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Origin of Lucifer The word Lucifer can be traced to the ancient ideals surrounding the myths associated with the Morningstar and his brother the Evening Star. Early on these myths place the Morningstar into the role of the attempted usurper who is defeated and becomes a ‘fallen’ deity as in Sumerian and Assyrian cosmology. It would not be until the Gnostics of the 1st century A.D. and Milton’s ‘Paradise Lost’ (1667 A.D.) found Lucifer to be the Serpent in the Garden of Eden and transformed the myth of the Fallen Morningstar into that of the angel Lucifer the principle of compassion for life and creation, defiance of corrupt authority and the current of spiritual evolution.

Babylonian myth has the very first association to the concept of a 'fallen' deity and its association with the Morning Star. The Sumerian king Etana is driven by his pride to strive for the highest seat among the star‑gods on the Northern Mountain . . . but was hurled down by the supreme ruler of the Babylonian Olympus.

A Canaanite myth from Phonecia called the "Fall of the day star" describes the fall of Helel ben Shahar (Son of the Dawn). Another Ugaritic myth called the Baal cycle describes the fall of the god Attar from Saphon and the "invasion of the garden of gods".

In another Mesopotamian myth, the god Helel tries to overthrow the great god El. Eventually, these myths became the Sumerian story of Ishtar and Inanna's descent into the Underworld. Here Inanna is directly associated with the planet Venus.

Later, Helel is translated into Greek as Eosphorus/Phosphorus. And in this translation, the word means ‘light/dawn bearer’ while  Hesperus, the Evening Star is the Son of the Dawn goddess Eos. The Greeks finally accepted the Babylonian view that the two Stars were the same, and the Babylonian identification of the planets with the Great Gods, and dedicated the "wandering star" to Aphrodite (Roman Venus), as its equivalent.

Roman religion would use the Latin word 'lucifer' as an adjective applied to the Moon. As a noun, it was associated with "Morning Star", its divine personification as "the fabled son of Aurora and Cephalus, and father of Ceyx". The second of the meanings attached to the word when used as a noun corresponds to the image in Greek mythology of Eos, the Goddess of Dawn, giving birth to the morning star Phosphorus.
Texts of H☿D

August 11, 2018, 10:48:17 pm
Re: Origin of Lucifer If you are willing to create a Mercuræn category then I am willing to add content and drag some bodies here. Thank you.
August 13, 2018, 09:48:51 am
Mercuræn Philosophy Mercuræn philosophy and practices are aimed at transcension of the individual self to that of one's  Greater Self. Some of this Work is done through the exploration of esoteric psyche-centered philosophies and practices of the present day and the past.

Conventional/RHP religions embrace the primitive desire for conformity, atonement/union with the perceived Universe. The Mercuræn understands this as an illusion and thus a self-deception once Mercurius Consciousness has been established with any consistency. As the Mystai slowly unveils hir individual psyche/conscious intelligence, it becomes increasingly clear how unlike anyone or anything else each of us is.

Physical death is inevitable as entropy is a cruelty provided by the objective universe. The Mercuræn eventually comes to not fear death for it is realized that we have the ability to remain consciously aware of our identity upon physical cessation. To remain an isolate intelligence of individual existence is first and foremost the end goal of what the Herald of the Dawn understand as the Western Left Hand Path. This Great Work is accomplished through transcension of psyche-centric consciousness towards Mercurius Consciousness through deliberate exercise of one's intelligence and most importantly one's Will. This is why the practice and mastery of Majiq and Ritual are so important for they exercise and develop one's Will. The Arts also provide the necessary stimulation and insight to developing the Will and for unveiling one's Greater Self to them.

The Herald of the Dawn and Mercurænism have come about as an evolutionary product of the Human experience usurping the previous magical and philosophical work of occultists prior to our formation. In addition ethics and morality should play an important role in our transcension, the process of becoming 'more than human' involves the rejection of cruelty and harm to all sentient beings.

