Julius Evola - The symbols of Aryan tradition: Eagle

Translation: AB Revision: IN

Symbol of the Eagle has a distinct traditional character. Being present in the myths and symbols of all traditional civilizations, the
eagle represents the most complete manner unchanging and immutable meaning that lies beyond the range of values and the
names given to him by the various races. Next, we specify that in the tradition of the Aryans eagle symbol corresponds to the
"Olympic" and the heroic character. That's what we try to show by reference to relevant aspects of the tradition.

"Olympic" nature of the symbol of an eagle is directly connected with the dedication of this bird Olympic god par excellence2 -
Zeus, the embodiment of divine light and royal dignity in ario-Greeks (like Jupiter ario-Romantsev). Besides the eagle, Zeus
honored with another symbol - lightning. We have no right to overlook this element because, as will be seen later, lightning often
complements the character of an eagle. It is also worth recalling that according to ancient notions of the Aryan world, the definition
of "Olympic" element can be given, contrasting his titanic, telluric and prometeicheskim forces. Moreover, it was lightning, according
to myth, Zeus struck the Titans. In ancient times the Aryans, who perceive any battle as a reflection of a metaphysical battle
between the Olympic and the titanic forces (including themselves while the troops of the former), we find the eagle and lightning, as
the symbols corresponding to such an outlook. Today, however, their deep meaning almost completely forgotten.

According to ancient ideas about Aryans life, immortality is a privilege: it is not just life after death, but heroic and effective stay in
that state of consciousness, which corresponds to the Olympic divinity. Revealed some parallels. A similar concept of immortality,
we meet in the tradition of ancient Egypt. Only parts of the human being ugotovlena eternal heaven-life in glory - is Ba, depicted in
the hieroglyph of an eagle or a falcon (falcon due to natural conditions in Egypt replaces the eagle, as the closest substitute, offered
by a physical reality to express the same idea.) It is in the form of a falcon transformed the soul of the deceased appears in the
ritual described in the "Book of the Dead" 3. It frightens the gods, uttering the following solemn words: "I am crowned as the Divine
Falcon, and now I can go to the Land of the Dead, and seize the kingdom of Osiris ..." This is a super-earthly inheritance is identical
with the Olympic element. Indeed, in the Egyptian myth of Osiris - a divine figure, corresponding to the original 'solar' state of mind,
which has undergone alteration and destruction (death and dismemberment of Osiris), resurrected by Horus. The deceased, an
introduction to the resurrection power of Horus, Osiris immortality, leading to a "revival" or "reconstruction."

Simply identify the numerous correspondences between their traditions and symbols. In the Hellenic myth says that creatures such
as Ganymede, carried and accompanied by a "eagles" to the throne of Zeus at Olympus. In the tradition of ancient Persia, King
Kai-Cavus is trying, like Prometheus, climb up to heaven by an eagle. In the Indo-Aryan tradition, namely the eagle brings magic
drink, which again makes Indra the lord of the gods. Classical Tradition adds interesting detail: according to it (even if it's even
unscientific) Eagle is the only representative of the animal world, able to look at the sun without taking glaz4.

All this explains the role of an eagle in some versions of the legend of Prometheus. While maintaining its "titanic" nature,
Prometheus is not ready for the attainment of the Olympic flame, and he wants to make this fire is not the property of the "gods",
but people. In expiation of guilt, in these versions of the legend of Prometheus chained liver is constantly tormented by an eagle.
This sacred bird of the Olympic god associated with lightning, which strikes the Titans, here is the equivalent of that same fire that
would set Prometheus. Thus, we are talking about a special kind of eternal torment. Prometheus does not have the nature of the
Eagle, "Olympian" beholding the light of the Absolute, the strength with which he wanted to learn, becomes the cause of his
torment and punishment. It helps to understand the inner tragedy of some modern representatives of the doctrine of "titanic
superman" and the victims were possessed of the same ideas - from Nietzsche to Dostoevsky. In particular as it concerns the
characters of the last books.

Returning to the world of Aryan mythology, we find in the ancient Indian tradition, one of the variations of the myth of Prometheus.
Agni in the form of an eagle or hawk plucks the fruit with the world tree, repeating the act in this way Semitic Adam, intending to
"become like gods." Agni, who is also a personification of fire, shall be punished for his deed. His feather falls to the ground and it
grows from the plant from which later would produce "Earth soma." Soma, the equivalent of ambrosia in India is a symbolic
substance, which allows to find "Olympic" state. The Aryan myth in its structure, although more complicated, is similar to the
Egyptian myth (the dismemberment of Osiris, Horus his recovery). Here you can talk about the support act and suffering
prometeicheskom subsequent "cleansing", which eventually becomes the embryo of the achievement of true purpose.
In the tradition of the Aryan Persia eagle often becomes the embodiment of "glory" or Hvar (Farn), which, as we have noted, for the
Aryan race was not just an abstraction, but the mystic power of the supreme and true power, descends upon the kings and rulers,
involving them in the immortal nature and witness their victorious. This Aryan "glory", as embodied in the eagle does not tolerate
deviations from the masculine ethic inherent Mazdaism. The myth tells us that it is in the form of an eagle the king of glory leaves
Yimu when he defiles himself with lies.

Based on these correspondences of symbols and their meaning becomes clear that in ancient Rome, an eagle carrying a definite
symbolic load. The ritual of the Roman imperial apofeoza5 is direct and irrefutable testimony to the Romans "Olympic" ideal. In this
ritual the flight of an eagle symbolized the transition of the soul of the deceased emperor in a state of "Godhead." We recall the
details of the ceremony, according to the original codified ritual conducted after the death of the Emperor Augustus.

The body of the deceased emperor was placed in a coffin covered with purple, put on a palanquin of ivory and gold. Then the coffin
was put up on the funeral pyre surrounded by priests, spread out on the Champ de Mars, and the rite decursing. Once the fire
ignited, flames flew between the eagle, which is symbolically indicated the flight of the soul of the deceased to the celestial spheres
to be reunited with his family Olimpiytsev6.

During decursing soldiers, aristocrats and military leaders, becoming the king around the fire, threw him awards received for
service. The deep meaning of the ritual is this: arias (and Romans) believed that their leaders have a genuine victorious force, but
not so much on a personal level, but as carriers of super-human, "the Olympic element" associated with them. So the Romans
during the celebrations of the victory of the leader assumes the attributes of the god Jupiter, Olympic, and it was kept in his temple
laurel wreath, so glorified the true winner, surpassing the human element. During decursing place "remission" 7 the above rite: the
soldiers and commanders returned awards, testament to their bravery and courage, his emperor, the true bearer of the "Olympic"
power, liberated and migrate to the divine plan.

This brings us to the analysis of yet another evidence of the presence of the "Olympic" spirit in the Roman world, also associated
with the symbol of an eagle. Traditionally it was assumed that the one who sat on an eagle, Zeus predugotovlyalsya to high
purpose or royal power, and thus emphasized the "Olympic" the legitimacy of an eagle and his chosen one. In the classical (and
particularly Roman) tradition also believed that the eagle is a harbinger of victory of the Aryans and the Romans, as the forces of
Olympic gods, it was understood that the victory of the Aryan and the Romance of "race" are all-conquering power of Olympic deity,
the god of light. The victory of the people reflected the victory of the Supreme Deity of the anti-Olympic, "the barbaric forces," and it
was a harbinger of an eagle, a bird of Zeus.

This allows a better understanding of the original sacred (and not merely allegorical) meaning of the symbol of an eagle depicted on
the banners of imperial Rome, and signa vexilla8. Even in the era of the republic, Rome eagle was the symbol of the legions, and
said that "every legion - the eagle, and no one without a legion eagle" 9. Banner supplemented Eagle with outstretched wings and
lightning in its claws. Here again we encounter the "Olympic" symbols: a sign of the power of Jupiter is combined with the divine
bird, is a lightning god conquers and destroys the Titans.

It is necessary to emphasize the following detail: the eagle depicted on the banners of the barbarians. Among them we find the
signa auxiliarium10 and sacred totem animals (such as a bull or ram), related to other influences. In consequence, these signs
have penetrated into Roman world, joined with the eagle, often giving rise to a double symbolism: the legion now characterized the
second beast that added to the eagle on the banners, while the eagle remained the symbol of Rome itself. In the imperial era
military character often became an eagle symbol of the Imperium.

We know about the role of the character of an eagle in the subsequent history of the northern and Germanic peoples. It may seem
that the eagle left the Roman world for a long time and moved on to the German tribes, manifesting itself in the end, as a purely
north-European character. It's not quite true. There seem to forget about the original origin of the symbol of the eagle, which is now
the emblem of Germany, as once - the Austrian Empire, the last heir of the Holy Roman-Germanic Empire. The German eagle - is
in fact a Roman eagle. It was Charlemagne in 800 AD, at the time of the proclamation renovatio romanii imperii11 restored the
fundamental character of an eagle, making it the emblem of the state.

Historically a symbol of the modern Reich - a modification of the Roman eagle. No doubt with a deeper, supra-historical point of
view, one can assume something more than just borrowing. The eagle is present in the Nordic mythology as one of the sacred
animals of Odin, Wotan, and the bird depicted on the banners of the Roman legions, often adorned helmets old Germanic leaders.
Consequently, we can assume that Charlemagne took the eagle as a symbol of renewed empire, turned to ancient Rome and at
the same time unconsciously revived the ancient symbol, ario-Nordic tradition, preserved in fragmentary form of semi-conscious
and the various peoples in the period of aggressive wars. Whatever it was, subsequently became the only attribute of the eagle
heraldry, and his deep original meaning forgotten.

Like many ancient symbols, the eagle these days has become a symbol identified with a set of ideas. It would be absurd to assume
the existence of concepts, which we discussed above, in all cases when an eagle depicted on the flags and coats of arms in
Europe. But for us, the heirs of the ancient Roman spirit, everything is different, as well as to another state, our present ally, which
is the successor of the Holy Empire of the German nation. Knowledge of the initial value of the Aryan symbol of an eagle, the
emblem of our country revived, would fill an exalted sense of our struggle. It would help to restore the original tradition of the
ancient Aryan States, which saw themselves an army of the powers and acted, claiming the highest law and order forces, under the
Olympic symbol, the Olympic awakening power, destructive to the dark titanic entities.

Notes:

1 First published in the newspaper "New Life (Vita Nova) November 30, 1941, pp. 10-12 under the heading "Symbols of the Aryan
tradition Eagle" - Comm. first.

2 Par excellence (Fr.) - for the most part, mostly. Where: In the highest degree, the supreme. - Note. first.

3 LXXVIII, 1-4, 46 Wallis-Budge translation. "The Book of the Dead" - Ancient traditions of other world famous with the III
millennium BC, since the Old Kingdom - Comm. first.

4 Luciano, Icarom. (Lucian, "Ikaromenipp or flight Cloud), XIV.

5 Apoteosi (it.) - from the Greek. Apotheosis, ie "Deification." Here: Grand ceremony of farewell to the Emperor and his
posthumous glorification. - Note. first.

6 Dione Cassio (Dio Cassius' Roman History ), LVI, 34; Erodiano (Herodian," History of the Roman emperors ), IV, 2.

7 Remissione (it.) - remission, from Lat. Remissio, ie "Reduction, relaxation." Where: The reverse process. - Note. first.

8 Signa, vexilla (vexillum) (Latin) - Elements of the military paraphernalia of imperial Rome. Veksilla (hence the name of the science
of flags - veksillologiya) - the banner of the Legion, Signa - a distinctive sign of the legion and cohorts, usually in the form of an
animal (eagle, wild boar, a lion, the Minotaur, a horse, wolf, etc.), which was carried in front of troops on a long shaft. Based on
these emblems of military units sometimes got their names. - Note. first.

9 Cesare, Bell. Gall. (Caesar, "Notes on the Gallic War), IV, 29; Tacito, Ann. (Tacitus, "Annals") I, 39; Hist. I, 61, 89, 100.

10 Signa auxiliarium (Latin) - Protect characters. - Note. first.

11 Renovatio romanii imperii (Latin) - Restoration of the Roman Empire. - Note. first.

Appendix A.

EAGLE, article from the encyclopedia, "Myths of the peoples of the world"

(New York: "Soviet Encyclopedia", 1982)

Eagle, eagle, symbol of the celestial (solar) power, light and immortality is one of the most common deified animals - symbols of the
gods and their mythologies messenger in different nations. Typologically the earliest stage of the cult of OA is reflected in the
mythologies, where OA serves as an independent character (originally, probably, - totemic origin). Evidence of the deification of O.
as a special object of worship (Nasr, OS-god"), known in ancient central and northern Arabia. Preservation of this habitat ancient
Semitic (or even obschesemitskih) ideas can be traced by comparison with Ugaritic tradition of mifoepicheskim Danniilu and his son
Akhate. Motif otlamyvaniya wings O. combines Ugaritic epics with drevnemesopotamskim, where the sacred lion-OA Anzu (Anzud)
must overcome his struggle with the gods.

In ancient Mesopotamia, O. had been a symbol of the deity of war Sumerian Ninurta (Ningirsu), in ancient Greece - Zeus (see
image of Zeus in the form of OA in Crete), in Rome - Jupiter. The Finns, Samoyed peoples, Yakuts, Tungusic peoples and other
peoples of Siberia, the cult was connected with O. view him as an assistant or a shaman impersonation (where normal image on O.
shamanic clothing) and a cultural hero. One of the major feats of OA as a cultural hero in mythologies of Eurasia (especially
Siberia) and North America is the kidnapping of their light or assistance provided to them in getting people to fire. The myth of
Indians and mono yokutov O. coyote helps to raise high the stolen sun and hang it on the east. In Yakut O. associated with the
legend of bringing them to the fire for some die-cutting ceremonies of healing ritual fire could only be performed by a man whose
ancestor was O.

Claude Levi-Strauss in the study of mythology Indians of North and South America, calls the myth of the main destroyer of nests O.
According to this myth, the hero - a young man climbs a tree to destroy the nest, O., in the South American myths - macaw parrot
(or another day bird of prey). When he stirred up chicks, O. enters into negotiations with the hero and offers him a means of making
fire. In other embodiments, the same myth of the hero from the very beginning as a defender of children by O. Crow Indian myth,
once lived a man who the boy, while playing, fell into the fire and burned half of the face. With grief he decided to leave the house.
Supernatural aides encouraged him to ask for help from the OS, and he promised to help the hero on the condition that he would
protect his chicks from water spirits. The hero agreed, and O. led him to the sun, whose children have cured it with a magic mirror.
In gratitude the Indian taught them different games and returned to the O. He soon killed a mythical aquatic creature that eats
babies O. A. When children grew up, they took home a hero. This myth is not only famous among the nations today, but in ancient
America, cf. Aztec legend about the foundation of Tenochtitlan, where, on the one hand, according to O., sitting on a cactus that
grew on the stone (so far, O., cactus and stone are the emblem of Mexico), on the other hand, tells the story of the search tree with
which to make fire. Similar myths are known among the nations of western and southern Siberia - Ket (Yenisei Ostyaks) Vasyugan
Chant, Tofs (Tofalars). The most important agreement between Ket and American Indian myths harrier nest OA is that they are
myths about the origin of the fire, about getting him a hero of O. (parrots, other birds, or sometimes a jaguar), which lives with her
children at the top of the world tree . The myth has far-reaching analogy between the mythology of ancient Mesopotamia,
particularly in the complex of myths, reconstructed on a number of later reflections and practically coincide with the US-Siberian
variant.

According to Sumerian myth of Lugalbande, ruler of Uruk, O. Anzud in gratitude for the assistance it gave Lugalbande chicks are
his qualities as speed of movement, ability to reach any place. This myth can be considered as an early literary treatment of a
Sumerian versions of the myth of the destroyer (defender) socket A. The myth of Gilgamesh describes a tree whose branches in O.
Anzud in the nest lodged the chick. After Gilgamesh cut down the tree, O. moved to the mountains (the later motive O. relocation to
the mountains is known from Akkadian epic). Another version of the myth of harrier nest Island, close to Ket, is reflected in the
Sumerian text, which describes how children are O. Anzu Ninurta to the light (the underworld).

Go to the Middle East transformation of the same myth (and indirectly reflected in fairy folklore of many nations, including the Slavs)
can be attributed, and the Georgian legend, on which OS in the underworld of children devoured the neck, and when the prince kills
O. grateful bar exports Prince from hell. In identical Chukchi and Eskimo myths O. wife is also his wife Raven (cf. the analogy of the
bird myths of Zeus). She has two children - and voronenok eaglet. O. forbids children to fly in dangerous side to them, but they
violate the ban three times, and the third time the eagle kidnaps foreign OA (OA split motif). O. possible to return him only with the
Raven, which the eastern nations paleosibirskih usually acts as a fire or light dobyvatel. The juxtaposition of OA and the crow is
typical for some North American Indian, North Asian (especially Yakutia) and the Australian myths. The Indians Haida, Tsimshian
(and some others) in North America known to the division into phratries, O. (or wolf) and crow (which confirms the nature of the
totemic myths). In Tlingit phratry Yale associated with the raven phratry Kanukov - with OA (or wolf). According to the myth Haida.
Raven, adorned birds at his home, tired, and therefore made a bad bill OA. The opposite situation is represented in the Yukagir
tradition according to which the black crow because it pecked O. dualistic myth Yakut contrasted bright deity Homporun Hotoy - the
progenitor of the people and the head of the upper O. Hara Suoron evil spirits - progenitor of ravens and that part of the Yakuts,
whose totem was once a crow. With OA were associated white shamans, with the raven - black. Such a correlation O. and crow as
opposed to polar binary classification of social and mythological characters typical for the northern area of Eurasia and the
Americas. The same juxtaposition of archaic OS and crow found in the social symbolism and myths of the South-eastern Australia,
where the wedge-tailed moiety differed O. and Raven. This opposition, O. and Raven took the form of a dualistic myth.
Along with the plot, which is opposed to the other OS mythological bird (Raven, sometimes the bar, etc.) are fairly common and
such mythological motifs, which are opposed to O. other animals, especially the lower (water) in the world.

