[ Pobierz całość w formacie PDF ]
.756.3.Ibid par.772.4.Ibid par.787.See also Alexander Ruperti in: Cycles of Becoming, which gives an excellentand full account of all the planetary and seven-year cycles.5.Jung: Symbols of Tr.par.340.6.Robert Graves: The Greek Myths p.156.7.Rodney Collin: The Theory of Celestial Influence p.290.8.Jung: Psychology and Alchemy p.335.9.Jung: Archetypes and the Collective Unconscious p.177.10.Ibid p.166.11.Jung: Psychology & Alchemy p.338.12.Jung: Archetypes p.348.13.Ibid p.167.14.Dane Rudhyar: Occult Preparations for a New Age p.163.15.This precise formulation is due to Wolfgang Dabereiner.16.Thomas Ring: Astrologische Menschenkunde Vol.3 p.104.17.A.C.Harwood: The Way of a Child - The Rudolf Steiner Press.18.Jane Roberts: The Individual and the Nature of Mass Events p.259.19.Jung: Mysterium Conjunctionis pp.38/39.20.Ibid pp.96/97.21.Jung: Aion p.46 Italics ours22.Goethe's work on colour was developed further by Rudolf Steiner and some of hisfollowers.Much material on the spiritual significance of colours is to be found inhis Three Lectures on Colour, and in several booklets by Gladys Mayer.23.Jung: Myst.Conj.par.333.24.See appendix.25.Plotinus: First Ennead, 8th Tractate.(Tr.Stephen McKenna).26.Jung: Symbols of Tr.p.177.28.Jung Psychological Types p.425, Definitions.29.Rudhyar: The Planetarization of Consciousness.In Chapter 3 of this work Rudhyardevelops in more detail the relation of Self and Ego.30.Jung: Archetypes p.287SS.31.Jung: Myst Conj.par.343.32.Jung: Myst.Conj.par.342.33.Ibid par.485.34.Jung: Aion p.8.35.Jung: Two Essays p.94.36.Jung: Aion p.225.37.Ibid p.256.38.Jung: Archetypes par.420.39.Jung: Ps.Types p.425 under Ego.40.Jung Archetypes P.34 also p.216.41.Ibid p.37.42.Marie-Louise von Franz: C.G.Jung - His Myth in Our Time pp.275-287.43.Jung: Symbols of Tr.par.515.44.Ibid p.401. 12445.Jung: Two Essays par.154.46.Jung: Archetypes p.183.47.Jung: Psych.& Alch.p.245.48.Jung: Symbols of Tr.p.401.49.Ibid pp.369/370.1.Ibid p.138.BEETHOVENThe Outer Planets and the Embodiment of an ArchetypeThe first thing to understand about Beethoven is that he was one of the great prophets of theclose of the Piscean Age, and of our time, and that, as he said himself, he was "an instrumentthrough which divine rays might be disseminated among mankind", or "an instrument ofcosmic forces".Goethe said ".it is immaterial whether he speaks from feeling or knowledge,for here the gods are at work strewing seeds for future discernment".To anyone who issufficiently aware, and also aware of the power of music, this is evident in his works, whichshow a superhuman quality on a level that can only be compared with Bach, though in him itbelongs to a different culture-period, the classical one of Western Culture.The music, and themessage, of Beethoven are still not understood even by musicians, except in very rare cases,and one of these is the book by Wilfred Mellers "Beethoven and the Voice of God", reviewedat some length by me in the "Music Review" (Vol.45 Nos 3/4).In fact musicians generallyand certainly musicologists are no more, but perhaps less aware than other people that, toquote Beethoven himself, "music is the one incorporeal entrance into the higher world ofknowledge which comprehends mankind but which mankind cannot comprehend", and hespoke of "the world which does not know that music is a higher revelation than all wisdomand philosophy." "Every thought in music", he said, "is related to unity" - a statement thatshould resonate with astrologers, and it is astrology alone that is in a position to corroboratethe relationship of Beethoven to cosmic forces."An avataric being", writes Dane Rudhyar in "Occult Preparations for a New Age", "lives inthe act he performs, in the message he reveals.He was born for that purpose, and in manycases his life is a sacrifice, simply because it is not really 'his' life." "The line of transmissionof power (the power released through him) may reach much further toward the galacticcentre".The galactic centre in 1770, Beethoven's birth year, was at 23.20 Sagittarius, and at24.46 in 1850.Beethoven's Sun was at 24.43 Sagittarius, and Mercury at 22.40, so that theG.C.