'THE TWO HORNS OF BEELZEBUB' as shown in illustrations and drawings of Him, have elicited from those who have seen these and have asked the question why BEELZEBUB has two horns and what the SIGNIFICANCE of TWO HORNS is?
The Horns are similar to those of a Stag or Deer, etc. and we can also associate them with one of the earliest cave drawings/paintings of an ancient stag, which, when Mr. Gurdjieff saw this on one of his excursions, led him to the conclusion or observation that this involved 'mystery school(s) and initiations(s)' and that the horns has a great significance, which can be discussed further a another time.
Some writers and authors on THE FOURTH WAY and MR. GURDJIEFF have asked also why he chose as 'THE HERO' of his epic tale, the IMAGE,PERSONAGE, & FIGURE of ANCIENT MYTHOLOGY & RELIGION, a 'reviled' 'god', hated by Hebrews, Christians, etc. and associated with the DEVIL, with SATAN and EVIL.
For many having a 'demon' as a hero, except in more modern, contemporary circles ,where vampires and werewolves and similar entities and creatures, are now main characters, seems repulsive and repugnant to those who regard Christianity and the Bible as reference points in their lives.
'THE LORD OF THE FLIES' as BAAL was considered to be, especially by those Israelites whose YAWEH opposed this NEAR EASTERN GOD and others like him, EVIL.
BEELZEBUB is also BAALZEBUB.
CHAPTER II of Beelzebub's Tales to His Grandson brings BEELZEBUB into the Book after CHAPTER I begins with 'THE AROUSING OF THOUGHT' which to ordinary book readers seems to keep on from getting into the real 'meat' of the book by presenting things that do not seem to be part of a good story or 'a rousing' tale (tail).
For many readers, the journey from CHAPTER I: 'THE AROUSING OF THOUGHT' to the CHAPTER XLVII: THE INEVITABLE RESULT OF IMPARTIAL MENTATION will be not only a journey but an ordeal, a trial and a test, which will have a certain result perhaps if done.
What that result will be in each reader will depend on the reader's aim and awareness at the very least
as well as what Mr. Gurdjieff has written and presented as 'FOOD' FOR 'THOUGHT' and how well the reader can 'digest' it all.
At any rate, there is more to discuss, to taste and digest.
Wednesday, June 26, 2013
'THE SLY MAN'
'THE SLY MAN' , sometimes refers to THE WAY OF THE SLY MAN, that Mr. Gurjdieff sometimes discussed and to which he referred occasionally. Certainly, many took the term 'sly man' to refer also specifically to Mr. Gurdjieff whose 'elucidation' of this term needs to be studied more closely.
Mr.Gurdjieff made his own personal studies of various TYPES, that is, of men, characters, and 'personalities' and gave sometimes rather revealing, humorous, and scathing terms for such. Various writers on Mr. Gurdjieff have listed or mentioned many of these and I suggest everyone interested refer to the various accounts available as I will not bring those up here in any great detail.
Essentially, 'THE SLY MAN' appears to be something or someone he is not. He might well appear to be very ordinary, simple, un-noteworthy , commonplace, average, untalented, uncoordinated, handicapped, or other things and deceive many people who pass him by. He is an actor, used to playing many roles, that is, appearing as something or someone familiar and he does not stand out in anyway, unless he wants to attract a certain attention for a specific reasons
The notion of 'spy' comes to mind and the more successful are able to create a cover, a plausible occupation, and so on. Being gifted or appearing ungifted in languages is also a way to deceive and spy or to know such languages and yet appear to speakers as ignorant, unfluent, and and not understanding or able to speak the language.
Disguises of all kinds come to mind. All of this we can find examples to demonstrate this. The Sly Man may appear to be treacherous, fraudulent, manipulative, and other characteristics that the ordinary mind conceives necessary to be 'sly'.
CLEVERNESS, however, is the outstanding characteristic and also 'talented' usually in specific and special ways, reflecting cleverness and intelligence in certain situations. Clever criminals always seem to come to mind at times.