Extremely widespread in mythology and art of Asia and adjacent areas has the motive of struggle, O. and snakes. According to the
Akkadian myth of King Ethan, once a snake, and O. friends, but then became enemies after O., fearing that he and his children did
not have enough food, devouring serpent. In the epic of Gilgamesh, as in typologically with similar descriptions in the myths of
many other nations, OS communicates with the top of the tree of the world (cf. O. on top of a cactus in Aztec myth), and the snake
is associated with its roots.

A similar representation for the Indo-European reconstructed by comparing the ancient Icelandic tradition with the ancient Indian
(Vedic). It is assumed that images of combat drevneyuzhnoaraviyskih O. O. snake represents the solar deity, and the serpent -
deadly start to associate with the moon. In drevneamerikanskom myth about the origin of Mixtecs are told that two children of the
gods on behalf of the "Wind-to-nine-snake" and "Wind-to-nine-cave" became, respectively, in the winged serpent, O. and then as
cultural heroes brought the first sacrifice to the gods. According to the myth of the initial migration of the Aztecs, the name O. The
Snake was one of four leaders of the Aztecs. The two most common mythological character of animals - the most powerful in the
world of animals - the lion and the most powerful in the kingdom of birds - often joined OA in a single image of the lion-mixed O.
(eagle-lion), cf. Anzud. In ancient Mexico, the names of groups of soldiers-0. Warriors and jaguars, on the contrary, contrasted with
the details of the cult. In the Old Testament in the vision of Ezekiel (see Art. Ezekiel's vision) serves hybrid winged creature with the
faces of O., a lion and a bull.

If the archetypal myth of the abduction of the fire are usually associated with a bird, sometimes - with OA, then at the same time
they can be detected and the symbolism of fire diametrically opposed elements - water. OA is associated with the myth of procuring
fresh water. Thus, among the Tlingit O. master appears well with fresh water. In the Hutt and drevnehettskih myths (including the
myth of Telepinuse), in rituals of purification of the imperial couple and construction rite, O., as a messenger of the gods, is sent to
the sea returned, O. reported that he saw the old gods, bowed down in hell, in the Vedic hymn OS brings a sacred drink Soma from
the sky to the god Indra (RV IV 27, I). This shows that the relationship with O. Water is determined by its role as a binder between
the different worlds beginning (as in the myth of the harrier nest OA) and different generations of the gods, such as the messenger
of the gods, able to quickly cover large distances between these worlds.

Common mythological motif represents O., abducts the child, which he miraculously saves (as a baby - Gilgamesh in later versions
of the legend has come down in the transmission of classical writers), or lifts to the sky (as in the Greek myth of Ganymede, Wed
similar motif on a platter pozdnesasanidskom 6 in. from the Hermitage with the image of the goddess, heave a sacred bird, and two
boys - the symbols of Mithra and Kochi, parallel with the flat Maya, etc.), or carries the hero myth, rolling from one world to another.

In Hurrian myth of Gurparantsahu explains how Arantsah (Hurrian name of the Tigris River) becomes an OA and "air" flying at
Akkad. The same idea of the OS, the river is reflected in the ancient Hittite name of the river in Asia Minor HaraS-hapas (literally
"O.-stream"), which has a match in the ancient European gidronimike (kelto-illiriysk. Arlape, Eriaf) and therefore is being built to
obscheindoevroleyskim names of the rivers, as well as in the archaic Slavic name of the river Orel. O. bond with water due to one
of the Indo-European names tabuisticheskih A: Lat. aquila, Eagle" (with further derivatives of the words: aquilo, the north wind,
aquilus, dark-brown," "brown-black," etc.) from aqua, water."

Belonging to the lower world is determined to undermine the role of O. Thus, in the Greek myth of transformation in the sea as a
punishment for the OV Pandreya brother Prokridy who stole the gold of the temple of Zeus the dog (whose bird was the OS). In the
Tlingit is a myth, where the killer is an unfaithful wife in a shelter, O., married Orlice and hunts eagle "guise", and adjusts the whale
to the village of his former compatriots (the same opposition OA kit as in other American Indian and paleosibirskih myths).

Some of the mythological, later ornamental motifs associated with OA, witnessed by monuments of art. The image of the OS that is
associated with cosmogonic ideas and the myth of the cultural hero, is extremely common in the symbolism of the primitive and
tribal societies, as well as the ancient world (especially Asia Minor). In ancient Greece, O. (sometimes in the grip of Perun) - the
most important attribute of Jupiter, receiving (especially in the Hellenistic period, under the influence of Oriental cults) the added
value a solar symbol. The art of the Renaissance and subsequent periods reflect traditional motifs from classical mythology (O.
carrying Ganymede of Rembrandt). The image of the double-headed OA, which is probably a reflection of the original characteristic
of the two-term (symmetric) structure of many archaic motifs associated with OA, and later became very popular in the art (already
in ancient Asia Minor in the Hittite period) and in heraldry. The heraldic significance for OA is characterized by more Schumer (D.
with a lion's head), the combat of ancient Rome Insignia, the image of A. (white, black, single-or double-headed) in the State
Heraldry Byzantium, Poland, Germany and other countries (two-headed O. - most important part of the emblem of Tsarist Russia).

The biblical metaphor O. embodies divine love, strength and power, youth and vigor, but also of pride (the latter value corresponds
to the role of these birds in the medieval legend of Alexander the Great, who attempted to reach the sky with the help of two O.).
Ornamental stylized O. - a typical piece of furniture medieval churches, especially Roman (which are characterized by "eagles'
capitals' and 'eagle's chair"), as well as liturgical vestments and objects (including Orthodox).

Due to the legends of "physiology" (eagle soars to aging and sun, plunging it into a magical power, youth and health gains) OA is in
the Middle Ages the symbol of baptism, and resurrection, the deepening of the religious and didactic meaning as a sign OA
sublimely ardent Love also contribute to the religious legends of the Island, having a custom to offer up their babies to the sun, and
the supernatural strength of this bird (which supposedly can contemplate the day-star, without prejudice to the eye).

OA is a symbol of the Evangelist John, and one of the "four apocalyptic beasts," and in the secular emblems attribute of justice,
vision (in the allegory of the five senses), pride.

Passing more of the ancient world tradition of combining into a single composition diametrically opposed characters - O. and snake
- in the Middle Ages takes the value of struggle of Christ against Satan, and in modern times - turns into a political heraldry. O.
Symbols as an embodiment of the words used in the 18th century. E. Swedenborg. In the literature, especially poetry, modern
times, ancient mythological motifs (the image of the poet as Ganymede in the early poetry of Boris Pasternak: "Fire forearms
Studion hug Eagle") are interwoven with the later medieval symbolism, which often combines the two most universal zoomorphic
mythological characters - About . and the Lion ("all understand, seeing the lion, seeking to trace, and an eagle flying to him,"
Gumilev). Andrei Platonov in the story "Jan" used the archetypal image of hunting for OA, in which the bait is a person (as the
Indians Hidatsa) and the opposition hunter: O. flips (which is typical of mythopoetic thought).

Appendix B.

Articles from the Encyclopedia "Myths of the peoples of the world"

(New York: "Soviet Encyclopedia", 1982)

BA in Egyptian mythology, one of the elements that make up the human essence. Egyptian writer 4. Horapollo, who wrote a treatise
on Egyptian hieroglyphics, translated by B. Coptic as "soul." This value is used to this day, although the concept of "soul" does not
exactly match the representation of B. In the Egyptian Old Kingdom period, according to the "Pyramid Texts", the possession of B.
ascribed only to the gods and pharaohs. B. was conceived as the embodiment of strength and power. They could be several (plural
am Bau). Later, according to the "Text coffins" and "Book of the Dead", was considered the embodiment of B. vitality of all the
people that continue to exist after their death. Living in the tomb and remains in full communion with the dead, BI can be separated
from the body and move freely, it makes "exit day" of the tomb, rises to the sky, accompanied by a person in the afterlife. B. carries
out all the physical functions of man: eating, drinking, etc. depicted as a bird with his head, and sometimes by human hands. B. As
gods are often not sacred animals (eg, B. Sebek - Crocodile, Osiris - Ram, B. many gods - a snake) or any other deity [sic, in
Latopole Khnum (Esna) considered B. Shu, in Gipselise - Osiris, in Leontopole - Hebe, on the island of Elephantine - Ra]. B. had
not only people but also many cities Germopol, Butoh, Ierakonpol etc. - Comm. first.

Yima (avest. Iima), etc., pers. Yama (Iama), in Iranian mythology ancestor of humanity, culture hero, creator of the benefits of
civilization, the organizer of social organization, the lord of the world in the era of millennial golden age. With him immortality
prevailed, there was no disease, old age, death, moral evils ("Videvdat II, Yasna" 9, I-5). Etymologically, the name is interpreted
as a "twin", "double". The image goes back to the Indo-Iranian (cf. the first man in Pit of Vedic mythology) and the Indo-European
epoch (cf. skandhas. Ymir), to archaic myths about twin brothers, sons of the sun. In some versions of the myth, was sawn in half
by J. arm Spityury own brother, seduced by an evil spirit. Father J. Vivahvant considered (cf. al-ind. Vivasvat, the father of Yama),
the incarnation of the sun. Sam J. preserved features of a solar hero, though in "Avesta" it is usually death, the place of his actions
are always on the ground, people in the world. Indian sources have portrayed the Pit master the underworld, sitting in the assembly
of gods and souls righteous. Zapadnoiranskih of texts 5. BCE. Oe. found at Persepolis, that the Persian by the name of Yama, and
apparently in function was closer to Indian than Avestan image, a deity, and not man. In the Indo-Iranian myth bliznechnom first
man - the brother and husband of a woman progenitor (Yama and Yami in the "Rig Veda", Yima and Yimak in "Bundahishn").
Divine status attributed to J. "Aban-Yasht (V 25), it is placed on the holy mountain Jcar and creates a sacrifice to the goddess
Anahita Ardvisura sake of gaining power "over gods and men." J. claims to supremacy among the gods - a feature of the archaic
Indo-Iranian times, not preserved in the rest of the "Avesta". "Rigveda" (10, 51, 3) attributes the Pit opening fire on the earth,
civilizing mission. This is a myth in the Iranian tradition is represented in priestly aspect: J. kindled in Khorezm first on the
sacredness of other types of fire holy fire-priests Atur Farnbag. According to one version, the fire was later moved to the west, on
the other - in Kabul ("Bundahishn" 17, 5-6). Meanwhile, "Videvdate (II3, etc.) J. rejected the offer to him the god of priestly duties,
limiting supposedly the king. There is a sectarian differences in interpretation of popular image. On the J. obschetipologicheskom
level - character in the myth about the loss of the "golden age" as a result of universal catastrophe. On the Indo-Iranian level, he -
and the first ancestor of death, "the owner of two-legged and four-footed" (cf. "Atharvaveda" 4, 28, 3) that orders the world. At the
actual level of Iranian during the formation of the Zoroastrian orthodoxy original role has undergone a significant transformation J.:
he took away the halo perfect Indo-Iranian ruler "golden age" and the guarantor of immortality. Loss of the Golden Age was
declared Zaragushtroy consequence of hubris, and J. Fall, a quasi myth arose of how to J. bounced a symbol of his royal dignity,
hvarno. The second chapter, "Videvdata" and "Hom Yasht," ("Yasna" 9, 1-11) metaphorically, but "Zamyad-Yasht (XIX) openly tell
us about the transfer hvarno Zarathustra. The image of J. - darovatelya creature comforts and physical immortality - was opposed
to the prophet - the reformer of faith, the herald of spiritual immortality. The desire to discredit the priesthood of orthodox J., and the
fact that he - the only person archaic Indo-Iranian folklore, mentioned in the "Gathas" (32, 8), where there was no place even Mithra
and Anahita Ardvisura clearly indicate the primacy of his role on the stage of existence dozoroastriyskom mythology. In "Younger
Avesta 'ancestors depicted Gayomart.

KAI Cavus (Farsi) in Iranian mythology second king of the dynasty Keyyanidov, theomachist. KK (Kavi Usan avest.) with demons
build palaces on Mount Alburz and tries to rise into the sky, using the eagles, but the Eagles dumped him over the river Amul in the
woods, where KK are his nobles. According to the "Denkartu" KK has built beautiful palaces, old men, belonging to one of them,
are young again. On religious priestly Zoroastrian tradition, K. - a negative character, for acts against the supreme deity, intending
to extend its authority and to the sky, for which he was thrown into the ocean of air. Echoes of a negative attitude to KK preserved
in the "Shahnameh."

In the "Shahnameh" bold K. Kai Qubad inherits rules and one hundred fifty years. Wanting to destroy evil, he goes on a campaign
against the kingdom of the Devas in Mazandaran, but blinded gets together with his entourage in captivity to the White deva. KK
asks the assistance of the hero Rustam, which frees it and returns his sight by the liver deva. However, KK gets into trouble again.
Falling in love with the daughter of an insidious hamavaranskogo (Yemen, the central or northern Arabia) King Sudaba beauty, he
goes to war against the king, and again taken prisoner, of which he was again rescued by Rustam. Seduced by the devil, Iblis, KK
wants to climb with the eagles, bearing his throne in heaven, and will fail again: together with the eagles in exhausted he falls to the
ground near Amul, here it saves Rustam. - Note. first.

Farn [back to drevneiran. * Hvarnah-, usually interpreted as a symbol of solar radiant beginning, the divine fire, his physical
emanations (cf. the Vedas. Svar, light," "Lights," "shine", "Sun"), increasingly coming, the expanding force, something desirable,
has been achieved, where - "a good (good) thing," "dreaming," "good," "property". Zend. "Glory," "greatness," "shine," "Lights,"
"charisma," etc., and Sogdiana. prn, Glory," "sign," etc., Ossetia. farn, abundance", "happiness" and "peace", etc., pers. farna,
Wed-pers. xvarrah, imperial glory," "Majesty," Persian. farr, shine," "splendor," "splendor," etc., and Sogdiana. prn, frn, Sak.
pharra, position", "rank", "dignity", "title", etc.], in the Iranian tradition mythopoetic divine essence that brings wealth, power and
authority; majestic strength. Apparently, the FA acted as a sacred impersonal beginning of abstract or concrete (the material
symbol) character, and as personified divine character. In "Avesta" F. - usually a kind of sacred good percentage, "good thing"
("Yasht XVII6). They may possess the divine characters daruyuschie his people ("Datastan-and-Denike"), the people themselves,
for which the FA is usually embodied in wealth ("Yasht" X 8 "clear," 60, 2, 4), house wife , children, livestock, health ("Yasht XV
56, is known formula F. wishes for good health in later Zoroastrian texts). F. has common attributes of food, food that is in the
Iranian language can be denoted by the same word as F., or its derivatives. FA serves as a good spirit-guardian of the house, in
case of death of the owner, he leaves home, unless certain conditions are met (see the reflection in Ossetian tradition saying
"quiet, do not forget about the FA at home," the notion that parental F. does not go into the realm of the dead). AF has a particular
village, region, country, nation. In some cases, says F., hidden deep in the water ("Yasht XIX 51-64), on AF associated with the
waters and rivers, with the sun acting as a giver F. ("Denkart"). Sometimes AF is realized not only in material form, as symbolically -
as happiness, share the fate of (in this sense it is comparable with the Greek Tyche, the Roman Fortuna, genius, etc.). It is this
characteristic of AF seems to Aryans in general, priests, Kawi, Zarathustra ("Yasht" X 105). Those who have AF, - "the owner of the
good fate." FM - the object of praise ("Yasht XIX), he is invincible and powerful: he wins the satellite, which is in the form of radiant
fire ("Before the blazing fire flies Mitra, powerful Farn Kawi", "Yasht" H127). The image of a shining, F., the highest share of the
divine which is in the possession of supreme power (the king), was embodied in the king's nimbus. A more recent tradition of
learned image as a symbol of permanence F. Shah's government in Iran. AF as a proportion of the fate of marriage and was
associated with funeral rites. Wed, such as reflected in the later tradition: the evidence of Armenian authors Favstosa Buzand (5.,
"History of Armenia, IV 24) and Khorenatsi (late 5th early. 6 cc., "History of Armenia III 27) according to which the royal tomb - a
place where the king's FA after his death; Tajik idea that the soul of a ram (to be associated with AF) helps the soul of man to cross
the bridge leading to heaven, etc. In the Ossetians in introduction of the groom's house the best man shout "F. walks! "wedding
songs are sung F., etc. Iranian religious and mythological tradition was alien to the idea of a bad F. Summary mythology about how
the FA leaves its owner, is associated with Iimoy, from which flew into F. shape of a bird varegtsa ("Yasht XIX 32). The same motif
occurs later. AF is not only associated with animals, but often transformed into a zoomorphic images. The connection with the bird
varegna F. (Falcon Vargan, the incarnation of Veretragny) may indicate a reference in "Yasht (XIV 36) on an amulet of feathers,
which brings respect, gives F. reconstruction (G. Bailey) to view the F. in the form of ghazal. Widespread, especially in Sassanian
art was embodied the image of a ram as F. This links with the FA Veretragnoy, whose attribute was a ram. Starting with Shapur II
image as a symbol of the ram god F. became widespread, and Ammianus Marcellinus, reports that in one battle Shapur II had on
her head ornate headdress in the form of a sheep's head (Res gestae XIX1, 3). Similar images are known to Kushano-Sasanian
coins, objects of dishes and utensils. In the Pahlavi treatise 6. "Karnamaki Ahtahsheri Papakan" the image of a sheep on a horse
stands as the embodiment of royal keyyanidskogo F. Wed use of the image in the structure ram royal throne: the "Shahnameh" Kai
Cavus gives Rustam throne in the form of a ram. Apparently, this symbolism was more deeply rooted. Already on luristanskih
bronzes, on the stele of Untashgala at even earlier seals marked characters with a crown, decorated with rams' horns. Images of
sheep are present in numerous zoomorphic handles vessels in the Central Asian Sarmatian and ceramics of the first centuries. Oe.
(Sometimes a sheep instead serve goat, boar, dog, etc.). BA Litvinsky interprets them as zoomorphic symbols F. - guardian of the
vessel. Not excluded in the form of communication F. ram with Ossetian "master of the bedroom," Award Suite offspring (a kind of
substitute for "ruler bedroom" is a "holy sheep," to which the marriage ceremony is requested that the boys were born, Wed
connection F. with marriage ceremonies). With a personalized way of the divine, F., may be linked to the discovery of gold amulet
with Kuban inscription containing the name of Uatafarnes, as interpreted by several investigators, F. (deity) of the home. In the
Iranian tradition, there are many examples where the FA was represented in human form. In the Manichean Sogdian-version of the
tale of Caesar and thieves thief, dressed in royal robes, turns to lying in the tomb of Caesar, declaring that he is likely to FA, FA as
a special deity was a member of the Sogdian pantheon (reconstruction VB Hennig). In Bactria in the Kushan F. portrayed as a man
in robes. Widely known images of male deities Far (p) of the Kushan coins on.

