where he was assassinated. a year later, on august 7, 1969, followers of charles manson brutally stabbed, mutilated, and murdered sharon tate and her unborn baby, together with four other people at the polanski residence, los angeles. the premises of the american society for psychical research were housed immediately behind the famous dakota apartments in manhattan, the large gothic building that was the setting for rosemary s baby. sources: levin, ira. rosemary s baby. new york: random house, 1967. rosen (samuel) paul a sovereign grand inspector-general of the 33rd degree of the french rite of masonry, who in 1888 decided that masonry was diabolical in conception and to prove his strictures published a work called satan et cie. the satanism credited to freemasonry by

e known in the sixteenth century. speculum the crystal ball or any shining, light-refracting surface that a scryer uses for divination, i.e, crystal gazing. spells spells are incantations, written or spoken formulas of words believed to be capable of magical effects. the term spell derives from the anglo-saxon spel, a saying or story, hence a form of words; the icelandic spjall, a saying; and the gothic spill, a fable. the conception of spells appears to have arisen from the idea that there is some natural and intimate connection between words and the things signified by them. thus if one repeats the name of a supernatural being the effect will be analogous to that produced by the being itself. it is assumed that all things are in a sympathetic connection and act and react upon one another

e from august 1854 until march 1858. they came in john quincy adams s handwriting and under his signature. stiles also produced other remarkable autographs. one prophecy. i thus boldly prophesy the dissolution of the american confederacy, and the destruction of slavery .was signed george washington with every peculiarity of washington s difficult signature. st. irvyne; or the rosicrucian a turgid gothic novel published in 1811 by percy bysshe shelley under the pseudonym gentleman of the university of oxford. it derives from the genre of ann radcliffe (1764.1823) and matthew gregory lewis (1775.1881) and may also have been influenced by william godwin s novel st. leon; a tale of the sixteenth century (1799. it tells the story of a man whose desire for the elixer of life leads him to make a

the case against him in the beatification process was conducted by prosper labertini, who later as pope benedict xiv read the beatification decree. joseph was canonized in 1767. his feast day was set as september 18. sources: chambers, paul. paranormal people. london: blandford, 1998. gauch, patricia lee. the little man who flew. new york: putnam, 1980. st. leon: a tale of the sixteenth century a gothic novel by william godwin (1756.1836, first published in 1799. it may have been suggested by stories of the mysterious comte de saint germain and the curious book her- stiles, joseph d. encyclopedia of occultism& parapsychology. 5th ed. 1496 mippus redivivus; or the sage s triumph over old age and the grave by j. h. cohausen (1744. godwin used this novel to propagate some of the ideas express

was published posthumously in 1937; the title story was originally a chapter in the manuscript of dracula, deleted to shorten the work. he died april 20, 1912. his greatest work, at least to himself, was his biography of his mentor, personal reminiscences of henry irving (2 vols, 1906. he also wrote an interesting volume called famous impostors (1910. bram stoker s memory and his association with gothic literature is kept alive by various societies, notably the bram stoker society (c/o david lass, hon. secretary, regent house, trinity college, dublin, 2, ireland; the dracula society (36 elliston house, 100 wellington st, london, se10 qqf, england; the count dracula fan club (29 washington sq. w, new york, ny 10011; and the transylvanian society of dracula (p.o. box 91611, santa barbara, ca

of homosexual activity. although acquitted, he left the church and became a roman catholic. at some point, he seems to have been ordained as a priest. summers served in a parish for a brief period but in 1911 became a teacher. over the next decades he pursued the life of an independent scholar, which led him to become a respected authority on the literature and drama of the restoration era and on gothic literature. his expertise emerged fully in the 1930s with a series of texts.the restoration theatre (1934, a bibliography of restoration drama (1935, the gothic quest: a history of the gothic novel (1938, and a gothic bibliography (1940. summers reached a more popular audience with his interest in the occult and some of the more esoteric areas of folklore. once he retired from his teaching

cecil and amerila woolf, 1965. morrow, feliz. the quest for montague summers. in the vampire: his kith and kin, by montague summer. new hyde park, n.y: university books, 1960. smith, timothy d arch. a bibliography of the works of montague summers. new hyde park, n.y: university books, 1964. summers, montague. the galanty show. london: cecil woolf, 1980. geography of witchcraft. london, 1927. the gothic quest: a history of the gothic novel. 1938. reprint, london: fortune press, 1950. a history of demonology and witchcraft. new york: alfred a. knopf, 1926. the vampire: his kith and kin. london: routledge, kegan paul, trench, trubner, 1928. the werewolf. london: kegan paul, trench, trubner, 1933. summit lighthouse see church universal and triumphant summons by the dying it was once maintaine

asters as grand masters, her daughter phyliss furumoto and barbara ray a healer from atlanta, georgia. takata died on december 11, 1980. sources: haberly, helen l. reiki: hawayo takata s story. olney, md: archedigm publications, 1997. stein, diane. essential reiki: a complete guide to an ancient healing art. freedom, calif: crossing press, 1995. tales of terror title of an anonymous collection of gothic style ballads, usually ascribed wrongly to matthew gregory lewis. there are actually two books with this title. the first, published in 1799, included three of lewis s ballads, together with others by sir walter scott and robert southey, but does not appear to be compiled by lewis. the three ballads later appeared in his book tales of wonder (1801. a second tales of terror (1801) is a coars

bram stoker s powerful but much neglected masterpiece dracula was taken up again, examined by critics and found to be as full of vitality as during stoker s own lifetime. almost by contagion, it has generated a plethora of horror movies, plays, and other vampire thrillers. vampire encyclopedia of occultism& parapsychology. 5th ed. 1622 in britain, the dracula society, with its general interest in gothic themes, pioneered tourist expeditions to transylvania, and in stoker s ireland, a bram stoker society was founded to honor a much neglected irishman. through the 1980s and 1990s, the most active organization was the count dracula fan club, headquartered in new york city. however, in 1999, the club announced its closing. much of the interest in vampires has also been carried by fan clubs tha

world had kept varley out of the royal society. at the time of this attack, varley had been a fellow of the royal society for more than three months. in addition to his researches in spiritualism, varley was renowned for his important part in the successful laying of the first atlantic cable. he died at bexley heath, kent, september 2, 1883. varma, devendra p (1923.1994) leading authority on the gothic novel and author and editor of over two hundred books on the subject. dr. varma was born on october 17, 1923, in northeastern india, on the borders of the himalayan mountains. he has been a professor of english in katmandu, nepal, and also taught at the university of damascus in syria and in cairo. for many years he taught english at dalhousie university in halifax, nova scotia, specializin

vel and author and editor of over two hundred books on the subject. dr. varma was born on october 17, 1923, in northeastern india, on the borders of the himalayan mountains. he has been a professor of english in katmandu, nepal, and also taught at the university of damascus in syria and in cairo. for many years he taught english at dalhousie university in halifax, nova scotia, specializing in the gothic romance. he had taken a particular interest in the study of the vampire and discussed the subject in his introduction to the threevolume reprint of varney the vampire by james malcolm rymer (often mistakenly attributed to thomas prest, a midnineteenth- century vampire novel. in 1973, he traveled to castle dracula in transylvania to investigate the background of bram stoker s famous novel dr

background of bram stoker s famous novel dracula, first published in 1897. varma had kept in close touch with such hollywood directors of horror movies as curtis harrington, frank cunningham, walter doughty, and forrest ackermann and was friends with such actors as christopher lee and vincent price. he edited the seven volumes of the horrid novels mentioned in jane austen s northanger abbey, the gothic studies and dissertations series in 36 volumes, and three series of gothic novels reprinted by arno press (including the complete works of sheridan lefanu) in 52 volumes. in 1977, he was awarded the queen s silver jubilee medal in britain for his contributions to education and the arts. vsarma died in 1994. sources: varma, devendra. the genesis of dracula: a re-visit. in peter underwood, ed

ies of gothic novels reprinted by arno press (including the complete works of sheridan lefanu) in 52 volumes. in 1977, he was awarded the queen s silver jubilee medal in britain for his contributions to education and the arts. vsarma died in 1994. sources: varma, devendra. the genesis of dracula: a re-visit. in peter underwood, ed. the vampire s bedside companion. london: leslie frewin, 1975. the gothic flame. london: arthur barker, 1957. the history of the gothic novel in england. n.p, 1957. the vampire in legend, lore, and literature. introduction to varney the vampyre; or, the feast of blood. new york: arno press, 1970, ed. voices from the vaults: authentic tales of vampires and ghosts. toronto: key porter books, 1987. vasiliev, leonid leonidovich (1891.1966) soviet physiologist and par

re-examination of older work revealed a major forgery, a portion of etienne leon de lamothe- langon s histoire de l inquisition en france (history of the french inquisition, written in 1829. lamothe-langon s description of huge 14th-century witch trials with hundreds of executions in the south of france turned out to be complete inventions by the writer.who had also written a profitable series of gothic horror novels with titles like the monastery of the black friars. today, informed estimates of the total deaths in central and western europe range from 40,000 to 50,000, much lower than the millions once claimed. contrary to the picture created by writers such as lamothe-langon, the inquisition (an arm of the roman catholic church created in 1246 to combat heresy) did not execute many witc

hadow. new york: samuel wiser, 1976. zschokke (johannes) heinrich (daniel (1771.1848) german-swiss writer, actor, and pastor, born at magdeburg, march 22, 1771. he was educated at frankfurt-on-oder, where he studied theology, philosophy, and jurisprudence. he encountered difficulties with authorities on account of his pronounced political opinions, but eventually concentrated on writing plays and gothic romances influenced by sir walter scott. his romance abaeillino, der grosse bandit was produced in 1794 and had an enormous success, being dramatized the following year. it was adapted by the english writer matthew gregory lewis as the bravo of venice in 1804 and greatly influenced themes in gothic romance. zschokke died at aarau june 27, 1848. zuccarini, amedee (ca. 1907) italian, non-prof

EXTRAORDINARY ENCOUNTERS AN ENCYCLOPEDIA OF EXTRATERRESTRIALS AND OTHERWORLDY BEINGS

h.d. dissertation, university of pennsylvania. sanderson, st ew a rt, ed, 1976. the se c ret common- wealth and a sh o rt treatise of charms and spels by ro b e rt kirk. to t owa, nj: rowman and littlefie l d. sheaffer, robert, 1981. the ufo verdict: examining the evidence. buffalo, ny: prometheus books. st ew a rt, r. j, 1995. the living wo rld of fa e ry. gl a s t o n b u ry, somerset, england: gothic im a g e pu b l i c a t i o n s. traum, artie, 1972. rollin and tumblin: the cambridge festival. crawdaddy (november: 20 22. vallee, jacques, 1969. pa s s p o rt to magonia: from fo l k- l o re to flying sa u c e r s. chicago: he n ry re g n e ry. wilkins, harold t, 1952. pixie-haunted moor. fate 5, 5 (july/august: 110 116. fairy captures in 1907, lady archibald campbell, a collector of tra

FAUST

ous bonds, and aught that ever may appear, to float and waver, make steadfast in enduring thought! heaven closes, the archangels disperse. mephistopheles [alone] i like to see the old man not infrequently, and i forbear to break with him or be uncivil; it s very pretty in so great a lord as he to talk so like a man even with the devil. the first part of the tragedy night in a high-vaulted, narrow gothic chamber faust, restless in his chair by his desk. faust i ve studied now philosophy and jurisprudence, medicine, and even, alas! theology all through and through with ardour keen! here now i stand, poor fool, and see i m just as wise as formerly. am called a master, even doctor too, and now i ve nearly ten years through pulled my students by their noses to and fro and up and down, across, a

might he seizes her! the form is fading from our sight. toward the youth he turns the key, and lo! he s touching him- now! it is done! ah, woe on woe! explosion. faust lies on the ground. the phantoms dissolve in vapour. mephistopheles [taking faust on his shoulder. so there it is! to deal with fools is evil and in the end it even harms the devil. darkness, tumult. act ii a high-vaulted, narrow, gothic chamber formerly faust s, unaltered mephistopheles [appears from behind a curtain. as he raises the curtain and looks back, faust is seen stretched out on an old-fashioned bed. lie there, poor wretch! seduced, unwise, scarce to be rescued from love s chain! whom helena doth paralyze, his reason he ll not soon regain. looking around him. i look around and through the glimmer unchanged, uninj

FRATER U D PRACTICAL SIGIL MAGIC

clarification. working with atavistic nostalgia/ 87 to old german ginesan of the same meani h a xperience and a strong psychic stability. and let us not forget that spare uses the english word nostalgia (new latin nos-talgia, deriving from the greek notos= ghomecoming h and algos= gpain h; thus, ghomesickness h is one of its meanings. it is also related to old english genesan= gsurvive h and ng; gothic ganisan= gbeing saved (healed) h also reveals spare fs frame of reference when using this term. he does not use the word so much in the sense of glonging for something (the source, h although this may be included as well, but rather employs it to signify an act of conscious revitalization of old, archaic structures of the consciousness. consequently, spare tried to go back into early, pre-h

FULLER J F C SECRET WISDOM OF THE QABALAH

up to asgard, the happy dwelling of the gods. again, amongst the akkadians, chaldeans, and babylonians we find the world tree, or tree of life, which gstood mid-way between the deep and zikum h- the primordial heaven above. in hindu mythology there is also a world tree- the lingam-and in buddhist the bodhi tree, or tree of wisdom under which buddha sat in meditation. finally, that masterpiece of gothic architecture the cathedral probably finds its origin in the tree-trunks and overhanging branches of the forest glade. the four worlds thus far the sephirotic scheme may be considered as simple, but in its extended form it grows complex; for not only is the tree of life divided into three planes which become four in malkuth, but it is projected from the godhead through four worlds each conta