Etu Malku V° HH☿D

August 13, 2018, 11:20:59 pm
Re: Post-Based Titles I would avoid using any titles from a specific Belief System as to not alienate other Systems, just my opinion.
August 14, 2018, 09:55:41 am
Re: Origin of Lucifer Charlton T. Lewis, Charles Short, "A Latin Dictionary" . . .

Not much to go on I'm afraid, but I do have a greater depth of association between Roman Lucifer and various pre-Islamic Arabian Moon deities, that I will go into depth on with the book I am writing.

August 14, 2018, 08:53:42 pm
Re: Xeper and Remanifest-words of the Aeons
“Kheper-i kheper kheperu kheper-kuy n kheperu m khepra kheperu m sep tepy.”
I Became and the Becoming became. I Became by becoming the form of Khepra,
god of transformations, who came into being in the First Time

August 20, 2018, 10:35:18 pm
Hesperus is Phosphorus Hesperus is Phosphorus

In Greek mythology, Hesperus is the personification of the "evening star", the planet
Venus in the evening. This Evening Star is the Son of the Dawn goddess Eos (Roman
equivalent: Aurora) he is also the brother of Eosphorus the Morning Star (Eosphoros
"dawn‑bearer"). Sometimes Hesperus is integrated with the 'Morning Star' Eosphorus
"bearer of dawn" or Phosphorus (Ancient Greek:"bearer of light", often translated as
“Lucifer” in Latin) these are all personifications of the planet Venus.

The Greeks believed that Eosphorus (Venus in the morning) and Hesperos (Venus in
the evening) were two different celestial objects. The Greeks later accepted the
Babylonian view that they were the same, and the Babylonian identification of the
planets with the Great Gods, and dedicated the "wandering star" (planet) to Aphrodite
(Roman Venus), as the equivalent.

Trapezoidal Sound and Alexander Scriabin
Alexander Scriabin (1872-1915) was a Russian composer of orchestral and piano music.
Early in his development, he began to arrange chords in a strange and beautifully
individual style. Based on a thirteenth dominant including the 7th, 3rd, and 13th, all laid
out in a pattern of fourths, this inverted Pythagorean structure would come to be known
later as the Mystic Chord also called the Prometheus Chord.

He achieved a haunting, dissonant, yet beautiful sound with this chord and by following
the rules of traditional tonality and diatonic, functional harmony, he was able to compose
great works of clarity, depth and unheard of textures. Scriabin was definitely thinking
out of the box, his Dæmon was in control!

While living in Brussels, Belgium he became a student of Friedrich Nietzsche's
Übermensch theory read Helena Blavatsky and Jean Delville’s philosophy of
Theosophy. The Composer Artist delved into the depths of the Underworld and
reemerged with a treasure in the way of his very own personal and abstract mysticism
based on the role of the artist in relation to perception and life affirmation. His ideas
about reality became similar to Plato and Aristotle and in one of his unpublished
notebooks he infamously wrote: “I am God”.

He titled his Ninth Sonata “the Black Mass” and through a refined system of Synesthesia
(a neurological condition in which stimulation of one sensory or cognitive pathway leads
to automatic, involuntary experiences in a second sensory or cognitive pathway), he
began pioneering multimedia performances planning a week-long performance titled
“Magnum Opus Mysterium” and would have included music, scent, dance, and light all
at the foothills of the Himalayan Mountains which would dissolve into a world of bliss!
He, unfortunately, died before this potentially magnificent show could be held.

According to Dr. Stephen Flowers a gamma wave is a frequency pattern oscillating
between 25 & 100Hz, with 40Hz the average. This 40Hz is sufficient for visual
awareness and neural consciousness. The sound wave massages the Thalamus by
sweeping the brain region back and forth at 40 times per second. When the Thalamus is
even slightly damaged, the wave is halted and the patient slips into an acute coma. When
working properly and/or stimulated these neuronal clusters to oscillate together during
transient periods of synchronized firing, nurturing memories and associations. Scientific
studies show that the transcendental states of mind created by Tibetan Buddhist monks
show a correlation with these gamma waves.