Iranian FM derived from - * hvarnah influenced the formation of similar concepts from neighboring peoples (cf. ancient Turkic qut or
fame. * Slava), and in some cases they have borrowed (cf. Tocharian Iranism perne, param, or possibly Slavic "guys the guy "as a
designation of social and age categories of men ready to marry).

Special prestige that was associated with the concept of F. predetermined extremely widespread use of "F." in onomastics
(especially royal).

Y THE LAST LAMP

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Julius Evola - Hitler and the secret societies

Translation AB

It is noteworthy that a number of French authors attempted to study the relationship between German National Socialism and
secret societies and initiatic organizations. The reason for this was the version of the alleged origin of the occult movements of
Hitler. This thesis was originally nominated to the well-known and highly implausible Pauwels and Bergier book "Matin des
Magiciens" ("Morning magicians"), in which National Socialism was defined as the unity of "magical thinking" and technology.
Expression used there sounded like "Tank divisions plus Ren Gunon": a phrase that could make this an outstanding
representative of the traditionalist thought and esoteric disciplines with indignation to roll in his grave.

The first misunderstanding arises here - a mixture of the mystical element to the mythical, while they do not have anything in
common. The role of myths in National Socialism is undeniable, for example in the idea of state-Reich, a charismatic Fhrer, Race,
Blood, etc. But before you call them "myths" should be attached to them the concept of Sorel's "motivational ideas, energies"
(which usually are all offered by the demagogues, ideas), and do not assign them to a magical dimension. Similarly, no rational
person does not think about the connection of magic with the myths of fascism, such as the myth of Rome, or about the leader-
duce a greater extent than is the case with the same French Revolution or Communism. The study would have gone otherwise,
subject to the assumption that some movement without knowing it, were not entirely subject to human influences. But in the case of
the French authors is not the case. They do not think about the influences of this kind, but on the particular situation created by the
real-existing organizations, some of which were more or less "secret". Similarly, some spoke of "unknown superiors" who are
supposed to have brought about the National Socialist movement and Hitler used as a medium, although it is unclear what goals
they might pursue in this case. If we consider the results disastrous consequences to which National Socialism led, even indirectly,
those goals were to be dark and destructive. It would be possible to identify "occult side" of the movement that Guenon called
"counter-initiation." But the French, the authors also put forward the thesis that Hitler, as "medium" at some point, freed from the
tutelage of "unknown superiors", like the poor, and that during this time the movement took its fatal direction. But in this case, we
must admit that these "unknown superiors" had no foresight and very limited ability, if were unable to stop their alleged psychic
Hitler.

At a particular level has been a lot of fantasies weave the origin of symbols and those of National Socialism. At the same time
referred to some previous organization, but to those who are extremely difficult to be attributed to a genuine and factual initiatic
character. There is no doubt that Hitler did not invent German racial doctrine, a symbol of the swastika, or Aryan antisemitism: all
this has long existed in Germany. The book, entitled "Der Mann, der Hitler die Ideen gab" ("The man who gave Hitler his ideas")
announces that Jorge Lanz von Libenfelse (the title was assigned to them), a former Cistercian monk and founder of the Order,
which has already used the swastika, Lantz, since 1905, produced a periodical "Ostara", of which Hitler certainly knew, and that
Aryan and antisemitic racial theories were already well developed.

But far more important in the "occult origin of the" National Socialism was a part of the Thule Society. There is much more
complicated. This company has grown from Germanenorden, founded in 1912 and headed by Rudolf von Sebottendorf who once
lived in the East and makes a strange booklet "Die Praxis der alten turkischen Freimaurerei" ("Practical rituals of the ancient
Turkish Freemasonry"). Practices described in it, included the repetition of sounds, gestures and steps, whose goal, as in alchemy,
initiatic transformation of man was. It is unclear from what Turkish masonic organization Sebottendorf was in contact, and also,
whether he considered himself practices, or simply describe them.

In addition, it is impossible to establish whether these practices are adopted in the Thule Society, headed by Sebottendorf. It would
be important to figure this out, because many high-ranking National Socialists of Hitler to Rudolf Hess, frequented the society. In a
sense, Hitler was already initiated into the world of ideas of the Thule Society by Hess during their joint conclusion of the Munich
Putsch failed after.

In any case, it should be emphasized that the Thule Society was less initiatic than a secret organization, which already had a
swastika as a symbol and was characterized by a strong anti-Semitism and German racial thinking. It should be cautious about the
thesis that the very name of Thule is a serious and conscious reference to the North, the Pole, by reference, which is trying to
establish continuity with the Hyperborean origins of the Indo-Germans - since Thule appears in ancient tradition as a sacred center
or sacred island in the Far North . "Thule" may be just paraphrase the name "Thale", the town in the Harz, where Germanenorden
in 1914 held a conference at which it was decided to create a secret "volkisch" party to combat the so-called Jewish International.
First of all, these ideas were put forward in his book Sebottendorf "Bevor Hitler kam" ("Before Hitler came"), published in Munich in
1933, in which he pointed to the myths and "volkisch" world that existed before Hitler.

Thus a serious study of initiatic connections with secret societies, Hitler is not going. Need to make some explanations about Hitler
as a "medium" and its ability to attract people. It seems pure fantasy, that he acquired these abilities initiatic path. Otherwise, the
same is assumed about psychic abilities of other leaders such as Mussolini and Napoleon, but this is absurd. Much better to
assume that there is a kind of psychic maelstrom that is the result of mass movements, and that it is concentrated in the person of
the heart and gives him a kind of radiant power, which is felt particularly suggestible people.

Medium quality (which, strictly speaking, are the antithesis of the initiatic qualification) can be attributed to Hitler with a few
reservations, because in a sense he was obsessed with (that distinguishes it, for example, from Mussolini). When he whipped up
the masses to fanaticism, giving the impression that some force is using it as a medium, even though he is in and of itself was a
very unusual and extremely gifted. Anyone who has heard Hitler's speeches, addressed to the delight of the masses, can not
disagree. Since we have already indicated our reservations about the alleged involvement of "unknown superiors", will not be easy
to determine the qualitative nature of this super-personal force. Relatively Theosophy [Gotteserkenntnis] National sotsialima, ie
regarding his alleged mystical and metaphysical dimension, one must understand the unique combination in this movement and in
the Third Reich of mythical, education and even scientific aspects. In Hitler can see many signs of a man with a typically "modern"
world views, which are essentially profane, naturalistic and materialist, while at the same time, he believed in Providence, whose
instrument he saw himself, especially regarding the fate of the German nation. (For example, he saw the hand of Providence in his
salvation after an assassination attempt in the East Prussian headquarters.) Alfred Rosenberg, the ideologist of the movement,
proclaimed the myth of Blood, in which he spoke about the "mystery" of Nordic blood and attributed it to a sacred value, and at the
same time he attacked all the rituals and sacraments of Catholicism as a delusion, just as the people of the Enlightenment. He
railed against the "dark people of our time," while attributing the Aryan man after the creation of modern science. Interest of
National Socialism to the runes, the ancient Nordic-Germanic letter-signs, should be regarded as purely symbolic, about the same
as the Nazis used some roman characters, and without any esoteric meaning. Program of National Socialism to create a superman
has an element of "biological mistiitsizma", but again - it was a scientific project. At best, it might be a question of "superman" of
Nietzsche, but does not supermen in the initiatic sense.

Plan "to create a new racial, religious and military Order of initiates, assembled around the divine Fhrer" can not be regarded as
an official policy of National Socialism, as Ren writes Hello, when shows such tendencies and even compares it, among other
things, with Ismailis in Islam. Several elements of the higher levels were observed only in the SS.

First, it is explicit intention of Reichsfhrer-SS Heinrich Himmler to create an Order, which should have been combined elements of
Prussian ethics and old orders of chivalry, especially the Teutonic Order. He sought legitimacy for an organization, but could not get
it, as the radical wing of National Socialism openly opposed this old Roman Catholic orders. Not being able to establish the
continuity of traditional, Himmler also sought contact with the Nordic-Hyperborean heritage and its symbolism (Thule), albeit without
the participation and influence of "secret societies", as described above. He, like Rosenberg, watching the Dutchman Herman Wirth
research in the field of Nordic-Atlantic tradition. Later Himmler with Wirth will research and education organization called the
"Ahnenerbe". It's pretty interesting, but no "occult origin" in this case, no.

So pure the result is negative. Fantasy French authors reached the highest point in the book "Hitler et la tradition cathare" ("Hitler
and the Cathar tradition"), Jean-Michel Angebera (Paris, 1971). This refers to the Cathars, also known as Albigensians, a heretical
sect that spread especially in Southern France between the 11th and 12th centuries and which had in the center of the fortress
Montsegur. According to Otto wound, it was destroyed in time, "a crusade against the Grail", as the title of one of his books. What
does the Grail and its knights had to this sect remains completely unclear. The sect was characterized by a kind of fanatical
Manicheism: sometimes its members preferred to die of starvation or some other reason as a demonstration of their separateness
from the world and their hostility to the mundane, the carnal and material existence. It is assumed that Rahn, with whom I
corresponded during his life, trying to convince the unreasonableness of his thesis was in the SS and that the expedition was sent
in search of the legendary Holy Grail, which was probably transferred to a safe place at the time of the Cathar fortress of Montsegur
destruction. It is believed that after the fall of Berlin, a military detachment reached the Zillertal and hidden this object at the foot of
the glacier, wait for better times.

The truth is that the rumor went the troop unit, which however were less mystical powers, namely, salvation and the Treasure
Reich. Two further examples show what can cause such fantasies when they are released into the wild. SS (which included not
only military units, but also researchers, and academic experts) sent an expedition to Tibet to make discoveries in the field of
mountaineering and Ethnology, and another - in the Arctic, ostensibly for scientific research, but also for possible deployment of
German military base. But according to this, fantastic interpretations, the first expedition was looking for a secret relationship with
the center of tradition, while the other was looking for contact with the lost Hyperborean Thule ...

ARKTOGEYA

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Julius Evola - Mystery of the Grail

Approaching the Mystery of the Grail

1. Literary prejudice
2. Ethnological prejudice

3. On the traditional method

4. The historical context of the Grail Mysteries

Mystery of the Grail. The imperial tradition gibellinskaya

1. Olimpiysky cycle

2. "Hero" and "Lady"

3. Hyperborean theme

4. The tradition in Ireland

5. Cycle of legends about King Arthur

6. Imperial legend - Master of the Universe

7. Friedrich - John Priest - Imperial Tree

8. Dante - Veltro and Dux - "The Hound" and "leader"

Approaching GRAIL MYSTERIES

Chapter 1. Literary prejudice

Anyone who wants to gain insight into romances and epics, to which the cycle of legends about the Holy Grail, along with many
other related works, must overcome a number of prejudices, and above all that which I call a literary prejudice.

I mean a certain bias, those who think novels and legends is just fantastic and poetic works, the products of individual or collective
creativity, and these people deny everything that has a higher symbolic value and goes beyond the subjective creativity. However,
it is this symbolic, objective and super-individual element is at the heart of sagas, legends, myths, tales of the exploits of the heroes
of the epics and the traditional world1. He was not always paid by the author consciously. The most important and significant
elements, especially in the case of works only partly collective, often expressed by the authors almost unconsciously, and they did
not realize that obey certain external influences, at some point, these effects are used direct intent or creative impulses of
individuals or groups of people to achieve their own goals .

Thus, even in cases where at first sight in the foreground are spontaneous, poetic or fantastic elements, they are merely a
convenient cover, means of expression, which will delay the account only the superficial reader. Some authors have attempted to
create a work of art only, and that he was quite successful - managed so that their work admired by those who understand the
aesthetics of the product and can be appreciated its estimate, but no more. However, this does not mean that these authors in their
"artistic works" and the creative impulses have not implemented anything more, they managed to preserve and pass on, and
sometimes higher maintenance update, which is always able to recognize the trained eye. Some authors certainly would be
amazed if they had just pointed out how their work serve to illustrate this assertion.

As a rule, creating works based on legends and their authors are not aware that creating something out of the ordinary art and the
human imagination, almost always, they had only a vague sense of the magnitude of those that stood in the center of their works.
Creative design, going beyond individual psychology, spread with sagas and legends, penetrating into the peripheral area of
consciousness and even beyond, that is, on the influence of more subtle, profound and important. From the point of view of
psychoanalysis, dreams are a state in which repressed and displaced from the effect of waking consciousness, begin to directly
control the imagination, to put in characters. Normal consciousness perceives them, not getting into their real content. What is
unusual, ghostly or disconnected they seem, the more reason to suspect the existence of latent, sensible and meaningful content.

In many cases, this is how one should treat sagas, legends, adventure, myths, and even fairy tales. Often the most fantastic,
strange, unbelievable and disjointed episode, which is the smallest aesthetic or historical value, and therefore usually left
unaddressed, ultimately the key to understanding the central element, encompassing the true meaning of the work, and in some
cases and higher historical value. In one legend (hereafter, I will show its connection with the tradition of the Grail) states: "Where I
have said about our science vague and cryptic, to say precisely and clearly everything." The Roman emperor Julian wrote: "When
the sacred myths are absurd from the standpoint of logic, the very fact that they urge us not to believe them literally, and to explore
and identify their hidden meaning of" 2.

So, this is the first prejudice to be overcome. It affects the way the medieval interpretation of the novels, and especially of literature
"true love" (Fedeli D'Amore). Since this type of literature is replete with a purely external elements of art and poetry, many consider
inappropriate for at least any attempt to give her extra-literary interpretation, ie to penetrate the mystery of poetic literature.
Meanwhile, these attempts are not only related influences, which produced a cycle of legends about the Holy Grail, but certain
organizations, acting behind the scenes stories.

Chapter 2. Ethnological prejudice

The second prejudice, which must be overcome - ethnological. It is mainly concerned with finding numerous hidden roots of the
cycle of legends, to which belongs the legend of the Grail. The researchers found only in these legends folklore fragments and
elements of the archaic, primitive, folk beliefs. It should be noted that such elements are actually present in the tradition of the Grail.
Moreover, they link the historical aspect, confirming that this tradition is alive and powerful, with supra-and initiatic aspects of the
legend of the Holy Grail.

First of all, it is necessary to extend the scope of the collective that the relativity of "creative" aspect, which I wrote earlier in relation
to individual works. Most people see in the folklore of spontaneous folk art or a fantastic collective work, mixed with superstition,
which in fact should be seen as an oddity. Under the influence of this prejudice so-called ethnological school, like the
psychoanalytic lines, studying the "collective unconscious", engaged in research which is always reduced to petty systematic
relegation of the fact that better and better to the level that the damaging and worse.

And now I would like to challenge the very notion of "primitive", which is attributed to some folk legends today. Such traditions are
not "primitive" (primordial) and in most cases they are nothing like the remains, dating back to the ancient cycle of civilization. I
therefore join the opinion of Rene Guenon, the so-called folklore almost always contains the traditional elements in the true sense
of the word, although sometimes they are distorted, fragmented and weakened. These elements have a great symbolic value, they
are not born in the minds of people, they are not even human origin, the only characteristic of them is popular feature is that they
"survived", given that these elements are part of long-extinct traditional forms.

These extinct traditional forms sometimes have their roots in the distant past so that it can not even describe the past, which is
hidden in the twilight of prehistory. In this sense, people act as more or less unconscious collective memory, the contents of which
originates from a istochnika3.

I also agree with Guenon, when he explains the curious fact that people in these cases are carriers of many elements of a higher
plan, for example, initiatic, which is essentially "nenaroden." When the traditional form is on the verge of extinction, its last
representatives may entrust an effort of collective memory that would otherwise be lost. In other words, it's the only way to save
what can still be saved. At the same time a natural lack of understanding by the masses - a sufficient guarantee that the esoteric
elements will not be lost, but will continue to exist as a kind of evidence of the past for those who are in a later era would
understand them and usvoit4.

This last remark is particularly true for elements of the alleged "pagan" West Nordic folklore, which are present in the legends of the
Holy Grail and King Arthur. These elements, if they are properly integrated (ie, return them to their original symbolic meaning, and
restoring vnutritraditsionnye mezhtraditsionnye connection), will give the actual content of some novels and epics, which were
highly appreciated in the medieval chivalric world and have been linked to the spiritual ideal gibellinskim Imperium and some
arcane traditions and groups, who have inherited this ideal in various forms.

Thus, clearly seen the difference between this approach and the psychoanalytic theories of the above subconscious and collective
unconscious, which has become a psychoanalyst a sort of "grandma's trunk." What it is not just, all content is considered one way
or another (to a greater or lesser extent) in terms of "everyday life", "atavism" and "irrational." The fact that all these theories are
considered "unconscious", but rather should be regarded as belonging to the superconscious. Absurd to consider the myths and
symbols and manifestations of archetypes "everyday life", because they are essentially within the domain of metaphysics, and they
have nothing to do with "everyday life", unless we're talking about the empty shells. I believe pointless argument, KG Young and
Richard Vilgelma5 that any positive opinion should be limited to the study of the manifestations of the "unconscious", which refers
to pure experience, without any reference to a transcendental element.

