Balder Ex-Libris - Godwin JoscelynReview of books rare and missing2024-03-16T01:56:42+00:00urn:md5:aa728a70505b2fae05796923271581c2DotclearGodwin Joscelyn - Robert Fludd Hermetic philosopher and surveyor of two worldsurn:md5:7a21a3ed2af1a7b154e21566b66478412019-09-05T01:01:00+01:002019-09-05T00:12:58+01:00balderGodwin JoscelynJew <p><img src="https://balderexlibris.com/public/img4/Godwin_Joscelyn_-_Robert_Fludd_Hermetic_philosopher_and_surveyor_of_two_worlds.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>Robert Fludd Hermetic philosopher and surveyor of two worlds</strong><br />
Year : 1979<br />
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Introduction. At the start of the seventeenth century the world was still fraught with
wonders and nothing seemed impossible. In December 1603 there was
a conjunction of Saturn and Jupiter, the hour-hands of the cosmic clock
which usher in new epochs and crumble old orders. <strong>...</strong></p>Godwin Joscelyn - Harmonies of Heaven and Earthurn:md5:f964e0cee7438035dd2009f10386e3402019-09-02T17:01:00+01:002019-09-02T16:04:08+01:00balderGodwin JoscelynConspiracyJew <p><img src="https://balderexlibris.com/public/img4/Godwin_Joscelyn_-_Harmonies_of_Heaven_and_Earth.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>Harmonies of Heaven and Earth Mysticism in music from antiquity to the avant-garde</strong><br />
Year : 1994<br />
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Preface and acknowledgments. This book was first written in the early 1980s as part of a project to assemble the materials for a study of ‘speculative music’. Its companion works are a pair of sourcebooks, Music, Mysticism and Magic (Routledge and Kegan Paul, 1986) and The Harmony of the Spheres (Inner Traditions International, 1993); two specialized studies, The Mystery of the Seven Vowels (Phanes Press, 1991) and Music and the Occult: French Musical Philosophies, 1750–1950 (University of Rochester Press, 1995, first published in French, Albin Michel, 1991); an anthology of German writers, Cosmic Music (Inner Traditions International, 1989); and two editions of older works, Fabre d’Olivet’s Music Explained as Science and Art (Inner Traditions International, 1988) and Michael Maier’s Atalanta Fugiens (Phanes Press, 1987). Harmonies of Heaven and Earth is the key work of this project, as it does not merely present the thoughts of others but attempts to make its own contribution to the tradition of speculative music. Rather than proceeding chronologically, it moves through successive layers of a universe which may broadly be called Hermetic. The book is organized in three parts. Part I discusses the theory and nature of music and its effects over the different levels of a “great chain of being” which stretches from the stones beneath our feet to the Empyrean Heaven. Part II returns to earth to treat the human dimension of music as it concerns the composer and listener, its moral and religious implications, and its relation to the hidden currents of history. Part III follows, in a chain of linked sections, with the speculative attempts to integrate music with mystical and esoteric theories of the universe: the shifting harmonies of the planets in their courses, and the correspondences of the seven notes of the diatonic scale, the twelve of the chromatic scale, and the unlimited range of harmonics. Part III contains material difficult to find elsewhere, but it is at times rather technical, and not all readers will want to attempt it, nor need they. Harmonies of Heaven and Earth has been published in Japanese, German, French, and (partial) Spanish translations, and has brought me many letters from readers. I welcome the opportunity to incorporate some of their suggestions and all of their corrections. In particular, my friend Nicolas Tereshchenko has enabled me to improve the chapter on Gurdjieff ’s Law of Octaves, and Todd Pratum and David Fideler (unintentionally) have made me reconsider my censure of popular music. I hope that the book will continue to be useful to people working with the esoteric aspects of music, both in theory and in practice. Earlville, New York, April 1994. <strong>...</strong></p>Godwin Joscelyn - The mystery of the Seven Vowelsurn:md5:873aa60d6c1cdfd95ece9e64aab6f4f82013-05-25T01:14:00+01:002013-05-25T00:16:49+01:00balderGodwin JoscelynMagicMusic <p><img src="https://balderexlibris.com/public/img2/.Godwin_Joscelyn_-_The_mystery_of_the_Seven_Vowels_s.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>The mystery of the Seven Vowels In theory and practice</strong><br />
Year : 1991<br />