GAMBLE ELIZA BURT THE GOD IDEA OF THE ANCIENTS OR SEX IN RELIGION

origin of pagan idolatry, book i, ch. iv. the preserver of the persians, who is seated on a rainbow in front of their rock temples, is mithras, who is identical with noah. sometimes this ancient mariner is represented as riding on the back of a fish, and again as floating in a boat. the god of hindostan, like the classical dionysos, was enclosed in an ark and driven into the sea. according to the gothic traditions as recorded in the eddas, there once existed a beautiful world, which was destroyed by fire. another was created, which, with all its inhabitants save a giant and his three sons, who were saved in a ship, were destroyed by water. with this triad, which originally sprang from a mysterious cow, the new world began. this new world, which represents the present system, will in time b

male and a male, will be concealed under a hill, where they will feed upon dew, and will propagate so abundantly that the earth will soon be peopled with a new race of beings. during the catastrophe, the sun will be devoured by a wolf, but before her death she will give birth to a daughter as resplendent as herself, who will go in the same path formerly trodden by her mother. the doctrines of the gothic philosophers, as they appear in the eddas, concerning the eternity of matter, the renewal or succession of worlds, and reincarnation are the same as those taught by pythagoras, the stoics, and other greek schools of thought. brahme or vishnu, resting on the bottom of the sea--a goddess who was symbolized by the self-generating lotus--was in later ages the mysterious cow of the goths. after

es of the ancients relative to re- incarnation and the renewal of worlds. doubtless it portrays not only the end of a cycle, but that by it is prefigured the fortunes of a human soul, which in its ascent, is from time to time forced into a human body. all the early kosmogonies are intermingled with the history of a great flood, from the ravages of which an ark which contained a man was saved. the gothic story of creation indicates that the scythians belonged to the same race as the chaldeans. at the beginning of time when nothing had been formed, and before the earth, the sea, or the heavens appeared, muspelsheim existed. a breath of heat passing over the vapors, melted them into water, and from this water was formed a cow named aedumla, who was the progenitor of odin, vile, and ve, the tr

of creation indicates that the scythians belonged to the same race as the chaldeans. at the beginning of time when nothing had been formed, and before the earth, the sea, or the heavens appeared, muspelsheim existed. a breath of heat passing over the vapors, melted them into water, and from this water was formed a cow named aedumla, who was the progenitor of odin, vile, and ve, the trinity of the gothic nation. there is also another tradition, probably a later, which asserts that from the drops of water produced by the primeval breath of heat, a man, ymer, was brought forth. the son of ymer was preserved in a storm-tossed bark, his father being dragged into the middle of the abyss, where, from his body the earth was produced. the sea was made of his blood, the mountains of his bones, and t

the sea was made of his blood, the mountains of his bones, and the rocks of his teeth. as three of his descendants were walking on the shore one day, they found two pieces of wood which had been washed up by the waves. of these they made a man and a woman. the man they named aske and the woman emla. from this pair has descended the human race. the marked resemblance between the characters of the gothic ymer and the chaldean omoroka, from each of whose bodies the universe is created, has been observed by various writers. after referring to mallet's conclusions upon this subject, faber remarks "they are indeed evidently the same person, not only in point of character, but, if i mistake not, in appellation: for ymer or umer is omer-oca expressed in a more simple form. the difference of sex d

GILBERT THE SORCERER AND HIS APPRENTICE

pies of earlier inscriptions. an egyptologist can tell without any possible reasonable doubt, on seeing a set. of hieroglyphics; whether theybelongto the date at which they were reported to be painted, or whether they were copies fromearlier hieroglyphics;forof course in ancientegyptthere was just about as much copying or earlier work as there is now. we get houses built now in the tudor style or gothic style, or what not. so the egyptians at the time of rameses, or especially in the later weak, degenerated ramesides, copied the hieroglyphics of their great predeces255 sors. well, the bull symbol in the course of time,andabout the period when moses was born, gives way to the symbol before it, aries. moving backward through the signs, the sun atthevernal equinox occupies the sign of aries

GLOBAL FREEMASONRY

urope. it captured the atmosphere of herod's temple very well and every part of it was decorated with masonic symbols. among the symbols were reliefs on the walls and arches depicting the heads of hiram and his murderer, a relief of an initiation ceremony, the keystones of the arches, and compasses. apart from the fact that the chapel was constructed in a marked pagan style with egyptian, hebrew, gothic, norman, celtic, scandinavian, templar and masonic architectural elements, and that it contains very rich examples of stone work, one of the most interesting aspects of it is that the tops of the columns are decorated with cactus and corn motifs, besides various other plants figures. there are so many pagan decorative elements inside the chapel that a priest, writing an account of the bapti

rated on the naked body of a debauched noblewoman and presided over by that notorious rake sir francis dashwood. their diabolical devotions concluded, the inner circle would adjourn to plot the course of the british empire. this "unholy sodality" as it has been called, styled themselves, with suitably a depiction of strange ceremonies in an eighteenth century masonic lodge. global freemasonry dhk gothic flair "the friars of st. francis of medmenham" though they have been immortalized by their popular epithet "the hell-fire club" in that gossipy age there was much speculation about the infernal activities of the society, and in 1765, charles johnstone published a roman a clef entitled chrysal, or the adventures of a guinea, which was popularly believed to reveal the secrets of the "medmenha

GRAHAM HANCOCK FINGERPRINTS OF THE GODS

l, and the clock that they used was the natural clock of the stars. their working language was precessional astronomy and these monuments express that language in a very clear, unambiguous, scientific manner. they were also highly skilled surveyors i mean the people who originally prepared the site and laid 14 just as any great christian cathedral, however modern (for example the twentiethcentury gothic cathedral on nob hill in san francisco, expresses the thinking, symbolism and iconography of the judaeo-christian cult which has roots at least 4000 years old, it should not be impossible to imagine a cult enduring for 8000 years in ancient egypt and thus linking the epoch of 10450 bc to 2,450 bc. the completion of the pyramids at that time, like the completion of a cathedral today, would t

GREENFIELD ALLEN SECRET CIPHER OF THE UFONAUTS

the seminal turnof- the-20th-century ritual occult body called the hermetic order of the golden dawn. layne s successor, riley crabb, recently passed away, but borderland sciences continues as a foundation, publishing the journal of borderland research (p. o. box 6250, eureka, ca 95502, with some emphasis on the link between the occult and ufology. the golden dawn attracted a diverse membership: gothic writers including bram stoker, arthur machen and algernon blackwood were members, as were the famous occultists aleister crowley, s. l. mathers and a. e. waite, and poet w. b. yeats. founded upon certain cipher documents probably drafted by kenneth mackenzie and based on his earlier initiatory experiences with continental rosicrucian groups, the golden dawn in its wake spawned generations o

GRIMM JACOB TEUTONIC MYTHOLOGY VOL 3

r we are able to follow it up, a higher perfection of form, which declines as culture advances; as the forms of the thirteenth century are superior to our present ones, and those of the ninth and the fifth stand higher still, it may be presumed that german populations of the first three centuries of our era, whose very names have never reached us, must have spoken a more perfect language than the gothic itself. now if such inferences as to what is non-extant are valid in language, if its present condition carries us far back to an older and oldest; a like proceeding must be justifiable in mythology too, and from its dry watercourses we may guess the copious spring, from its stagnant swamps the ancient river. nations hold fast by prescription: we shall never comprehend their tradition, thei

93. true to my original purpose, i have this time also taken the norse mythology merely as woof, not as warp. it lies near to us, like the norse tongue, which, having stood longer undisturbed in its integrity, gives us a deeper insight into the nature of our own, yet not so that either loses itself wholly in the other, or that we can deny to the german language excellences of its own, and to the gothic a strength superior to both of them together. so the norse view of the gods may in many ways clear up and complete the german, yet not serve as the sole standard for it, since here, as in the language, there appear sundry divergences of the german type from the norse, giving the advantage now to the one and now to the other. had i taken the rich exuberance of the north as the basis of my in

then just giving way to christianity, though to us it has sunk into such utter darkness: such expressions as frauja, halja, sibja, unhul ?o, skohsl, anz, fairguni, sauil (as well as sunna, vaihts, alhs, gudja, hunsl, dulj^s, jiuleis, midjun-gards, aiihns, a]7n, blotan, inveitan, must have heathen notions lying at their base, and these would offer themselves far more abundantly if portions of the gothic old testament had reached us. after the lapse of a few centuries we find the other dialects all more or less corrupted when compared with the gothic, and as a long xll preface. interval had then passed since the conversion of most of the races, heathenism must have retreated farther from the language also and the poetry. nevertheless the fragment of muspilli, the abrenuntiatio, the mersebur

ith the mantle that carries him through the air, nay, is the only one that puts all these in the true light. the norse name omi is not quite so clearly explained by the as. woma, though the word marks unmistakably the stormful god whom we know more certainly through our legend of the' furious host: the wide cloak and low hat are retained in the name hackelbernd, which i venture to trace back to a gothic hakul-baii-ands (p. 146-7. as longbeard, the god deep-sunk in his mountain-sleep is reproduced in the royal heroes charles and frederick: wlio better than wuotan, on whose shoulder they sit and bring him thoughts and tidings, was entitled to inquire after the flying ravens? eavens and wolves scented his march to victory, and they above all other animals have entered into the proper names of

vil. the stories of his artfulness, his cunning tricks, have reproduced themselves repeatedly in all branches of our race. i now turn to the goddesses. a mother of gods, nerthus, is named to us by tacitus; her name is the exact counterpart to that of a norse god, who confirms her existence, as freyr would confirm that of freyja, had she come down to us only as the high german frouwa, and from the gothic frauja (m) we have the same right to infer a fem. fraujo. say that her name of nerthus has long ago died out, if it ever extended to all branches of our race; a whole group of beings almost identical with her lives on in fadeless legend: holde, berhte, fricke, harke, gaue, stempe, trempe. at the first glance none of these names seem to go very high up; yet, berhte at all events is introduce

deeply rooted tradition of the' white lady' of dame holda the legend was never written down till the 1 7th century; if holda was in the venus-mountain, which goes as far back as the 14th, she at once gains in importance; then further, in the 12th century we can point to pharaildis (p. 284; and if, to crown all, huldana in the stone inscription is correct (p. 266, we can have but little doubt of a gothic worship of hul 7o (p. 990. now, as bei'hta and holda are adjective names, i was fain to claim for nerthus also an adj. basis nairthus, with the sense of mild, gracious, fair. frigg too p. 301-2) i interpret by the adj. free, fair, gracious- if gaue, gauden, is a corruption of the masc. woden, it might still have an accessory notion of good. frouwa is obviously the fem. to froho, and still a

there given place to' midweek' and just there the legend of his' wiitende heer' is found more alive than elsewhere! it would be a great thing to ascertain whereabouts whether among goths the designation fairguneis prevailed above that of thunrs. any conclusion drawn from the proximity of the lithuanian perkunas, the slavic perun, may seem bold, though it is precisely to these two nations that the gothic and high german incline more than the low german, even in language: witness hruodo and kirt (p. 248. it seems an easier matter to trace the distinction between zio preface. xxlll and eru, and follow it up to swabia and bavaria; yet, if my conjecture be rigbt, the cheruscans must of all races have had the best claim to eru. even the name of the plant ziolinta (p. 1193) is worth taking into a

even the name of the plant ziolinta (p. 1193) is worth taking into account. sahsnut, seaxneat, was assuredly an eponymous deity of the saxons. how do paltar and phol stand to one another, as regards the nations that were devoted to them? phol appears to point, now eastward, now westward. an important mark of distinction is the change of gender in the same name of a god among different tribes. in gothic the masc. frauja (lord) was still current as a common noun, in o.h. german the fem. frouwa, in o. saxon only the masc. froho, fro, a.s. frea, so that goths and saxons seem to have preferred the god. high germans the goddess; in the north both freyr and freyja are honoured alike. but the north knows only the god nicirsr, and the germans living on the opposite side of the baltic only the godd

r memorials are incomparably superior. as the celts enclose us on the west, so do the slavs on the east; and slavic writers, like the celtic, are rather fond, wherever their ancient faith coincides with ours, of interpreting things from a slavic point of view, which can just as well be explained from a german. the affinity of the two races can be perceived at once by such old cognate words as the gothic sunus (son, o.h. german sunu, slavic syn; goth. hubs (dear, ohg. hop, boh. liby, russ. hubo; goth. lau]?s (people, ohg. hut, slav. hud j goth, hlaifs (loaf, ohg. hleip, slav, khleb. and the mythic resemblances are no less significant. radegast must stand for wuotan, perun for fairguneis, fiorgunn, but svatovit for zio; between radegast the god of bliss (rad glad, radost joy, and our wish, t

ungestiim, ohg. ungistuomi, unquiet. it meets the eye of man in all its glory, while deity remains unseen: how tempted he must feel to give it divine honours! but his senses and his mind link every exhibition of nature's forces with liv preface. subjective impressions bodily and mental, the promptings of language teach him to connect. how came zio to unite in himself the ideas of sky and war? the gothic veihan meant pugnare, vaihjo pugna^ veihs sacer, veiha sacerdos (p. 68, the ohg. wig pugna and mars (p. 203; the hallowed, the holy was at the same time the bright, the beaming. to the gothic hveits corresponds the skr. svetas (albus, to this the slav, svety, sviatyi (sanctus, and svet, swiat, svetlo signify mundus, coelum, lux. but again svetovit, swantowit, is ares and bellum, and the par

hauder, m. lat. excaldare (ducange sub v) to scald the hair off. so that sknhl would be depilis, glaber (engl, scald, bald-head, whether it meant aged minstrel, or that poets shaved their heads? even scaldeih may have signified an oak stript of foliage. 3 as there is no latin root, we may suggest our own treffpn, on. drepa [drub, lit. to strike, hit, but also (in antreffen) to hit upon, find. the gothic may have been drupan, as treten was trudan, which would account for the eomance o* malb. gl. p. 49, conf. ir. ceat= canere, carmine celebrare. the question is, whether, in spite of this celtic affinity, the word is not to be found in other teut. dialects. we might consider on. ges (mens, animus, ohg. ket, kett, keti, ketti (graff 4, 144, the doubling of the lingual being as in as. bed, bedd

been at first^ the mead is given by osinn to the ases, and to men' hein, as. ban, engl, hone, swed. hen, sskr. s'ana. 2 like dr. faust fooling the seven topers into cutting each other's noses off. 3 here o^inn plays the part of strong hans (kinderm. 90, or of siegfried with the smith* mentioned also in smm. 23; evidently from' rata' permeare, terebrare, goth, vraton, so that it would be vrata in gothic. 5 it is added 'en honum var l^a sva nier korait at suttungr mundi na honum, at hann sendi aptr (behind) suman miodinn, ok var f>ess ecki gittt: haf'si bat hverr er vildi, ok kollum ver bat skaldfilla lut (malorum poetarum partem; or, as another ms. has it 'en suinum nrpti hann aptr, hafa bat skaldfifl, ok heitir arnar 904 poetet. that can skill of poesy. this explains the fluctuating names

euer when we say 'es ist geheuer' all is quiet, happy, peaceful. the contrary is expressed by ohg. and os. unlduri dirus, saevus, as. unheoru, beow. 1967 (unhiore 4822. unh^re 4286. csedm. 138, 5, on. ojiyr, mhg. ungehiure, our ungelieuer' es ist ungeheuer^ there's something wrong. but both words go further, god is called hiuri, the devil unhiuri; ungelieuer is monstrum, portentum in general. the gothic form would be iduris, which seems nearly allied to haiiri (pruna, ember, on. hyr ignis, and is therefore the shining, the bright; if an ohg. gloss in graff 4, 1014 be correct, even the non-negative hiuri may signify dirus, viz. fiery in a bad sense, such as we shall find presently in connexion with ignes fatui. much the same in meaning with hiuri and unhiuri are iwldo and unholdo (pp. 266

385 n, and lurlenberg shall have its due, if such be the reading, though i had taken burlenberc for burglenberg, biirglenberg, ohg. burgilunberc on the rhine near breisach (dumbeck p. 339, where the harlungs, perhaps amelungs, dwelt with their treasure (heldens. p. 186 8. one of the venus-hills in the breisgau and bckart may also have to do with it. but the harlunge golt (dietr. 7835) enters into gothic amelung legends, and there might be an 'amelunge hort' like the famous 'urmenricltes hort' of which so much is told. again, the vilk. saga cap. 381 makes etzel the avaricious first get at siegfried's gold which is locked in a mountain, and then significantly die of hunger, so that the niflimga skattr drags him also to destruction; while danish lays have it, that gremild, immured in the moun

of hunger, so that the niflimga skattr drags him also to destruction; while danish lays have it, that gremild, immured in the mountain, pines to death in presence of noglings (i.e. nibelung's) pelf (heldens. p. 306. so many conflicting yet connected accounts may justify us in conceding even to that far older aurum tojosaniim, which the tectosages sunk in the lake of tolosa, some influence on old gothic legend^ stories of submerged castles are found in abundance. when the waters are at rest, you may still descry projecting pinnacles of towers, and catch the chiming of their bells. scarcely can enchanted men be dwelling there; all life is grown dumb beneath the waves. three legendary features i will single out. the approaching doom is commonly announced by talking beasts: the enormity of th