In Eastern traditions, there is a sound called "Anahata Nada," the "Unstruck Sound."
Literally, "the sound that is not made by two things striking together." All natural sounds
are made by at least two elements, two things striking one another, vibrating one another,
pulsing one another, and our ears understand this as sound. So a sound not created by
two things coming together “Anahata Nada,” is the primordial sound of the universe
itself. Mythologist and lecturer Joseph Campbell liken this unstruck vibration to the
humming of an electrical transformer or the inaudible hummings of atoms and
molecules. To this, we call the Trapezoidal Sound, the product of the occult-based
Undertone Series.

Etu Malku V° H☿D

**all music composed by Etu Malku for Tarkhem Produxions

August 21, 2018, 10:15:43 am
A Lecture at Cologne on December 3, 1906.
Published in The Golden Blade, 1956
Translated by Charles Waterman

   For  those who think of music from the aesthetic point of view, there is something puzzling
about it; for simple human feeling it is a direct experience which penetrates the soul; and for those
who want to understand how it produces its effects, it is a rather difficult problem.
Compared with other arts - sculpture, painting, poetry - music has a special character. All the other
arts have some kind of model in the external world.
The sculptor works from a model, and if he creates a statue of Zeus or Apollo, it takes an idealized
human form. It is the same with painting - and today the tendency is to give an exact impression of
what the senses perceive. Poetry, similarly, tries to deal with some aspect of the real world. But if
one tried to apply this theory to music, one would get nowhere - for how could one copy, for
example, the song of birds!

What is the origin of musically-shaped sounds? How are they related to anything in the objective

It is precisely in connection with this art of music that Schopenhauer has advanced some interesting
views; in a certain respect they are indeed clear and striking. He assigns to music a quite special
place among the arts, and to art itself a quite special value in human life. His philosophy has a
fundamental ground-note which may be expressed as follows:
Life is a sorry business, and through thinking I try to make it bearable.
Pervading everything in the world is a blind, unconscious Will. It shapes the stone and then the
plant - but always, in all its manifestations, with a restless yearning for something higher. The
savage feels this less than does the genius, who experiences the painful cravings of the Will in the
highest, most intense, degree.

Besides the activity of the Will - Schopenhauer continues - man has the faculty of forming mental
images. These are like a fata morgana, like pictures in the mist, like the spray thrown up by the
waves of the Will. The Will surges up to shape these illusory pictures. When in this way man
perceives the working of the Will, he is less than ever satisfied; but a release from the blind
driving-force of the Will comes to us through art.
Art is something through which man can escape from the restless craving of the Will. How does
this happen?

When man creates a work of art, it springs from his image-forming faculty; but genuine art,
Schopenhauer insists, is not merely a copy of external reality. A statue of Zeus, for example, is not
produced by copying; the sculptor draws for his model on the characteristics of many men, and so
he creates the archetypal image, which in nature is distributed among numerous separate

So the artist surpasses nature. He extracts her archetypal essence, and this is what the true artist
renders. By penetrating into the creative depths of nature, he creates something real and achieves a
certain release for himself.

So it is with all the arts except music. All the other arts have to work through images and produce
only pictures of the Will. But musical sound is a direct expression of the Will itself. The composer
listens to the pulse-beat of the Will, and renders it in the sequence of musical sounds. Music is thus
intimately related to the working of the Will in nature, to "things in themselves"; it penetrates into
the elemental archetypal being of the cosmos and reflects the feeling of it; that is why music is so
deeply satisfying.

Schopenhauer was no occultist, but in these matters he had an instinctive apprehension of the truth.
* * *
Why does music speak so intimately to the heart, and so widely, and why is its influence so
powerful, even in early childhood? For answers to these questions we must turn to the realm where
the true models for music are to be found.
When a composer is at work, he has nothing to copy from; he has to draw his music from out of
his own soul. Whence he derives it we shall find out if we turn our attention to the worlds which
are not perceptible to the ordinary senses.