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Few things in our daily lives are more mysterious than the vowels; few things more essential than these forms through which we shape our speech. As close to us as our own breath, almost as intimate as our thoughts, the vowels are hidden by their very proximity, like the object one searches for while clutching it in one's hand. Yet once they are noticed, paths open up on every side, leading to unsuspected revelations of sound, sense, and symbolism. This small book, which I believe is the first one on the subject in English, is intended to point out some of those paths. Without the vowels, we would be in a sorry state, having to talk to one another in hums and clicks, hisses and groans, as the beasts do : a possibility, but not an alluring one. A... E... I... 0... U... As we listen to the familiar sounds, which the inner ear of our imagination is even now forming as we read them, we may wonder what it is that actually distinguishes one vowel from another. It is not in the air coming from the lungs, which is the prime matter of our speech. Nor is it to be found in the vocal chords that flank the airpassage and vibrate with the current of breath to sound high notes or low. It is in the mouth that tone is transmuted into word, music into meaning. This is the vestibule of the body, open on one side to the world, and on the other to those dark chambers which so few of us understand or are even aware of. The mouth has a dual role, and its two functions mirror each other. First, it is the place where food is worked on by teeth and tongue and converted into fit nourishment for the body. Second, it is the place where the raw sounds of our vocal chords are worked into language, fit nourishment for the world of ideas that surrounds us. <strong>...</strong></p>Godwin Joscelyn - The Hermetic Brotherhood of Luxorurn:md5:e8072616ae3a315f55d144708979bbee2013-05-25T01:12:00+01:002013-05-25T00:16:49+01:00balderGodwin JoscelynEgyptMagic <p><img src="https://balderexlibris.com/public/img2/.Godwin_Joscelyn_-_The_Hermetic_Brotherhood_of_Luxor_s.jpg" alt="" /><br />
Authors : <strong>Godwin Joscelyn - Chanel Christian - Deveney John P.</strong><br />
Title : <strong>The Hermetic Brotherhood of Luxor</strong><br />
Year : 1995<br />
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The hermetic Brotherhood of Luxor was an order of practical occultism, active in the last decades of the 19th century. It taught its members how to lead a way of life most favorables to spiritual development, and gave them detailed instructions in how to cultivate occult powers by working on their own. <strong>...</strong></p>Godwin Joscelyn - Mystery religions in the ancient worldurn:md5:1f075804de0b7c86effbfd5da3d4a7152013-05-25T01:04:00+01:002013-05-25T00:16:49+01:00balderGodwin JoscelynReligion <p><img src="https://balderexlibris.com/public/img2/.Godwin_Joscelyn_-_Mystery_religions_in_the_ancient_world_s.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>Mystery religions in the ancient world</strong><br />
Year : 1981<br />
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An extraordinary variety of paths was open to the Mediterranean and European peoples in the last centuries before, and the first centuries after Christ. The subjects of the Roman Empire enjoyed a freedom of choice in religious matters unparalleled until modern times. <strong>...</strong></p>Godwin Joscelyn - Music and the Occult French Musical Philosophiesurn:md5:ae5a5defa311b14322cb6425396f240b2013-05-25T00:26:00+01:002013-05-25T00:16:49+01:00balderGodwin JoscelynFranceMusic <p><img src="https://balderexlibris.com/public/img2/.Godwin_Joscelyn_-_Music_and_the_Occult_French_Musical_Philosophies_s.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>Music and the Occult French Musical Philosophies, 1750-1950 Eastman Studies in Music</strong><br />
Year : 1995<br />
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Chapter One. The Harmony of the Spheres in the Age of Enlightenment. Preamble: Defining Terms. A book of this kind inevitably uses words that are not fully established in academic discourse, and which it is well to define from the outset. The ''occult" of the title is the subject of the famous work of Henry Cornelius Agrippa, De occulta philosophia (first published 1533), whose three volumes treat of "Natural Magic," "Celestial Magic," and "Ceremonial Magic." The occult philosophy holds that the universe is articulated by a network of correspondences, "occulted" or invisible to the senses. Agrippa's various types of magic exploit these correspondences, using objects in the lower realms of existence (e.g., words, metals, herbs) to draw down the influences of their higher counterparts (e.g., angels, planets). Springing