Tuesday, August 21, 2012

Mysterium Tremendum


Perhaps, creating the Page 
and earlier, self-publishing all the fiction about the undead, I’ve lost face in eyes of serious writers, and personally I don’t read fantasy fictionbut… a grain of mystique in a narration always seemed nice for me. The essay is a part of my novel La Arme Blanche. 
Anthony finds his old essay and shows it to our dear boy Jocelyn.

Mysterium Tremendum


Cultural memorials in the form of ancient written or verbal creative works are parables and allegories, for the most part, be it the story of King Arthur and his Round Table or scriptural parables. Homer’s story of Ulysses and his travels and Myths of Heracles’ Labours show us an allegorical path of every hero towards his ascent. In the erotic and romantic stories of Adepts of Love and the Old Testament, in the myths of Osiris and Isis, in writings of Dante and Omar Khayyam, we can find ciphered descriptions of Creation of the world. The ancients knew what they wanted to say by means of the language of symbols; and Spirit, which “breathes where it wants”, is mighty every time when it revives the symbols and rites, giving them back their lost sense and entire initial power.
To all of us, who speak different languages, the legends were given in order that we could teach as well as learn to find and go on the path that leads towards our true vocation. Not a mere flight of fancy, symbolism of the ancients acts a double part: keeping truths from the uninitiated and at the same time discovering the truths for those who understood the language of symbols. Those who cannot tell difference between lies and truth will see only a fairy-tale. And a wise man can draw the curtain open and perceive the point.
We shall draw the curtain open now, in order to research some aspects of symbolism and the origin of so-called folklore.
The cosmogonic and mysterium-related myths, which survived in the form of tales, parables and legends, often relate to creative works by a folk, but contents of the folklore evidently indicate the myths’ descending from spiritual teachings which include universal symbols. We shouldn’t regard nature of folklore as a source of spiritual traditions: like an individual mentality, the collective mentality is reduced to memory, in other words, it can conserve and save, which folklore’s function is in, but it is not able to produce anything, especially on the transcendental level. The folk saves the lore or information, without its own knowledge, functioning as a subliminal collective memory, and the folk’s natural unawareness of a true sense of the lore, which the folk passes verbally or in writing, from generation to another, and which is clad in the bright dress of symbols, is a good guarantee of saving the spiritual legacy intact, in its true value, till the times when someone is able to understand it.
It’s known that many spiritual orders, like anybody else, trying to survive in their difficult times, often used this way of saving their system of symbols. Ultimately, it could be the only way of the last bearers to save their teaching, at least partly. For example, it’s reckoned that in this way domino, cards and Tarot have survived till our time, being entrusted by the ancient Egyptians initiated to human “vices” of passions and fear of the future.  Knowing laws and capabilities of the emotional and vital powers, adepts could wittingly choose fearsome symbols for better guarantee of saving a spiritual system. Also, it must be said that in their small circle, the initiated never stood upon ceremony with mental notions, and in this connection, there may be one more version of the origin of some symbols, which are so inadequate to the Puritan ideas of Good and Evil. When a spiritual order was disintegrated for some reason, all contents of its spiritual “cuisine” well might be thrown out to history. For example, calling a body “coffin”, the initiated named their scientific and charitable activity among laymen “adorning coffins and tombs.” About mother-nature, hardly forecasted and unruly therefore sacred and fearsome to the most of humans, the initiated could simply say as about a “whore, eating carrion and blood”, meaning the chaotic processes adopting experience and spending human vitality. Therefore we’ll take as guidance the words: “There is nothing secret that cannot be evident; there is nothing hidden that cannot be discovered,” and we’ll discover mysteries and restore sense of symbols, treading in footsteps of enlightened people of all centuries. We’ll try to penetrate in symbolism of one ancient spiritual system, which was robbed of a proper attention of philosophers and esoterics, supposedly because of the excessive exploitation of its symbols and fantasies by fine art makers and their ignorant fans.  The point in question is vampires.
Regardless of the true origin of the words (which is not ultimately known), I venture to suggest that “vampire” comes from “empire”, all the more that the further researching a vampire’s habits well corresponds to the sense of the word-symbol.  Who could the initiated call “imperious”, “grandiose”, “great”? Obviously, these and other titles indicate the one who has achieved a grandiose, that is a great, whole and illumed consciousness. To those who, using a traditional spiritual teaching, woke, carried a Great Work and reached their goal, the point, where the teaching of mystery itself has become the means and method of achievement, because mysteries always were and still are an institution, established for transforming a mere ignorance to the precious enlightenment. Therefore a vampire, in other words, a man with illumed mind and whole consciousness is almost immortal -- which is perfectly natural -- and almost omnipotent, since he has an enormous strength and supernatural powers. He commands spirits of nature and animal instincts as powers of consciousness.  He “lives alone”, that is, he realizes and fulfils his own individuality and wholeness. He “hunts alone”, that is, he is aware of his own responsibility for his choice.  A vampire’s works indicate activity of all secret societies, such as Rosenkreuzer or alchemists; they know and foretell things to come, penetrating in mysteries of nature and life (the story of Frankenstein), turning metals in gold, making the elixir or cure-all, and looking for the philosophic stone. Thus, by all these signs, we see the question is a direct description of attributes and ends of a whole divine consciousness and illumed mind. And we have only to decipher all the rest notions of this kind of folklore.