Human beings are so made that it is possible for them to release in themselves faculties which are
normally asleep; in the same way that someone born blind may be given sight by an operation, so
can a man's inner eyes be opened, enabling him to gain knowledge of higher worlds. When a man
develops these slumbering faculties through concentration, meditation and so on, he advances step
by step. First of all he experiences a special configuration of his dream life. His dreams take on a
much more orderly character; on waking, he feels as though he were rising from out of the waves
of an ocean in which he had been submerged, a world of flowing light and colour. He knows that
he has experienced something; that he has seen an ocean of which he had no previous knowledge.
Increasingly his dream-experiences gain in clarity. He remembers that in this world of light and
colour there were things and beings which differed from anything physical in being permeable, so
that one can pass right through them without meeting any resistance. He comes to know beings
whose element, whose bodies, the colours are. Gradually he extends his consciousness over this
world, and on waking he remembers that he has been active within it.

The next step occurs when he - as it were - carries this world back with him into waking life. Then
he sees the astral bodies of other men and of much else, and he experiences a world which is much
more real than the physical one - a world which in relation to the physical world appears as a
densification, a crystallisation, from out of the astral world.

Now it is also possible to transform into a conscious condition the unconscious state of dreamless
sleep. The disciple who attains to this stage learns to extend his consciousness over those parts of
the night which are not filled with dreams, but are normally spent in complete unconsciousness.
He then finds himself conscious in a world of which previously he knew nothing, a world which is
not intrinsically one of light and colour; it first announces itself as a world of musical sound. The
disciple acquires the capacity to hear spiritually; he hears sequences and combinations of sounds
which are not audible to the physical ear.

This world is called the devachanic world (Deva=spirit, chan=home). One must not think that
when a man enters this world and hears its tones resounding, he loses the world of light and
colours. The world of tones is shot through with light and colours, but they belong to the astral
world. The essential element of the devachanic world is the endlessly flowing and changing ocean
of musical tones. When continuous consciousness extends to this world, its tones can be brought
over, and it is then possible to hear also the ground-tones of the physical world. For every physical
thing has its ground-note in the devachanic world, and in every countenance devachanic
ground-notes are figured forth.

 It was on this account that Paracelsus said:
"The kingdoms of nature are the letters of the alphabet, and Man is the word formed from them."
Whenever anyone falls asleep, his astral body goes out from his physical body; his soul then lives
in the devachanic world. Its harmonies make an impression on his soul; they vibrate through it in
waves of living sound, so that every morning he wakes from the music of the spheres, and out of
this realm of harmony he passes into the everyday world. Just as the human soul has a sojourn in
Devachan between incarnations, so we can say that during the night the soul rejoices in flowing
tones of music: they are the very element out of which it is itself woven and they are its true home.
The composer translates into physical sounds the rhythms and harmonies which at night imprint
themselves on his astral body. Unconsciously he takes his model from the spiritual world. He has
in himself the harmonies which he translates into physical terms. That is the secret connection
between the music which resounds in the physical world and the hearing of spiritual music during
the night. But the relation of physical music to this spiritual music is like that of a shadow to the
object which casts it. So the music of instruments and voices in the physical world is like a
shadow, a true shadow, of the far higher music of Devachan. The primal image, the archetype, of
music is in Devachan; and having understood this, we can now examine the effect of music on
human beings.
* * *

Man has his physical body, and an etheric model for it, the ether-body.
Connected with his ether-body is the sentient body, which is a step towards the astral. Inwardly
bound up with him, as though membered into him, is the Sentient Soul. Just as a sword and its
scabbard form a single whole, so do the Sentient Soul and the sentient body. Man has also the
Intellectual Soul, and as a still higher member the Spiritual Soul, which is linked with the
Spirit-self, or Manas. In completely dreamless sleep the higher members, and so also the Sentient
Soul, are in the devachanic world. This is not like living in the physical realm, where everything we
see and hear is outside ourselves. The beings of Devachan interpenetrate us, and we are within
everything that exists there. In occult schools, accordingly, this devachanic-astral realm is called the
world of interpenetrability. Man is played through by its music.