The fact is that when there are no reliable point of support, it is impossible to navigate in all kinds of experience, understand and
appreciate it, especially when he blindly identified with its partial manifestations, which are also often exposed to the factors of a
pathological nature. This is clearly evidenced by the results of various psychoanalytic interpretations. They do not rise to the
spiritual level. Moreover, even when they do not lead to subnormal world of neurasthenia and hysteria, causing aberrations such as
those described by Sigmund Freud in his book "Totem and Taboo", they nevertheless cause (as is the case with the theory of
"archetypes," Jung's) sense of confusion and uncertainties to which strongly influences the new superstitious cult of "vitality", thus
proving not only the absence of principles as the presence of erroneous principles.

Chapter 3. On the traditional method

It is also necessary to overcome the tendency to derive the basic theme of the Holy Grail and the Imperial Myth exclusively from
private historical trends, suggesting the existence of external reasons and empirical relationships. It is widely believed that the Holy
Grail - essentially a Christian legend. Some authors have expressed the hypothesis of its pagan Celtic proishozhdenii6, others are
in favor of the Indo-Chinese versii7, others support the version of the Syriac proishozhdenii8 and elevate it to some alhimii9. In
some cases, the Holy Grail is associated not only with the doctrines of the Cathars and the ancient Persians, but some authors
even tried to identify the characters and the historical places described in the legend (some call to France, others - Iran).

It is important to not even the fact that such comparisons are invalid, the main thing - the general spirit of inquiry. A characteristic
feature of the method, which I call the "traditional" (as opposed to the profane, the empirical and the critical-intellectual method of
modern research), is a special character or accentuation of the universality doctrine and its identification with the appropriate
symbols found in other traditions. This opens the presence of something that is the supreme and prior to each of these
manifestations, which differ from each other and at the same time are equal. Due to the fact that taken separately tradition can
express any idea more fully and more clearly than any other tradition. Therefore, attempts to identify the correspondence between
the different traditions represented by one of the most productive ways to understand and integrate what otherwise appear in a
fragmentary and obscure form.

I intend to use this method, although most modern scholars are different. First, they establish a relationship is not true, but only
inaccurate approximation. In other words, they explore the empirical and uncertain circumstances are always material of
communicating ideas or legends from one nation to another, from one literature to another. However, they completely ignore the
fact that wherever we see the effects better than plan level of individual consciousness, the establishment of linkages can occur in
an unusual way, not needing to match the specific temporal and spatial conditions and external historical contacts. In addition, it is
important that any comparison of these recent studies completed in the direction of care, rather than expansion prospects. For
example, when a scientist finds a match of some elements of the legend of the Holy Grail elements detected, for example, in the
Persian tradition, he believes that "the identification of first-hand" with the result, a researcher proudly announce to the world that
"the Holy Grail - a Persian symbol!" The observed relationship is not helping him to clarify one tradition over another, or to
understand a tradition, referring to the universal, metaphysical and supra-maintenance, which can be more clear and unambiguous
in the appropriate symbol, present in other traditions. In other words, the relationship does not appear in true perspective, and
regresses to a simplified two-dimensional model. Thus, there is no study of fertile material, which could not be better could send a
researcher into the depths, from surface measurements of the two to the third, which can help organize and interpret the collected
data.

Now I would like to make one clarification regarding attempts to interpret the Holy Grail in the context of historical characters and
situations, given that such attempts have been made in respect of other legends who have important connections with the legend of
the Holy Grail (for example, the legend of King Arthur and Prester John) .

Strictly speaking, these attempts can be traced so-called evgemeristicheskuyu10 trend that have adopted modern scholars, guided
by the constant search for any possible relegate highest to lowest. From their point of view, the characters of myths and legends -
only the abstract projection of historical figures, replaced their prototypes and become myths and legends. However, the truth must
be sought in the opposite direction: there are higher reality, the primary order, hidden in the symbols and myths. It may happen that
in the course of historical development of certain structures or characters embody these realities. When this happens, history and
sverhistoriya overlap and are integrated, in which case the human imagination can instinctively ascribe mythic features of these
characters and structures, because reality has become symbolic, and the symbol became a reality. In such cases, interpretation
evgemeristicheskaya completely distorts the true relationship. In fact, the primary element is a myth, and it should be considered a
starting point, a historical character or circumstances - only one of the possible and the resulting expression of a higher order of
things.

In other works I pointed out the true meaning of the absurd and random, at first glance, the relationship linking the various historical
characters in legends, although from a historical point of view of the characters do not overlap in either space or time. These
relationships are established, because such characters are perceived as equivalent manifestations of a single principle or function.
Many pedigrees containing mythological ancestor, appeared in the same way: a legendary pedigree vividly expresses the spiritual
continuity, which can be real without biological continuity in time and space. It is from this point of view should be considered
pedigrees of kings Holy Grail, Lohengrin, Arthur, Prester John, Geliasa etc. Moreover, such an ideal situation, arising from the
interaction of history and sverhistorii give us a clue to the genesis and content of the legend of the Holy Grail and its elements that
go back not only to the idea of Empire, supra, but also to one of its particular manifestations in the Western medieval world.

Chapter 4. The historical context of the Grail Mysteries

If we consider the texts that make up the cycle of legends about the Holy Grail, individually, we can see that they are repeated
several major themes expressed in the symbolic images of knights and their exploits. The main themes appear a hidden center,
spiritual exploration and testing, succession, or return to the legitimate throne, which are sometimes combined with the themes of
healing and revenge. Persifal, Gawain, Galahad, Oger, Lancelot and Peredur - different names under which depicts the same type
of man, the same way King Arthur, Joseph of Arimathea, Presbyter John and The Fisher King - equivalent figures and other
variations on a theme. It is also equivalent images of mysterious castles, islands, kingdoms and far dangerous countries, which are
described sequentially, creating, on the one hand, a strange surreal atmosphere, and, on the other - often makes the narrative
monotone.

I have already noted that all this has or may have the character of "mystery" in initiatic sense. But in fact, as expressed in the cycle
of legends about the Holy Grail, we must recognize the imposition of supra-reality of history. Here the symbols of the mysteries is
firmly linked to unclear, but living a feeling that in order to carry it out, it was necessary to allow the spiritual and secular crisis of an
era of universal-imperial Middle Ages.

Cycle of legends about the Holy Grail was born exactly in this very specific situation. Evocation of primordial and supra-motifs
crossed with the rise of the historical tradition of the point around which crystallize the material of different nature and origin of the
combined ability to express the general idea. Thus, we must proceed from the fundamental ideas, the internal unity of the various
texts, symbols, characters and their adventures and discover the hidden power of a single text and to continue to integrate the
other until, until we get a complete picture of the main themes. The construction of such motives to their universal,
mezhtraditsionnomu value and to the general history of metaphysics, it would be a repetition of what I tried to do in his other
rabote11, here I shall confine myself to pointing out the starting points, the most important for understanding the historical and
supra-historical values of the mystery of the Grail.

MYSTERY Grail. The imperial tradition gibellinskaya

Chapter 1. Olimpiysky cycle

According to our concept that existed among different peoples under the name of "tradition" was not something relative and
conditioned by various external and purely historical factors, but has always been associated with the elements of an essentially
unified knowledge, which represented a "constant".

So all the traditional teachings in one form or another always and everywhere claimed the existence of a single original race, the
bearer of transcendent spirituality, which for this reason was considered as a race of "divine" or "kindred race of gods." We have
defined this race as the "Olympic" to emphasize thus its inherent superiority, because its very nature is at its core it was weird. The
strength that comes from above, was in this race a permanent "presence" and that "the presence" of a higher power predispose
this race to the board, to perform the royal functions, making it a race of people "who have" those "who may", "Solar race ".

If the theme is the "golden age" of which in one form or another referred to in various traditions, was the recollection of a loop of the
race, then at the same time we can talk about the super-historical understanding of this race, its functions and its location. What
was once clear, over time it became more and more hidden. In view of the progressive involution of humanity, which is also known
to many traditions, and influence the function of this race became gradually visible, and direct contact between the historical and
super-historical elements broke. It is in this sense should be understood, for example, the doctrine of Hesiod, asserts that there is
no golden age the original died, but were invisible leaders smertnyh1. Topic of the golden age gradually shifted to the topic of the
metaphysical realm, in the mysterious, objective and ontological contact which consisted of all high potentates - as those who can
be considered the real heirs of the primordial tradition, and those who knowingly and with greater or lesser degree of perfection is
reproduced metaphysical realm of certain lands and certain forms of civilization, in a type of sacred empire, regnum.

This is recorded in the traditional concept of the "King of Kings," "Universal Lord," "King of the World" and its associated characters,
some of which are based on direct analogies, while others are mythologized memories of the land or lands, where it flowed the
original Olympic cycle.

These characters are primarily express the idea of "centrality": center pole, the center regions of the world, the central stone or
stone, which lies at the heart of the magnet. Further, they emphasize the "stability": the island in the middle of water, rock,
indestructible stone. And also the characters' invincibility and inaccessibility ": invisible castle or country to which it is impossible to
find a road, a high mountain, covered with forests; underground cities. You will often find in this context, images of the "Light of the
Earth," "Land of the Living," "Holy Land", and a variety of variations of "cimvolizma gold", which is also closely linked with the ideas
of sunshine, light, royalty, and the inviolability of immortality. All this is necessarily relevant to the primordial tradition and the
century-called golden. Other symbols refer us to the idea of "Life" in the highest sense of the word ("eternal food," "The Tree of
Life"), the transcendental knowledge, the invincible force, and all these images are combined in various combinations in the
fantastic, the symbolic and poetic descriptions of different tradition of the invisible kingdom, regnum, "top center of the world" - or
himself, or of its various forms and emanatsiy2. Chapter 2. "Hero" and "Lady"

As we said, the doctrine of the golden age is part of the doctrine of the four centuries that tells us about progressive spiritual
involution occurring in the course of history, from the most ancient times. Each of these ages, however, has a morphological sense,
is typical and universal form of civilization. After the golden age of silver should be corresponding to the type of priestly spirituality,
more feminine than masculine: we call it the "Moon" spirituality, as a symbolic silver to gold is like the moon to the sun: the moon,
unlike the sun - it's feminine luminary not having in itself the source of its own light. Hence the shift to spirituality, mediating function
due to the extroverted spirituality, characterized by "devotsionalnostyu 'rejection of his self, passionate and sacrificial ecstasy. Here
we are faced with the origins of the "religious" (in the strict sense of the word) phenomenon, in his ecstatic devotsionalnyh, mystical
variations.

Then the wild and materialized masculinity raised against this form of spirituality, and this is the archetype of the Bronze Age. Here
is a degradation of the warrior caste, and their rebellion against the spiritual caste, which in itself is no longer Olympic divine caste
of rulers, but only a set of priests. Rebellious soldiers peculiar rejection of priestly principles, pride, violence and militancy. The myth
that corresponds to this period - Luciferian or titanic revolt prometeicheskoe desire to usurp the Olympic flame. It's - the era of
"Titans", the era of the Wolf, the era of "elemental beings" whose memory is preserved in the traditions of separate fragments of
legends and epics of various peoples.

The last century - it's "Iron Age" or, in terms of the Hindu tradition, the "dark age". Appears desakralizirovannaya civilization,
knowing and glorifying only the earthly and human. In contrast to the decline of this form arises the idea of a possible restoration of
the cycle, which Hesiod calls the "cycle of heroes" or "age of heroes." In this case, the term "hero" should be viewed in a narrow,
purely technical and non-conventional sense. According to Hesiod, a "generation of heroes" is generated by Zeus, that is the
Olympic principle of how to restore the primordial state and give birth to a new "golden" veku3. But to realize this possibility, which
remains only a possibility, and not due to a natural stage that must be overcome and the "moon" priestly spirituality, but also the
status of a simple soldier, and titanium. These features can be seen in all the "heroic" figures very different traditions. It is in these
terms Achaean-Hellenic tradition described the Hercules prototype "Hero." His main enemy was Hera, the main figure lunar-
pantheistic worship. Hercules reached the Olympic immortality, becoming an ally of Zeus, the Olympic principle, in the war with the
"giants": and according to one of the myths of Hercules through the cycle "titanic" element (Prometheus) was released and
reconciled with the element of Olympic.

If you mean by "titan" who do not want to recognize the limitations of the human condition and tries to steal the divine fire, the
"hero" from the "Titanium" distinguishes only one stroke. Pindar has already warned against the desire to "become as gods," and in
Hebrew mythology curse of Adam is a similar warning, pointing also to the riskiness of such an attempt. Type Titanium - or a
different perspective, the type of soldier - is, in fact, the first matter of character. However, for a positive solution, that is, for the
Olympic transformation and reintegration into the original state, you must perform a double condition.
First of all: a test confirmation and masculine skills - from a whole series of adventures, adventures, encounters - but in a form that
is not an end in itself, lest there be clogging the "I" in order not to paralyze the ability to open itself to the transcendent power, only
through which the fire and may turn into a light and free. On the other hand, the exemption should not mean the end of the internal
stress, as a further test is an adequate statement on the quality of male supernatural level, which should lead to the Olympic
transformation, to the attainment of dignity, which is always in the initiatory tradition called the "royal". It is here that is radically
different from the heroic experience of mystical ecstasies and pantheistic exaltation. And here it should be remembered first and
foremost about the symbolism of "women".

In the Indo-Aryan tradition, each "god" - that is, each of the transcendent principle - has a "wife", called the term "shakti", which also
means "power." In the West, Wisdom, Sophia, and sometimes the Holy Spirit himself, acted as the images of the Virgin regal. And
in this wife, the goddess Hebe Hercules is also the goddess of eternal youth Olympics. In the Egyptian depictions give women the
divine king of the lotus, a symbol of new birth, and the "key of life." Nordic Valkyrie, as well as Iranian fravarti were images of the
transcendent levels themselves soldiers, by their lives and their victories. Roman tradition knew Venus Victrix (Venus wins), which
is considered "ancestor" of the imperial kind (Venus Genitrix - Venus ancestor). The Celtic tradition also tells of supernatural
women, which give the characters on a mysterious island to his love to make them immortal. Eve, according to etymology, means
"life", "living". In order not to continue the chain of examples, we have developed more fully in another knige4, we note only that the
widespread symbolism makes the "woman" image of life-giving and transforming power, which can be realized by overcoming a
purely human condition. But why is this force is represented by a "woman"? This symbolism is based on analogy. It should start
from the relationship between a man and a woman. These relations can be normal and abnormal. They are abnormal, when a
woman becomes a mistress of a man. The symbolism associated with this incident was not related to our main theme. We only
note that in this scenario we are talking about gynecological cratic (matriarchal) concepts, which are remnants of the loop "lunar"
and reflect the theme of human dependence and passivity of men in relation to the spirit, understood as a female element (Cosmic
Mother, Magna Mater, Mother of Life and so on) - a theme that is characteristic for the second, Silver Age.

However, this concept does not fit the more general idea of woman as hostess of the sacred, sacrum, as the animating principle, as
the bearer of "life", liberating, inspiring and transforming the usual "entity." This idea may enter, and in fact is, in the context of
spirituality, which we call the "heroic." In this case, we are looking for analogies and symbols should refer to the normal relations
between men and women, based on the fundamental concept of the masculine preserve its own nature. The spirit in the face of
machismo - a "woman": the man is active, passive spirit - even when confronted with the transforming and vivified by his power, the
hero saves the position of a man, husband, lord and master women, wives. Note along the way, that is considered the opposite of
symbolism symbolism is prevalent in the mystics and religious orientation among the authors, especially Christian, where the soul
itself often plays the role of women, the role of "bride".

Comparing this with the "signs" the center, we obtain a composite character: the Virgin Islands, the Virgin Tree, Virgin Spring,
Mistress or Queen of the Castle, the Queen of the Earth Solar, a virgin, hidden in the stone and so on. In particular, as a W idow, a
woman is a silent closure, abandonment, that is, tradition, strength or potency, which no one has more, who lost her "husband",
"man", and now awaits a new master or geroya5: same value and imprisoned in the dungeon of the Virgin, who is waiting for a
wedding and designed with the fate of the knight. On this basis, all that is said in the epic tales of chivalry and stories about the
adventures and heroic battles, perfect for fidelity to the "Lady" and hoping to have it, you can tell how the symbolism of masculine
qualities tests, tests required as a preliminary stage of transcendental integration the individual. And if in this literature, there are
female characters in the subject matter of temptations and dangers for the hero, it should not be interpreted straightforwardly and
unambiguously, that is, if it was merely a carnal temptation, but in a higher sense - as a danger for the hero to fall into the "titanic
"during his exploits. In this case the woman is a temptation coming from the transcendent power and knowledge, if possession has
the features prometeicheskoy usurpation or greedy pride. In the other version and it could be that someone has identified the
following words - "sucking death, coming from a woman," then there is the possibility of losing the very basis of the deep masculine.

