Post by randolphcarter841 on Jun 30, 2017 0:09:45 GMT
An important note is necessary at this point: we will be generally utilizing the traditional sandhyabasa ("twilight language") in our analyses. In Western occultism, this is the infamous "green language" or vert langue, also known as the "language of the birds." Those familiar with Fulcanelli's Le Mystere des Cathedrales have already sufficient education to understand the true "altitude, depth, and profundity" (the revelation of this extraordinary phrase as the origin of ALP must await a future post) of the "phonetic cabala." FW as a book written entirely in the green language (cf. "Sandhyas! Sandhyas! Sandhyas!" [593.1], where Joyce implies the state of consciousness necessary for understanding of the book; the fourth state -- turiya -- beyond sleep; the place where "The keys to." are "Given!" [628.14]) conveys "all & everything" (to use Gurdjieff's term) by means of continuous holographic reflection and refraction.
"Grist" and "Christ" form our immediate example. "G" is carefully chosen; it is the hammer and anvil image of Freemasonry, as it is the Path between Kether and Tiphareth (the vertical arm of the cross passing through Daath). "Ch" compares with this phonetically, whilst resuming the host of associations given by Grant throughout the Trilogies. The "anointing" motif of the Christ combines with the "grinding" motif of grist; of course, Joyce's painstaking use of language proves the connection, since "rist" void of its head (cf. the "ritual of the bornless one" or akephalos) means "cross" in Estonian. (For those who don't already know, over sixty languages have been identified in the composition of FW; "...translated into all tongues..." [AL III.47].) Grant explains this further, invoking the circular nature of the mill -- itself centrally composed of two circular stones and, hence, evocative of the "Estonian" term used -- that is owned and operated by "oneself."
But who is this "oneself"? It is the Ain, the "third veil of negative existence." (This post is continued in "Influence of FW -- 3.")
"Grist" and "Christ" form our immediate example. "G" is carefully chosen; it is the hammer and anvil image of Freemasonry, as it is the Path between Kether and Tiphareth (the vertical arm of the cross passing through Daath). "Ch" compares with this phonetically, whilst resuming the host of associations given by Grant throughout the Trilogies. The "anointing" motif of the Christ combines with the "grinding" motif of grist; of course, Joyce's painstaking use of language proves the connection, since "rist" void of its head (cf. the "ritual of the bornless one" or akephalos) means "cross" in Estonian. (For those who don't already know, over sixty languages have been identified in the composition of FW; "...translated into all tongues..." [AL III.47].) Grant explains this further, invoking the circular nature of the mill -- itself centrally composed of two circular stones and, hence, evocative of the "Estonian" term used -- that is owned and operated by "oneself."
But who is this "oneself"? It is the Ain, the "third veil of negative existence." (This post is continued in "Influence of FW -- 3.")