49. the inference is, that the notion of female demons was the favourite one with the goths, and very likely with other germans, for in hymn. 24, 3 the word for diabolus is the ohg. fem. unholdd if as heathens they had worshipped a goddess holda, how natural, in contrast with her mildness, to regard a malignant being as a female unholda! thus ulphilas's preference for the term goes far to prove a gothic worship of hul]?6; and the translation of diana by holdd and unjwidd (p. 267) is worth noting. again, the notion of malice and ill-will carries with it that of fierceness and wrath: so the devil is in as. se wrdd'a/ csedm. 39, 24, in os 'the ivretha' hel. 106, 3. 164, 4; as' se recta (trux, saevus, cfedm. 271, 12, the os. would be 'the ruodho; as 'se grama/ os 'the gramo' hel. 32, 16; also

somnus, and sofna to fall asleep, mhg. entsweben is sopire, lull to sleep, which again has to do with ohg. suep (aer, so that sleeping and dreaming properly mean trance or ecstasy, the spirit's soaring away into the air (conf. arprettan, p. 1083. this is closely conn, with lat. sopor, and sompnus, somnus, somnium. both ohg. and on. seem to confine their troum, draumr to the sense of somnium. the gothic word for ovetpo (dream) is lost to us. instead of our proverb' triiume sind schliume/ dreams are foams, i have found a more truly rhyming* traume sind gdiime (ettnei-'s chemiker 469 and apoth. 132, i.e. observations (mhg. goume, troume, but schume^ even antiquity did not believe in all dreams, only in difficult ones, dreamed at particular times or places. to interpret dreams is in ohg. antf

and ham mnnxmm j^e deofol mid lucmf' against elf-salve and nightgangers and the men the devil homes (consorts) with (sap. p. 8y0. vol. hi. s 1156 sicknesses. gait, going, turning, i think gicht was a general term denoting the shooting, twisting and tugging of pain in the body; and a derivative corresp. to the goth, galds (innagahts, gramm. 3, 518. m. nethl. jicm, icel. iu, sw. giu, dan. gigt. the gothic renders trapaxyrtko^ by us-lipa, as if beside one's limbs, having no use of them; an ohg. urlido is not found' ein siechtuom heizet pogrdt= leme, a lame palsied state, parz. 501, 26 is a corruption of podagra, which was also twisted into podagram. more teut. are fuoz-suht, as. fot-ddl (podagra; zipperlein i do not find before the 16th cent. m. nethl. fledersin, fledercine (arthritis, leven

n. 378 sanfte runen stands opposed to public siugiug. finn. runo is a song (p. 901. and now a term that has often come before us becomes perfectly clear, and what is more, proves a good fit all round: the wise-woman of the ancient germans is called auruna, because she is alja-riuta, and speaking secret words not understood of the common folk, has skill at once in writing and in magic; hers is the gothic runa, hei's the as. runcreeft. all can only mean' other (than common, strange, not vulgar and profane' and thus heightens the meaning of runa. and this name of the heathen priestesses could easily be transferred to the holy herb (p. 1202) which perhaps pertained to their ritual. the olden time divided runes into many classes, and if the full import of their names were intelligible to us, we

solvere coelum^ ibid. 17. but song could turn away storm and hail, as well as draw it on' cum averti carmine grandines credant plerique, cujus verba inserere non equidem serio ausim^ pliny 17, 28 [47. as the whole of sorcery sank into the hands of old wives, and the faith of bygone times was called herlinga villa, ssera. 169, alter ivihe troume, turk wh. 1, 82 gothic' us-al 7anaiz6 spilla; the healing formulas handed down from the past fared no better. already in the 12th cent, the miracula s. matthiae (by a benedictine of treves) expresses itself thus, cap. 34' cujus dolore mater affecta medicinam et anilia adhibuit carmincc' fez. thes. anec. 2, 3 p. 234 (see suppl. these superstitious formulas are a gain to the history of our mythology, they yield inf

GRIMM TEUTONIC MYTHOLOGY VOL 2 1883 COMPLETE

eit, tirschengereith. schmeller s birthplace in the up. pala tinate, schm. 1, 458. so tiirschenwald, thyrsentritt, tiiratwinkel, et. suppl. 3 conf. pharaildis, verelde, p. 284-5; grimild for grimhild. 4 brem. wb. 1, 257. llichey sub v. druus, schiitae sub v. drost, strodtmann sub 522 giants. whether thorsholt, tjiosholt, the name of a place in oldenburg, is connected with j?urs, i cannot tell. in gothic the word would have to be paurs, pi. jmiirsos (or j?aiirsis, pi]?aiirsj6s? jmiirsus, j?aursjus? faiirsja, j?aursjans; and of these forms the derivation is not far to seek. the goth]?aursus means dry, j?aiirsjan to thirst, j?aitrstei thirst; j?aiirsus, fadrsis becomes in ohg. durri for dursi (ay airzis becomes irri for irsi, while the noun durst (thirst) retains the s, and so does our durs (

; also ohg. gigant (0. iv. 12, 61, mhg. gigante die mdren (diut. 3, 60, 2 m. nethl. gigant. the on. word which is usually compared with this, but which wants the nt, and is only used of giantesses, seems to me unconnected: fern, gygr, gen. gygjar, sasm. 39, sn. 66. 68; a swed. folk-song still has den leda gijger/ arvidsson, 2, 302. it is wanting in the other teut. dialects, but if translated into gothic it would be giugi or giugja; i trace it to the root giugan, and connect it with the words quoted in my gramm. 2, 50 no. 536 (see suppl. our riese is the ohg. risi (0. iv. 12, 61) or riso (n. ps. 32, 16, mhg. rise, mlg. rese (en. 7096, on. risi (the elder edda has it only in grottas. 12, swed. rese, dan. rise, m. nethl. rese, rose (huyd. op st. 3, 33. 306, now reus. to these would correspond

hic it would be giugi or giugja; i trace it to the root giugan, and connect it with the words quoted in my gramm. 2, 50 no. 536 (see suppl. our riese is the ohg. risi (0. iv. 12, 61) or riso (n. ps. 32, 16, mhg. rise, mlg. rese (en. 7096, on. risi (the elder edda has it only in grottas. 12, swed. rese, dan. rise, m. nethl. rese, rose (huyd. op st. 3, 33. 306, now reus. to these would correspond a gothic vrisa, as may be gathered from the os. form wriso which i confidently infer from the adj. wrisiuc giganteus, hel. 42, 5. the anglo-saxons seem to have had no analogous ivrisa, as they confine themselves to j?yrs, gigant [and ent. the root of vrisa is unknown to me; it cannot belong to reisan surgere, therefore the ohg. riso does not mean elatus, superbus, excelsus.3 again, lubbe, lubbe seem

7. 9. 10. 12. this gifr seems to mean saucy, defiant, greedy. troll neut, gen. trolls (ssem. 6a, swed. troll, dan. trold, though often used of giants, is yet a more comprehensive term, including other spirits and beings possessed of magic power, and equivalent to our monster, spectre, unearthly being. by trold the danish folk-tales habitually understand beings of the elf kind. the form suggests a gothic trallu; does our getralle in renner 1365 <der gebure ein getralle/ rhym. alle/ mean the same thing (see suppl. giant is in lith. milzinas, milzinis, lett, milsis, milsenis; but it would be overbold to connect with it german names of places, milize (trad. fuld. 2, 40, milsenburg, melsungen. the slovak obor, boh. obr, 0. pol. obrzym* pol. olbrzym, is unknown to the south slavs, and see

ons: popular belief magnified hostile warlike neighbours into giants, as it diminished the weak and oppressed into dwarfs. the sanskrit rdkshasas can have nothing to do with our riese, nor with the ohg. recchio, mhg. recke, a designation of human heroes (see suppl. we find plenty of proper names both of giants and giantesses preserved in on, some apparently significant; thus hrungnir suggests the gothic hrugga (virga, rod, pole) and our runge (brem. wb. 3, 558; herbort 1385: groz alsam ein runge/ our mhg. poems like giant s names to end in -olt, as witolt, fasolt, memerolt, etc. a great stature, towering far above any human size, is ascribed to all giants: stiff, unwieldy, they stand like hills, like tall trees. according to the mod. greeks, they were as tall as poplars, and if once they f

vetmimir, moistener? conf. vaeta humor. to express star, constellation (sidus, our older speech, in addition to stairno, sterno, steorra, stiarna (gramm. 3, 392) and ohg. himilzeichan (hymn. 4, 2, has a symbolical term, ohg. himilzunga, diut. 1, 526b and gl. doc. 249; os. himiltungal, hel. 18, 2; as. heofontungol, rodortungol; on. himintungl. even the simple tungol has the same sense in as, and a gothic gloss on gal. 4, 3, gives tuggl astrum/ whilst in on. tungl means the moon. this neuter noun tungal, tungol, tungl, is no doubt from tunga (lingua, which word itself appears in ohg. himilzunga (graff 5, 682: the moon and some of the planets, when partially illuminated, do present the appearance of a tongue or a sickle, and very likely some cosmogonic belief 1 was engrafted on that; i know o

was represented in the stape of a wheel, has been fully shewn, p. 620. tit. 2983 speaks of the sun s wheel. the edda expressly calls the sun fagrahvd, fair wheel, saem. 50a sn. 177. 223. the norse rune for s is named sol sun, the as. and ohg. sigil, sugil, for which i have proposed (andr. p. 96) the readings segil, sagil, sahil, and may now bring in support the goth, sduil and gr. r/ato. but the gothic letter q= hv) is the very symbol of the sun, and plainly shews the shape of a wheel; we must 1 wagen waggon belongs to weg way, as carpentum does to carpere (viam; the car of heaven is also that of the highest god. otfr. i. 5, 5. says of the herald angel: floug er sunnum pad, sterrdno strdza, wega wolkono. the indians also call the sky path of clouds, somadeva 1, 17. 2, 157. j so in mod. gr

icel. hiol, swed. dan. hjul, 0. swed. kiught; and from f hweol, hweohl the engl. wheel, nethl wiel, and fris. fial (richth. 737. in view of all these variations, some have even ventured to bring in the on. jol, swed. dan. jul (yule, the name of the winter solstice, and fasten upon it also the meaning of the wheel; on that hypothesis the two forms must have parted company very early, supposing the gothic name of november jmleis to be cognate. 1 the word wheel seems to be of the same root as while, goth, liveila, ohg. huila, i.e. revolving time; conf. goth, hveila-hvairbs, ohg. huil-huerbic, volubilis. another symbolic epithet of the sun seems to be of great age: the warlike sentiment of olden times saw in him a gleaming circular shield, and we noticed above (p. 700) that the sky itself form

ity lasts only the one night between the disappear ance of her last quarter and the appearance of her first, at newmoon (conjunction of sun and moon; in like manner, full-moon lasts from the moment she attains perfect sphericity till she loses it again. but in common parlance that nox illunis is included in the new-moon, and similarly the decline is made to begin simultaneously with the full. the gothic for travcre\7]vov was fidlifrs m, or fullip n (gen. pi. fulli]?e, from which we may also infer a niujips for vov^via. curiously, this last is rendered fulli? in col. 2, 16, which to my mind is a mere oversight, and not to be explained by the supposi tion that the goths looked upon full-moon as the grander festival. the as. too must have called full-moon fyllefr, to judge by the name of the

gez, as. lencten, lengten (lent, spring) has come by degrees to cover the whole year. thus both jar and leto mean the warmer season (spring or summer; and southern nations reckoned by them, as the northern did by winters. ulphilas renders ero? by jer, and evtavro? either by apn, gal. 4, 10, or atafrni, john 18, 13, a word that has died out of our language everywhere else, but still lingers in the gothic names athanagildus, athanaricus (ajmagilds, ajmareiks; it seems 1 the pol. iar looks like tap, but this is understood to be for f<?a/&gt, ftvap, lat. ver for verer, veser, closely conn, with lith. wasara (aestas) and sanskr. vasanta, benfey 1, 309. of the same root seems the slav, yesna, wiosna (spring, but hardly the on. vasaisr, which means sharp winter. 754 seasons. 755 akin t

to compete with them; an as. midlencten (engl. midlent) does occur, and is about equivalent to our mitfasten. now in what relation did the missere stand to midsumor and midwinter? the day (of 24 hours) likewise fell into two halves of 12 hours each, the as. dogor, on. dcegr; and dogor bears the same relation to deeg as missere to gear. our ancient remains have no tuogar attending upon tac, but a gothic dogr by the side of dags may be inferred from fidurdogs and ahtaudogs in ulphilas (see suppl. tacitus, after saying that the germans cultivate grain only, and neither enclose meadows nor plant orchards, adds: f unde annum quoque ipsum non in totidem digerunt species: liiems et ver et aestas intellectum ac vocabula habent; auctumni perinde nomen ac bona ignorantur/ here auctumnus evidently r