HOWEVER, THE SLY MAN POSSESSES A 'GREAT SECRET' and HE CONCEALS EVERYTHING IN PLAIN SIGHT!
THE SLY MAN CONCEALS THINGS IN THE THINGS HE WRITES AS WELL if that is needed and it is his aim or intention or is necessary. The SLY MAN CONCEALS OR EMBEDS HIMSELF IN PLAIN SITE IN DAILY LIFE OR EXISTENCE.
Subtlety and guile are also two characteristics or tools used by the Sly Man.
THE SERPENT IN THE GARDEN is a prime example of subtlety and deception but this I shall discuss here further than mentioning this.
HOWEVER, two other SLY MEN are also significant: JESUS & HITLER!
JESUS & HITLER ARE 'SLY MEN' BECAUSE TO ORDINARY ONLOOKERS,ESPECIALLY AS CHILDREN AND YOUTH AND IN MATURITY THEY DID NOT APPEAR TO BE WHAT THEY TURNED OUT TO BE TO THEIR EVENUAL BELIEVERS AND FOLLOWERS!
The Bible New Testament is full of this about Jesus as he never seemed to appear as THE SON OF GOD, THE MESSIAH, THE SAVIOUR, ETC. HITLER never appeared to have anything remarkable about him in his childhood and youth and as a man by most people until....
It is only after their transformation that the secret was let out and told to others in various ways, not always convincing except to their 'initiates' and 'disciples'..
The same can be said, of course, about MR. GURDJIEFF.
More can be said about this, of course, but I shall leave this topic for now, saying that not all things are as they seem to be, much is hidden from our eyes, and even when we look we do not see or when we see, we do not look, that is, penetrate beyond the obvious. There are always things that are 'invisible to the naked eye' and anyone who goes into the woods or forest for a walk will perhaps realize and discover.
Mr.Gurdjieff made his own personal studies of various TYPES, that is, of men, characters, and 'personalities' and gave sometimes rather revealing, humorous, and scathing terms for such. Various writers on Mr. Gurdjieff have listed or mentioned many of these and I suggest everyone interested refer to the various accounts available as I will not bring those up here in any great detail.
Essentially, 'THE SLY MAN' appears to be something or someone he is not. He might well appear to be very ordinary, simple, un-noteworthy , commonplace, average, untalented, uncoordinated, handicapped, or other things and deceive many people who pass him by. He is an actor, used to playing many roles, that is, appearing as something or someone familiar and he does not stand out in anyway, unless he wants to attract a certain attention for a specific reasons
The notion of 'spy' comes to mind and the more successful are able to create a cover, a plausible occupation, and so on. Being gifted or appearing ungifted in languages is also a way to deceive and spy or to know such languages and yet appear to speakers as ignorant, unfluent, and and not understanding or able to speak the language.
Disguises of all kinds come to mind. All of this we can find examples to demonstrate this. The Sly Man may appear to be treacherous, fraudulent, manipulative, and other characteristics that the ordinary mind conceives necessary to be 'sly'.
CLEVERNESS, however, is the outstanding characteristic and also 'talented' usually in specific and special ways, reflecting cleverness and intelligence in certain situations. Clever criminals always seem to come to mind at times.
HOWEVER, THE SLY MAN POSSESSES A 'GREAT SECRET' and HE CONCEALS EVERYTHING IN PLAIN SIGHT!
THE SLY MAN CONCEALS THINGS IN THE THINGS HE WRITES AS WELL if that is needed and it is his aim or intention or is necessary. The SLY MAN CONCEALS OR EMBEDS HIMSELF IN PLAIN SITE IN DAILY LIFE OR EXISTENCE.
Subtlety and guile are also two characteristics or tools used by the Sly Man.
THE SERPENT IN THE GARDEN is a prime example of subtlety and deception but this I shall discuss here further than mentioning this.
HOWEVER, two other SLY MEN are also significant: JESUS & HITLER!
