Faint gibbering heard from somewhere near the restricted stacks
Tag Archives: literature
Books on true occultism are on the whole very useless things; because those who are in possession of occult knowledge will not require them; while those who have no such knowledge will not understand them; neither will they receive much benefit from such literature; because real spiritual knowledge must be found within one’s own soul; it cannot be learned from books. The scientist, rationalist, and speculative philosopher deals only with, so to say, the candlesticks bearing the candles from which is emanating the light which they cannot see, neither can they see the candle; for the latter is representing the soul, whose light is the spirit.
“The aim of the present volume is to provide, in up-to-date translations, a representative selection of ancient Egyptian literature in a chronological arrangement designed to bring out the evolution of literary forms; and to do this in a convenient and inexpensive format. It is meant to serve several kinds of readers: those who pursue studies within the broad spectrum of ancient Near Eastern civilizations; scholars in other humanistic fields and other readers for whom an acquaintance with ancient Egyptian literature is meaningful; and those who read ancient Egyptian. Translations serve two purposes. They substitute—inadequately—for the original works; and they aid in the study of the originals. It is my hope that this book of readings will be useful on both counts.”
“In preparing the translations I have of course made full use of existing translations and studies, especially the more recent ones, which are scattered throughout the scholarly literature. Evidently a book of readings is up to date only if it reflects the present state of the discipline. Those who are familiar with the texts, however, are aware of the limitations of our understanding, of the conjectural nature of much that is passed off as translation, and of the considerable differences between several translations of one and the same text. Hanec the ‘present state’ of the discipline is an intricate web of consensus and controversy. Agreeing sometimes with one, sometimes with another, interpretation of a difficult passage, I have frequently agreed with none and sought my own solutions. Only in certain cases are these departures from existing translations discussed in the annotations, for to discuss them all would have resulted in an all too heavy philological apparatus, which would not have been in keeping with the major aims of the work. […] If this calls for an apology, I offer the observation that the present state of academic learning is characterized by a vast expansion in the numbers of those participating in it, and hence calls for publications that attempt to reach beyond the confines of professional specialization while at the same time making a contribution to the specialized discipline.” — From the Preface
“The Portal of Initiation: A Rosicrucian Mystery Drama, can best be described in Rudolf Steiner’s own words:
‘When one has worked one’s way through to an understanding perception of the world, the living need is felt to form ideas no longer, but to create artistically, that is, plastically, or in color, or musically, or poetically. In my Mystery Dramas I myself tried to give what cannot be expressed in ideas about the nature of the human being. … This leads us to enjoy, to seek out, to contemplate what one cannot possibly experience in thoughts, but in living figures, as they appear in the dramatic pictures; then we let the figures of the drama really work upon us. … Art must be added to what is abstractly known if true knowledge of the world is to be attained. Further, when such perception is attained and presses toward creative form, this experience penetrates so deeply into the human soul that this union of art with science produces a religious experience.’
‘Today, humanity may not yet be inclined to absorb into external culture what can spring from the spiritual life. however, at least in artistic pictures we can show how life may develop, and what in the form of thoughts and feelings flows into our souls and permeates them. The result can be the kindling of the presentiment that out of its present, humanity must go toward a future in which it will be able to experience the streaming down of spiritual life into man on earth. For humanity is approaching an age when man will perceive himself as the intermediary between the spiritual world and the physical world. These performances were given in order that this presentiment might be awakened.’
Steiner spoke repeatedly about the importance of Goethe’s Fairy Tale, not only in relation to the spiritual striving of our time in a general sense, but in his first Mystery Drama, The Portal of Initiation, he drew upon many of the basic themes of the Fairy Tale. Steiner also indicated that the way the pictures in Goethe’s Fairy Tale ‘unfold themselves’ shows that they possess the power ‘to transform the human soul’ which opens itself to them. He also once characterized the Goethe Fairy Tale as the ‘archetypal seed’ which offers the possibility of a new order of social life amongst humanity as a whole, and described it as the foundation upon which he based his teaching concerning the modern Science of Spirit, Anthroposophy.