Chapter 3. Hyperborean theme

Another indication of the fundamental traditions, we have analyzed with the necessary references and details in other knige6, the
localization of the original location of the center or "Olympic" Golden Age civilization in the "northern polar regions," which
subsequently became uninhabitable. Hyperborean tradition of origin, both in its original Olympic form and in its restoration "heroic"
type, was at the heart of the civilizing of races, which in the period between the end of the era and the beginning of glatsialnoy
Neolithic spread of the Eurasian continent. Some branches of this race came directly from the North. Others had their homeland of
Western Atlantic lands, where it was created something like a copy of a purely Nordic Center. That is why the various overlapping
characters, in fact and legend, sometimes referred to the North of the Arctic land, and sometimes - on the west.
Thus, different name Hyperborean center were moved to the center of the Atlantic: Thule, White Island, Shining Isle - Hindu cveta-
dvipa, Greek island Leuke7 - "the original homeland of the Aryan race" - aryanem-vaejo - Land of the Sun, Earth, Apollo, the island
of Avalon. In all Indo-European traditions of identical stories describe the loss of this country, which became In consequence of
mythological reasons - glaciers, flood - out of reach. This is a real historical fact, reflected in many of the concepts of tradition,
speaking of something lost, hidden or become inaccessible. For the same reason "The Island" or "Land of the Living" - a "living" in
the highest sense of the word should be understood as representatives of the original divine race - that is, the territory to which a
greater or lesser extent, are all symbols of the higher centers of the world, often is also "the land of the dead," and "dead" here
called the representatives of the scattered races. For example, according to the Celtic doctrine, ancestors of people had a God
Dead Dispater, living in the remote region on the other side of the ocean, the "Island Reach," where according to legend came the
Druids of the prehistoric inhabitants of Gallii8. In addition, the classical tradition claims that the former Lord of the Earth once the
king of the Golden Age, Cronus-Saturn, thrown from the throne and castrated (that is, devoid of the ability to "generate", giving birth
to a new offspring), is still alive and lives "in a dream" in the far northern region of the Arctic Sea, which for this reason is called
Kronidskoe more9. All this has led to numerous lead to confusion, but, in fact, in such cases, the ideas associated with the
Hyperborean theme, or simply transferred to the level of super-history, or attached to the general concept of the hidden and unseen
spiritual center. In our case, we must consider briefly on the forms in which this theme appears in the Celtic (and especially the
Irish) cycle. We are talking primarily about the traditions associated with Avallone, with the Tuatha de Danann, as well as with King
Arthur.

The significance of these traditions is not a purely local and historical. And geographic data in this case, as in many others, have
only symbolic meaning.

Chapter 4. Tradition in Ireland

The legendary history of Ireland is focused on the change of races, which in turn conquered and subjecting her, coming from the
mysterious North Atlantic Center, where sometimes they come back. "Historia Britorum" ("History of British") gives the name of this
center, "Hyperborea", but really, this is just a mythological Irish translation of the words: mag-mo, trag-mor, or mag-mell, which
mean "the land of the dead," the primordial North Atlantic tsentr10. These races make a lot of feats: they are constantly at war with
Fomhoire, giants or dark monstrous creatures that legends Christianized forms of antediluvian giants identified with the
descendants of Ham, or wild and Kaina11. These are the equivalent Fomhoires "beings elements" or "giants", against which the
Nordic tradition Edda fight Asa "divine heroes." They represent the power cycle "Bronze Age", the dark telluric forces associated
with water depths (in a cycle of Ulster), like the god Poseidon telluric. This applies to materialize and degraded in the direction of
titanic forces of the primordial age. The last remark is about the fundamental forces of these degraded in the Celtic tradition,
exemplified by the fact that the king Fomhoire, Tetra, also came from the lands lying on that side of the ocean, and that
inaccessible tower Conn, another king Fomhoire is on the "glass island in the middle of the ocean" and this obviously is nothing like
the name of the primordial center of tradition.

In any case, Fomhoires, in their essential aspects of the "dark" telluric race, place of the original group, who came to Ireland from
the Atlantic region, and race are Partolona. This race is gradually fading, and in Ireland there is a new nation, which has also the
origin as the first - a race Neymheydha. The name "Neymheydh" comes from the Celtic word "heaven" and "ancient" 12, and this
new cycle can be defined as an invasion of Representatives primordial tradition, preserved in a more pure "Olympic" state. In an
era Neymhedha the symbolic, which is an analog and Edda. In the Edda Asa "divine heroes," approached "creatures of the
elements" with a request for them to build a fortress in the "central region", the city of Asgard to earth Mitgard. As payment for the
work of giants demanded his "divine woman," Freyja, and besides, "the moon and the sun." Do not get what you want as Asa did
not allow the usurpation of the powers beings belonging to the lower elements, - Giants started the war, which resulted fatally, to
the "twilight of the gods." Similarly, in the Irish series Neymheydh Fomhoire used to build a fortress, but then, frightened, as if they
themselves were not conquered it, he destroyed ee13. But this did not prevent the fact that the descendants of Neymhedha yet
been enslaved Fomhoire who lived in the Tor-INIS, in a fortress on an island to the north-west of Ireland. And after that, after an
attempt to rebel, they were finally exterminated Fomhoire, just as in the sagas Eddic Aces struggle against the forces of the
elements ending twilight of the gods, the sir sunset. It seems that in both cases we are dealing with a description of the beginning
of "Titanic" cycle on the ruins of civilization, the right belongs to primordial era.

In the development of the Irish sagas mention an attempt to "heroic" restoration. We are talking about the cycle of the Tuatha de
Danann, and this expression can be translated as "people of the goddess Anu or Danu" 14. On this race says that she came to
Ireland, "from heaven" - hence "the wisdom and superiority of their knowledge," says Chronicle "Leabbar na hvidhe" 15. On the
other hand, indicated that they had acquired supernatural knowledge of Hyperborean regione16. Both versions are not
contradictory, but rather complement each other, as over-emphasizing the human nature of the primordial center and connection
with the last race Tuatha surviving descendants of the race Neymheydha who retired to the Hyperborean or North-Atlantic regions
to learn weird science - from their approach to some mystical objects. But on these subjects will be discussed: 17. Since
Neymheydha race is a "heavenly" and "old" race, whose reign ended with the beginning of a titanic cycle, the entire plot of the
relationship with the descendants of the Tuatha Neymheydha can be understood as a description of the reintegration of contact
with the original spiritual center - the air, and in the geographic projection of the Hyperborean or Atlantic West - contact, revitalize
and gave a heroic form of a new genus, the Tuatha de Danann18 who won again Fomhoire and near-race - Fir Bolg - and took
possession of Ireland. The head of the Tuatha, OGM - is "sunny" character - Grian Ayneh - with features that brings him to the
ancient Hercules. He seized the sword of King Fomhoire.

But the rule of the Tuatha came to an end. Lebor Gabala ("Book of Conquest") tells of the arrival in Ireland of a new race, race
"Mileadha sons" whose nature remains unclear. In the predominantly military aspect - the word "Mileadh" probably has the same
root as the Latin miles, "soldier", 19 - who has, however, due to higher residual tradition, the previous cycle Tuatha de Danann.
Thus, in the civilization continues to exist Mileadha symbolism of the "central region": these people is structured feudal order, with
the highest royal authority, located at Tara, "middle ground" - Meadhom - previously the former as a sacred center of the Tuatha.
The king was devoted to the kingdom in "stone of destiny" - lia-fail, "Lia Fail," which we will discuss below, which also belonged to
the tradition of Tuata20. As for themselves the Tuatha, they, according to some texts, left the country and become invisible
inhabitants of the wonderful "underground" palaces or inaccessible to people of the mountain caves, appearing among the people
only in exceptional cases. Other texts say that they returned to their original homeland, the island Avallon21. That said, both
versions are mutually beneficial, since it is only the notation of the two possible primordial center became hidden ("underground"),
and inaccessible. Celtic traditions represent the center as an Atlantic island, "Avallon", and it is important to note that the later the
island was represented as a place where women are attracted to the characters to make them immortal. The word "Avallon" comes
from the word kimriyskogo afal, ie, the "apple", and so Avallon - this "island of apples" 22. This, of course, reminds us of the island
of the Hesperides, "the other side of the Ocean" and the symbolism of the "golden" apples that Hercules was, having carried out
one of the feats, and that gave him the Olympic immortality. Supernatural women of the island have the ability to grant Avallon
"salvation" - and in the saga of Tir-nan-Aage, they claim that their land is not "no death, no decomposition of bodies," and that there
Oyzin hero be able to purchase "the crown of eternal youth" 23. But at the same time Avallon, "White Island" 24, also means "polar"
or "solar", "sunny" island. "The Island of Avallon," according to another possible etymology, in fact, is "an island of Apollo," God,
whose name was Celtic Ablun or Belen. And in this case refers to "sunny" and Hyperborean region, as Apollo is the sun king of the
golden age and Hyperborean regionov25. If the island is sometimes confused with the "glass island", this is due to the proximity of
their symbolism, because, generally speaking, walls of glass (sometimes from the air) often symbolize an invisible protection,
guarding some of the places to which access is closed. In some cases, it is expressed in the symbol rotating around the island of
fiery wheels. This - the idea of options is not available, always associated with a higher center.

The text, known as the Battle of Mag-Tured ("The Battle of Mag-Turede"), mentions that the Tuatha brought with them from the
North Atlantic homeland four subjects directly related to the teaching received in this country: stone, spear, sword and the vessel.
Stone called the "stone of destiny" or "royal stone" because it served as an oracle and let you know who, in turn, should be the
rightful king. Javelin - a "Spear Meadows", the god of lightning, which stated: "Who has this spear, do not lose a single battle." The
Sword - is invincible and indestructible sword Nuadha And, finally, the vessel - a vessel of the Dagda, Dagda boiler, able to feed
your content any number of soldiers. These items are the Tuatha de Danann appear again in the images of the corresponding
items of the Grail cycle, just like the location of the Grail is closely linked to the same island of Avallon, from the "White Island".

In the traditions collected in the "Annals of the Four Masters," is particularly evident theme of struggle and victory, understood as a
particular challenge. It is often repeated formula: "The King-so devastated such a time, in turn, became the king" 26. The most
profound meaning of this, a legend about a king in the Nemean forest, as we discussed in another place. The victory over a
particular character, culminating in his assassination, is a condition to take over the royal and priestly functions inherent in earlier
this character. Something similar is also needed to become a husband, "Divine Women" 27. Medieval knight's literature is full of
different variants of this theme: the test of battle leads almost automatically to the possession of a lady, passing from one character
to another. On the basis of so nazyvemogo "right love," and in accordance with the ethics of this literature was quite natural, when
Knight chose as the object of his desire to Damu's own master, believing himself stronger than he is in battle and being able to
prove it dele28. Particularly odd about all this, if you accept everything literally, is an almost complete departure from reality existed
in that era mores, and that alone would have to reveal the true meaning contained in the description of all these "adventures" 29:
obviously, that they appeared distant echoes of the theme selection on male qualities necessary for the possession of "the divine
woman."

According to "The History of British Kings" ("Historia Regum Britanniae") lived in Britain before the giants. Their leader was called
Goemagog. "Brutus" was considered a descendant of the Trojans, who founded Rome, destroyed the giants, and laid the
foundations of the British traditsii30. Goemagog - the equivalent of Gog and Magog. Such a biblical parallel is very revealing. Gogi
and Magog - is demonic hordes, always playing, as we shall see below, an important role in the imperial myth. They correspond to
Fomhoire, "creatures of the elements" or rintursam that Asa "divine heroes of the Edda," blocked the way to the wall "place of the
middle" - Mitgardu, that is the image of the primordial center. In a sense, these characters represent the demonic world of mass.
"Annals of the Four Masters" often refer to the uprising against the sacred dynasty of the Tuatha de Danann, as well as against the
subsequent military dynasty sons Mileadha - uprising organized by a race of the Fir-Domhnain or "race depths" of the telluric race
associated with the degenerated remains of the first inhabitants of Ireland, a fir-Bulg. Also, sometimes it comes to "race plebeian" -
aithe-ach-tuatha-, which, taking advantage of the holiday, killed and forced the lords of the Four Lords revolt against the high king,
dwelling in the "Mid-point" 30a. But as a punishment for this crime in the country hit by the general infertility, together with other
misfortunes: and all the kingdom is doomed to remain in that state until the last king's son, defeated and killed, would not return to
earth ottsov31. However, in the eastern legend of Alexander the Great and the devastation issyhanie "all the rivers, until there is no
source", is associated with the time of the arrival of hordes Gogov and Magogov32. In the same conditions and the kingdom of
ends Holy Grail, which turned into "Gaste Terre", "desolate earth" due to "deplorable crime," and will continue until the arrival of the
hero-avenger, hero of the reducing agent. In all this, as well as in other ancient pre-Christian Celtic traditions and symbols are the
all the major themes that were later embodied in the legend of the Grail. The final link in this chain - the legend of King Arthur.

Chapter 5. Cycle of legends about King Arthur

In all tissues of the legend, the historical reality of Arthur - who was dux bellorum (military leader) of northern Kimry in their fight
against the Anglo-Saxons between V and VI centuries BC - Recedes into the background in the face of the fact that his reign was
the archetype of the royal power, directly related to the Hyperborean tradition. In the end, the reign of King Arthur was actually
expressing a paradigm of sacred royal power, expressed in symbolic and super-historical complex. Thus, the historical link with
Britain Arthur's kingdom receded into the background. In medieval literature, this kingdom has more supranational character and
combines the best of knights, regardless of their nationality, and the influence of these traditions in medieval heroic Christianity was
so strong that everyone would like to see Arthur in their symbolic leader. And highly telling that every knight of the period aspired to
become a member of the Order of the mysterious "King Arthur".

The name "Arthur" lends itself to varying interpretations, but the most probable one is the one that elevates the name to the Celtic
word arthos - Bear and viros - chelovek33. Nenny already knew about the existence of such an interpretation: Artur latine sonat
ursum horribilem ("Arthur in Latin, so scary bear") 34. This means virility, which is dire, but at the same time, the name associated
with the symbolism of the Hyperborean, and again refers to the idea of a central or "polar" royal functions. Bear - this is one of the
sacred symbols of ancient Nordic cult, and at the same time, the astronomical symbolism it represents one of the "polar"
constellations (Big Dipper). But that's not all: in a mixture of traditional texts, symbols and names you can see the connection
between this constellation (together with its associated characters and the pole center) and the Thule name, meaning "White
Island" Hyperboreans, the center of primordial traditsii35. In the figure of Arthur converge so "polar" element, the element and the
element of Hyperborean regal, royal. Exclusively male and purely military character of Arthur as "a terrible bear" (ursus horribilis)
compensated for and balanced by the fact that Arthur is always as it is accompanied by complementary component Mirddhin or
Merlin, curator of supernatural knowledge and super-material power, revealing not so much an individual person, as the
personification of the transcendent and the spiritual side of the Artura36. The close connection between these two principles -
military and spiritual - is characteristic of "chivalry" of Camelot, and it is this feature determines the meaning of his deeds
committed. Chivalry Round Table, that is King Arthur, is not only a military organization. - "Those who elected to be members of
chivalry, - we read in Malory in" Death of King Arthur, "37, - feel more oblagodetelstvovanymi and highly esteemed than those who
got the whole world. And they leave their parents, their fathers, their wives and their children to follow the Order. " Grail itself is the
one transcendental element with which the knights must reach its fullness and perfection of his: and this is clearly seen in those
versions of legends, where the kingdom of Arthur directly identified with the kingdom of the Grail. It should be recalled episode
associated with the stones of Stonehenge - the stones that still exist today and do not cease to amaze many of its secrets - how
could such a long period to handle and install in the order in which they stand still and Segonde, these giant blocks, which are the
remains of the ancient pre-Neolithic sun temple? Merlin, ordering the soldiers to go and bring the distant mountains these huge
stones, said, "to do anything, brave warriors, and find out, bringing the stones," which is more powerful - the spirit, or a simple
power. '" The soldiers could not do it, and then Merlin himself, smiling easily implemented this zadachu38. The fact that a purely
military virtue in a cycle of legends about King Arthur is connected directly to the spirit, also stresses the following instruction
contained in the "History of British Kings" ("Historia Regum Britannian"): "Fight for your land and take, if it happens, the death of:
since death - is a victory and the liberation of the soul "39. This corresponds exactly to the classical concept mors triumphalis,
"conquering death", the central position of the whole of ethics inherent in the traditions of "heroic" type.

According to legend, Arthur proved his birthright to be the legitimate king of all England, to withstand the "test of the sword", ie
being able to pull the sword sticking out of a square stone, put on the altar of the church. This stone is a variant of "Stone of Kings",
belonging to the ancient tradition of the Tuatha da Danann40. Here we are faced with a double, but a fairly uniform symbolism. On
the one hand, it is - the general symbolism of the "stone lying at the base," which recalls the idea of a "pole", where - and allegory
and myth, pointing to the removal of male power (the sword) is from the polar principle. On the other hand, pull the sword from the
stone also means free from the shackles of materiality because, as the stone often means precisely this materiality. This is
confirmed by another episode where Arthur, led by Merlin becomes the owner of the sword Excalibur Kaliburn or who held over the
waters of a mysterious ruka41. About this weapon is said that it was made on the island of Avallon, that is what it has to do with
"high center." And the fact that the sword held above the water, again emphasizes that it is a force-free conditions of the material,
limited and sensual life, which has always had a direct bearing on the fundamental aspect of the symbolism of water. To overcome
this life to all those who want to receive the royal "mandate" from the "center" and to, in order to become king and lord in the
highest sense of those words. But the same need to implement those knights who want to belong to the retinue of King Arthur and,
eventually, to find the Grail.

Among the motifs characteristic of the British tradition, we mention yet those associated with the symbolism of the Round Table and
Arthur's seat. We select special characters not available to the earth: the kingdom of Arthur, according to Andrea Kappellano,
separated from the world wide flow of people through which spanned only a narrow bridge, full of dangers. This realm is guarded by
giants, and in the middle of it is constantly rotating zamok42. In this castle, known as the "royal palace" - caer rigor - or "lock-rich" -
caer golud - kept the supernatural vessel reclaimed King Arthur (according to tradition, "The spoiling of Annwn") from the king of
"another world". This vessel is the equivalent of one of the characters Hyperborean tradition of the Tuatha da Danann (vessel
Dagda), and like the Grail in the castle of the "rich" of the king, he is able to "saturate" any number of people with food, heal all
wounds and protect against the effects of time, denying their gifts only mean and klyatvoprestupnikam43. The image of the rotating
lock - revolving castel, caer sidi - identical "rotating island", which in ancient Celtic saga sometimes replaces the "Island of Glass"
and he Avallon. It obviously contains the reference to "Polar Earth" orbiting the earth's axis and its rotation in involving the whole
world, all this brings to mind the image of the "Universal Lord", Chakravarty, "rotating wheel", who, being a real center, turns the
wheel of the kingdom , regnum, and directs all of the ordered universe. These ideas are, and for the symbolism of the Round Table,
who established on the advice of Arthur, "Merlin" to establish Knights, whose head he was sam44. According to the text Malory,
The Round Table was created in the world and it was reproduced by the whole universe, heaven and zemlya45. In other tekstah42
mentions of the stars and the rotation of the heavens about a fixed point from which it appears that the knights of the Round Table
seated, are the highest representatives of the central government. Now it is important to point out that in a variety of tales knights of
the Round Table (or at least the best of them) appear in the number "twelve", which is obviously close to the twelve peers, of the
"Roman de Brut," "which divided the land into 12 parts, did every one of them feud, and called the kings of "46. The importance of
this feature is that 12 - is a solar number, which is always in some form appears where formed or already formed tradition of sacred
center: 12 electrons Midgard, 12 higher gods of Olympus, 12 wooden poles in the Delphic sanctuary of Apollo, 12 lictors of Rome,
12 residents Avallone, 12 elected by the heirs of Charlemagne, and so on. But in the history of the Grail and King Arthur, this
symbolism is also associated with subsequent motif of the "dangerous place". This is - left empty seat at the round table, designed
for the expected favorite knight, surpassing all others, which should become "thirteenth" knight. This clearly meets the thirteenth in
this case, the most senior governor of the center, the Lord of the Pole and all the other twelve, the image of the Chakravarty, "King
of the World" 47.