When he returns from this devachanic world, his Sentient Soul, his Intellectual Soul and his
Spiritual Soul are permeated with its rhythms; he carries them down into his denser bodies. He is
thus able to work from out of his Intellectual Soul and his Sentient Soul on to his ether-body, and
to carry the rhythms into it. As a seal stamps itself on the wax, so the astral body imprints the
devachanic rhythms on the ether-body, until the ether-body vibrates in harmony with them.
Ether-body and astral body bear witness in their own being to the spiritual tones and rhythms. The
ether-body is lower than the astral body, but in activity it is superior.

From out of his Ego man works on his bodies in so far as he transmutes the astral body into
Manas, the ether-body into Buddhi, the physical body into Atma. Since the astral body is the most
tenuous, the transmutation of it calls for the least strength. Man can work on his astral body with
forces drawn from the astral world. But to work on his etheric body he has to call on forces from
the devachanic world, and for working on his physical body he needs forces from the higher
devachanic world. During the night he draws from the world of flowing tones the strength to carry
them over into his sentient body and his etheric body. Although on waking in the morning he is not
conscious of having absorbed this music of the night, yet on listening to music he has an inkling
that these impressions of the spiritual world are within him.

When a man listens to music, the seer can observe how the rhythms and colours flow into and lay
hold of the firmer substance of the ether-body, causing it to vibrate in tune with them, and from the
harmonious response of the ether-body comes the pleasure that is felt. The more strongly the astral
body resounds, the more strongly do its tones echo in the ether-body, overcoming the ether-body's
own natural rhythms, and this gives feelings of pleasure both to a listener and to a composer. In
certain cases the harmonies of the astral body penetrate to some extent into the sentient body, and a
conflict then arises between the sentient body and the ether-body. If the tones set up in the sentient
body are so strong that they master the tones of the ether-body, the result is cheerful music in a
major key. A minor key indicates that the ether-body has prevailed over the sentient body; and the
painful feeling that ensues gives rise to the most serious melodies.

So, when someone lives in the experience of music, he is living in the image of his spiritual home.
It naturally elevates the soul to feel this intimate relationship to its primal ground, and that is why
the simplest souls are so receptive to music. A man then feels himself truly at home, and whenever
he is lifted up through music he says to himself: "Yes, you come from other worlds, and in music
you can experience your native place." It was an intuitive knowledge of this that led Schopenhauer
to assign to music a central place among the arts, and to say that the composer discerns with his
spiritual ear the pulse-beat of the Will.

In music, man feels the echo of the inmost life of things, a life related to his own. Because feelings
are the most inward part of the soul, and because they are related to the spiritual world and are
indwelt by musical sound - that is why man, when he listens to music, lives in the pleasure of
feeling himself in harmony with its tones, and in touch with the true home of his spirit.

August 22, 2018, 05:42:39 pm
Re: How would you describe the LHP? In the Herald of the Dawn (H☿D) we differentiate between Eastern and Western Left Hand Paths. Perennial philosophy is the understanding that all the world's right-hand path religions share a single, universal doctrine. This doctrine posits that the highest good that human life can achieve is through a relationship with a Supreme Being / Energy of the Universe. The way in which this is achieved is through the deception of one's conscious awareness into believing that one has been accepted by this Supreme Being / Energy otherwise known as the objective universe. This is the Right Hand Path.

The Western Left Hand Path involves the conscious attempt to preserve and strengthen one’s isolate, psyche-centric existence against the Objective Universe while creating,
apprehending, comprehending, and influencing a varying number of Subjective Universes.
The Western Left Hand Path is based on individuating one's self against the Universe. In strengthening one's own isolate Will to create change in the objective universe.

Eastern Right Hand Path: follow a set blueprint in order to unite and dissolve the personal Self into the All.

Eastern Left Hand Path: purposely go against the set blueprint to unite and dissolve the Self into the All.

Western Right Hand Path: follow a set blueprint in order to enter the afterlife of a specific deity/deities and remain submissive to them.

Western Left Hand Path: use or ignore the blueprint as it benefits or fits with one's morals, separates the Self from both the All and deities in order to become a deity themselves.

August 23, 2018, 09:09:46 pm
'New' Satanic Bible by Dr. Aquino
August 24, 2018, 10:06:20 pm