?isl, thill, for which we may assume a goth]?eihslo)?eihsla, the apparatus by which the waggon is moved on. schmeller 4, 294 cleverly connects terao itself with tempus: the celestial waggon-thill (p. 724) marks the movement of nocturnal time (varro 7, 72-5, and)?eihsla becomes a measure like the more general j?eihs. even if the connexion of the two latin words be as yet doubtful, that of the two gothic 790 time. 791 ones can hardly be so. but now, as the goth, freilis has no representative in the other teutonic tongues, and in return the ohg. zit, as. tid, on. ti& seems foreign to gothic, it is natural, considering the identity of meaning, to suppose that the latter form arose from mixing up]?eihan (crescere) with teihan (nuntiare, and therefore that the as. tid stands for f>id, an

brach, ms. 2, 52a. bon. 48. 68, could be referred to brechen, conf. break of day, p. 747, yet the two verbs themselves may be congeners. in ohg. the perf. part, appears in prehan-ougi (lippus, a compound formed like zoran-ougi, gramm. 2, 693. the goth, brahv assures us of the princ. parts in full, braihva, brahv, brehvum (like saihva, sahv, sehvum. but instead of an adj. braihts (bright, even the gothic has only a transposed form bairhts, ohg. peraht, as. beorht, on. biartr; yet our perahta is afterwards also called prehta, brehte (pp. 277-9, and other proper names waver between the two forms, as albrecht albert, euprecht kobert. vol. ii. a a 792 time and wobld. quam supercilium superius iriferiori jungi possit/ caesar, heisterb. 12, 5. minre wilen (in less time) dan ein oucbra zuo der and

then goth, alps (f, by turns ala>v (eph. 2, 2. 1 tim. 1, 17. 2 tim. 4, 10, and 105 or 7ei/ea; on. old; ohg. with suffix altar (aevum, aetas, though the simple word also survives in the compound weralt (assimil. worolt, mhg. werlt, our welt, as. werold, engl. world, fris. wrald, on. verald, verold, swed. werld, dan. v&rd: constant use accounts for the numerous distortions of the word.2 its gothic form, wanting in ulph, would have been vair-alj>8 or f vaire al]?s/ virorum (hominum) aetas, aetas (lifetime) passing into the local sense of mundus (world, just as seculum, siecle, has come to mean mundus, monde. we saw on p. 575 that greek myth ology supposes four ages of the world, golden, silver, brazen and iron: a fancy that has travelled far, 3 and was apparently no stranger in

and black, like her; hence a nebelheim, cold land of shadows, abode of the departed, 1 but not a place of torment or punishment as in the christian view, and even that was only developed gradually (p. 313. when ulphilas uses halja, it is always for afys (matt. 11, 23. luke 10, 15. 16, 23. 1 cor. 15, 55, the infernus of the vulg; whenever the text has ryeevva, vulg. gehenna, it remains gaiainna in gothic (matt. 5, 29. 30. 10, 28),it was an idea for which the gothic had no word. the ohg. translator t. renders infernus by jiella (matt. 11, 23, gehenna 2 by kellafiur (5, 29. 30) or hellawizi(-torment 10, 28, and only filium gehennae by hella sun (23, 15, where the older version recently discovered is more exact: qualu sunu, son of torment. when the creed says that christ f nr8ar steig zi helli

nstance in the fr. gene, p. 800n. a 5 goth, leik (corpus, caro, our leiche, leichnam &ng. lich (cadaver; the ohg. hreo, as. hraw, mhg. re (cadaver, funus, and goth, hrdiv (whence hraiva-dubo, mourner-dove) are the lat. corpus. 842 death (orig. todu) masc, os. dod, doff, as. dedff, on. dauffi, all masc, the m. nethl. dot having alone preserved the fern, gender, which is however compatible with the gothic form. the verb in gothic is diva, dan (morior, standing in the same relation to ovrjcrko, eoavov, odvaros as the gothic tiv to the slavic dan (dajr, p. 195. the on. dau$i i find used only of the condition, not of the person, while the goth, ddupus does express the latter in 1 cor. 15, 55 (see suppl. to this affinity of words corresponds a similarity of senti ments. the most prominent of the

ss er hon verftr vis, a woman is wary of what she is aware of; syn er fyrir sett, a defence is set up (when one denies his guilt, conf. fornm. sog. 9, 5: hann setti >ar syn fyri, ok batts skirslur; sa er forftaz hleinir, he that is struggling leans (on the tutelary goddess. from hlina to slant, k\tveiv ^inclinare, goth, hleinan, comes the causative hleina to lean, goth, hlainjan. hlains in gothic is collis [slanting or] sheltering hill? i do not see how to reconcile with this the sense attributed to hlin of a (sheltering) tree (p. 884. 890 peksonifications. gife$e (opes concessae. l like the above thiu fruma uns irreimta we have then thiu salida gireim/ 0. i. 3, 17; giriman again is a higher falling to one s lot/ and in 0. iii. 9, 11. 12 is the combination: fruma thana fuarta, salid

HANDBOOK OF EGYPTIAN MYTHOLOGY

uities found during napoleon s campaign was the rosetta stone. this was one of the documents used by the brilliant french linguist jean- francois champollion to decipher the hieroglyphic script. the rage for collecting egyptian antiquities meant that papyri and inscribed objects ended up in museums and private collections all over the world. a fashion for holding mummy-unwrapping parties inspired gothic novels, such as jane webb s the mummy (1827, which were forerunners of the modern horror genre. most major egyptian religious and literary texts were translated into western languages during the second half of the nineteenth century ce. some of these sources, particularly e. a. wallis budge s translation of the book of the dead, were drawn on by occult writers such as the theosophist madam

HELENA BLAVATSKY NIGHTMARE TALES

oms preserved, founded on traditions andsuperstitions, semi-kinnish and semi-russian, the latter imported into it by its female proprietors from theshores of the neva. christmas trees were being prepared and implements for divination were being madeready. for, in that old castle there were grim worm-eaten portraits of famous ancestors and knights andladies, old deserted turrets, with bastions and gothic windows; mysterious sombre alleys, and dark andendless cellers, easily transformed into subterranean passages and caves, ghostly prison cells, haunted by therestless phantoms of the heroes of local legends. in short, the old manor offered every commodity forromantic horrors. but alas! this once they serve for nought; in the present narrative these dear old horrors playno such part as they o

HP LOVECRAFT A DARK LORE

r the grimy fa ade, and the obliquely seen north side with sloping roof and the tops of great pointed windows, rose boldly above the tangle of surrounding ridgepoles and chimney-pots. peculiarly grim and austere, it appeared to be built of stone, stained and weathered with the smoke and storms of a century and more. the style, so far as the glass could show, was that earliest experimental form of gothic revival which preceded the stately upjohn period and held over some of the outlines and proportions of the georgian age. perhaps it was reared around 1810 or 1815. as months passed, blake watched the far-off, forbidding structure with an oddly mounting interest. since the vast windows were never lighted, he knew that it must be vacant. the longer he watched, the more his imagination worked

h the wall supported- a separate, lesser world raised fully six feet above the surrounding streets- there stood a grim, titan bulk whose identity, despite blake's new perspective, was beyond dispute. the vacant church was in a state of great decrepitude. some of the high stone buttresses had fallen, and several delicate finials lay half lost among the brown, neglected weeds and grasses. the sooty gothic windows were largely unbroken, though many of the stone mullions were missing. blake wondered how the obscurely painted panes could have survived so well, in view of the known habits of small boys the world over. the massive doors were intact and tightly closed. around the top of the bank wall, fully enclosing the grounds, was a rusty iron fence whose gate- at the head of a flight of steps

e on the ground floor, blake began exploring in a rapid fashion. all the inner doors were unlocked, so that he freely passed from room to room. the colossal nave was an almost eldritch place with its driffs and mountains of dust over box pews, altar, hour-glass pulpit, and sounding-board and its titanic ropes of cobweb stretching among the pointed arches of the gallery and entwining the clustered gothic columns. over all this hushed desolation played a hideous leaden light as the declining afternoon sun sent its rays through the strange, half-blackened panes of the great apsidal windows. the paintings on those windows were so obscured by soot that blake could scarcely decipher what they had represented, but from the little he could make out he did not like them. the designs were largely co

e diameter, covered on each side with bizarre, crudely incised and wholly unrecognizable hieroglyphs. on this pillar rested a metal box of peculiarly asymmetrical form; its hinged lid thrown back, and its interior holding what looked beneath the decade-deep dust to be an egg-shaped or irregularly spherical object some four inches through. around the pillar in a rough circle were seven high-backed gothic chairs still largely intact, while behind them, ranging along the dark-panelled walls, were seven colossal images of crumbling, black-painted plaster, resembling more than anything else the cryptic carven megaliths of mysterious easter island. in one corner of the cobwebbed chamber a ladder was built into the wall, leading up to the closed trap door of the windowless steeple above. as blake

ound. there was a bad odour everywhere, and here and there were bits of yellow stain and patches of what looked like charring. opening the door to the tower, and pausing a moment at the suspicion of a scraping sound above, they found the narrow spiral stairs wiped roughly clean. in the tower itself a similarly half-swept condition existed. they spoke of the heptagonal stone pillar, the overturned gothic chairs, and the bizarre plaster images; though strangely enough the metal box and the old mutilated skeleton were not mentioned. what disturbed blake the most- except for the hints of stains and charring and bad odours- was the final detail that explained the crashing glass. every one of the tower's lancet windows was broken, and two of them had been darkened in a crude and hurried way by t

teric order of dagon. this, then was the former masonic hall now given over to a degraded cult. as i strained to decipher this inscription my notice was distracted by the raucous tones of a cracked bell across the street, and i quickly turned to look out the window on my side of the coach. the sound came from a squat stone church of manifestly later date than most of the houses, built in a clumsy gothic fashion and having a disproportionately high basement with shuttered windows. though the hands of its clock were missing on the side i glimpsed, i knew that those hoarse strokes were tolling the hour of eleven. then suddenly all thoughts of time were blotted out by an onrushing image of sharp intensity and unaccountable horror which had seized me before i knew what it really was. the door o

HP LOVECRAFT THE ALCHEMIST

inges. my immediate sensations were incapable of analysis. to be confronted in a place as thoroughly deserted as i had deemed the old castle with evidence of the presence of man or spirit produced in my brain a horror of the most acute description. when at last i turned and faced the seat of the sound, my eyes must have started from their orbits at the sight that they beheld. there in the ancient gothic doorway stood a human figure. it was that of a man clad in a skull-cap and long mediaeval tunic of dark colour. his long hair and flowing beard were of a terrible and intense black hue, and of incredible profusion. his forehead, high beyond the usual dimensions; his cheeks, deep-sunken and heavily lined with wrinkles; and his hands, long, claw-like, and gnarled, were of such a deadly marble

y line for centuries, and made of my own youth one long-continued nightmare. determined upon further exploration, i felt in my pockets for flint and steel, and lit the unused torch which i had with me. first of all, new light revealed the distorted and blackened form of the mysterious stranger. the hideous eyes were now closed. disliking the sight, i turned away and entered the chamber beyond the gothic door. here i found what seemed much like an alchemist's laboratory. in one corner was an immense pile of shining yellow metal that sparkled gorgeously in the light of the torch. it may have been gold, but i did not pause to examine it, for i was strangely affected by that which i had undergone. at the farther end of the apartment was an opening leading out into one of the many wild ravines

HP LOVECRAFT THE SHADOW OVER INNSMOUTH

teric order of dagon. this, then was the former masonic hall now given over to a degraded cult. as i strained to decipher this inscription my notice was distracted by the raucous tones of a cracked bell across the street, and i quickly turned to look out the window on my side of the coach. the sound came from a squat stone church of manifestly later date than most of the houses, built in a clumsy gothic fashion and having a disproportionately high basement with shuttered windos. thongh the hands of its clock were missing on the side i glimpsed, i knew that those hoarse strokes were tolling the hour of eleven. then suddenly all thoughts of time were blotted out by an onrushing image of sharp intensity and unaccountable horror which had seized me before i knew what it really was. the door of

JENNINGS HARGRAVE ROSICRUCIANS RITES MYSTERIES

e upon a square chamber, built up of large hewn ancient stones. he stopped, silent and awe-struck. here was a flagged pavement and a somewhat lofty roof, gathering up into a centre; in the groins of which was a rose, carved exquisitely in some dark stone or marble. but what was this poor man s fright when, making another sudden turn, from between the jambs, and from under the large archivolt of a gothic stone portal, light streamed out over him with inexpressible brilliancy, shining over everything, and lighting up the place with brilliant radiance, like an intense golden sunset! he started back. then his limbs shook and bent under him as he gazed with terror at the figure of a man, whose face was hidden, as he sat in a studious attitude in a stone chair, reading in a great book, with his

ver, in ancient or in modern times, whether displayed as points, or radii) or wings on the helmets of those barbarian chiefs who made war upon rome, attila or genseric, or broadly shown upon the head-piece of the frankish clovis; whether emblemed in the rude and, as it were, savagely mystic horns of the asiatic idols, or reproduced in the horns of the runic hammerer (or destroyer, or those of the gothic mars, or of the modern devil; all this double-spreading from a common point (or this figure of horns) speaks the same story. the colossus of rhodes was a monolith, in the human form, dedicated to the sun, or to fire. the pharos of alexandria was a fire-monument heliopolis, or the city of the sun, in lower egypt (as the name signifies, contained a temple, wherein, combined with all the dark

and by have more to say. the horse-shoe is the mystic symbol of the wizard s foot, or the sigma, or sign, of the abstract four-footed, the strangely secret, constantly presented, but as constantly evading, magic meaning conveyed in which (a tremendous cabalistic sign) we encounter everywhere. may the original, in the east, of the horse-shoe arch of the saracens, which is a foundation-form of our gothic architecture, may the horse-shoe form of all arches and cupolas (which figure is to be met everywhere in asia, may these strange, rhomboidal curves carry reference to the ancient mysterious blending of the ideas of the horse and the supernatural and religious? it is an awing thought; but spirits and supernatural embodiments unperceived by our limited, vulgar senses may make their daily walk

, of prague, is discoverable at a glance. all these western flames are representative of the early fire, which was as equally the object of worship of the gubhs, guebres, or gaurs of persia, as it is the admitted natural principle of the parsees. parsees, bohemians, the gipsies or zingari, and the guebres, all unite in a common legendary fire-worship. beside the ancient market-crosses and wayside gothic uprights, of which so many picturesque specimens are yet to be found in england, wales, and scotland, we may enumerate the splendid funeral-crosses raised by the brave and pious king edward to the memory of his wife. holinshed writes: in the nineteenth yeare of king edward, queene elianor, king edward s wife, died, upon saint queen-eleanor crosses. 105 andrew s euen, at hirdebie, or herdeli

s. 169 parallel in symbolical forms, we will add some further authorities from the temple of solomon at jerusalem. figure 39, no. 1, is an evidently corinthian foliation. it is from a pillar in the vaults of the temple of solomon at jerusalem (probably a lotus-acanthus) no. 2 is evidently the crux-ansata, combining the indications of lotus and lily. here is a union of the classic, the judaic, and gothic forms, all presenting the same idea at once. buddha was the sun in taurus; cristna (crishna, krishna) was the sun in aries. in regard to the origin of speech, of writing, and of letters, it may be remarked that the egyptians referred the employment of a written symbol (to record and communicate the spoken word) to a thoth; the jews, to seth or his children (josephus, ant. i, 2, 3; the greek

h, now in the british museum. jacob s pillar, the sacred stone in westminster abbey, bethel &c, gilgal, have a mythic alliance with the obelisk. fig. 55. colossal head (british museum) regarding the pyramids the following may be advanced: murphy, the delineator of the alhambra, considered the pointed arch to be a system founded on the principle of the pyramid. the pointed or vertical saracenic or gothic fig. 56. arch presents the form of the upper portion of the human fall j. the saracenic arch denotes the union of the linga and yoni. in fig. 56 we have the sun rising from between the the horns of eblis. 211 horns of eblis (here taken for the pyramids. this is a poetical superstition of the arabians, who therefore turn to the north to pray; in contradiction to the practice of the persians

ight, and furnish evidence how it passed into the christian times, and became the steeple. when thus fig. 65. kit s cotty-house, kent. fig. 66. ancient british coin, mentioned by camden. changed and reproduced, according to the architectural ideas of the builders of the different countries where the same memorial pillar was raised, it assumed in time the pecu214 the rosicrucians. liarities of the gothic or pointed style. the steeples of the churches, the figures of which we give on p. 218, indicate the fig. 68. fig. 69. england: st. michael s mount, mount s bay, cornwall. dragon, horns, or fires (moloch or baal) british channel, dragonmouth (galilee from the west) france normandy: mont st.-michel( montjoie! montjoy! old battlecry of the gauls) dragon, horns, or fires (moloch or baal) st. m

res (moloch or baal) british channel, dragonmouth (galilee from the west) france normandy: mont st.-michel( montjoie! montjoy! old battlecry of the gauls) dragon, horns, or fires (moloch or baal) st. michael, or the sun (hercules. fig. 71. round tower, devenish, ireland. fig. 70. round tower, ireland. gradual growth, and expansion of the romantic or pointed architecture, which is generally called gothic; and they round towers and obelisks. 215 prove how the upright, or original phallic form, was adopted and gradually mingled in christian architecture,-in reality at last becoming its dominant feature. fig. 96 represents one of the western towers of st. fig. 72. obeliscus. fig. 73. obelisk. fig. 75. two round towers. paul s cathedral, london, which is one of the double lithoi (or obelisks, p