= the mid-point between Sun & Mercury.It is interesting to note in this connection thatBrahms' moon is at 23¡ Sag.and Mozart's Moon is at 17.48 Sag., within 50 minutes arc ofthat of Beethoven.According to Rudhyar, the seed period of the New Age began in 1844, withits announcement by the Bab, and the discovery of Neptune in 1846, and a new cycle startswith the release of cosmic power.Beethoven died in 1827; his symphonies, in particular, areimbued with a superhuman and daemonic energy that bears no relation to his individual andphysical existence, which indeed was a sacrifice in every sense.It is above all in the symphonies that Beethoven's relation to this new release of power, and tothe imminent change of cycle of human development and of astrological age, is apparent. 125First in the "Eroica" symphony, in E flat, the first of the really significant Beethovensymphonies, on the Promethean theme of the archetype of the hero, who is also prophet andbringer of fire.In the Fifth Symphony (C minor, like the piano sonata op.111, and with thesame key signature as E flat, of three flats) the end of the Piscean Age is announced - "ThusFate knocks on the door" (Beethoven) - with the four hammer blows on which the wholesymphony is based.It is the Last Judgement for the Old Age and the existing civilisation.Inthe remaining symphonies, except for the Sixth, which is virtually a tone poem on a greatriver - no doubt a synthesis of the Rhine, with which he grew up, and the Danube of Viennadays - Beethoven is developing the cosmogony and vision of the New Aquarian Age [ Pobierz caÅ‚ość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl przylepto3.keep.pl
.756.3.Ibid par.772.4.Ibid par.787.See also Alexander Ruperti in: Cycles of Becoming, which gives an excellentand full account of all the planetary and seven-year cycles.5.Jung: Symbols of Tr.par.340.6.Robert Graves: The Greek Myths p.156.7.Rodney Collin: The Theory of Celestial Influence p.290.8.Jung: Psychology and Alchemy p.335.9.Jung: Archetypes and the Collective Unconscious p.177.10.Ibid p.166.11.Jung: Psychology & Alchemy p.338.12.Jung: Archetypes p.348.13.Ibid p.167.14.Dane Rudhyar: Occult Preparations for a New Age p.163.15.This precise formulation is due to Wolfgang Dabereiner.16.Thomas Ring: Astrologische Menschenkunde Vol.3 p.104.17.A.C.Harwood: The Way of a Child - The Rudolf Steiner Press.18.Jane Roberts: The Individual and the Nature of Mass Events p.259.19.Jung: Mysterium Conjunctionis pp.38/39.20.Ibid pp.96/97.21.Jung: Aion p.46 Italics ours22.Goethe's work on colour was developed further by Rudolf Steiner and some of hisfollowers.Much material on the spiritual significance of colours is to be found inhis Three Lectures on Colour, and in several booklets by Gladys Mayer.23.Jung: Myst.Conj.par.333.24.See appendix.25.Plotinus: First Ennead, 8th Tractate.(Tr.Stephen McKenna).26.Jung: Symbols of Tr.p.177.28.Jung Psychological Types p.425, Definitions.29.Rudhyar: The Planetarization of Consciousness.In Chapter 3 of this work Rudhyardevelops in more detail the relation of Self and Ego.30.Jung: Archetypes p.287SS.31.Jung: Myst Conj.par.343.32.Jung: Myst.Conj.par.342.33.Ibid par.485.34.Jung: Aion p.8.35.Jung: Two Essays p.94.36.Jung: Aion p.225.37.Ibid p.256.38.Jung: Archetypes par.420.39.Jung: Ps.Types p.425 under Ego.40.Jung Archetypes P.34 also p.216.41.Ibid p.37.42.Marie-Louise von Franz: C.G.Jung - His Myth in Our Time pp.275-287.43.Jung: Symbols of Tr.par.515.44.Ibid p.401. 12445.Jung: Two Essays par.154.46.Jung: Archetypes p.183.47.Jung: Psych.