out of the occult philosophy are the "occult sciences" that include astrology, alchemy, magic, and divination. These all depend on the doctrine of correspondences. When that doctrine was discarded after the Scientific Revolution, they no longer appeared to merit the name of "sciences," and have enjoyed only a twilight existence ever since. Whereas the occult sciences are as old as civilization, the figure of the "occultist" has only existed since the middle of the nineteenth century. It refers to persons who pursue the occult sciences, especially in an eclectic way, in conscious defiance of scientific materialism. "Exoteric" and "esoteric," as used in this book, refer to the division within a field between what is generally known and accepted, and what is reserved for only a few. This "reservation" may be simply a matter of choice, as in the case of Christianity, whose esoteric doctrines interest only a minority of believers, or else it may be a formal division, as in the case of the Mysteries of Antiquity, which were only accessible after due qualification and trials. Because of such usage, "esoteric" often carries an implication of something mystical or spiritual that touches the deeper levels of the human being. When I use it in the context of music theory, it is to distinguish the exoteric theory that is content with rational analysis from the esoteric theory that introduces concepts from the occult sciences. <strong>...</strong></p>Godwin Joscelyn - Athanasius Kircher A renaissance man and the quest for lost knowledgeurn:md5:45797b022f06954b1e182dff090a21302013-05-25T00:23:00+01:002013-05-25T00:16:49+01:00balderGodwin JoscelynGermanySociety of Jesus <p><img src="https://balderexlibris.com/public/img2/.Godwin_Joscelyn_-_Athanasius_Kircher_A_renaissance_man_and_the_quest_for_lost_knowledge_s.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>Athanasius Kircher A renaissance man and the quest for lost knowledge</strong><br />
Year : 1979<br />
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The last of the polymaths. Scientific research in Kircher's day still had something half-magical about it, and its purpose was nothing less than to penetrate the workings of the Divine Mind. This was the ambition that spurred Athanasius Kircher, and it was the self-same goal that inspired many of his scientific contemporaries, from Kepler to Newton. But the seventeenth century also witnessed the opening of two fissures in human consciousness: fissures that have widened ever since. On a philosophical level, a dichotomy was posited between an objective, material world in which certainty and law prevailed, and a subjective world of mind which was largely an internal affair. A corresponding cultural gap opened between the sciences, whose preserve was henceforth the predictable world of matter, and the arts, which dealt with the realm of spirit, the unquantifiable but numinous domain of meaning, aspiration, and all that we call religion. These distinctions did not exist for Kircher, so much was he a child of the Renaissance. He spread the net of his interest and learning over a stupendous range of subjects. It is impossible to place him in a single category: was he the great musical encyclopaedist of the early Baroque, or the father of geology, or one of the first writers on germs? Was he the designer of magic lanterns and magnetic toys for noblemen and cardinals, or the translator of the Egyptian hieroglyphs ? Or, again, did he compile reports from the Far East, invent a system of logic and a symbolic language, or found one of the earliest museums? He did all of these, and much more. It is hard to think of a more universal man since Leonardo da Vinci. But while Leonardo's time was the high noon of the Italian Renaissance, Kircher lived to see Renaissance encyclopaedism ceding to modern specialization, and the whole basis of traditional thought challenged by the advances of natural science. <strong>...</strong></p>Godwin Joscelyn - Arktos The Polar Mythurn:md5:188f652ebd2ada273569b5a2d503c06e2013-05-25T00:02:00+01:002013-05-25T00:16:49+01:00balderGodwin JoscelynHollow EarthThird Reich <p><img src="https://balderexlibris.com/public/img2/.Godwin_Joscelyn_-_Arktos_The_Polar_Myth_s.jpg" alt="" /><br />
Author : <strong>Godwin Joscelyn</strong><br />
Title : <strong>Arktos The Polar Myth in Science, Symbolism, and Nazi Survival</strong><br />
Year : 1996<br />
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Because of my interest in the Harmony of the Spheres, over the years I have read widely in that unclassifiable corner of literature sometimes described as "metaphysical," "esoteric," or "occult." <strong>...</strong></p>