“A vampire feeds upon human blood.” Blood is a universal symbol of vital energy and strength of resurrection. A whole consciousness can live consuming the spiritual energy that flows through human consciousness. A whole consciousness can transform an ordinary consciousness, which ordinarily suggests death of a brain or mind sponging on the blood is an inevitable process.
 “On a full moon night, a vampire is especially dangerous.” As a body that reflects the sunlight, the moon is a symbol of subconsciousness that reflects the light of spirit. At a full moon night, at the most favorable moment of a fully reflected light of truth, an ordinary man can get enlightenment, and it goes without saying that any vampire is ready for offering his help to save any human from ignorance. A sad empiric cannot be more inspired and inspiring.
 “From a vampire’s bite a human dies, and then he returns to life as a vampire.” From a contact with a whole consciousness, an ordinary mind transforms, experiencing a symbolic death and consequently becoming whole too. A vampire’s bite on a neck or carotid artery of a victim symbolizes the influence of the illumed consciousness upon the ordinary one via the speech and ear, which leads to throwing back the former ideas or notions, at first, and to death of a human as a “welter of contradictions”, and then to his resurrection as an immortal and mighty entity, that is the next vampire.
 “A vampire sleeps in a coffin by day, and he goes for hunting by night.” For a human who has a whole consciousness, the revealed universe or “day” is a “coffin”, in which one can only sleep seeing the illusive dreams about “realization of wishes”. “Night” or internal world, on the contrary, is a field for activities of the illumed mind, for creative works or “hunting” as listening to divine intentions.
Also there is a version that a vampire sleeps “head down”, which is right too, because for a whole mind, the usual world is as though turned over. The mind creates when leaning on the heaven, and its logic, ends and values often are contrary to an ordinary mind’s.
 “A vampire can be recognized by the fact that he doesn’t reflect in a mirror.” The one, who has achieved the whole consciousness, reflects in the mirror of the world no longer; he has neither the past nor his personal history, nor the future.  He wholly belongs to spontaneity and magic of the current moment. Although living in the world, the human is free from limits of time, expanse and human notions.
 “A vampire can be killed by driving a silver stick or silver bullet in his heart.” Silver is a symbol of the material or female. All spiritual teachings warn their neophytes: if a human with whole consciousness is “tempted” being fascinated with a material end or thing, forgetting of the fact that he is the light, center and heart of all, then his “fall to life” takes place, and consequently, his loss of wholeness and immortality.
 “The sunshine does harm to a vampire.” According to spiritual systems, the daylight is only a reflection of a true source -- spirit or the “midnight sun” of adepts. Although the earthly human notions, which give life and assurance to ordinary humans, mean nothing for the enlightened man, but he has to defend his body (soul) and eyes (divine sight of beauty) from the influence of cruel emissions of the world’s “Augean stables” in disguise of pop-culture.
 “From a vampire’s attack a human can defend with garlic, holy water, prayer-bead and crucifix.” Garlic is a good herb for cleaning a human organism. Holy water is a symbol of purifying a human mind. A crucifix in hands or on a neck may be regarded as a reminder of the union of spirit and material. A crossing of streams of strength. Telling beads is a symbol of a purposeful concentration upon creation and of a discipline of mind. However, we shouldn’t think of any defence from a mighty vampire. That’s amusing, at least.
Even such a detail as a vampire’s hairstyle bears an important symbolic sense. The long curly hair of vampires and vampiresses, cascading on their shoulders, is an ancient symbol of wisdom and playfulness of a free illumed mind.
A story of a vampire-hunter describes a mystery of a search of his own wholeness. The hunter is an ordinary but fearless man, who has sublime ends, and who has to wish to kill a vampire, and as a rule, he has to spend much time in search of the “monster”. When his desire leads him finally to a vampire, he has to begin fighting with the “monster”. A result of the fighting is predestined, because the vampire is unconquerable, so the hunter becomes a vampire. Thus, mortals achieve the wholeness of mind through conjoining with their own divine ego.
It looks like all symbolists have chosen the labour (“adorning tombs”) on the summit of “sofia”, clearing for us the hidden sense of symbols and metaphors. In our time of information, integration, communication and open knowledge, there is no use of wasting time for some unfounded superstitious fears or energy-wasting contradictions. The highest summits must be visible; the call must be heard; and the path towards them must become a realized aim of a human. So, an offer to become a “vampire-hunter” should not seem so absurd for us any more. To search and to find him in order to act our divine part.
All of us are flame-born children of the galaxy. Around the flame, we build shields that hide the light. Becoming pupils or hunters, we can find our place among the true insiders of the universe, those who have given themselves to the search for the sake of the ancient flame that burns within them.
P. S.
The full moon approaches. Vampires are waiting.