lars in fig. 102 are monuments in penrith churchyard. these are the familiar double runic uprights, pillars, or spires. all the minarets and towers in the east display in the peculiar curves of their summits the influence of the same phallic idea, as an attentive examination will prove. there seems to be little or no reason to doubt that the pillars-stones. 217 much-disputed origin of the pointed gothic arch, or lancetshaped arch, and the saracenic or moorish horseshoe arch, fig. 79. round tower, peru, fig. 80. persian round tower (from hanway) fig. 81. round tower, central america. is the union and blending of the two generative figures, namely, the discus or round, and the upright and ver- fig. 82. mudros of phoenicia (dr. hyde) fig. 83. mahody of elephanta (capt. pyke) fig. 84. muidhr o

language surtout, or over all. the monogram of the saviour is sometimes seen in the ark, or vesica double lithoi: the "tables" of stone. jachin. pillar) yjy the law (man. boaz (left pillar) zub the prophets, or the gospel (woman. a. because it was delivered by. w. because it came through. fig 118. the union of and is consequently+ or the cross. piscis, which is a pointed oval figure, familiar in gothic architecture, and shaped like a boat or a shuttle, counterchanging the letters and the closing arcs, white and black, the black occupying the left or female side, according to the ideas of the templars. the standards of these soldiermonks were white and black, either oblong or forked. there are two columns of that heavy, severe order, however grand and impressive, which distinguishes the ea

the early english and irish churches. is there any connection between these bonds, or ties, or lacings, with the cable-tow of the initiates among the masons? perhaps the tow in this cable-tow means the tau, or stood for it originally. reference may here be made to the snake which forms the girdle of the gnostic good shepherd in the illustration later in our book (fig. 252. the cable-mouldings in gothic architecture are intended to carry an important meaning. they are found in the pointed or christian architecture in continual close connection with the triplicated zigzag, the vandykes, or aquarii, as we designate them, because all these architectural forms, which are hieroglyphs, mean the feminine or second prinfigures of the centuari. 241 ciple, and express the sign of aquarius, with its

tural forms, which are hieroglyphs, mean the feminine or second prinfigures of the centuari. 241 ciple, and express the sign of aquarius, with its watery or lunar hints, its twin-fishes, and its jonah-like anagrams of the redeemer. hence the boat-like, elongated, peculiar form called the vesica piscis, which is the oblong shuttleshaped frame continually set over doors and windows and elsewhere in gothic churches, to contain effigies of the saviour, or virgin mary, or groups from the new testament in connection with these two sacred persons. a doorway in barfreston church, kent, supplies an excellent example of the employment of this oblong figure; which is also babylonian, and means the female member as its starting-point in a previous part of our book we give various figures of the prows

for this changed intention, and because the creature man became man, and not the bovine creatures, a catastrophe which might have happened, except for this diversion of the brain-power into horns (mere fable or dream as all this sounds) that the egyptians setup the very horns to worship as the real thing the depositor or ark into which the supernatural rescue was committed. thus the egyptian and gothic forms identical. 249 horns of the animal-as the idol standing for the means, equally as another representative figure (the phallus, expressive of the mighty means to which man s existence and fig. 176. the templar banner, beauseant. multiplication was entrusted-were exalted for adoration, and placed as the trophies heroically won even out of the reluctance and hostility of nature and adored

norman capital, door-shaft: honeysuckle-and-lotus ornament, early example. london, is a symbol of the blessed virgin; it is also the delphic e, or seleucidan anchor. fig. 186. ur on. fig. 187. winged disc. the horns of the talmud account for the mythological minotaur, the bucentaur, pan and priapus, the fig. 183. egyptian torus, lotus enrichment, and various lunar symbols. ionic, corinthian, and gothic volves. 251 sagittary or centaur, the sign" sagittarius, and perhaps all bicorporate human and animal forms. 188. 189. 190. fig. 188. ionic greek: egg-and-tongue moulding (two of the emblems of the mysteries. fig. 189. grecian moulding, expressing religious mysteries. fig. 190. corinthian temple of vesta. central flower, probably the egyptian lotus. in the group of figures below, showing th

c monument, athens. corinthian, ionic, and composite capitals, a close affinity will be remarked with examples of capitals with horns or 252 the rosicrucians. volutes from the temple of ellora, in india, and other indian and persian temples: placed under, for comparison, in the illustration. fig. 200. norman capital: foliated ornament, resembling the honeysuckle and lotus. various mouldings, both gothic and classic, present shapes drawn from the astronomical sign aquarius. these signs, or ciphers, are significant of the sea and of fig. 201. canterbury cathedral: volutes of the corinthian form. fig. 202. canterbury cathedral: corinthian scrolls or horns. the moon. glyphs resembling fishes mean iona, or jonah. they are also symbols of the saviour, when they occur amidst the relics left by th

icrucians. no. 1. catherine-wheel window 12 columns. query, the 12 signs, with the rose, disc, or lotus, in the centre? from a saracenic fountain near the council-house, jerusalem. this fountain seems to be built of fragments; the 262 the rosicrucians. proof of which is that this inscribed stone (no. 2) is placed over half the discus. the whole structure, though oriental or saracenic abounds with gothic or pointed features. such are the frets, the spandrel-work, the hood-moulding &c. no. 3. query, aquarii? the aquarii always indicate the lunar element, or the female. the baptisteries dedicated to st. john, or to the s.s, are eight-sided. the baptisteria in italy follow the same emblematical rule. the sections into which the order of the knights of malta fig. 227. were divided were eight, a

to; as representing all the closest-of-thought of the centuries. all the above is the reproduction of the singular ideas of the idealists of the middle ages. curves of the lunar symbol in moresque arch. the lunar or feminine symbol, is the universal parent of the hindoo and mahometan returned arches; and therefore, also, of the horse-shoe curves of the arabian arches, and the hooked curves of all gothic architectural reproduction, whether in arches or otherwise. chapter the thirtieth. rosicrucianism origin of the order of the garter. he natural horns of the bull or the cow both which animals were deified by the egyptians, and also by the indians, who particularly elected the cow as the object of religious honour were the models from which originally all the volves and volutes, presenting t

al in their treatment in this beautiful order, particularly in the greek examples (which are, however, t the order of the garter. 283 very few, the more masculine volves and volutes, or horns, of the roman solid, majestic columns, the capitals to the ruder and more grotesque of the indian temples, the fantastic scrolls and crooks and oval curves, abounding on the tops of the spring columns in the gothic, or more properly to call it, the romantic architecture called pointed, all have a common ancestor in the horns of the bull, calf, or cow. all these horns are everywhere devoted in their signification to the moon. it is in connection with this secondary god or goddess, who is always recognisable through the peculiar appendage of horns, it is in proximity to this god or goddess, who takes th

recusant principle is supposed to have invested himself, has coiled (so to say, and projects significant curves and inflections, through all this group of letters and sounds; which is perceivable, by a close examination and quick ear, in all languages, living and dead. the sigma presents itself to the eye (that recognises) in the hebrew, the sanscrit, the persian, the arabic, the coptic, the old gothic, the georgian t 304 the rosicrucians. or iberian, the ancient armenian, the ethiopic or gheez, the sclavonic, the greek, the latin, the samaritan, the irish, the etruscan, of all which alphabets, and the symbols serving for their numerals, we had prepared a comparative table, to prove the identity of the sign virgo- scorpio and its ciphers; but we forebore in deference to our limits (and fr

LEADBEATER C W THE HIDDEN LIFE IN FREEMASONRY 2E

s with the acanthus ornament the volutes of the ionic style. 134. the three columns are part of the greek or classic style of architecture, which has always a flat or very slightly sloping roof, no arches, and many pillars arranged in rows, generally with a large shallow triangle, the pylon, at the front of the building (see plate v) 135. in the religious architecture of europe we find mainly the gothic style. the guilds of freemasons in the middle ages travelled over europe in wandering bands, which were engaged in building churches. all the great gothic building was cone, broadly speaking, about the same period, and at that time the famous cathedrals of europe were erected by the freemasons, who had the three orders. they were operative masons, but they had their practical secrets, and o

ddle ages travelled over europe in wandering bands, which were engaged in building churches. all the great gothic building was cone, broadly speaking, about the same period, and at that time the famous cathedrals of europe were erected by the freemasons, who had the three orders. they were operative masons, but they had their practical secrets, and only they were able to do this kind of work. the gothic was an entirely new method, departing altogether from the classic, and there is ample evidence to show that freemasons were responsible for the change. the great cathedral of cologne, for example, which has been five hundred years in course of erection and is not yet completed, was laid out by a man who signed himself with a sign known only by the m. m, and there are also documents to show

edral of cologne, for example, which has been five hundred years in course of erection and is not yet completed, was laid out by a man who signed himself with a sign known only by the m. m, and there are also documents to show that the early part of the building was done by freemasons. it has the peculiar form of pointed arch, made by the intersection of two rising arches, which characterizes the gothic style, differing both from the norman and roman styles with their rounded arches, and from the saracenic or byzantine with its serrated arches and round domes. 136. meaning of the three columns 137. i am indebted for the following luminous sug-gestions to bro. ernest wood. they are an interpretation of the three columns in the light of the principles embodied in his book, the seven rays, an

j.w. on the southern wall, midway between them, was set a third throne, of rose-coloured marble, upon which sat another well-known adept, dressed in a white garment not unlike a chasuble, heavily ornamented with blue and gold. on the front of it was embroidered a corinthian column, extending from neck to knees, and foliations sprayed out upwards from it over the shoulders, as do the orphreys of a gothic chasuble. on his breast hung by a golden chain a five-pointed star of sapphires, and from it in turn depended a ruby cross. 931. the whole central part of the lodge was left empty, though a number of brn. robed in brilliant colours sat in the columns. the lozenges of the mosaic pavement were pale rose and pale blue, and there seemed to be some additional design faintly indicated upon it by

LEADBEATER CW GLIMPSES OF MASONIC HISTORY

ies. the crossing of traditions. the two lines of descent. the culdees. celtic christianity in britain. the druidic mysteries. the holy grail. heredom. chapter viii operative masonry in the middle ages the temporary custodians. decline of the collegia. the comacini. the comacine lodges. other survivals of the collegia. the compagnonnage. the stonemasons of germany. the english guilds. the rise of gothic architecture. the old charges. chapter ix the transition from operative to speculative the reformation. the reappearance of speculative masonry. the first minutes. scottish minutes. english minutes. irish minutes. the grand lodge of england. the recomposition of the rituals. two and three degrees. opposition. the succession of l.m.s. the grand lodges of york, ireland and scotland. the ancie

the middle ages were derived. 506. decline of the collegia 507. mackey shows how the collegia declined after the fall of rome, and how new guilds were started and old ones revived under the patronage of the christian clergy, and asserts that after the tenth century the whole of europe was perambulated by bands of wanderers called travelling freemasons, who erected churches and monasteries in the gothic style. authorities differ seriously in opinion as to whether the fraternities who built the great cathedrals were joined together by any central organization. there is much in the similarity of style of building in the different countries, and in the masonic signs upon the buildings, to indicate their connection, but the central organization must have allowed its branches great latitude, si

t they moralized upon their tools. undoubtedly these were men of the loftiest intellect and spirituality, and we modern speculative masons have no reason to be ashamed of our associations with such operative craftsmen. 508. the comacini 509. the first signs of a revival in the art of building, the first stirrings of that creative spirit which was to blossom in later years in the full glory of the gothic, are to be found in lombardy, where originated the style called romanesque, which eventually spread all over europe. according to tradition, the college of architects from rome removed during the last days of the empire to the safe refuge offered by the little republic of comum, once the home of pliny, and made its retreat upon the lovely island still known as isola comacina in lake como in

tury. it consists always of a single strand woven and interwoven in the most complex and beautiful designs. leader scott calls it that intricate and endless variety of the single unbroken line of unity- emblem of the manifold ways of the power of the one god who has neither beginning nor end(*the cathedral builders, p. 72) 517. other survivals of the collegia 518. before passing on to the rise of gothic architecture, which marks the climax of operative achievement in the middle ages, it will be well if we indicate certain other survivals of the collegia and their mysteries; for although the great impulse to restore the art of building came through the comacine masters, other lodges had existed in europe from roman days which, under the influence of italian inspiration, regained their power

centuries, when the old charges were written down, no mention is made of the legend of hiram; for this formed part of the secret ritual and therefore might not be divulged. a figure representing god the son in the porch of peterborough cathedral is depicted as making the f.c.h.s(*j. s. m. ward, op. cit, p. 116) showing that this s at least was known to our old operative brethren. 537. the rise of gothic architecture 538. the climax of mediaeval operative building was reached in the twelfth and thirteenth centuries in the rise and development of gothic architecture, which was inspired directly by the head of all true freemasons throughout the world, as part of the plan for the development of the fifth or teutonic sub-race. many theories have been advanced to account for the rapid developmen

ly steered from behind by the h.o.a.t.f. and a corps of able assistants under his direction. 541. as i have already said, architecture has a powerful effect upon the consciousness of the people, for it is one of the means chosen by the white lodge to influence the development of the various nations according to the plan of the great architect of the universe. to understand the significance of the gothic style, we must consider for a moment an important fact of occult history, that which is technically known to students as the cyclic change of ray. the seven rays, or types of the divine consciousness and activity, to one or other of which all living things belong, influence the world in turn, and this cyclic change produces the modifications of outlook which are to be noted as century succe

the order of knights templars, richard of s. victor, s. hildegarde, s. francis of assisi and s. antony of padua, and a little later s. bonaventura and s. thomas aquinas- all these have shone forth as a light unto many generations. profound changes took place in the catholic church during these significant years, and europe rose from the dark ages into the full glory of an era of culture and art. gothic architecture was intended to lift the devotion of the masses to greater heights than had been induced by the contemplation of the flatter romanesque style; by its soaring lines and ever-ascending curves, by the richness of its ornamentation and the splendid complexity of its design, by its amazing grace and delicacy, it had power to raise the hearts of men on the wings of its silent music t

the splendid complexity of its design, by its amazing grace and delicacy, it had power to raise the hearts of men on the wings of its silent music to the very throne of god himself, to mould and enrich their devotion in unseen subtle ways, to pour out upon them spiritual influences which would aid in the great work of transformation which had to be accomplished. 545. the change from romanesque to gothic, then, was brought about deliberately. the inspiration was given to certain master-builders in the different countries by the h.o.a.t.f, and the erection of the splendid cathedrals of the period was carried out by travelling bands of masons passing from centre to centre, and doubtless employing the local builders upon the actual work of construction. this, as we have said, was an age of dev

local builders upon the actual work of construction. this, as we have said, was an age of devotion, and every stone was carved with the utmost care to the glory of god, and thereby charged with the adoration of the skilful craftsmen who worked so unselfishly. the powerful spiritual influences generated by all this loving care have contributed in no small degree to the extraordinary beauty of the gothic cathedrals, and to the power which they possess even in the present day of evoking devotion and reverence from all who approach them. 546. the particular expressions of gothic vary in the different countries, and even in different parts of the same country; that is always the case in every style of building. but behind the whole order of gothic architecture there is one great idea, that of

in the builders, vol. x, p. 84) 594. at first very little seems to have been done, and it does not appear that the original founders of the grand lodge had the least idea of starting a world-movement; but with the advent of the duke of montague to the grand master s chair in 1721, the society rose into fame and success at one bound. 595. the first task was the compilation and digesting of the old gothic constitutions, which as we have seen had been handed down in the lodges from operative times; and this was done by anderson in 1721. the constitutions were printed in 1723, and a subsequent and somewhat altered edition in 1738, when the speculative system was firmly established under grand lodge auspices. george payne, the second grand master, drafted the regulations, anderson digested the

as the lord christ, whose coming we await with hearts filled with longing love. 793. he, too, will surely take the sacred vessels of the mysteries and fill them anew with his own wonderful life; he, too, will mould them according to the needs of his people and the age in which they live. for the influence of the sixth ray, the ray of devotion which inspired the christian mystics and the glorious gothic architecture of the middle ages is passing away, and the seventh ray is beginning to dominate the world- the ray of ceremonial magic which brings the especial cooperation of the angelic hosts, of which masonry itself with its many coloured pageant of rites is a splendid manifestation. thus in the coming days when the lord of love who is our most wise sovereign and the prince of sovereign pr

