At the Origins of Rosicrucianism: Johann Valentin Andreae, the Rosicrucian Manifestos and the Rosicrucian Furor

January 25th, 2010 by Jo Hedesan

All Rosicrucian or Rosicrucian-based orders in existence today hark back to the 1614 publication of the famous manifests, the Fama Fraternitatis and the Confessio. These anonymously published works claimed that the Rosicrucians were a hidden order of initiates established by an unknown mystic named Christian Rosenkreutz in the 14th century. The publication of the two manifestos caused an intense excitement on the European intellectual scene, an event which is now referred to as the Rosicrucian furor. Thousands of intellectuals from all over the continent sent letters demanding to become members of the obscure organization. No letter was ever answered.

Today, scholars still wonder: did the Rosicrucians really exist? There are many views on these. On one extreme, there are those that claim that there was indeed an organization of the Rose and Cross, whether or not founded by the mythical Rosenkreutz. At the other extreme, there are those that maintain that Rosicrucianism was a big hoax perpetrated by pranksters. At the middle of the scholarly discourse, there are those who believe that Rosicrucianism was a name comprising a heterogeneous group of reformers that had a common goal, but not a common creed.

At the end of the 16th century, there was expectation in the air. The 1500s had been a period of upheaval and questioning, which had resulted in the split of the Catholic Church and the birth of the Protestant Churches. To us today the 16th century was a period of innovation that opened avenues of inquiry previously deemed impossible. However, for the people actually living during those times the change must have been painful and not necessarily positive. There were wars amongst Christians previously unheard of; witch hunts; plagues; persecutions. Within this unstable environment, many intellectuals spent a lot of time thinking how to reform the European society and mend its religious and social fractures. Many offered solutions, but there was a current of thought that was primarily dedicated to religious concord: the Hermetic one. This heterogenous ‘group’ comprised philosophers, Christian Kabbalists, magicians, and especially, alchemists. The latter, devoted followers of Paracelsus, were particularly active at the end of the 16th century and were spreading their beliefs in the philosopher’s stone and the Universal Medicine.

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A Critique of Avatar II: Sylphs, Pantheism and Paracelsianism

January 21st, 2010 by Jo Hedesan

As mentioned last time, I will now talk about the identity of the Navi and their religion from a Paracelsian perspective. Just as a reminder, Paracelsus was a revolutionary philosopher, alchemist and physician living in the 16th century (I already touched upon some elements of his life and philosophy here and here). Now, I’m not saying that Cameron was necessarily acquainted with Paracelsian speculation, but it must be kept in mind that the ideas of Paracelsus had a strong impact on the development of Western culture, though the extent of his influence still awaits research.

One of the first things that you notice about the Navi people is their size. They are approximately twice as big as the ordinary humans. They live in the thick forest, in brotherhood with all animals and plants. They are able to ‘fly’ by becoming one with their dragons and have developed a keen ability of falling from huge heights without really getting hurt.

All these characteristics made me think straight away of the mythology of the sylphs, originating in Paracelsus’ speculations. Paracelsus wrote a strange little work called ‘The Book of Nymphs, Sylphs, Pygmies and Salamanders and the Other Spirits’. According to the Book of Sylphs, there are spirits in nature which live in each of the four elements: water, fire, air and earth.

The water creatures are called undines (or nymphs), the fire ones salamanders, the air ones sylphs (or sylvesters) and the earth ones gnomes (aka pygmies). Each has its own characteristics and rapport with humans. Of all of these, the sylphs appear most humanly; Paracelsus informs us that they are ‘like men’ except they live in the forest, and are ‘cruder, coarser, longer and stronger’ than the human beings. They have intercourse with men, except, Paracelsus maintains in Renaissance vein, they have no soul since soul is reserved to human beings only. Otherwise, they don’t seem to differ very much from men: they work, eat, converse in similar ways to humans.

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Soft Technology, Alchemy and Escapism: A Critique of Avatar (I)

January 14th, 2010 by Jo Hedesan

Happy New Year to all. Since it is the beginning of the year, I thought I’d experiment a little and write from time to time some commentaries on esoteric ideas related to popular culture. And what better way to start than with a review of the movie Avatar.

While I was watching Avatar, the concept of mundus imaginalis coined by historian and philosopher Henri Corbin kept crossing my mind in regards to the world of Pandora. Mundus imaginalis  is, simply put, the world of imagination – a world we project out of our mind. To us today this may be a poetic expression, but to traditional esoteric thought, this world was as real as we are, an intermediary place between this world and the divine one. It was a place we could access in our dreams and visions by the aid of a so-called ‘third eye’.

