From the Sareoso Library, related to diagram 29, Sortu Ernealdi.
The fool said “We come to the mirror of fame, wherein you may be or see everything you may have been or will be”. We entered a long tunnel lit by a sort of blacklight, pale blue but flashing on and off at intervals. The fool was humming loudly and singing snatches of tunes which I remembered from my pasts.
There were great peals of bells and huge-sounding organs, flocks of flutes, resounding choruses of bass and baritone, great sussurations of bats and depredations of locusts; the sounds of insects in their millions, moths, ants and wings of grasshoppers singing as they flew, and as they flew they were joined by the little cabbages, great wheels, and winged messengers, which all arose until they filled the very heavens and the grand chorus of sound filled the heaven above and below.
There appeared to be many choruses and orchestras, led by charismatic figures who were conducting this great festival of soundless sound which swelled into fullness and faded into lambent silence, rising and falling into the depth of depths, where the small mirrors came into being and passed away as they mirrored the conductors of the songs as they came into the light and passed away, and all the lights of heaven, earth and water were lit and this orchestra of light and sound mixed together and gave me whatever I wanted of sight and sound, taste, smell and texture, balance; all the libraries were there if I wished to look them up, and all the books of shape and name were laid out before me, but the fool took out a mirror and said “What do you see?”
“I see you,” I said.
“And who am I?”
and I saw that it was me looking from the other mirror, focussed by my image of myself, which I had chosen at the great orchestra, and I met the great orchestra and chorus because I saw myself as the charismatic leader of a small part of the soundless sound chorus. I had wanted this power and ability and hung on to its attributes until I became one with them and then I knew myself and became me – and from this point I knew it.
I grew, and even then as I grew I became less able to do and I went, going down into silence at a higher pitch of soundless sound, and then into the great abyss where life came into existence, striking the balance between what has been and what may be. Wisdom exists in the moment after it has been – before, it is only possible. What is, is not this, not that – I am that I am, balanced by what I shall be, and el ha yam (being life itself; ‘god of the ocean’.)
The black hole opens at one end at death and comes out at the other at wisdom, which is the womb of the mother, which is zpe (zero point energy), wherein all energy is available to formulate all worlds.
Ignorance is knowing what you do not know, and provides the impetus for further proliferation, for it seeks out what is not known and provides the impetus for consciousness, which is further division into name and form.
Having divided into names, one has to divide names; that is to say, one must then add labels. Items must have identity – they must be recognisably different from one another.
They are aided in this by the faculties of mind, and further by the sense doors, which give further form and name to experience.
This is then given reality by contact with the object in view, and a feeling arises. At this stage, one desires more ordinary knowledge about the object and one desires the object until it has become one’s own.
When it becomes one’s own it then comes into being as a separate identity and acquires a life of its own, and this internal object begins its deterioration towards its death.
When it ceases to exist it then joins the kingdom of discarded shells and begins its descent into the abyss (the ‘black hole’), where it is separated into inner and outer being – the outer being is the focuses of power from which the cosmic egg develops after the entrance of cosmic truth into the egg of the mother.
El ha yam emerges as wisdom…
Then I entered a level land of dry grass, which was full of dried flowers that shivered with my passing, and Heesht saw before it an old lighthouse on the strand, which stood proud of and towered over the field it was built in, but this lighthouse did not seem to be of stone – it was built out of a material that shimmered in the light of day and seemed to be of ice. However it was not ice – it was transparent like ice but was not capable of being scratched.
Heesht came to the door of the lighthouse and entered. The stairs led upward in a spiral and they widened as they rose, so that each tread became an entry into §a larger space.
Heesht came to the first floor of the house, which contained a huge machine laid flat out in the space, not compact as a normal machine would be. Its parts were separated but were driven by a great finger which turned endlessly in its centre. The entire floor was turning and each part of the machine turned in sympathy with the great turning finger.
On the next floor the steps increased in width and depth – with each step upward the area extended, until it could no longer be contained by Heesht’s vision.
Heesht came to the third floor and it was in a cage of five sides – each side was in the likeness of a precious stone: one was diamond, one was a delicate topaz, then rock crystal, then emerald, followed by a shadowed citrine. These five sides rotated like wheels turning. They also turned about a centre where a sort of light was emitted – this light was a sort of black light that was shadowless; it rested on everything it touched and was not absorbed but automatically reflected perfectly.
On the upper floor of the house from where the lightless light came , Heesht came up to the top landing where the light would be, and found the centre held by a golden ball which was incandescent and surrounded by a sort of doughnut of substance which was as dark as obsidian but as solid as a gas and was studded all over with little sort of gyroscopes. These were of three types: what one would call a ‘top-bottom’, a ‘left-right screw’, and a ‘front-back’ gyroscope –
They moved over the surface of the doughnut and varied in size as they moved, and as they moved, each gave off a silver light as though each one was a sparkle of light given off by a spark struck from the hammer of a divine smith. This ball of emitted light was contained within a ball of glass and the ball concentrated the fire of the myriad thousand silver lights into what seemed to be a continuous beam which was reflected out through five windows: a citrine prism followed by an emerald prism, then a sapphire prism, an agate prism, and the final window was a giant diamond prism. They all rotated around the golden central ball, and around the centre of each window of the lighthouse.
The top floor of the lighthouse was filled with sound, with the highest pitch being emitted by the central golden bell, and this sound was halved by the next stage so that there were twelve notes being sounded by the whole of the top floor at the same time – a seeming chaos of sound, but within it chaos in harmony.