& Alch.p.245.48.Jung: Symbols of Tr.p.401.49.Ibid pp.369/370.1.Ibid p.138.BEETHOVENThe Outer Planets and the Embodiment of an ArchetypeThe first thing to understand about Beethoven is that he was one of the great prophets of theclose of the Piscean Age, and of our time, and that, as he said himself, he was "an instrumentthrough which divine rays might be disseminated among mankind", or "an instrument ofcosmic forces".Goethe said ".it is immaterial whether he speaks from feeling or knowledge,for here the gods are at work strewing seeds for future discernment".To anyone who issufficiently aware, and also aware of the power of music, this is evident in his works, whichshow a superhuman quality on a level that can only be compared with Bach, though in him itbelongs to a different culture-period, the classical one of Western Culture.The music, and themessage, of Beethoven are still not understood even by musicians, except in very rare cases,and one of these is the book by Wilfred Mellers "Beethoven and the Voice of God", reviewedat some length by me in the "Music Review" (Vol.45 Nos 3/4).In fact musicians generallyand certainly musicologists are no more, but perhaps less aware than other people that, toquote Beethoven himself, "music is the one incorporeal entrance into the higher world ofknowledge which comprehends mankind but which mankind cannot comprehend", and hespoke of "the world which does not know that music is a higher revelation than all wisdomand philosophy." "Every thought in music", he said, "is related to unity" - a statement thatshould resonate with astrologers, and it is astrology alone that is in a position to corroboratethe relationship of Beethoven to cosmic forces."An avataric being", writes Dane Rudhyar in "Occult Preparations for a New Age", "lives inthe act he performs, in the message he reveals.He was born for that purpose, and in manycases his life is a sacrifice, simply because it is not really 'his' life." "The line of transmissionof power (the power released through him) may reach much further toward the galacticcentre".The galactic centre in 1770, Beethoven's birth year, was at 23.20 Sagittarius, and at24.46 in 1850.Beethoven's Sun was at 24.43 Sagittarius, and Mercury at 22.40, so that theG.C.= the mid-point between Sun & Mercury.It is interesting to note in this connection thatBrahms' moon is at 23¡ Sag.and Mozart's Moon is at 17.48 Sag., within 50 minutes arc ofthat of Beethoven.According to Rudhyar, the seed period of the New Age began in 1844, withits announcement by the Bab, and the discovery of Neptune in 1846, and a new cycle startswith the release of cosmic power.Beethoven died in 1827; his symphonies, in particular, areimbued with a superhuman and daemonic energy that bears no relation to his individual andphysical existence, which indeed was a sacrifice in every sense.It is above all in the symphonies that Beethoven's relation to this new release of power, and tothe imminent change of cycle of human development and of astrological age, is apparent. 125First in the "Eroica" symphony, in E flat, the first of the really significant Beethovensymphonies, on the Promethean theme of the archetype of the hero, who is also prophet andbringer of fire.In the Fifth Symphony (C minor, like the piano sonata op.111, and with thesame key signature as E flat, of three flats) the end of the Piscean Age is announced - "ThusFate knocks on the door" (Beethoven) - with the four hammer blows on which the wholesymphony is based.It is the Last Judgement for the Old Age and the existing civilisation.Inthe remaining symphonies, except for the Sixth, which is virtually a tone poem on a greatriver - no doubt a synthesis of the Rhine, with which he grew up, and the Danube of Viennadays - Beethoven is developing the cosmogony and vision of the New Aquarian Age [ Pobierz caÅ‚ość w formacie PDF ]