Although they are surrounded by the remarkable conveniences modern technology has placed at our command and the degree of ‘freedom’ this has made possible, many people today would agree with Goethe’s observation, made long ago: “Whatever sets the human spirit free without giving us mastery over ourselves is harmful.’—ANd with this awareness goes the recognition that despite the marvels of technology, designed to set men free to an ever-increasing degree, there nevertheless prevails a widespread feeling, a longing to return ‘home’, to experience the unique guidance of the star of one’s individual destiny. … Goethe’s Fairy Tale offers, in form of artistic images, the first steps on the path which at length will enable a man to come to know himself as a being of body, soul and spirit, with all this implies. Thus the Fairy Tale of Goethe may become ‘everything’ or ‘nothing’ for the reader—and it is left entirely to his own individual freedom to let it ‘speak’ its significance to him.” — back cover
“In a solid contribution to the field of French Renaissance literature, this study follows the trends of criticism initiated by the revolutionary discoveries of Glison, Febvre, and Screech, focusing on two major emblematic aspects of Rabelais’s novels. Using primary Renaissance iconological material, the author reconstructs the processes by which Renaissance authors (and Rabelais) coded their teachings in symbols that were both entertaining and useful to the learned reader of the time.
The author investigates two major Christian and humanistic aspects of Rabelais’s novels which were meant to test the ingenuity of a learned audience. She takes into account Hellenic and Hellenistic traditions of hermetism—numerology and symbolic iconology in their medieval and Renaissance transformations. The study is designed to show how Rabelais, a Renaissance humanist, fuses comic popular and pagan traditions to convey an evangelical Christian message. It reveals hidden meanings of episodes in Rabelais’s work previously dismissed as simply amusing, and conveys how humor and irony combined in ‘folly’ becomes the vehicle for wisdom.
The symbolism of the wine and the will, explored and understood in all its theological and humanistic complexity, deepens our understanding of Rabelais’s work and Renaissance thought in general.”
This brilliant book communicates its own obsessive thought-patterns to the reader in a way that dissolves the boundaries between literature, dream and magic. I’m not sure I’ve ever managed to leave Cairo even now. [via]
“But the treasures of art, of literature, of music, must this time be preserved for humanity; and we are determined to resist to the death any attack upon those treasures. We are — for the moment — fighting the Germans; but Faust and Siegfried and Zarathustra, the achievement of Kant in philosophy and of Helmholtz in physics, must be put ‘out of bounds.’ We stand above.” [via]
“IN normal times art and literature take care of themselves. Wisdom is justified of her children. Before we have been dead three hundred years somebody is almost sure to notice it. The great mass of people is a homogeneous mass of brainless idiocy. Men are dumb animals, and women only quack. In times of peace the hack journalists are as inconspicuous as they are insignificant; but when war breaks out the hysteria natural to weak minds becomes vocal, and everybody wants to ‘do his bit’ on one side or the other, by squealing when much the best thing to do would be to bury himself.” [via]
“I am forbidden to mention the names of those who initiated me, but among them were some of the most distinguished men and women in the Empire in literature, art, politics, the theater, diplomacy, and the army.” [via, also]
“‘Europe and the Spirit World or the Fascination with the Occult, 1750-1950’ is a cross-disciplinary exhibition exploring the influence of the occult on artists, thinkers, writers and scholars throughout Europe, at decisive moments in the history of the modern world. The exhibition is organized into three sections:
– The creative arts: painting, drawing, sculpture, print-making and photography, the literature of the irrational and unexplained.
– The esoteric tradition revisited, with an extensive chronological survey encompassing the movement’s foundational texts and print iconography.
– The relationship between occult phenomena and the scientific world, through key scholarly figures and thinkers, and an examination of their experiments and scientific instruments.
With some 500 works of art, 150 scientific artefacts, 150 books and 100 documents from a host of European countries, Europe and the Spirit World will be presented in a dedicated 2500-m2 space at the the Museum of Modern and Contemporary Art of Strasbourg.”