It is a phenomenon of our contemporary imagination to present this spiritual world as more accessible. What could make us transcend the barrier between our mundane universe and this magical one? The answer often is: technology. In Avatar, we see that technology (of a very expensive and sci-fi kind) can turn Jake Sully into an avatar capable of interacting with the world of imagination, symbolized by Pandora’s Navi people. We can see technology facilitating the forbidden interaction between the elusive Navi and the human beings.

But how does this apology for avatar technology reconcile with the explicit denial of technology amongst the idealistic Navis? After all, the Navis reject all complex machines and prefer hunting with spears and arrows. The movie’s answer is, by differentiating between ‘good’ technology and ‘bad’ technology. The good technology is the ‘soft’ kind: the one of computers and complex systems. It is this technology that allows one to ascend to the forbidden world of the Navis. Remarkably this world, we learn, is built on the same principles as soft technology. Grace the scientist puts it plainly: the Home Tree is a neural network connecting all trees on the planet. And if that wasn’t clear enough, we have the very explicit image of the Navi ‘jacking in’ the planetary system with their hair (Naughty as I am, I briefly wondered why would Jack and the Navi girl need to have sex the usual human way when they seemed to make love through their hair just fine).

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On The Three Types of the Kabbalah: Sephirotic, Ecstatic and Lurianic

November 25th, 2009 by Jo Hedesan

Since last time I wrote about the Christian Kabbalah, I thought I’d briefly talk about the Jewish Kabbalah as well, with the caveat that I’m not an expert in this. My conclusions here come from reading mainly books and articles by the best scholars in Kabbalah – Gershom Scholem and Moshe Idel.

Based on my reading, I would generally divide the Kabbalah into three main categories: Sephirotic, Ecstatic and Lurianic. I will explain each of them in some detail below.

The Sephirotic, or Zoharic Kabbalah is that which is best known to modernity. It has been described as ‘theosophical-theurgical’ in the sense that it involves a complex cosmology and metaphysics, and it also involves a human effort of uniting the lower world to the upper one. The Sephirotic Kabbalah is almost exclusively the product of the Jewish diaspora (the Sephardic Jews) in the Spanish Middle Ages. Their supreme accomplishment is the Zohar, the Book of Splendor, written sometimes in the 13th century, presumably by the Kabbalist Moses de Leon.

According to the Zohar, and other writings, God is the Ein-Soph, the indefinable, indescribable divinity. Out of this infinity, He projects himself into three initial emanations, the first three Sephirot: Kether (Crown), Hochmah (Wisdom) and Binah (Understanding). These, in turn, produce the lower seven: Daat (Knowledge), Hesed (Mercy or Kindness), Gevurah (Strength or Power), Tipheret (Beauty), Netzach (Victory), Hod (Glory), Yesod (Foundation) and Malkuth (Kingdom or Monarchy). The emanations are dynamic and create a complex relationship amongst them – it is often said that the links are more important than the actual emanations.

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The Foundation of Christian Kabbalah: The 900 Theses of Pico della Mirandola

November 11th, 2009 by Jo Hedesan

At the foundation of Christian Kabbalah stands one man: Giovanni Pico della Mirandola, the original enfant terrible of the European Renaissance. At the tender age of 23, in 1486, Pico wrote and sent to the Pope 900 Theses of theology and philosophy which he proposed to debate with anyone that wished to do so. To these he attached an introductory Oration on the Dignity of Man, which has become a classical statement of the Renaissance worldview. It is regrettable that today he is mostly remembered for this statement of human dignity rather than his other groundbreaking work.

Unfortunately for Pico, church officials were not in a mood for a debate with the young and dashing count, and instead proceeded to analyse the 900 Theses against the Catholic dogma. They found 13 propositions suspicious of heresy, and out of these, one in particular: “There is no science that assures us of the divinity of Christ than magic and the Cabala”. Pico agreed to retract the condemned theses, but later he published an Apology which pretty much re-affirmed all his ideas. This, of course, set the Pope on fire, and Pico had to flee to France to avoid imprisonment. After many other adventures, Pico settled back in Florence, where he died at only 31 years of age, apparently poisoned by a member of the famous house of Medici.

Pico has been called the disciple and pupil of the philosopher Marsilio Ficino. They shared an interest in Neoplatonic, Hermetic philosophy and magic, but Pico didn’t think those were enough. He was attracted to the mysterious art of the Kabbalah, whom Hebrew scholars were talking to him about.

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