[ the end of the essay ]


Monday, August 20, 2012

from stories of the traveler

J. J. Winckelmann is a secondary character in my historical fiction A Handful of Blossoms.
On the way to Rome, he is on a visit to Constantine-Leopold, Prince of Askanier-Hortz, who is Consort of my main character Constance-Otilia-Alexandrine, Princess of Anhalt-Welf, whose Diary the reader has a chance to read. After the supper party, in the Castle, the group of table-mates began story telling. One of two stories told by Mr Winckelmann.
Not fond of the 18 century, unlike many fine art lovers, I used the 18 century as setting for my story solely in order to use the image of Mr Winckelmann and, accordingly and necessarily, to mention the name of Antinous.

Read more at :
https://www.smashwords.com/books/view/168036

The storytelling at the party, in my novella, is not like that in “The Decameron”, by Boccaccio, since it’s not a time of the Black Death outside, around the Castle, and nothing frivolous or playful is in the tales told by the table-mates. The story tellers are two: Prince Constantine and his guest Mr Winckelmann. It’s like a contest, but whose heart the contestant would like to win? My heroine Constance-Otilia knows that not hers. Rather Sylvian’s. Sylvian is Constantine’s nephew and one of two listeners. She is the first to leave the party, and it remains unknown to her how the party ends, and even I, the Author, don’t know. I merely can say that it could end anyhow, from the storytelling getting more and more sublime to an orgy.
Constance-Otilia is going on 17; her relatives call her “Tilia” which is one of names of the lime-tree. The lime-tree I regard as my weird tree because it is abloom at the time of summer when my birthday approaches; thus, giving her the name of Wilde’s wife, I never forget of myself, though. Tilia is not my second-self, and yet I give her my features, which is perfectly natural too, in my view. And so, the young thing learns the world. While living at her Consort’s (if the life of the two could be called “family”) she makes her choice, meanwhile, at leisure, falling in love with her husband, first. Not for long. There are a lot of handsome gentlemen her husband’s precinct. After the disappointment in her husband, which happens at the supper party, mentioned above, she dreams of men, as usual. But the love story is not over. One mysterious and dangerous stranger comes in the life of the Castle.
The mental work going on; at leisure, between the events and adventures, she can’t come to a decision about the only man whom her heart took to -- but what more interesting is that all the 3 handsome men, among who she seeks to make her choice, are equally indifferent to her which circumstance cannot stop her young imagination, and in the end of the book, she makes her choice.

The manuscript of her Diary ends with the man’s name, and the reader cannot know whether the choice is fatal to her or not, but I, as the Author, can say that it’s fatal.
After a certain dangerous adventure, she begins feeling dubious about her own virginity, and she remains uncertain about it till the books’ end, but I can say that her doubt is unfounded and she is virgin till the book’s end. No wonder, for the men are indifferent to her.

It must be said, by the way, that as a reader, I always hated reading fiction in the form of a diary, unless it’s non-fiction or a diary is a part of a novel like the tremendous narration of “The Moonstone” (1868) by Wilkie Collins. As an author, I find the genre is nice.

read the first reviews for my 6th book of fiction A Handful of Blossoms--
at Elisa Rolle Reviews
http://elisa-rolle.livejournal.com/1687622.html
at Sam Kasbrick's Reviews
http://sikbookreviews.blogspot.ca/2012/08/review-handful-of-blossoms.html








Wednesday, August 15, 2012

classic



7 poems, translated or retranslated by Lara Biyuts

The Butterfly
by Afanasy Fet (1820-1892)


You’re right. An outline of Air
I am so sweet.
My velvet with its living blinking --
only two wings.
Don’t ask me whence, what brought me,
where I speed.
I light the flower down, here,
and now I breathe.
How long, so aimless, so effortless,
I want to breathe?
That’s it now, flashing, raising wings

I fly away.                   