LEWIS JAMES SATANISM TODAY AN ENCYCLOPEDIA OF RELIGION FOLKLORE AND POPULAR CULTURE

cle. march 9, 2000. goodman, tim. cosmic cartoon, dude. san francisco examiner. march 9, 2000. 98 goth subculture goth subculture goths are associated with satanism in the minds of many outside observers. in mid-1999, this subculture became the focus of negative media attention because of a tenuous connection between goths and the two students who carried out the columbine high school attack. the gothic subculture grew out of the new wave music movement of the late 1970s and 1980s. other influences were certain novels, films, comics, and role-playing games. there is little connection with traditional gothic literature,with the exception of the original dracula story. despite their association, gothic music is distinct from heavy metal music. although satan is regularly mentioned in gothic

es were certain novels, films, comics, and role-playing games. there is little connection with traditional gothic literature,with the exception of the original dracula story. despite their association, gothic music is distinct from heavy metal music. although satan is regularly mentioned in gothic circles, he is not a central symbol. certain musical groups like black sabbath and alice cooper were gothic music s immediate precursors. early goth-related groups were the british groups, the damned and joy division. although the latter group was not exclusively gothic, it was to leave a distinct influence on gothic music. the first use of the term goth in its present meaning was on a bbc (british broadcasting commission) tv program. anthony h.wilson, manager of joy division, described the band

hic music s immediate precursors. early goth-related groups were the british groups, the damned and joy division. although the latter group was not exclusively gothic, it was to leave a distinct influence on gothic music. the first use of the term goth in its present meaning was on a bbc (british broadcasting commission) tv program. anthony h.wilson, manager of joy division, described the band as gothic compared with mainstream popular music. the name stuck. another early goth was the english singer suzie sioux, siouxsie (founder of siouxsie and the banshees. sioux, originally a punk performer, was partially responsible for the influence of aleister crowley on the goth subculture through her friendship with temple of psychick youth founder genesis p-orridge. it remained for bauhaus, howeve

ed with mainstream popular music. the name stuck. another early goth was the english singer suzie sioux, siouxsie (founder of siouxsie and the banshees. sioux, originally a punk performer, was partially responsible for the influence of aleister crowley on the goth subculture through her friendship with temple of psychick youth founder genesis p-orridge. it remained for bauhaus, however, to define gothic music, which was booming in the early 1980s. this explosion in turn gave birth to new gothic groups, such as the misfits, dark theater, and the sisters of mercy. by the end of the decade, the subculture had spread across the industrialized world. specialized magazines emerged and non- goth groups such as kiss and iron maiden produced albums with gothic themes. siouxie sioux, lead singer/son

themes. siouxie sioux, lead singer/songwriter with the legendary goth group siouxie and the banshees, 1980 (lynn goldsmith/corbis) grimoire 99 although many young people were weekend goths, the core of the goth subculture eventually came to be constituted by full-time goths who spoke an idiosyncratic language, dressed in black clothing on a daily basis, wore distinctive jewelry, etc. in 1990 two gothic vampire games in the dungeons and dragons tradition the masquerade and ravenloft came onto the market and further influenced the milieu. the works of popular author anne rice were also adopted by goths, as reflected in the bands and gothic periodicals that adopted rice-inspired names. the triumph of gothic music led to mixed genres such as black metal, a blend of gothic with heavy metal tha

to the market and further influenced the milieu. the works of popular author anne rice were also adopted by goths, as reflected in the bands and gothic periodicals that adopted rice-inspired names. the triumph of gothic music led to mixed genres such as black metal, a blend of gothic with heavy metal that frequently invokes satanism. black metal is not, however, generally representative of either gothic music or the goth subculture. a more significant segment of this subculture is not particularly anti-christian. anne rice, for instance, propagates a sort of christian gnosticism, as reflected in her 1995 novel, memnoch the devil. nevertheless, there are links between the dark world of the gothic subculture and traditional associations with the demonic. some of the older satanist organizati

ovel, memnoch the devil. nevertheless, there are links between the dark world of the gothic subculture and traditional associations with the demonic. some of the older satanist organizations have even sought to portray themselves in an appealing manner to goths, though they have not been notably successful in this bid for new recruits. on the other hand, a few movements have originated within the gothic milieu, and some of these are satanist or have satanist overtones. for example, the french group, the confrerie spirituelle sataniste les croisades de la nouvelle babylone, asserts that its goal is to unify satanists and neopagans. as the desecration of graves in france and the torching of norwegian churches indicates, there are tiny groups around the fringes of the black metal phase of the

othic milieu, and some of these are satanist or have satanist overtones. for example, the french group, the confrerie spirituelle sataniste les croisades de la nouvelle babylone, asserts that its goal is to unify satanists and neopagans. as the desecration of graves in france and the torching of norwegian churches indicates, there are tiny groups around the fringes of the black metal phase of the gothic subculture that commit illegal, antisocial acts. this is especially the case for groups combining nazism with satanism. it should be stressed, however, that such acts of esoterrorism, as they have been referred to, are not typical of the subculture. see also heavy metal music for further reading: baddeley, gavin. lucifer rising: sin, devil worship and rock n roll. london: plexus, 1999. evan

been referred to, are not typical of the subculture. see also heavy metal music for further reading: baddeley, gavin. lucifer rising: sin, devil worship and rock n roll. london: plexus, 1999. evans, s, and m. ardill, relax, it s just black, toronto star, april 25, 1999, pp. d16 d17. forsey, r, and s. drakes, goths paint life black, toronto star, april 27, 1999, pp. c1, c3. introvigne,massimo. the gothic milieu: black metal, satanism, and vampires. http//www.cesnur.org/testi/gothic.htm. grimoire through the centuries, a large number of handbooks have been published that offer instructions on how to perform different kinds of magic. among these books, usually referred to as grimoires, the oldest and best known is the key of solomon, which is believed to have been written by the legendary kin

lker, was a fan of the group, and claimed to have modeled some of his crimes after the ac/dc song night prowler. other heavy metal groups associated with the devil were m tley cr e, judas priest, iron maiden, and sometimes even kiss. satanism became something more than a symbol of rebellion with the emergence of socalled black metal. black metal sometimes termed satanic heavy metal was a blend of gothic music and heavy metal. the first black metal band was venom, an english group originally called oberon. venom popularized the cult of death and satanism as metal themes. their tune black metal became a sort of theme song for the movement. observers of the metal scene have debated the question of whether a distinction should be drawn between black metal and later trends such as death metal

the direction of what was eventually dubbed modern or northern black metal. other groups such as hammerheart introduced an appeal to the viking tradition. one band that helped to define black metal was the swiss group hellhammer, though in the mid-1980s they changed their name to celtic frost and distanced themselves from black metal. in some european countries, black metal became popular in the gothic subculture. in contrast to mainstream goth, however, black metal is often extremely anti-christian, especially northern black metal. some groups identify themselves as satanists and/or as nazis. in a few cases, the antagonism to christianity has boiled over into actual attacks, such as vandalizing graves and burning churches. these extreme acts are referred to as esoterrorism, or esoteric t

and the black order are new organizations that have arisen among black metalists for black metalists, and represent a strand of spirituality distinctly different from, and even at odds with, laveyan satanism. see also goth subculture; hell s angels; night stalker for further reading: baddeley, gavin. lucifer rising: sin, devil worship and rock n roll. london: plexus, 1999. introvigne,massimo. the gothic milieu: black metal, satanism, and vampires. http//www.cesnur.org/testi/gothic.htm. ac/dc, 1977 (archive photos) 108 hell and heaven moynihan,michael. lords of chaos: the bloody rise of the satanic metal underground. venice, ca: feral house, 1998. richardson, james t. satanism in the courts: from murder to heavy metal. in james t. richardson, joel best, and david g. bromley, eds. the satani

al gospel (vangelo infernale. this gospel seemed to suggest that pedophilia and sex abuse were acceptable to satanism. nevertheless, all of the principal charges were dismissed the following year. dimitri was, however, convicted on a minor tax violation. for further reading: the children of satan: deconstruction of a scam. http//www.panix.com/ blackout/deconstructio n.html introvigne,massimo. the gothic milieu: black metal, satanism, and vampires. http//www.cesnur.org/testi/gothic.htm lucifers den lucifers den developed in two historical stages. it was initially founded in 1990 in big spring, texas, by brian nalls when he was fifteen. it started as a high school study group. the group began having meetings once a week, and eventually started holding monthly rituals out of school as well. a

LIBER CXCVII STORY OF SIR PALAMEDES

ll the false water-nymphs that flattered he killed with his resounding curse. o fool of god! as if it mattered! so, nothing better, rather worse, out of the blue bliss of the pool came dripping that inveterate fool! 55 xxiii now still he holdeth argument .so grand a beast must house him well; hence, now beseemeth me frequent cathedral, palace, citadel. so, riding fast among the flowers far off, a gothic spire he spies, that like a gladiator towers its spear-sharp splendour to the skies. the people cluster round, acclaim .sir knight, good knight, thy quest is won. here dwells the beast in orient flame, spring-sweet, and swifter than the sun. sir palamede the saracen spurs to the shrine, afire to win the end; and all the urgent men throng with him eloquently in. sir palamede his vizor drops;

LINDOW JOHN NORSE MYTHOLOGY A GUIDE TO THE GODS HEROES RITUALS AND BELIEFS

gbreath, h and this would suggest an association with life and life-giving forces. a dissenting etymology would understand the term as associated with sovereignty and gbinding gods, h parallel to the terms bond and hopt. the term is found a few times in early runic inscriptions, and the cognate is found in old english os, ggod, deity, h and in anses, gdemigods, h a latinized version of a word in gothic, the language of the well-known germanic tribe. the word ass, or its homonym, also means gbeam h or gpost, h and some scholars seek an association with wooden idols or the equivalent. the rune poems, which are relatively late, give ass or its equivalent as the name of the a-rune. in medieval icelandic the term asir is the one most often found when the gods are being described as a group, in

MACNULTY W KIRK KABBALAH AND FREEMASONRY

ship between the other two. this sounds like a symbolic representation of morality. i have placed the level at gevurah because the tool suggests equality; judging fairly implies treating all persons in that way. in addition, horizontals convey, at least to me, the quality of stability. i have placed the plumb rule at hesed because, for me, verticals have the quality of growth and aspiration (e.g. gothic architecture. the square, which defines the relationship between the other two, is placed at tiferet which has the function of holding the balance (maintaining the proper relationship) with respect to the two side sefirot. a perfect ashlar is a building stone which has been worked to its proper shape and is ready to be placed in the building. in figure 14 the perfect ashlar is shown to the

MANLY P HALL THE SECRET TEACHINGS OF ALL AGES

ucation--celsus concerning the christians--knowledge necessary to right living--the druidic mysteries of britain and gaul--the rites of mithras--the mithraic and christian mysteries contrasted. 21 the ancient mysteries and secret societies, part ii the gnostic mysteries--simon magus and basilides--abraxas, the gnostic concept of deity--the mysteries of serapis--labyrinth symbolism--the odinic, or gothic, mysteries. 25 the ancient mysteries and secret societies, part iii the eleusinian mysteries--the lesser rites--the greater rites--the orphic mysteries- the bacchic mysteries--the dionysiac mysteries. 29 atlantis and the gods of antiquity plato's atlantis in the light of modern science-the myth of the dying god-the rite of tammuz and ishtar--the mysteries of atys and adonis-the rites of sab

nship to them is merely allegorical. plutarch translates the name isis to mean wisdom. godfrey higgins, in his anacalypsis, derives the name of isis from the hebrew, iso, and the greek zww, to save. some authorities, however, for example, richard payne knight (as stated in his symbolical language of ancient art and mythology, believe the word to be of northern extraction, possibly scandinavian or gothic. in these languages the name is pronounced isa, meaning ice, or water in its most passive, crystallized, negative state. this egyptian deity under many names appears as the principle of natural fecundity among nearly all the religions of the ancient world. she was known as the goddess with ten thousand appellations and was metamorphosed by christianity into the virgin mary, for isis, althou

e, and accomplishment. a notable example is the dignity attached to eagle feathers by the american indians, among whom they are insignia of merit. angels have been invested with wings because, like birds, they were considered to be the intermediaries between the gods and men and to inhabit the air or middle kingdom betwixt heaven and earth. as the dome of the heavens was likened to a skull in the gothic mysteries, so the birds which flew across the sky were regarded as thoughts of the deity. for this reason odin's two messenger ravens were called hugin and munin- thought and memory. among the greeks and romans, the eagle was the appointed bird of jupiter and consequently signified the swiftly moving forces of the demiurgus; hence it was looked upon as the mundane lord of the birds, in cont

ial notes to the occult sciences of salverte, anthony todd thomson says "the fayes and fairies are evidently of scandinavian origin, although the name of fairy is supposed to be derived from, or rather [is] a modification of the persian peri, an imaginary benevolent being, whose province it was to guard men from the maledictions of evil spirits; but with more probability it may be referred to the gothic fagur, as the term elves is from alfa, the general appellation for the whole tribe. if this derivation of the name of fairy be admitted, we may date the commencement of the popular belief in british fairies to the period of the danish conquest. they were supposed to be diminutive aerial beings, beautiful, lively, and beneficent in their intercourse with mortals, inhabiting a region called f

MICHAEL TSARION ATLANTIS ALIEN VISITATION AND GENETIC MANIPULATION

d monarch and the nobles or priests who sur-rounded his person, soon came to be repeated between those nobles and the rank next belowthem.another barrier between the artificially exalted monarch and the artificially degraded people,another social rank thus had to be formed; and so it went on, until the lowest substratum of the civilorder was reached (p. 81)this is called the involution of rank.no gothic chieftain ever ruled by proxy (p. 82)at the very outset of the roman imperial constitution, a tendency is to be observed toward the creationof an involved system of caste (p. 82)appendix b: book abstracts250atlantis, alien visitation, and genetic manipulation one foot in atlantis by william henrynicholas roerich (agent of the serpent brotherhood)the guru of henry a. wallace and fdr who lead