Of course, when talking about "dangerous place", understood as the space left blank, you should see this as an allusion to the
involution of the kingdom of Arthur, or the degradation of its rulers, as is emphasized the need to restore something lost. Ideally, at
this time the Knights and the Round Table have to go searching for the Holy Grail. In medieval literature search through the Grail
knights and adventures of King Arthur is inextricably intertwined with each other. In this case, the kingdom of Arthur's kingdom is
identified usually with Lokrisa or Logresa - that is the ancient name of England, "Albania" or "White Island", a resident of the Grail.
And Arthur's knights embark in search of the Grail in order to return to this realm of its former glory and destroy the evil spell that
hit, according to Mabiskogianu on this earth. Grail - a symbol of what has been lost, but that is to be found again. One person
should return the Grail all his qualities, and it is then knighthood and takes "a dangerous place."

Here we can observe a splitting of the figure of King Arthur. On the one hand, there is a super-historical "King Arthur", symbolizing
a certain mission. On the other hand, there is a King Arthur as a kind of historical representative of this mission, participating in
events similar to the ancient stories of the destruction and scattering of the Tuatha De Danann and their descendants. But not to
get ahead, we recall only the epilogue of the ancient legend of Arthur, in which we are again confronted with the symbolism of a
woman.

Two characters tend to deprive Arthur of his "Lady" - Kvennuvar, Ginevra (the name means "white spirit", which once again
emphasizes the symbolic nature of the image). First - it Melvas who is taking her to his city Glastonberi, identified with the sea "City
of Glass" and Avallone - Glastonia est urbs vitrea - etiam insula Avalloniae celebriter nominatur48. (Glastoniya - this glass city, also
called the famous "Avallon"). As a result, "Glass Island" being besieged, and finally it ends in a truce. It intervenes in the legend of
the Christian element, since Arthur gave the island as a fief of the Church representative, ensuring its safety. In fact, we are talking
about trying to replace the Christian tradition, a tradition of Celtic-Hyperborean, absorbing all its most important themes.
Glastonberi was one of the main centers of Christianity in England, and to preserve the sacred prestige Glastonberi, Christianity
has sought to incorporate in a Christianized form of ancient Nordic-Celtic tradition, attributing the Christian church of the ancient
sacred significance Avallone. "Glastoniya ie Glastonberi - provides a basic text in this regard," De antiquitate Glastoniensis
Ecclesiae "(" On the Antiquities Glastonberiyskoy church ") - formerly known as ygnis gutrin, ygnes in Breton means the island,
insula, a gutrin," glass " , vitrea. With the advent of the British is the place became known as Glastiburi of glas - glass, vitrum, and
buria - city, civitas, Glastiberia49. History of the transfer of the island by Arthur Church serves as a confirmation of the "traditional
continuity" trumped-Christian "evangelizers." But this is not limited to: referring to the tragic epilogue of the ancient legend, it was
announced that King Arthur had died and his tomb is in Glastonberi. Thus, the ancient center is preserved, acquired, however, the
new value - the value of the center of Christian missionary work in England.
In the second version of the story of "Lady" King Arthur said that while Arthur was in the campaign, creating a legendary world
empire and conquering Rome to be crowned in this holy city, his nephew Modred, remaining at home, seized the throne and took
possession of "Lady" Arthur, Guinevere. In the ensuing war, the traitor was killed, but also fell and the best knights of the Round
Table. Arthur himself was mortally wounded and moved to Avallon, where the charms of women of this land and especially
Morgandy ("Born of the Sea") heal him and allow him again to perform his sacred funktsii50. But the wounds of King Arthur
(especially, according to some sources, one wound - from poisoned spears) each year are now open, and loyal people waiting in
vain for his return. However, today the tradition is still alive, according to which once King Arthur still reappears from the island of
Avallon and lead his kingdom: why some Britons up until this time did not want more to choose their own koroley51. In other forms
of legends - such as "Otia Imperialia" Dzhervezi of Tilberi - Arthur describes lying in bed in a fairy palace on the hill. According to
another version, the emphasis of the Christian, he "died", and his body buried in the abbey Glastonberi, which as we saw, wanted
to identify himself with the very Avallone.

All these data should be referred to a period of crisis or mezhdutsarstvovaniya, after which the search should begin Grail. Here, we
now come to another fundamental cycle for the Grail theme topic wounded King, who resides in a mysterious and inaccessible
place, waiting for a cure, then to "come back". We also recall another ancient Celtic sagas theme - the theme of the kingdom, is
doomed to sterility and devastation as a result of the revolt the mob or as a result of wounds from spears or flaming sword, received
one of its rulers.

Chapter 6. Imperial legend - Master of the Universe

According to the above, the legend of King Arthur is one of the many forms of common myths about the invisible universal emperor
and ruler, as well as its manifestations. This theme arises from the most remote antiquity, and it is closely connected with the
doctrine of "cyclical manifestations', an avatar, that is, with the appearance at certain times and in different forms of a single
principle, which in the interim periods resides in a hidden, unmanifest sostoyanii52. Thus, this governor has all the distinguishing
features of the incarnation of the Principle; legend through various images necessarily emphasizes that he "dies", that he only
removed in a safe place where he once again appears, that he is "sleeping" and must sooner or later wake up. Thus, the super-
historical element is superimposed on the historical element, turning into a symbol of the identity of the real ruler, the king.
Sometimes the name of a man is saved, but it does mean is something transcendent in relation to itself.

The image of the king, who fell into "sleep" or lethargic, like a different way - the King of Changeling, impaired or paralyzed,
although it should always refer only to the external members of the sacred history of the royal authority, and not to samommu
inviolable principle. Hence the theme of the wounded, crippled, impotent king, who continues to live in reach of the "Center", where
no power laws of time or death.

In order not to repeat everything that we said in another place on this issue by developing a sufficiently complex and universal
context of this problem, we recall only some of the typical ways in which the most ancient times like the symbolism found its
expression.

In the Hindu tradition, we are faced with the theme Mahakashipy who sleeps in the mountain, but I must wake up, when zaduyut in
the shell at the time of a new manifestation of the principle, already previously discovered itself in the form of Buddha. This period is
also a time coming "Ruler of the Universe", Chakravarty, bearing the name "Shankha" but the word "shankha" in Sanskrit means
"shell", what is manifested through verbal assimilation of the idea of waking from a dream of a new manifestation of the "King of the
World" and the most primordial tradition, which, according to the same Hindu doctrine, is hidden in the intermediate times of crisis it
is inside the "shell". A similar Iranian tradition tells of a hero Kersaspa, who, being wounded by an arrow during a "sleep" (again,
the same character!), Survived in a lethargic state of the century, surrounded by caring for them fravarti women (just as the
wounded King Arthur continues to live on Island women who own the Healing Art). But wake up in the era of Kersaspa Saoshyanta
and will fight with him in his voyske53. Saoshyant - a ruler of the future triumph of the kingdom of "God of Light," and the dark
destroyer Ahrimanic forces. And here it should be noted that the Jewish concept of the "Messiah" and the Christian theory of the
"kingdom of God," from which actually evolved directly medieval imperial myth, are merely echoes of this ancient ario-Iranian pre-
Christian tradition.

But the most important statement of this motive is the doctrine of the Kalki-avatar associated with the history of Parasha Rama, one
of the most typical images of the heroic line of primordial Olympic-Hyperborean tradition. When the ancestors of the Aryan colonists
of India still remained in their northern homeland, Parasha Rama, his ax destroyed caste rebel soldiers, and also his mother sinned.
It is these characters, as has been said to characterize the "heroic" spirit - overcoming a degraded manhood and spirituality posed
by maternal-feminine character In consequence the other varieties of involution and degradation - and it's especially important that
the acts of Parasha Rama- refer to the period between the silver (ie lunar) and bronze (that is titanic) for centuries, between the
Treta Yuga, Dwapara Yuga and. Parasha-frame is not dead, he retired to an ascetic monastery on the mountain Mahendra, where
he lives vechno54. When it's the last time, in accordance with the laws of the cyclic manifestation of his new place in the form of the
sacred king, who will win "dark age" and who will bear the name of "Kalki-avatara." Kalki is born to symbolically Shambhane, whose
name in the Hindu and Tibetan traditions represents a sacred hyperborean tsentr55. Kalki is a spiritual teacher himself Parasha-
Rama, and being initiated into the sacred science, Kalki becomes the regal dignity. Of Shiva, he gets a white winged horse (whose
importance in the history of 1O-th avatar is so important that sometimes the horse identified with the Kalka), and omniscient
popugaya56 glowing sword. It should be remembered that King Arthur should also appear on a white horse, and that character
plays an important role in the Apocalypse of St. St. John the Evangelist. In connection with King Arthur also said the missing sword,
which again must go to King Arthur, and from time to time emerge from the water, emitting svet57. Driven by a bird, Kalki will find a
"Lady", his wife, Padma, Padmavati, princess, which no one could have, as all the men who harassed her, according to the law of
God's will turn into women. This character has a very deep meaning. Then, Kalki and his men crossed the sea without getting your
feet wet as the sea in front of him magically to stone. Later he returned to his hometown in Shambhalu, which is so transfigured and
radiant, it seemed to him the city of Indra, the King of Gods and Heroes of God. This - the symbol of a new manifestation of the
primordial forces of the center, and here again the representatives of the solar and lunar dynasties, kings Maru and the Virgin, who
by the power obtained by penances were able to save lives through all ages of the world, up to the "dark age", staying in the
Himalayas, that is, in the mountains, a place of "endless continuation of the" Golden Age. Finally, there is a final battle, the battle of
Kalka with a "dark age", personified in the goddess Kali, and the two leader of the demons - Cook and Vikoke58. This final battle
will be particularly cruel, because the demons dwell in it will ever come to life again, barely touching the ground. But in the final
Kalki still win pobedu59.

All of these symbolic elements, is present in this story, and perhaps still not quite clear to the reader, we will explain later. Here we
want to identify those aspects that could potentially different traditions are universal imperial myth of the new manifestation of the
"kingdom", Regnum. In addition, it is important to clearly state the need to consider all the medieval forms of this myth in general
and universal context, far exceeding the narrow limits of a strictly Christian ideas. However, even in the Roman era, in its imperial
and pagan period, you can find some signs of awakening the idea of a golden age, the king and ruler of which, Kronos, as we have
seen, ever considered living, but are able to sleep in the Hyperborean regions. In the August prophecy heralded the arrival of Sybil,
"the ruler of the sun", rex a coelo or ex sole missus60 ("came down from heaven and sent the sun"), which referred to itself
Goratsiy61 when he talked about the coming of God's Hyperborean golden age of Apollo. Vergiliy62 also proclaimed the nearness
of a new golden age, the age of Apollo, and heroes. Emperor Augustus in this vein aware of their symbolic "genealogy" that comes
from the Apollo and Phoenix, appearing frequently among the images of Adrian and Anthony also had a direct relation to the idea of
the resurrection of the Roman era in the primordial Imperii63. That link Rome with super-historical and the metaphysical principle of
the Empire, Imperium, - link, osnovyvavayuschayasya to the already mentioned possibility of transferring this very principle on
certain of its manifestations in history - is the basis of the theory neprehodyaschesti and eternity (aeternitas) in Rome.

In the Byzantine period the imperial myth Methodius received from a statement which, somehow accentuating his connection with
Alexander the Great, once again refers to the above topics. Here again the motive is found the king, which was considered dead,
but which came to life and founded a new Rome. After his short reign, there are hordes of Gog and Magog, Alexander of Macedon
who once barred the way, and begin "final battle" 64. This form was received and widely developed mediaeval Ghibellines.
Expected Emperor, hidden, but not dead, dwells in inaccessible and invisible center is transformed into one or another ruler of the
Holy Roman Empire: Charlemagne, Frederick I, Frederick II. And the accompanying theme ruined and barren kingdom, awaiting
restoration, finds its equivalent in "Dry Tree". Dry Tree, associated with the seat of the "King of the World," which we will discuss
later, again at zazeleneet new imperial demonstrations and victory over the forces of the "dark age", submitted in accordance with
the new religion in the biblical-Christian terms, that is, images of hordes of Gog and Magog, burst into the world in the era of
Antihrista65. However, this does not prevent the fact that images of Frederick II or King Arthur, staying on the mountain, and the
knights of King Arthur, escaping from the mountains to hunt wild bear in itself the elements associated with ancient Nordic-pagan
concepts, from Valhalla as a mountain seat of Odin, the head of "divine heroes," 66, with units of spirits of heroes (Chosen
"Dames," Valkyries), which turned into a suite of wildlife hunting, becoming a mystic army, Odin, called to join the final battle with
the "creatures of the elements."

This legend in the era of the golden age of chivalry and western gibellinizma repeated with endless variations, and starting from the
prophecies concerning the phenomenon of the "third Friedrich," it finds its final expression in the western formula of the Emperor,
who "is alive and not alive": "Oculus eius morte claudet abscondita supervivetque, sonabit et in populis: vivit, non vivit, uno ex pullis
pullisque pullorum superstite "(" It is a death bed having closed his eyes, still alive, he was asleep, and the most vulgar
superstitions and primeval state that he lives and does not live ") 67. "He lives and lives" - this is the prophetic formula, medieval
civilization in the period of its decline. The wounded king, the king who dwells in the lethargy, the king, died, and only seeming
alive, or alive, but only seemingly dead, and so on - these are similar and interchangeable themes, which we constantly meet in a
series of Grail inspired a special vitality and strength of recent high aspirations of the West to restore its sacred structure in
accordance with the laws of the great, spiritual men, and traditionally imperial civilization.
Chapter 7. Friedrich - John Priest - Imperial Tree

In the old Italian novella stating that "Prester John, a noble lord Hindu", sent ambassadors to the Emperor Frederick as a "true
mirror of the world, to see how he is wise in word and deed." Of "Prester John" "Frederick" (most likely, we are talking about
Frederick II) were given three stones, and at the same time he was asked what is the best thing in the world. "The Emperor took the
stones," and asked about their dignity. "On this question he replied that the best thing in the world - is a" measure ". From all this,
Prester John concluded that" the emperor was wise in words, but not in affairs, because he did not ask about the dignity of stones,
each of which was so valuable. "presbyter John thought," These stones are not being cognised by the Emperor, eventually lose
their value, "and demanded them back. Especially valuable was one of the stones that could make it invisible, and which Prester
John said that "it costs more than your whole Empire" 68.

According to another legend, written by Oswald Schreiber, Frederick II of Prester John was a dress of fireproof salamander skin,
the water of eternal youth and a ring with three stones, which makes it possible to live under water, to become invisible and
invulnerable. Stones of Prester John is most often appear in the German texts, the period around the year 1300, together with
references to strength, making nevidimym69.

These legends are very important when we remember that the kingdom of Prester John - is not nothing but a medieval name
"Supreme Sacred Center" 70. It was believed that the kingdom is in central Asia - or in Mongolia or India, or, finally, in Ethiopia, and
this is the last name in those days meant not only the country now known by that name, but something else. Attributes ascribed to
this reign, leaving no doubt as to its symbolic nature. "Gifts of Prester John," Emperor Frederick are a kind of external "mandate"
proposed by the governor of the German Holy Roman Empire, so that he established contact with the real principle of "universal
Master". The water of eternal youth means immortality. Fireproof dress reminiscent of the Phoenix is updated through the fire,
which is likely to remain in it without any harm to himself. Ability to be invisible often represents an opportunity to have contact with
the invisible and supersensible world, go into it. The ability to live under water, do not wallow in it, walk on it (this is reminiscent of
walking on the waters of the Kalki-avatara, rising above the water sword of King Arthur, etc.) denotes a real connection with the
principle of standing high above the world over, the flow of formation. In general, it is about pure skill initiatic type and potency
associated with the higher initiation.

In view of the foregoing, the Italian legend, apparently, the story of some inadequacy of Frederick for such a mandate. Frederick
limit - it is the dignity of a knight and secular ruler of a purely temporary, as indicated by his response: "measure" - the best thing to
svete71. Frederick "did not ask the question," the question of the symbols of power, offered him a presbyter John. Due to lack of
awareness of the meaning of the higher mandate, its effectiveness was now doomed to decay, so that Prester John, and took back
the mandate. A special form of existence of the emperor, who "lives and not live," whose life - this is only an appearance, as well as
the subject of the king, dwelling in a lethargic sleep, which is closely associated with the underlying motive of the stories of the Grail
"with guilt, the essence of which lies in the absence of" the question, '"because the mere fact that such a statement would mean the
beginning of the restoration.