Godsby Henri de Regnier (1864-1936)


I dreamt gods talked with me:
one god--streams- and seaweeds-clad;
one more--with vines and ears of wheat;
one more--winged, inaccessible
and beautiful in his nude;
and one more--with covered face;
and one more--he who plucks omegas and pansies, singing,
and two snakes enwind his gold thyrsus;
and others…
And then I said: here are flutes and baskets--taste my fruits,
listen to humming of bees and the humble rustle of willows and reeds.
And also I said: Listen, listen--
there is someone who speaks by echo’s mouth,
who is lonely amidst the world’s life,
who holds the double bow and torch,
he who is so inconceivably we…
O sacred face! I coined you as medallions
of silver, soft as autumn dawn,
of gold, hot as the sun,
of copper, gloomy as night,
of all the metals that sound clear as joy,
that sound fatal as glory, love or doom;
but the best medallions I’ve made of clay.
Smiling you will count them one by one,
and say, They are skillfully made; and smiling you’ll pass by.
So, no one of you saw my hands tremble from tenderness,
and the world’s great dream lives in me to come to life in them.
No one of you realizes that I’ve coined my gods of good metals,
that they are a face of all sacred, what we feel
in the forests, grass, sea, winds and roses,
in all phenomena, and in our body,
and that they are divinely we.

Mystical Evening Twilight
by Paul Verlaine


Memory and Evening Twilight
redden and tremble at the glowing skyline
of expectations in flames that retire
and thus enlarge, of which partition
mysterious or repeated bloom
--dahlia, lily, tulip, banewort--
climb around the trellis, and circle
amidst the morbific exhalations
of warm and disturbing perfumes, which is poison
--dahlia, lily, tulip, banewort--
flooding my senses, my soul and my reason,
they mix, into immense languor,
Memory and Evening Twilight.

Artist by Ivan Bunin


Pebbles rustling underfoot. Through the slopping garden,
he walks, glances round the basins
and subsides on a bench… Behind the new white house
the Yayla mountain range so close and heavy.
Heat-wearied, looking crayon-drawn,
the crane is standing in the bush, tail down,
a cane-like leg… He says, “What, Bird?
It’s nice at Volga now! At Yaroslavl!” Smiling,
he begins thinking of his own funeral,
how they will carry his coffin outdoors, how gray
the vests will be in the hot sunrays,
how yellow light, how white the house against the blue.
“From the porch, a fat old priest goes downstairs.
The choir follows him… Frightened and clicking,
the crane takes wing off the old fence and dances,
and with its beak it knocks on the coffin.”
A tickling in his breast. Dust rushes from the highway,
hot and especially dry.
He takes off his pince-nez and thinks while coughing,

“Yes, vaudeville… and all the rest is guille.”

La Lune Blanche
by Paul Verlaine


The white moon
shines in the woods;
from each bough
comes a voice
under the branch…
Oh, beloved.

The pond reflects,
deep mirror,
the silhouette
of the black willow
where the wind cries…
Let’s dream, now is the hour.

A vast and tender
appeasing
seems to descend
from the firmament
as an iridescent orb...
It’s the exquisite hour.

To Myself, by Leopardi

                    
And so, you’ll quiet down for ever,
o my poor, tired heart.
The deception’s perished--final, ultimate,
which I reckoned immortal within me.
I feel that not only the hope
of the dear deceptions has died,
but the desire for them has gone out.
Calm down, for ever. You thrilled enough.
There is nothing worthy of your
pulsing, and the earth is not worthy of the sighs.
Our life is melancholy and bitterness, no more;
the world is dirtiness. Quiet down and stop.
Despair for the final time. Fate doesn’t give us
other gift than dying.
From now on, despise itself,
the nature,
the insulting strength
that covertly bosses the show
of the universal vice,
despise the futility
of it all.

from the Epigrams by Marcus Valerius Martialis


“King of the birds, tell me whom you are carrying?”            
“The Thunderer.”
“Why he has not thunderbolts in his right hand?”                             
“He’s in love.”
“Whose fire did smite him?”                                                             
“A child’s one.”
“Why are you looking at god, your beak is half-open?”
“I’m whispering of Ganymede.”

* * * 

some of the poems are published as a part of my collected notes and essays The Sunless Parlour. Notes, stories and translations by author of the novels Forever Jocelyn and La Arme Blanche. Oscar Wilde, Tolstoy, Kuzmin, Clodt, Henri de Regnier, Verlaine, Chekhov, Stéphane Mallarmé, poetry, humor. “…in a sunless parlour where an old clock ticked in the shadows and a cat slept by the empty grate.” (Evelyn Waugh, Brideshead Revisited)