JESUS & HITLER ARE 'SLY MEN' BECAUSE TO ORDINARY ONLOOKERS,ESPECIALLY AS CHILDREN AND YOUTH AND IN MATURITY THEY DID NOT APPEAR TO BE WHAT THEY TURNED OUT TO BE TO THEIR EVENUAL BELIEVERS AND FOLLOWERS!
The Bible New Testament is full of this about Jesus as he never seemed to appear as THE SON OF GOD, THE MESSIAH, THE SAVIOUR, ETC. HITLER never appeared to have anything remarkable about him in his childhood and youth and as a man by most people until....
It is only after their transformation that the secret was let out and told to others in various ways, not always convincing except to their 'initiates' and 'disciples'..
The same can be said, of course, about MR. GURDJIEFF.
More can be said about this, of course, but I shall leave this topic for now, saying that not all things are as they seem to be, much is hidden from our eyes, and even when we look we do not see or when we see, we do not look, that is, penetrate beyond the obvious. There are always things that are 'invisible to the naked eye' and anyone who goes into the woods or forest for a walk will perhaps realize and discover.
Friday, June 21, 2013
HIDDEN IN PLAIN SIGHT (SITE): THE BEELZEBUBIAN CODE
Those who study codes know of two basic types of CODE STUDY: CRYPTOGRAPHY & STEGANOGRAPHY.
A casual and incidental reading of the first series of ALL AND EVERYTHING by G.I. GURDJIEFF, which is entitled, BEELZEBUB'S TALES TO HIS GRANDSON may not give much of a clue to the BEELZEBUBIAN CODE despite perhaps knowing and realizing in some way, that the work is in code, that is, certain things are 'hidden in plain sight' an old trick or method to conceal certain objects and often rather well described in mystery and detective or crime novels, for those readers who are addicted to these works, of which many authors today have numerous followers and websites.
As Mr. P.D. OUSPENKSY, one of Mr. Gurdjieff's more prominent followers indicated for those who start on THE FOURTH WAY, is the necessity to 'LEARN A NEW LANGUAGE' as well as 'A NEW WAY OF THINKING' and his books, particularly, THE FOURTH WAY and THE PSYCHOLOGY OF MAN'S POSSIBLE EVOLUTION, and a few others tend to emphasize this to a large extent. However, Mr. Ouspensky does not give any full analysis or explanation of this work and so we must look elsewhere to 'crack' this code if that is anyone's aim. The reasons for Mr. Ouspensky's silence on this subject is another matter and need not detain any efforts to begin reading and learning from major work of Mr. Gurdjieff.
Beginners flipping through the pages of this rather thick and ponderous volume will soon note many words not in their immediate vocabulary which most will pass over in general haste to grasp the 'meat' of the work or its 'essence' which will, elude them, of course. Trying to find how to pronounce some of these new words and unusual spellings or 'terms' and then having to figure out what they may or may not mean, will prove difficult and discouraging. But for others it will prove a challenge.
Some similar challenging writings contain various words, often described as, 'jargon' or even, 'gibberish' as well as 'manufactured' words, including 'slang' and dialect and vernacular as well as precise 'King's English' and the like. I mention all of this because it may give you the impression that you need to be erudite, scholarly, linguistically inclined, and the like which might give many pause for concern and seem most burdensome.
Such 'lingo' or words are used to substitute for other words and scrabble players will often know what this means perhaps. Right now, I shall not give any specific examples of this word substitution, except to say they may be indicative of encoded and embedded words, that is, conceal something of importance, the 'secret message', etc.
Again, they may also serve as diversive and diverting ploys to get you on the wrong track and mislead all your further attempts or they may appear so 'obvious' that you will tend to go ahead and dismiss the actual significance.
In reading 'BEELZEBUB'S TALES TO HIS GRANDSON' you may well find that there is A HIDDEN MESSAGE THAT DOES NOT LOOK LIKE A CODE!