MORALS AND DOGMA

a christian jail in christian italy for reading the christian bible; in almost every christian state, laws forbidding freedom of speech on matters relating to christianity; and the gallows reaching its arm over the pulpit. the fires of moloch in syria, the harsh mutilations in the name of astarte, cybele, jehovah; the barbarities of imperial pagan torturers; the still grosser torments which roman-gothic christians in italy and spain heaped on their brother-men; the fiendish cruelties to which switzerland, france, the netherlands, england, scotland, ireland, america, have been witnesses, are none too powerful to warn man of the unspeakable evils which follow from mistakes and errors in the matter of religion, and especially from investing the god of love with the cruel and vindictive passio

ort and long toil of apprentice, fellow-craft, and master, the walls arose; slowly the roof was framed and fashioned; and many years elapsed before, at length, the houses stood finished, all fit and ready for the worship of god, gorgeous in the sunny splendors of the atmosphere of palestine. so they were built. a single motion of the arm of a rude, barbarous assyrian spearman, or drunken roman or gothic legionary of titus, moved by a senseless impulse of the brutal will, flung in the blazing brand; and, with no further human agency, a few short hours sufficed to consume and melt each temple to a smoking mass of black unsightly ruin. be patient, therefore, my brother, and wait _the issues are with god: to do, of right belongs to us_ therefore faint not, nor be weary in well-doing! be not di

me of annual celebration was may-eve, and the ceremonial preparations commenced at midnight, on the 29th of april. when the initiations were over, on may-eve, fires were kindled on all the cairns and cromlechs in the island, which burned all night to introduce the sports of may-day. the festival was in honor of the sun. the initiations were performed at midnight; and there were three degrees. the gothic mysteries were carried northward from the east, by odin; who, being a great warrior, modelled and varied them to suit his purposes and the genius of his people. he placed over their celebration twelve hierophants, who were alike priests, counsellors of state, and judges from whose decision there was no appeal. he held the numbers three and nine in peculiar veneration and was probably himsel

NAUDON PAUL THE SECRET HISTORY OF FREEMASONRY

legal framework that supported this change. the history of monastic associations is primarily linked to that of two religious orders: the benedictine order and its various persuasions (cluny and citeaux, and the templar order. the role of the benedictines was especially prominent up to the twelfth century. they can be credited with not only the propagation of romanesque art but also the birth of gothic art. as for the templars, initially students of the benedictines, with whom they always maintained a connection, their ecclesiastical and monastic associations 35 activity extended well beyond the time of the monastic associations. from the twelfth century on they were involved with the organization of lay communities of builders that enjoyed specific franchises, earning them the name franc

therefore, as noted earlier, a number of architecture schools whose masters moved north to ply their trades were located in the former kingdoms of the goths and burgundians, where many roman institutions endured; we have already stressed how this region preserved the art of building passed down by the collegia. there is perhaps no reason to seek elsewhere for the origin of the architectural term gothic. today this word defines a very specific building style. it is thought that the renaissance italians originally used it in complete derision. in reality, the term goes back to a much earlier time. it can be found in the writings of fridegode, a historian who wrote in latin in 950. fridegode said, in speaking of the saint ouen church of rouen* that it was built* as we have seen, this was bui

n. in reality, the term goes back to a much earlier time. it can be found in the writings of fridegode, a historian who wrote in latin in 950. fridegode said, in speaking of the saint ouen church of rouen* that it was built* as we have seen, this was built by "goth" architects. 38 the origins of freemasonry from ancient times to the middle ages in quarried stone with a kind of magnificence in the gothic manner "muro opere quadris lapidibus, manu gothica. olim nobiliter constructa" 2 the word gothic continued to be used subsequently to label what we now call romanesque art, which was later distinguished from the new, ogival ribbed style by names such as old gothic and new gothic. these terms indicate with extreme precision the origin of these styles and the relationship that exists between

be used subsequently to label what we now call romanesque art, which was later distinguished from the new, ogival ribbed style by names such as old gothic and new gothic. these terms indicate with extreme precision the origin of these styles and the relationship that exists between them. in fact, it is a mistake to oppose the two. romanesque art and monastic associations romanesque art of the old gothic style was born after the year 1000 in regions south of the loire the former gothic gaul. it seems fairly well established that the oldest romanesque school was that of auvergne. romanesque architecture is roman architecture that has been refined and "finished "while a time of decadence saw a retreat from roman art, a more progressive era returned to it, but it was a free roman art that had

oldest romanesque school was that of auvergne. romanesque architecture is roman architecture that has been refined and "finished "while a time of decadence saw a retreat from roman art, a more progressive era returned to it, but it was a free roman art that had been emancipated from the yoke of entablature. the romanesque style was regarded as a self-evident innovation by the roman as well as the gothic."3 romanesque art has been labeled monastic art in opposition to the gothic, a secular art. it is an undeniable fact that the propagation of romanesque art was the work of monastic associations, particularly the benedictines. but there were no builders outside of these associations. later we will consider more closely how gothic art emerged and spread. the order of saint benoit first contri

churches were cunningly pierced in coordination with the proper orientations of the entire structure. favorable to contemplation, these resulting buildings defy time. this stripped down but suggestive and magisterial layout marvelously assists the sensibility to share in the comprehension of the liturgy. the physical sensations awakened in these structures also awaken the soul turned toward god. gothic art as an evolution from the romanesque it is important to understand that gothic art does not oppose romanesque art; instead it has evolved from it. nor did it spring from the imagination of a single master; it was the gradual and slow work of collective faculties who ripened their concept little by little, through implementing and modifying it. the gothic style supplied the solution to a

ifying it. the gothic style supplied the solution to a technical problem that had arisen for romanesque architects: the weight of the vault forced them to give their buildings squat proportions. this problem "inspired them to perfect their balance system, which was how they were led to the discovery of a system of intercrossed buttresses that would carry the vault while disguising its weight; the gothic cathedral continues and completes the romanesque church."4 the distinctive feature of gothic art is essentially the use of interecclesiastical and monastic associations 41 secting ribbed arches that support the vault like a kind of armature based at the tops of the supports. in the art of building, this feature constitutes the great discovery of the system of active stability resulting from

ged only from profound causes, a kind of imperious necessity, and a series of trials and errors.5 in actuality there is an art of transition characteristic of that period of time marking the passage from the roman and romanesque groined vault to the vault constructed from the crossed ribs and broken arches associated with flying buttress. this transition occurred only in france, the country where gothic architecture was born. in the other schools during this intermediary period there were only blends "romano- gothic" monuments. it is an error to regard the broken arch or tiers-point as a characteristic innovation of the gothic style, however. ancient persia, the orient (mainly armenia, and muslim spain knew it before the west did. the pilgrims of the end of the ninth century, the crusaders

did. the pilgrims of the end of the ninth century, the crusaders of 1099, or those who had fought against the moors of cordoba in the iberian peninsula were able to propagate it on their return "it was accepted by roman architects not as a thing of beauty but as a necessity. the broken- arch vault in fact had a weaker thrust than the groined vault."6 because there was technically no opposition of gothic art and romanesque art, there was no opposition of gothic artists and romanesque artists. the antitheses, in their seductive clarity, are a danger of erudition, which they compromise in seeking to overly simplify everything. few of these are more subject to caution than the double antitheses creating an absolute opposition, an incompatibility, and antagonism 42 the origins of freemasonry fr

opposition of gothic artists and romanesque artists. the antitheses, in their seductive clarity, are a danger of erudition, which they compromise in seeking to overly simplify everything. few of these are more subject to caution than the double antitheses creating an absolute opposition, an incompatibility, and antagonism 42 the origins of freemasonry from ancient times to the middle ages between gothic and romanesque art, between secular architects and monks, the latter authors and stubborn preservers of romanesque style, the former revolutionaries of the ogival style* in fact, there were secular romanesque architects, such as walter coorland, a native englishman, who provided in the second quarter of the eleventh century the blueprints for saint hilaire in poitiers. others include benoit

lude benoit, architect of saint eutropes de saintes around 1075; gislevert, who worked on saint ouen in rouen around 1100; jean, a bourgeois of saint quentin in 1113; and gervais, who built a cathedral in beziers in the second half of the twelfth century. in any case, what is at play here is a partial approach to the facts. in medieval society, whether twelfth or thirteenth century, romanesque or gothic, art in both its concept and creation was religious at heart. it expressed only the directives of the church, which gave long and detailed guidelines for artists and their works, priests, and liturgists. nothing was left to the artists except for their skill and ability to execute. to dispel any misunderstandings that may linger, it should be emphasized that the benedictines at cluny and ci

on was religious at heart. it expressed only the directives of the church, which gave long and detailed guidelines for artists and their works, priests, and liturgists. nothing was left to the artists except for their skill and ability to execute. to dispel any misunderstandings that may linger, it should be emphasized that the benedictines at cluny and citeaux were by and large the source of the gothic style. one author, alluding to the roughly 350 monasteries that made up the religious community of citeaux in the middle of the twelfth century, suggested that "thanks to their colonization practices. they were the first missionaries of gothic art. in architectural technique if not in decor, though, the two branches of the order were quite opposite. the cistercians, however, who came later

y 350 monasteries that made up the religious community of citeaux in the middle of the twelfth century, suggested that "thanks to their colonization practices. they were the first missionaries of gothic art. in architectural technique if not in decor, though, the two branches of the order were quite opposite. the cistercians, however, who came later, played the main role in the propagation of the gothic style. they did for gothic architecture what the monks of cluny had done for the romanesque+ it is in norman territory at the end of the eleventh century where we must search for the first manifestation of the french ogival rib. the aisle of the anglo-norman cathedral of durham, dated convincingly to* anthyme saint-paul, histoire monumentale de la france (paris: editions hachette, 1932, 89

e eleventh century where we must search for the first manifestation of the french ogival rib. the aisle of the anglo-norman cathedral of durham, dated convincingly to* anthyme saint-paul, histoire monumentale de la france (paris: editions hachette, 1932, 89. we cannot stress too strongly the inexactitude of this legend, still commonly accepted by some freemasons, such as l. lachat, who view these gothic cathedral builders as the precursors of freethinkers and anticlericalists+ ibid, 241. for more on the cistercian influence on the continuity between the romanesque and the gothic, see also henri focillon, art d'occident, vol. 2 (paris: librairie armand colin, 1971, 56 ff. ecclesiastical and monastic associations 43 some time between 1093 and 1104, presents it in a form that reveals a master

iations 43 some time between 1093 and 1104, presents it in a form that reveals a mastery of the procedure, implying earlier experiments. among the most ancient attempts of currently existing paired vaults, especially praiseworthy are the capitulary of jumieges (1101) and the venerable apse of the church of morienval (oise, which dates from around 1125 and which is the rudimentary prototype of the gothic style. as for monuments of the transition, we can cite the ancient saint benoit chapel in the lerin abbey and the choir of saint martin des champs in paris, which was a priory of the cluny order. the oldest of the gothic monuments marking the end of the transition is the choir of the benedictine church of saint denis, begun in 1129 under the impetus of abbot suger. consecrated in 1144. it w

its methods, in the conviction of its ambition. its inauguration celebrated in the presence of a throng of bishops and high dignitaries from the four corners of france, a large number of foreign prelates, and the king himself was the ostensible and echoing sign of a major architectural event, the departure point for an enthusiasm that would prove irresistible.7 among the monks who were the first gothic architects, we can cite hilduar and giraud, first mentioned around 1160, the former for the choir he designed at saint peters in chartres, the latter for his nave at saint-benoit sur loire. the cistercians, too, played an important role. they were the first to spread the knowledge of gothic art throughout italy, germany, and the scandinavian countries. and we cannot overlook the templars, s

nd 1160, the former for the choir he designed at saint peters in chartres, the latter for his nave at saint-benoit sur loire. the cistercians, too, played an important role. they were the first to spread the knowledge of gothic art throughout italy, germany, and the scandinavian countries. and we cannot overlook the templars, students of the benedictines, among the architects of the romanesque-to-gothic transition. their church on fleet street in london (1165, more or less influenced by the templar church in paris, is in fact one of the more unusual buildings from this transitional period. we can see, then, that there was no gap existing between romanesque (or old gothic) art and the new gothic. one flowed out of the other and the secret of the ribbed vault was perhaps invented by the same

ee, then, that there was no gap existing between romanesque (or old gothic) art and the new gothic. one flowed out of the other and the secret of the ribbed vault was perhaps invented by the same masters who had spread the romanesque vault, just as the 44 the origins of freemasonry from ancient times to the middle ages romanesque vault was a return of the roman, influenced by the byzantine style. gothic and romanesque also coexisted chronologically. the first applications of the ogival rib, in durham and saint denis, were coincident with the golden age of romanesque art, a period to which the great cathedrals of the second half of the twelfth century still belong. some still see significance in the geographical rift between the two styles. romanesque churches are the exception rather than

e first applications of the ogival rib, in durham and saint denis, were coincident with the golden age of romanesque art, a period to which the great cathedrals of the second half of the twelfth century still belong. some still see significance in the geographical rift between the two styles. romanesque churches are the exception rather than the rule north of the loire, in those regions where the gothic style first made its appearance. there are concrete reasons for the fact that the romanesque style spread only south of the loire: the continuation of roman institutions and traditions in the south, the remnants of the collegia that existed there, and the possibility of builders creating associations allied with monasteries. perhaps the best proof may be found in auvergne, the last of the r

only when, in conjunction with the evolution of mores and customs, new forms of association became possible, exemplified by brotherhoods that included both clerics and laypeople as their members. in northern regions, where architecture changed slowly, artists continued to perfect romanesque art and did not cross through it, so to speak. from this we should not conclude that the "crossed rib" and gothic architecture that appeared in the ile de france region was the spontaneous creation of that area's genius. in looking at the existence and growth of architectural schools, we should pay specific attention to lombardy in italy. we have seen how this region, notably the area of como, managed to maintain a roman tradition with associations of free builders despite the upheavals of hisecclesias

of monks in its propagation cf. h. focillon, art d'occident, le moyen age roman, vol. 1 (paris: librairie arand colin, 1971, 117 ff. 46 the origins of freemasonry from ancient times to the middle ages though we are discussing cross-ribbed architecture in terms of two different schools, we should take care not to oppose or even separate them. their relation is much like that of the romanesque and gothic styles. here we must acknowledge again that the initiative for realizing and executing works was not connected solely to the imagination and talent of artists. the benedictines and cistercians were generally the master builders and overseers of all work in religious buildings. it was on their orders and directives and through their coordination that different kinds of expertise were utilize

RITUEL ET DOGME DE LA HAUTE MAGIE BY ELIPHAS LEVI PART II

oducing a copy of gaffarel's planisphere, examples of which are, moreover, not exceedingly rare. it was included in the work of montfaucon on the religions and superstitions of the world, and also in the treatise upon magic published by the mystic eckartshausen. scholars, moreover, are not agreed upon the configuration of the letters of the primitive alphabet. the italian tarot, of which the lost gothic originals are much to be regretted, connects by the disposition of its figures with the hebrew alphabet in use after the captivity, and known as the assyrian alphabet; but there are fragments of anterior tarots where the disposition is different. there should be no conjecture in matters of research, and hence we suspend our judgement in the expectation of fresh and more conclusive discoveri