Add some detail to the description of the kingdom of Prester John. "Tractatus pulcherrimus" calls him "king of kings - rex regum". It
combines the spiritual and secular vlast72 and can say of himself: "Johannes presbyter, divina gracia Dominus dominacium
omnium, quae sub coelo sunt ab ortu solis usque ad paradisum terrestrem" ("Presbyter John, the grace of God, Lord of lords, who
only have under the sky from sunrise to paradise on earth "). But essentially, "Prester John" - a title, a name that represents not an
individual, and some sacred function. So, Wolfram von Eschenbach and "Titurel" we meet with the name "Prester John", taken as a
title, and the Holy Grail itself, as we shall see, this will indicate who and in what order should become "the presbyter John." In
various medieval legends "Prester John" constrains tribes Gogov and Magog and controls visible and invisible worlds (and natural,
natural and supernatural, unseen beings), prevents the penetration of his kingdom "lions" and "giants." In this realm is also the
"fountain of youth", and no wonder it is often confused with the seat of the "three wise men" or the city Seuva (Seuva), erected near
the Hill of Victory - Vaus or Victorialis - ordered three volhvov73. Here, again detected "polar" symbolism "Rotating Castle" that
simulates the rotation of the heavens, as well as the symbolism of the place where the stone is kept light, or a stone, "causing the
blind see the light", or stone, making nevidimym74. In particular, Prester John has a stone that can resurrect the Phoenix or the
"Eagle." This indication is particularly important, as Eagle always, and especially in an era when these legends took shape, was a
symbol of imperial functions, which in its "eternal" aspect is often linked to Rome to Phoenix. Some sources claim that the Iranian
king Xerxes, Alexander of Macedon, the Roman emperors, and, finally, Oger, King of Denmark, and Guerrini "visited" the kingdom
of "Prester John" 75. It is a mythological and vague recollections regarding contacts that the rulers of the great historical and
legendary heroes were - more or less explicitly, through the invisible sanction, legitimize their royal dignity - with higher centers,
where there is a stone, able to resurrect the Eagle.

According to one legend, Alexander the Great, when you come to India on a path that took him to Hercules and Dionysus, as the
crowning success of his imperostroitelskih asked the Deity to grant him the highest mark of his victory. Following this request, he
found the fountain of youth, as well as two trees - male and female - Tree of the Sun and the Moon Tree, who declared him to his
fate and his empire, Imperium76. In the context of the legends of this cycle is often referred to as "Tree Centre", "Solar Tree" The
Tree, which gives victory and empire, as well as the "Tree of Seth."

Based on the mysterious and wonderful stories told by different travelers in the Middle Ages far and powerful empire, "the Great
Khan," Emperor of the Tatars, to identify with the empire of the "King of Peace." It is often mixed with the kingdom as Prester John.
Thus, in connection with the legend of the Great Khan appeared motives of the mysterious Tree of giving to those who approached
him or hang him on a shield, and win universal empire. That's pretty typical text Johann von Gildesheyma: "Et in ipsa civitate in
templi Tartarorum est arbora arida, de qua plurima narratur in universo mundo ... ab antiquo in omnibus partibus Orientis, fuit
consuetudinis, et est, quod si quis rex vel dominus vel populus tam potens efficitur, quod scutum vel cliptum suun potentur in illam
arborem pendet, tunc illi regi vel domino in omnibus et per omnia obediunt et intendunt "(" And in this country in the temple of the
Tatars have dry wood, which many describe the world ... and old, all over the East, according to custom, and if anyone wants to be
king over the kingdom or nation, he should hang on the tree board, and the king will be subject to all and all to obey him ") 77. The
tree, which is in question, it became a point of intersection of different values, often associated with verbal associations. Here we
have in mind not only the symbolism of the "Dry Tree". "Dry Tree" - is only one interpretation of the expression "Arbre Solque",
which can be understood as the "Solar Tree" - Arbor Solis, and as "Lonely Tree" - Arbre Seul, and as the "Tree of Seth" - Arbor
Seth. Marco Polo, speaking of the country of the Great Khan, wrote: "et il ya un grandisme plain ou est l'Arbre Solque, que nous
appelons l'Arbre Sec" ("There is a huge valley with" Arbre Solque ", which we call the" dry tree "). The word" "Solque" ", understood
as the root of the Arabic, means" big, tall, long, "and in one English manuscript it is no longer on the Dry Tree and the Tree of Seth,
as it has grown from a seed Seth is taken from the Tree of Knowledge, that is, from the tree, which grows in the center of the Earth
Raya78. The fact that it gives the tree close to him and the power of universal power, also refers to the tradition associated with the
"primordial state" (that is, with the Earth Paradise), and the separation of the two parts of the Tree, that is the Tree of the Sun and
the Moon Tree or two aspects of the Tree of Knowledge and the Tree of Victory, indicates the synthesis of the two potentials, the
prisoners in this heavenly state: synthesis, prior to the subsequent division of the "feminization" materialization of the spiritual and
masculine. Communication with the central Empire Tree Tree of Paradise, are found in these legends, it is quite natural, given the
obvious connection between the true manifestation of the "Empire" paradisiacal and primordial state. As for the definition of "dry",
something about it we said : This feature indicates the period of imperial decline, which must be overcome. This meaning is clearly
discerned, for example, in the legend, which says that the Tree "zazeleneet" at a meeting of Prester John and Frederick.

As to the idea of "the kingdom of Prester John," that it has historically served as the basis for the concept of the need to integrate
the scattered forces of the symbols of chivalry, the Empire and the Crusades. Based on more tangible version of this theory, the
mysterious and mighty prince of the East - not a Christian, but a friend of Christians - to call for help in the Christian Crusades, in
their most tragic periods in order to provide a holy war victorious ishod79. When these hopes were not fulfilled, and naively
expected military aid was forthcoming, understanding the symbolic meaning of the figure of Prester John and his initiatic meaning
"help" was also lost, and of all that survived only "legend", which became an integral part in a variety of traditions.

You can also mention the series of stories about Ogere. In the Danish tradition of Oger and Holger - copy gibellinskogo emperor,
escaped death, this remains a national hero in the cave of a mountain or in the underground labyrinths of the castle Kronburg and
should reappear when his country and its people will face the greatest opasnost80. The plot of Ogere is most interesting for us in
the development cycle of the legends of Charlemagne, because here he brings together different motifs, scattered in other places.
Oger Danish appears here one of the paladins of the Emperor Charlemagne. After the conflict with the emperor, he gradually
begins to acquire the features of the savior of Christianity in the most dangerous period for him, and also features a universal
conqueror. He spreads his dominance on the entire East and reaches as Alexander the Great, the kingdom of Prester John with
two trees growing there - lunar and solar, which are similar to the Universal Tree of Might of the legends of the Great Tree and
Hane81 Center, associated with the primordial ("Paradise") the state. It is extremely interesting to note that the kingdom of Prester
John "eventually identified with the very Avallone," that is centered traditsii82 Hyperborean, and moreover, there was a strict set a
symbolic link between the "balm", derived from these two trees and a transition into a special form of Ogera of existence. He is now
"live forever" and "one day return." In this respect, the German translation of stories about the travels of John Mandeville, made by
Otto von Dimeringenom, we read: "Man saget auch in den selben Landen das Oggier by den selben boumen were und sich spyset
mit dem balsam und do vo lebt er so lang, und meinen er lebe noch und solle har wider zu inen komen "(" They say that in these
countries, Oger is at the very trees and feeds on their balm, and he lives a long time, and believes that it will live again and again
and again once come back to us "). After his conquest of the East Danish Oger arrived on the island Avallon, where he became a
lover of supernatural female fairy Morgana, sister of King Arthur. There he lives far away from the world, enjoying eternal youth. But
the Christian world, being in great danger, again needs his help. Archangel Michael is sent to the fairy Morgana, and following the
divine decree, Oger reappears in the world and won the victory. This reveals another very characteristic theme, coupled with the
cycle of the Grail, and especially in connection with the "son of" King of the Grail, Lohengrin. - The hero, sent by the supreme
sacred center in the world, "nedolzhen open either his name or place whence you came." The mission, which he performs and the
force that acts through it, must remain secret and not to interfere with his personality, not to identify with her. Oger violates the law
and provides a place where he "abides forever." At the same time instant falls on him, he quickly gets old and preparing to give up
the ghost. But at the last moment comes and takes away the fairy Morgan again on the island of Avallon, where he will remain until
the Christian world in the "seventh" no time to experience it nuzhdu83.
In connection with these symbolic concepts is particularly important is the fact that Wolfram von Eschenbach Prester John appears
a descendant of the dynasty of the Holy Grail, and the "Titurel" Parsifal himself assumes the function of "Prester John." It was in his
kingdom, after all, was transferred Grail. So, he still points out who should become once again a secret "Presbyter John" 84. In the
German version of the legend of Ogere, Prester John and the Great Khan appear Ogera two companions who founded two
powerful dinastii85. Whatever it was, here we are talking about a single topic variations, expressed differently in different subjects
related to the specific symbolic characters.

Chapter 8. Dante - Veltro and Dux - "The Hound" and "leader"

In order to complete a number of these comparisons, we note that the very concept of Dante's "Veltro" ("The Hound") and "Dux"
("Leader") adjacent to the same chain of ideas and characters.

From a purely external point of view, it is possible that Dante used the term "Veltro" - cane levriere ("Hound Dog") - on the phonetic
similarities between the word "cane" ("dog") and the word "Khan" - the title of supreme ruler of the Mongol Empire. As we have
said, at that time the Mongol Empire is often equated with the kingdom of Prester John, with the kingdom of Alexander, Ogera and
so on, that is, with various images of the "Center of the World." Great Khan of the Tatars at that time had not yet become a
synonym for terrible threat to Europe, but according to the descriptions of Marco Polo, Haytona, Mandeville, Johannes de Plano
Carpini and so yes Further, understood as a powerful emperor of the mysterious, distant and vast empire, like a wise and happy
monarch, a friend of the Christians, even though "heathen." Verbal assimilation, made of Khan Veltro, appears, however, already in
the German version of Mandeville: "Heisset der grosse hundt, den man gewonlich nennt Can ... der Can ist der oberst und
machtigst Keiser den die sunne uberscheinet". ("Great Dog, commonly referred to Khan, Khan ... Khan - ruler, and the mighty
Emperor, eclipsing the sun"). Boccaccio, Dante's rejecting the interpretation Veltro as the Great Khan, the very fact of such denial
confirmed the existence of this interpretatsii86. In addition, in the ancient German word "huno" (close to "hund", "dog") means lord,
ruler, and this root is common in the names of ancient families of German aristocrats - for example, Huniger (Huniger) and so on.

All this is not so absurd as it may seem at first glance, this identification ceases to look like something strange when we remember
that at that time the title of the Great Khan embodied a sacred function, not associated with any particular individual and with any
purely historical or geographical realm. Dante we are talking about this feature, and in the way it finds its Khan symbolic, but at the
same time, the political incarnation associated with belief in the ideal of the Empire and with the hope of its restoration. All this is
pretty close to the spirit of the cycle itself ozdateley the Holy Grail.

It is impossible to analyze all levels of the symbolism of the "Divine Comedy". We confine ourselves to the most common indication
that the journey of Dante through the different worlds can be understood as an artistic expression of the gradual scheme of spiritual
purification and initiation. In addition, all the vicissitudes of travel directly related to the idea of empire. Dante lost in a dark and wild
forest. His strength has touched, "never touched even a single person" 87. This is followed by hints of the "deserted beach" and
"death with which he fought - over the stream, where the sea is not boiling," 88, and mention of the ascent of the "blessed hill" and
the "anticipation of the heights of" 89. - All these details clearly remind us of similar situations that fall knights, hunters Grail,
passing rapids encountered a deadly threat to the "wild lands" in order to eventually achieve "wild hill", Montsalvatsche, where is
the "Castle of Joy" .

In "Beatrice," again we are confronted with the theme of "weird women" - and it becomes even more impressive if we consider the
whole symbolism of the "Fedeli d'Amore", initiatic organizations, to which belonged to Dante. And in love, driving Beatrice in her
desire to constantly provide assistance with Dante's heaven, there is something resembling a destination and "Chosen", the
"protection of the above," thanks to which the knights managed to approach the Grail and come out the winner of a chain of
adventures and battles of the symbolic . And all the vicissitudes of the Knights of the Grail symbolically describe the same process
of spiritual purification and initiation, and that in itself Dante. However, the "Divine Comedy" lacks the spirit of purely heroic tradition,
as the line of Dante more connected with the tradition of theological and speculative. Therefore initiatory path of Dante described in
the form of passing through hell and purgatory.

In the first episode of "The Divine Comedy" Dante's approach to the hill block the lion and the wolf. These images are an exact
match in the second part of the symbols poemy90 whore, "solid as a rock mountain high", and violent giant, enticing her. Most
often, the she-wolf and prostitute is identified with the Catholic Church, and a lion and a giant house with the French monarchy,
which is quite a plausible explanation. But if you go beyond a purely historical interpretation of the data of images (and to this
historical allusions should include also the destruction of the Knights Templar), we find in all of this deeper and unconditional
principles, not related to a specific historical situation. Lion and a giant in this case are images of the degraded, purely secular,
covetous of the monarchy, by identifying with wild and degenerate purely military principle. The she-wolf and the harlot, in turn, - an
expression of involution and degeneration of spiritual authority, priestly principle. However, it should be noted that the issue of the
spiritual power of the concept of Dante suffer from the limitations imposed by his Christian faith. When he condemns the Church, he
- as Luther later - reproaches her in decline in its transformation into a purely secular, secular organization, steeped in political
intrigue rather than criticize it, starting from a higher, super-religious principle. Even if the church has remained pure and sinless,
faithful to the original teachings of Christ, still, it would have been an obstacle for the full restoration of the integral tradition, as
Christianity itself, in its very essence, is the moon, at best, ascetic-contemplative, Spirituality is not capable of becoming the basis
for such a restoration. But we shall return to this in the present study, although this is as it should be clear to all who read our main
product, "Revolt against the modern world."

Whatever it was, Dante foretold the coming of that will end this double usurpation. Veltro, "The Hound" 91, based on the
equivalence of symbols encountered in the first and second part of the initiatory poem identically Dux, "Leader," "God's
Messenger," which "will punish lust and his giant whore" 92. This is - a multi-faceted character avenger and restorer, the image of
"Lord of the Universe", of whom Dante said in his essay "On the Monarchy." It has a direct bearing on the "restoration", which is
based will be based on the destruction of both the principles of the decline (and perverted materialized masculinity and "feminized"
passive spirituality). It also recalls the exploits of the Parasha-Rama. That such is the profound meaning of the symbol of the
coming "leader", regardless of who were the historical figures, in which Dante, in accordance with their convictions gibellinskogo
activist, wanted to see the realization of this mission. And to this must be added the presence of Dante's other characters found in
the legends of the Great Khan, the Prester John, the Danish Ogere, about Alexander the Great, and in general in the imperial
legends. - In the first place, it's Dry Tree, his idea of a new flowering, the image of the Eagle.

Dante Tree symbol has two meanings: one - as the Tree of Knowledge and the "earthly paradise" (it is related to Adam), the other -
as the Tree of the Empire (which is related to the Eagle). In general, the Empire Tree means in its relation to the primordial
tradition. Dante tree - it is primarily Arbre Sec, Durre Baum (Dry Tree), an imperial legend. In the "Divine Comedy" and other works
upomyanayutsya "a plant with leaves torn," "widowed branch," which states: "The man defile or polamaet (a plant) - the
blasphemous act offends God - made him a saint for himself" 93 . Regarding the development of an imperial concept of Dante,
leaving aside considerations associated with the historical conventions (symbols of different states of the church and its relations
with the Empire), we emphasize only the following: Dante's vision of the Tree flourished immediately followed by the vision of open
face "supernatural Virgin," and it is important that it compares itself with this person "living light shine forever" 94. In another vision
again zazelenevshego Tree, accompanying prophecy of the coming of Dux, "Leader" (that is, a new manifestation of "Universal
Lord"), is associated with the image of "primordial state", with the theme of "paradise on earth." This is stated in the following
words: "In this forest, you will stay for long - and then you will be with me (that is, with the" supernatural virgin ") is infinite - in
Rome, where Christ is Roman" 95. This means the effective involvement of the metaphysical kingdom, to Regnum, which
obznachaetsya symbol of Rome, and the truth is that this formulation leads to suspect that such involvement is placed above the
Christianity, and Christianity becomes a subordinate idea of the sacred Empire ("Christ - Roman" .) Further, after this vision, there
is regeneration of the initiatic Dante through water storage, and the transformation opens the way for him to Heaven, then have
access to purely metaphysical level of existence. The description of this development is also applicable symbolism of a new
flowering "plants with torn leaves," of which we have already mentioned: "I will go out of the holy water - reborn as a new plant - like
a fresh new branch - clean and ready to go to the stars" 96 .

Dante spiritual path represented in the symbolism of the "Divine Comedy" ends the apotheosis of pure intuition, pure speculation:
According to the dualistic idea of the Dante, according to which the Empire, with her usual active life (vita activa), with its inner
spirituality, is the only preparatory stage for the contemplative life (vita contemplativa). Something similar can be seen in some
forms of the Grail legend, especially in the most recent of these, as well as in Italian tales of Guerrini, ending departure of the hero
in the ascetic life. But in the cycle of the Grail is a pessimistic outcome is described in terms of, and major versions of the Grail
legends indicate a very different spirit, the incomparably higher voltage to reach for something higher and unconditional, rather than
just pure intuition - and this should be seen influence of tradition, more original and more absolute than the one that inspired the
genius of Dante.

Notes to Part I:

1. To understand the specific meaning that I attach to the expression "traditional world", I refer readers to two of my other works:
"The revolt against the modern world" and "The Mask and the true face of modern spiritualism." The same importance is attached
to this expression, Rene Guenon and his followers. text

2. Julian, "Against the cynic Gerakleosa", 2l7c. text

3. R. Guenon, the Holy Grail (Le Saint Grail), The veil of Isis (Le Voile d'lsis), 1934, pp. 47-48. text
4. Ibid. text

5. Introduction to Jung and William "The Secret of the Golden Flower" (The Secret of the Golden Flower). text

6. A. Nutt (A. Nutt), studies the legend of the Holy Grail (Studies on the Legend of the Holy Grail), London, 1888. Also, J. Marx (J.
Marx), The Legend of King Arthur and the Holy Grail (La Legende arthurienne et Ie Graal), Paris, 1952. text

7. L. von Schroeder (L von Schroeder), roots of the legend of the Holy Grail (Die Wurzel der Sage vom heiligen Gral), Vienna,
1910. text

8. LE Izelin (LE Iselin), the Near East origin of the legend of the Holy Grail (Der morgenlandische Ursprung der Grallegende), Halle,
1909. text

9. Palgen R. (R. Palgen), The Philosopher's Stone (Der Stein der Weisen), Breslau, 1922. text

10. Evgemeristichesky, ie referring to the so-called "Euhemerism" philosophical concept developed by the Greek philosopher
Evgemerom (300 AD), according to which the gods of mythology were deified only mortal, and their actions - the actions of people
exaggerated. - Note. first. text

11. See my paper "The revolt against the modern world." text

Notes to Part II:

1. Hesiod, "Works and Days." text

2. In this context, the most fundamental research is the book by Rene Guenon "King of the World," in which we refer. text

3. Hesiod, "Works and Days." text

4. J. Evola, "The Metaphysics of Sex." text

5. This is related to the expression "son of the widow," "Children Widow," which, originally belonging to the Iranian and maniheskoy
traditions, preserved up to this time in western Freemasonry. text

6. J. Evola, "The revolt against the modern world." text

7. In the tradition transmitted by Diodorus Siculus, Lyovka, White Island, is identified with the Hyperborean land, located in the
ocean, "next to the region of the Celts," and this is an island called the island of Apollo. text

8. D'Arbois de Jubainville, "Le cycle mythologique irlandais", Paris, 1884. The Irish name "Land below the waves", - tir fa tonn -
attached to this region (see F. Lot, Celtica, in "Romania" XXIV) may be the memory of the sinking of the land. text
9. See Plutarch "On aspects of the lunar orbit." Pliny, "Natural History, IV". Here it is in fact of Thule, which, according to Strabo
("Geography" I, IV), is a 6-day voyage from Britain, near the frozen sea. On the relationship between the "heroes" from the original
age, they tend to actually return, says an interesting tradition, which emphasizes that Kronos, King of the Golden Age, was also
King of the characters. (Hesiod, "Works and Days"). text

10. De Jubainville, op. cit. text

11. ibid. text

12. H. Martin, "Etudes d'archeologie celtique" Paris, 1872. text

13. De Jubainville, op.cit. text

14. ibid. text

15. ibid. text

16. Battle of Mag Tured. (De Jubainville, "L'epope celtique" Paris, 1892). text

17. De Jubainville, Cycle Mythologique. text

18. This corresponds to a tradition mentioned by Plutarch, which states that in the northern lands race of Hercules (heroic cycle)
was mixed with native Kronos (primordial cycle), giving rise to civilization, "close to the Hellenic" (ie Olympic-heroic, whose main
character was just Hercules). "There's highest honors pay tribute to Hercules, conceding only honors rendered by Kronos." text

19. Martin, Op.cit. text

20. ibid. text

21. C. Sguire. ThE Mythology of ancient Britain and Ireland, London, 1909. The tradition continued in a cycle of the Tuatha Ulster,
Ulster and the genus was considered descendants of the Tuatha, and had a "sunny" character, like the Greek heroes. text

22. E. Windish, Das keltishe Britannien bis zum Kaiser Arthur, Leipzig, 1912. From a woman with a distant island hero Kondla got
an apple, which, as it does not eat, is still a whole, and which has aroused a deep nostalgia for the hero. The same theme of "non-
decreasing food," we will see in the Grail cycle, as well as theme and nostalgia that evokes Grail of all who have ever seen. text

23. Martin, op. cit. Marx ("Legende arthurienne") translates the word "avallach" as "an apple, which makes immortal." text

24. It should be pointed out that the name of England, "Albion" or its parts, "Albania" (in Latin. Alba - "white") indicates the migration
to this country of the ancient image of the "White Island" or "Island Radiance," which in the Hindu tradition called cveta -dvipa and
is considered the seat of Vishnu, the sun god, the carrier Hyperborean Cross "swastika." This shows that many place names are
only symbolic. text

25. R. Guenon, "La Terre de soleil", "Etudes traditionnelles" 1936, January. One of the symbols of the earth, we talked about is the
so-called ten-mag-trogaigi, having the following characteristics of the symbolic, often occurring in the legends of chivalry: the regal
woman, silver wood, surmounted by the sun, the tree of victory, the source container with drinking, which never ends (E. Beauvois.
L'Elysee transatlantique et l'Eden occidental ", Revue de l'Histoire des Religions, 1883). text

26. Martin, OP. cit. text

27. Evola, "Rivolta contro il mondo moderno". text

28. EJ Delecluze, "Roland et la Chevalerie" Paris, 1845, Vol. 1. The text of "Le Chevalier de la Charrette", the very wife of King
Arthur has been promised an armed knight, that called for the fight of King Arthur, in that case, if the victory was on his side. text

29. Note also the strange (at its literal sense) the nature of rules of chivalry, which states that the winner of "The Lady" or "royal
wife" loser gets automatically, and it can not only take her ourselves, but to do it. At the very Wolfram von Eschenbach read: swelh
riter belm hi uf gebant, - der her nach riterschaft ist komen, - hat er den pris genommen, - der sol diu kuneginne han ("Every knight
by the rules should - if he came to the tournament, - in case of victory - to take his wife Queen "). text

30. E. Faral, La legende arthuvienue, Paris, 1929. text

30a. Sacred geography of Ireland divided the island into 5 parts - 4 on the edges and one in the center, and the symbolism
characteristic of many sacred civilizations, and in particular, for the palace of the Chinese emperors Ming-Tan. See R. Gienon "La
Grande Triade" (prim.perev.). text

31. See Martin. Op.sit. text

32. F. Spiegel. "Die Alexandersage bei den Orientalen", Leipzig, 1851. text

33. WBNicholson, King Artur and Gildas (The Academy, 1895). text

34. R. Guenon "Le Roi du monde". text

35. S. Singer Die Arthursage, Bern-Lepzig, 1926. text

36. In addition, the name of the bear - bjorn - in the Nordic tradition used to refer to Thora, ie was applied to one of the "heavenly
heroes" or Aces, who fought against the "elemental beings". And bear with a wolf in "Saga of the Ynglings" described as a form of
Odin, the supreme leader of Valhalla and "Places of the Mid 'Mitgarda. text

37. Thomas Malory, "Morte Darthur", London-New York, 1876. text

38. Faral, "La legende arthurienne". text

39. ibid. text

40. Malory, "Morte Dartur", R. de Boron, "Merlin" It will be remembered for Siegfried, who in the North German saga passes this
test: pull out of the "Tree" a sword that no one before him could not budge. text
41. Malory, op. cit. text

42. Singer, Arthursage. text

43. Squire, Myth. of anc. Brit., Op.cit. text

44. Malory, op.cit. text

45. F. Kampers, Das Lichtland der Seelen und der heilige Gral, Koln, 1916. text

46. Delicluze, "Roland". text

47. You can also think of Christ and his 12 apostles. Indeed, the convergence of this kind abound in the Christianized version of the
legend. But it should be noted that the symbolism of Christianity and is preceded by sverhtraditsionnym. Christian symbols are only
partial adaptation to the religious symbolism of this plan. text

48. F. Lot, Celtica, Faral, op. cit. text

49. Faral, ibid. It is not excluded that Glastonberi bylo in prehistoric times, the center of primordial tradition, as indicated by the
remains of a giant star of the temple, marked outlines of huge drawings of constellations, arranged in a circle. Sometimes this can
see a prototype of the "Round Table" ("A Guide to Glastonbury's Temple of the Stars", Watrius, London and R. Guenon, "La Terre
du Soleil"). Naturally, one should not confuse this area with the highest primordial center, as it is only about one of his emanations,
which later became the center of Christianity. According to Hecate from Adder, who wrote in the IV century, Britain was inhabited
by Hyperboreans earlier, in which some see the "proto-Celtic" builders of Stonehenge. (See Hubert, "Les celtes"). text

50. "The Death of King Arthur", G.Schoepperle-Loomis, Arthur in Avalon and the Banshes, 1923. Faral, Singer. op.cit. In the
"Historia Regum Britannnian" we read: "Inclytus ille rex Arturus letaliter vulneratus est, qui illinc ad sananda vulnera sua in insulam
Avallonis evectus" ("That King Arthur was mortally wounded, and to heal this wound, he was moved to the island of Avallon" .) In
the "Morte Darthur" we read: "Some people in different parts of England they say that King Arthur is not dead, but by the will of our
Lord was carried away. It is said that he will be back ... I do not insist on this, but most likely in some point the world has changed
his life (He changed his life). Many people say that on his tomb these words were written: "Hic iacet Arthurus Rex quondam Rexque
futurus" (Here lies Arthur, the King in the past and future). " In the same text wounded Arthur ordered that his sword was returned
the same mysterious hand that kept him above water, which means that as a return of the previous sacred mandate to rule. text

51. A. de Boron, "Perceval". The last remark coincides with some of the motifs of this saga, which states that Arthur will come from
the island of Avallon at the time of the decisive battle against the enemies of the British. This is obviously the same meaning as in
the eschatological "final battle" (see Natrovissus, "le mythe arthurien et la legende de Merlin" "Ogam", 1950, nn 6, 10, 13). text

52. According to the Alano yes Lilla remove Arthur from the world is connected with the concealment of Elijah and Enoch, the
prophets, who "did not die" and that one day reappear. text

53. S. Przyluski, "La legende de l'empereur Acoka", Paris, 1923. text

54. Mahabharata. text

55. The motive of the symbolic birth of the sacred in the Hyperborean Restorer center, we find also in the Iranian tradition, and it is
often associated with Zarathustra himself, who according to some sources, was born in the Hyperborean land - in airyanem-vaejo -
and there founded the religion. (Budnahishn, Vendidad, F. Spiegel, "Die arische Periode and ihre Zustande", Leipzig, 1887).
As the birthplace of Rama, Parasha, despite the existence of Shambhala near Delhi, it is spoken of it - "City of North ", which is not
only in North India, but also inside Tibet, which, however, as always in such cases, it should be understood primarily symbolic. text

56. It is interesting to note that in the medieval knight allegory "parrot" - this is a bird, which is connected properly with the knights
and fighting for the right to possession of a knight, "Lady" against the clergy (see Ricolfi "Studi sui Fideli d'Amore", Milano, 1933 .)
text

57. Natrovissus, "Le mythe arthurien". text

58. Coca and Vikoka are symbols, corresponding to Gog and Magog. Sometimes it is said that Kali rides on a donkey, that is, an
animal traditionally associated with the demonic and anti-solar forces, the so-called "Children of impotent revolt" (see "Revolt
against the modern world"). In addition, the city Vishasana, ruled by Kali, in which she tries to hide from Kalka and that it eventually
ignites, presented the city with gynecological Democratic rule, ie City, managed by women. This feature is symbolized by the
relationship between mass and demonism usurpation of spirituality, "female" type. text

59. About all this, see A. Preau "Kalki, dixieme avatara de Vichnu d'apres le Kalki-purana" and A. Abegg "Der Messiasglaude in
Indien und Iran", Zurich, 1928. In the Vishnu Purana, Kalki also appears in the form of degraded destroyer "warriors" have
transgressed against the sacred, as is the case with a toilet-Rama. text

60. See Kampers "Die Deutsche Kaiseridee in Prophetie und Sage", Munchen, 1896. text

61. Horace. text

62. Vergilius, "Eclogiae". text

63. See Kampers, op.cit. text

64. Kampers, Kaiseridee. "Apocalypse of Peter" speaks of the "Lion's son" ("lion" represents the Empire), who would overthrow and
destroy all kings received their power from God, appearing as someone who "revolted from their sleep." And during this period we
meet with the recollection of Hyperborea, since at Lattanzi stated that mighty prince who will restore justice after the fall of Rome,
comes from the "far north regions." text

65. A. Graf, "Roma nella memoria e nelle immaginazioni del Medioevo", Torino, 1883. text

66. Kampers, op. cit., Singer, "Arthursage". text

67. Kampers, op.cit. text

68. The text of G. Biagi "Le novelle antiche", Firenze. text

69. A. Basserman, Veltro, Gross-Chan und Kaisersage, "Neue Haidelberg Jahrbucher" in 1902, Kampers, "Kaiseridee". text

70. R. Guenon, "King of Peace." text

71. This advantage in ethical and naturalistic perspective and identified the fundamental style of Indo-European race, as some
authors (see HFKGunther "Die nodische Rasse bei den indogermanen Asiens", Munchen, 1934). text

72. The dignity of the sacred king is emphasized by the biblical symbolism, because Prester John is often called the "son" or
"nephew" of King David, and sometimes by David: "Davis regis Indorum, qui presbyter Johanne a vulgo appellatur - De rege Davis
filio regis Johannis". Zarncke, "Der Priester Iohannes", Leipzig, 1883. We see above that King David had a direct relation to the
sword and the Grail hero to those tests that this hero had to endure. text

73. Zarncke, op. cit., Oppert, "Der Presbyter Joannes in Sage und Geschichte", Berlin, 1870. The Christian story of the three wise
men, is an attempt to give Christianity a purely "traditional" in nature, and the word "traditional" we mean in the highest sense, as is
characteristic of Rene Guenon. Three Wise Men, bringing the baby Jesus in a gold, proclaiming him king, the other - the incense,
calling him a priest, and the third - myrrh, that is, "Ointment of invulnerability," Welcoming Jesus as a prophet were messengers of
the Supreme Sacred Center. This symbolism of the gifts and the names given to Jesus means that Jesus is the representative of
the three highest potency in the primordial undivided state. The same characters appear and at the birth of Kalki-avatar, and they
greet him the same way. (See Preau, "Kalki-Avatara"). text

74. The text of Johannes Wirth de Hese is the place: "Et ibi est speciale palacium presbiteri Johannes et doctorum, ubi tenentur
concilia. Et illud potest volvi ad modum rotae, et est testudinatum ad modem coeli, et sunt ibidem multi lapides preciosi, lucentes in
nocte, ac si esset clara dies "(" And there esto special palace of Prester John and the scientist, where he holds the council. The
palace can be rotated and made it like heaven, and there are many gems that shine so brightly that night, it seems the day " .)
Zarncke "Der Prester Johannes": "Ibi sunt lapilli qui vocantur midriosi, quos frequenter ad partes nostras deportare solent Aquilae,
per quos reinvenescunt et lumen recuperant. Si quis illum in digito portarevit, ei lumen non deficit, etsi si imminuitum restituitur et
cum plus inspicitur, magis lumen aenitur. Legitimo carmine consacrato hominem reddit invisibilem, etc. " ("There are stones, called"
midriozami "which are often in our land bring eagles, they sparkle and emit light. Who wears them on his finger, to always have
enough light, and if he is injured, the wound immediately healed, and he will even healthier. If conjure stone properly, it makes a
man invisible "). text

75. Zarncke, op.cit. Manuel, King of "Romagna", according to legend, was moved to the presbyter John, in his palace and received
eternal life. text

76. Basserman, "Veltro, Gross-Khan und Keisersage". The legend of Alexander, repeating certain passages from the stories of
Callisto and Julia Valiriya partly coincides with another legend of the XII century, according to which Alexander had reached the
place "where the souls of the just await the day of resurrection in the flesh," ie, earthly paradise, and found a stone - stone like
Frederick II and Prester John, which stated: "If you can learn its nature and its effect deny from all the (secular) claims." See
Kampers, "Das Lichtland der Seelen". You can also recall some Persian and Arabic legend according to which Alexander, guided
Al-Khizr (the mysterious character that plays a critical role in initiating Islamic), set out to find the source of Life and Light, located
on the "far north" under the "Polar Star". The results of these searches, but nothing definite is reported. text

78. Zarucke, OP. cit. text

79. P. Hagen, "Der Gral". text

80. Basserman, OP. cit. text

81. It would be possible to relate these two trees with two dynasties - the solar and lunar. Representatives of the solar dynasty,
according to the previously mentioned stories about Kalka-avatar, not dead, but only waiting for Kalki phenomena to discover
myself and this event, albeit in another form, is also included in the medieval legend of the character of a dry tree blossom. text

82. Not so straight and not so clearly indicated the same relationship in italyanskoih and French tales of Guerrini and Gurin. There
Kingdom of Prester John is the center of the Apollonian and the cult of the sun (the hero meets a priest of Apollo). Apollo, as we
know, this Hyperborean god of light. text
83. With regard to the Danish Ogera see L. Gautier, "Les epopees francaises", Paris 1878; Voretzsch "Uber die Sage von Ogier
dem Danen", Halle, 1891, G. Paris "Histore poetique de Charlemagne" Paris, 1865. The number 7 plays an important role in cyclic
doctrines. text

84. W. Golther, "Parceval und der Gral", Stuttgart, 1925. text

85. Basserman, op. cit. text

86. This is one of the main theses of the book Bassermann'a. text

87. Dante's "Divine Comedy" - "Hell", I ,14,26-27. text

88. Ibid., I, 29; II ,107-108. text

89. Ibid., I, 54,77. text

90. Ibid. - "Purgatory", XXXII ,148-153. text

91. Ibid. - "Hell", I ,101-105. text

92. Dante's "Divine Comedy" - "Purgatory", XXXIII ,43-45. In the episode with Veltro, "Beagle", must win the lion fades into the
background compared with a victory over the wolf. text

93. "Purgatory", XXXII, 38,50; XXXIII ,58-60. text

94. Ibid., XXXI ,133-140. text

95. Ibid., XXXII ,100-103. text

96. Ibid., XXXIII, 142-145. Mention may be made as parallel, that the return of King Arthur is also associated with the appearance
of dried oak leaves on which dried up "during the interregnum, interregnum".

Text

Y THE LAST LAMP

DEAR ANGEL

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