RUBY TABLET OF SET

. philosophy was welcomed only insofar as it contributed to the city's responsibilities and perceived destinies. not as it might weaken rome's cohesion. the philosophy of thomas aquinas the "high middle ages" was not a particularly rich time in terms of the cultural arts, save for architectural ventures in the relatively severe and massive romanesque style, followed in the mid-12th century by the gothic (lighter and loftier construction, with greater emphasis upon vertical elements. some notable ballads and poems (nibelungenlied, parzival, edda, etc) were composed about this time, and music became somewhat more complex in its written formats. classification: v2- 102- 8 author: michael a. aquino vi date: october 1, xix revision: january 1, xxiv html revision: oct 13, 1997 ce subject: philos

rtunately there are few simple, good rituals for doing this, and many are derived from our (sometimes) infamous past, where the enthusiasm of the creators might have gotten the better of them. of course, many of the well known black rituals were written by christian clergy who tortured innocent people into describing these lurid fantasies for the benefit of the inquisition. obviously, many of the gothic rituals aren't appropriate for modern people or society. i decided that it would be best to write my own. classification: v2- a47.ri- 1 author: shell runar i date: august 4, xxiv html revision: dec 22, 1998 ce subject: ritual magic reading list: my original ritual was read and critiqued by magister menschel, who made numerous recommendations, but in particular suggested that i expand it. th

ject: order of the trapezoid reading list: gwhen once the restraining talisman of the christian cross is broken in germany, then the fury of the ancient warriors, the berserk rage of which the nordic poets sang, will surge up again. the old stone gods will rise from long-forgotten ruins and rub the dust of a thousand years from their eyes; and thor with his giant hammer will leap up and smash the gothic cathedrals. and when that crash comes, it will be like nothing heard before in history. g- heinrich heine, 1834 introduction the "mainstream" of the western magical tradition may be said to have a mediterranean origin: egypt, mesopotamia, greece, and rome- and the later syntheses of these ancient cultures through the medieval, renaissance, and enlightenment eras. in marked contrast to the m

SATANIC RITUALS

the altar, he stands between the woman's knees. the wall over the altar should bear the sigil of baphomet or an inverted cross. if both are employed, the sigil of baphomet must take the uppermost or prominent position, the cross occupying the space between the lower halves of the altar's legs. the chamber should either be draped in black or in some way approximate the atmosphere of a medieval or gothic chapel. emphasis should be placed on starkness and austerity, rather than finery and glitter. all implements standard to satanic ritual are employed: bell, chalice, phallus, sword, gong, etc (see satanic bible for descriptions and use. in addition a chamber pot, thurible (censer) and incense boat are used. the chalice containing wine or liquor is placed between the altar's thighs, and on it

e cross, break, then will come roaring forth the wild madness of the old champions, that insane berserker rage, of which the northern poets sing. that talisman is brittle, and the day will come when it will pitifully break. the old stone gods will rise from the long-forgotten ruin and rub the dust of a thousand years from their eyes; and thor, leaping to life with his giant hammer, will crush the gothic cathedrals -heinrich heine, 1834 the devil holds a unique place in german magical tradition. he, or his personification, always triumphs. no matter how methodically he may be relegated to infamy, he invariably winds up the popular favorite. as the inspirer of werewolves, he drove the goths and huns to their victories in europe; as the final protagonist in the nibelungensaga, he destroyed va

SCHLAGER NEIL WORLD RELIGIONS REFERENCE LIBRARY

christianity church) in rome. leonardo s fresco, or wall painting, in milan, italy, called the last supper is equally famous for its depiction of christ and his disciples. it was not until the sixteenth century that western painting began to move away from christian themes. architecture was also strongly influenced by christianity. during the late middle ages builders began designing and building gothic (a style of architecture) churches that feature soaring vaults and pointed arches that make the faithful look heavenward. western music also was heavily influenced by christianity. much of the work of the german composer johann sebastian bach (1685 1750, for example, was created for church services. from literature to architecture to music, western art would not be what it is without the in

SIR EDWARD BULWER LYTTON ZANONI A ROSICRUCIAN TALE

of southern italy rushed over the artist's mind as he gazed below. and then, slowly turning to look behind, he saw the grey and mouldering walls of the castle in which he sought the secrets that were to give to hope in the future a mightier empire than memory owns in the past. it was one of those baronial fortresses with which italy was studded in the earlier middle ages, having but little of the gothic grace or grandeur which belongs to the ecclesiastical architecture of the same time, but rude, vast, and menacing, even in decay. a wooden bridge was thrown over the chasm, wide enough to admit two horsemen abreast; and the planks trembled and gave back a hollow sound as glyndon urged his jaded steed across. a road which had once been broad and paved with rough flags, but which now was half

TEXE MARRS CODEX MAGICA SECRET SIGNS MYSTERIOUS SYMBOLS AND HIDDEN CODES OF THE ILLUMINATI

be cleansed of "original sin" we celebrated man and nature as they really are. as i sat wearing the red robe my mother made that morning, i toyed with the baphomet amulet dangling around my neck. imperiously, i surveyed the sea of black-hooded celebrants. it took me a few years to realize that some of them may have been more fascinated with the naked woman sprawled on the altar than with me. the gothic strains of a hammond organ echoed against the black and red walls..i delighted in being the focal point of all this activity. my father, the high priest, raised his ceremonial sword in benediction. i felt a great sense of warmth and respect. how many people can honestly say they have this feeling at any point in their life "i have something they don't" i thought proudly, in keeping with the

ing from their yellow submarine album. john lennon flashed the "el diablo" sign. at right, paul mccartney gives the "ok" or "666" sign while lennon again displays the horned devil signal with his left hand. lennon, who once bragged the beatles were more popular than jesus, was assassinated just outside the dakota house condominiums in new york city, where he and wife yoko ono lived. it was at the gothic dakota house condominium complex that the deeply satanic movie, rosemary's baby, was filmed. the crowd at a boxing match at austin convention center, austin, texas (photo: page 1 of austin american statesman newspaper, august 16, 2003 "el diablo" shows his horns-the devil rides out 143 canadian ross rebagliati celebrates his gold medal, won in the giant slalom event at the '98 winter olympi

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 1

s of a kind of christian urban legend. there are many kinds of free-form satanism, ranging from that which is merely symptomatic of sexual unrest and moral rebellion among young people to those mentally unbalanced serial killers who murder and sacrifice their victims to their own perverse concept of satanic evil. teenagers and young adults may be mistaken for satanists, because they dress in dark gothic clothes, read occult literature, or play with a ouija board with friends but most of them are merely role-playing and quietly protesting the conformity they wish to resist. other young people are drawn into a transient attraction toward satanism by a number of heavy-metal bands who merely pretend to be practicing satanists to shock parents and to provoke publicity in the highly competitive

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL 3

dely believed that the creature rests to this day. the synagogue survived the widespread destruction directed against jewish places of worship by the nazis in the 1930s and early 1940s, and it is said that the gestapo did not even enter the attic. a statue of yossele, the golem of prague, still stands at the entrance to the city s jewish sector. m delving deeper frankenstein and the golem. jewish gothic [online] http//www. jewishgothic.com/golem.html. kaplan, aryeh. sefer yetsirah: the book of creation in theory and practice. new york: samuel weiser, 1990. unterman, alan. dictionary of jewish lore and legend. london and new york: thames and hudson, 1991. winkler, gershon. the golem of prague. new york: judaica press, 1994. imp in old english impe means a young plant shoot or a tree sapling

mysterious creatures 79 jersey devil, 1901 illustration (fortean picture library) succubi appear to men as beautiful, sensual women, but they also may be vampires thirsting for human blood. m delving deeper fodor, nandor. between two worlds. new york: paperback library, 1967. the haunted mind: a psychoanalyst looks at the supernatural. new york: new american library, 1968. jewish vampires. jewish gothic [online] http/ www.jewishgothic.com/vampire.html. mack, carol k, and dinah mack. a field guide to demons, fairies, fallen angels, and other subversive spirits. new york: henry holt, 1998. unterman, alan. dictionary of jewish lore and legend. london and new york: thames and hudson, 1991. vampire contrary to the glamorous image popularized by motion pictures depicting handsome vampires and th

spoke to many of these self-professed creatures of the night, some of whom claimed to be as old as 300 years, and he established the demographics of vampires, placing massachusetts in the lead with three; followed by arizona, california, and new jersey, with two each; and the remaining 15 vampires scattered throughout the other states and provinces. today, with the ever-growing popularity of the gothic movements, the various vampire t h e g a l e e n c y c l o p e d i a o f t h e u n u s u a l a n d u n e x p l a i n e d mysterious creatures 81 the 1922 silent german film nosferatu was the first film which introduced vampires into the cinema (corbis corporation) thevampire legend is universal, and every culture has its own name for the monster. role-playing games, the continuing bestselli

ttelbach and michael crewdson reported on the city s vampire scene that has been going strong since the mid-1990s and the many nightclubs that cater to the daylight-challenged in their article, vampires: painting the town red. the journalists describe the activities in dens where as many as 300 undead heads dance, drink, and make merry late into the night. the dress code in such establishments is gothic, darkfetish, faerie, wiccan, or celtic and the overwhelmingly predominant color of the clothing is black. on the rare occasion when a patron of these vampire havens smiles, mittelbach and crewdson noted, one can make out the glint of white fangs. other researchers have discovered that these human living vampires believe that they require blood in order to function at their highest level of

THE GALE ENCYCLOPEDIA OF THE UNUSUAL UNEXPLAINED VOL

tion akin to the mafia. according to tradition, around 710 a holy man named apollinario, who lived a hermitlike existence in the hills above cordova, had a vision in which the blessed virgin mary appointed him to be the savior of spain and drive the moors out of the land. at first the holy man was staggered by the very suggestion, regardless of the source from whence it had come. what remained of gothic spain had fallen into decay, deteriorating into a patchwork of petty princedoms, woefully ineffectual against the powerful moors who had conquered most of the land and established their royal seat in cordova. but when the apparition of mary presented him with a button that she said had been taken from the robe of christ, apollinario knew that he had been given the power to raise a band of h

holy man in his crusade against the moors, and his army of peasants, beggars, and bandits fought so fiercely under the standard of the holy virgin of cordova that no moorish force could repel them. while the garduna may have harassed the powerful muslim armies and conducted a guerilla-type warfare against them, they by no means drove the invaders from spain as legend told it. after about 714, the gothic monarchy of spain had been replaced by the institutions of the conquering arabs, and a short time after spain had fallen to the moors, it became the most prosperous and civilized country in the west. within a few more years, the arabs had extended their european empire north of the pyrenees mountains to the south of france and from the mouth of the garonne to that of the rhone. in 732, char

gle. new york: doubleday and co, 1974. gaddis, vincent h. invisible horizons: true mysteries of the sea. philadelphia: chilton books, 1965. gordon, stuart. the encyclopedia of myths and legends. london: headline books, 1993. kusche, lawrence d. the bermuda triangle mystery. solved. new york: harper and row, 1975. spencer, john wallace. limbo of the lost. new york: bantam books, 1973. chartres the gothic cathedral that stands in the french town of chartres is the sixth church or cathedral constructed on that site over 1,500 years. although the present cathedral is recognized as a place for christian pilgrimages, it is considered mysterious. before the gauls inhabited this region on the river eure about 60 miles southwest of paris, some ancient priests of an unknown religion constructed a do

THE KEY TO THE MYSTERIES

rry off the queen of england, or the sultana valide" the conversation dropped, and a whole year passed 165 without mme. a. or desbarrolles, or eliphas hearing the unknown young priest spoken of. in the course of the night between the 1st and 2nd of january, 1857, eliphas levi was awakened suddenly by the emotions of a bizarre and dismal dream. it seemed to him that he was in a dilapidated room of gothic architecture, rather like the abandoned chapel of an old castle. a door hidden by a black drapery opened on to this room; behind the drapery one guessed the hidden light of tapers, and it seemed to eliphas that, driven by a curiosity full of terror, he was approaching the black drapery. then the drapery was parted, and a hand was stretched forth and seized the arm of eliphas. he saw no one

the litanies, and the procession was coming out of the choir. after the cross, accompanied by its acolytes, and followed by the choirboys, came the banner of st. genevieve; then, walking in double file, came the lady devotees of st. genevieve, clothed in black, with a white veil on the head, a blue ribbon around the neck, with the medal of the legend, a taper in the hand, surmounted by the little gothic lantern that tradition gives to the images of the saint. for, in the old books, 167 st genevieve is always represented with a medal on her neck, that which st. germain d'auxerre gave her, and holding a taper, which the devil tries to extinguish, but which is protected from the breath of the unclean spirit by a miraculous little tabernacle. after the lady devotees came the clergy; then final

THE NECRONOMICON SIMON VERSION

rary world that dwarfs his initial successes with weird tales magazine in 1923. he died, tragically, at the age of 46 on march 15, 1937, a victim of cancer of the intestine and bright's disease. though persons of such renown as dashiell hammett were to become involved in his work, anthologising it for publication both here an abroad, the reputation of a man generally conceded to be the "father of gothic horror" did not really come into its own until the past few years, with the massive re-publication of his works by various houses, a volume of his selected letters, and his biography. in the july, 1975, issue the atlantic monthly, there appeared a story entitled "there are more things, written by jorge luis borges "to the memory of h.p. lovecraft. this gesture by a man of the literary statu

an; teitan tiamat azathoth aiwass) azag-thoth the dunwich horror choronzon pazuzu shub niggurath pan sub ishniggarab) out of space the abyss absu; nar mattaru ia! io! iao! ia (jah; ea; lord of waters) the five-pointed grey star carven the pentagram the ar, or ub (plough sign; the original pentagram and the sign of the aryan race) vermis mysteriis the serpent erim (the enemy; and the sea as chaos; gothic; orm, or worm, great serpent) this is, of course, by no means a complete list but rather an inspirational sampling. meditation upon the various things mentioned in the mythos will permit the scholar to draw his own conclusions; research upon the etymology of both lovecraft's and crowley's respective literature enables the occultist to discover the ancient names and numbers for much of his o

TWO ESSAYS ON THE WORSHIP OF PRIAPUS

the venerable names of s. cosimo and damiano, was all that prevented it from being suppressed long ago, as it has been lately, to the great dismay of the chaste matrons and pious monks of isernia. traces and memorials of it seem however to have been preserved, in many parts of christendom, long after the actual celebration of its rites ceased. hence the obscene figures observable upon many of our gothic cathedrals, and particularly upon the ancient brass doors of st. peter's at rome, where there are some groups which rival the devices on the lesbian medals. it is curious, in looking back through the annals of superstition, so degrading to the pride of man, to trace the progress of the human mind in different ages, climates, and circumstances, uniformly acting upon the same principles, and

TYSON DONALD SOUL FLIGHT

. the unspeaking sisters who move like silver shadows between the high shelves in the main reading hall care for the books as if they were their own children, and there is no sign of dust or neglect anywhere within the vast building, which is arranged somewhat like a nunnery, with a dining hall and corridors of sleeping chambers for the sisters on the upper level. the appearance of the library is gothic, its pillars carved stone, its windows of colored glass tall and narrow. everything is done in an orderly fashion. those who request a book wait at a reading table in the main reading hall, and a sister brings the book to them, then returns it to its place when the reader is done with it. the ruling intelligence is diana, goddess of the moon. her oracle is to be found in a small chapel dedi

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