A casual and incidental reading of the first series of ALL AND EVERYTHING by G.I. GURDJIEFF, which is entitled, BEELZEBUB'S TALES TO HIS GRANDSON may not give much of a clue to the BEELZEBUBIAN CODE despite perhaps knowing and realizing in some way, that the work is in code, that is, certain things are 'hidden in plain sight' an old trick or method to conceal certain objects and often rather well described in mystery and detective or crime novels, for those readers who are addicted to these works, of which many authors today have numerous followers and websites.
As Mr. P.D. OUSPENKSY, one of Mr. Gurdjieff's more prominent followers indicated for those who start on THE FOURTH WAY, is the necessity to 'LEARN A NEW LANGUAGE' as well as 'A NEW WAY OF THINKING' and his books, particularly, THE FOURTH WAY and THE PSYCHOLOGY OF MAN'S POSSIBLE EVOLUTION, and a few others tend to emphasize this to a large extent. However, Mr. Ouspensky does not give any full analysis or explanation of this work and so we must look elsewhere to 'crack' this code if that is anyone's aim. The reasons for Mr. Ouspensky's silence on this subject is another matter and need not detain any efforts to begin reading and learning from major work of Mr. Gurdjieff.
Beginners flipping through the pages of this rather thick and ponderous volume will soon note many words not in their immediate vocabulary which most will pass over in general haste to grasp the 'meat' of the work or its 'essence' which will, elude them, of course. Trying to find how to pronounce some of these new words and unusual spellings or 'terms' and then having to figure out what they may or may not mean, will prove difficult and discouraging. But for others it will prove a challenge.
Some similar challenging writings contain various words, often described as, 'jargon' or even, 'gibberish' as well as 'manufactured' words, including 'slang' and dialect and vernacular as well as precise 'King's English' and the like. I mention all of this because it may give you the impression that you need to be erudite, scholarly, linguistically inclined, and the like which might give many pause for concern and seem most burdensome.
Such 'lingo' or words are used to substitute for other words and scrabble players will often know what this means perhaps. Right now, I shall not give any specific examples of this word substitution, except to say they may be indicative of encoded and embedded words, that is, conceal something of importance, the 'secret message', etc.
Again, they may also serve as diversive and diverting ploys to get you on the wrong track and mislead all your further attempts or they may appear so 'obvious' that you will tend to go ahead and dismiss the actual significance.
In reading 'BEELZEBUB'S TALES TO HIS GRANDSON' you may well find that there is A HIDDEN MESSAGE THAT DOES NOT LOOK LIKE A CODE!
Friday, June 14, 2013
VARIOUS CODES & DEFINITIONS OF CODE AND RELATED WORDS,TERMS, CONCEPTS, ETC
It is instructive and useful to consult various dictionaries and encyclopedia about 'CODES' and to use
those that are old as well as new in this quest as the more ancient definitions may apply rather than the newer, modern ones as we shall see perhaps in some instances. I shall not list the words and their meanings right now but do so when I place comments in this section.
Here are some examples of codes: THE CODE OF SILENCE
THE CODE OF THE SAMURAI
THE CODE OF CHIVALRY
THE CODE OF CONDUCT
Many, if not most of these codes, have a military connection or basis as well as cultural and religious significance(s). Codes based on 'symbolism' are also interesting to study. Most ancient writing and scripts are in languages, often assumed to be dead or extinct, and that means no longer spoken in the ancient ways. We do not know exactly what early primitive men, our ancestors actually spoke or how such sounded and the search for the 'original' language of man, that is, a group of basic sounds is still being conducted along with studies of 'soon-to-be-extinct' languages in the world.
Consequently, many things will remain unknown, hidden, 'secret', and continue to mystify everyone and provide 'fodder' for imaginative fiction writers and also scholars of some sort.
That the book, ALL AND EVERYTHING, FIRST SERIES, BEELZEBUB'S TALES TO HIS GRANDSON by G. I. GURDJIEFF is a CODE may not be apparent on the very first reading or attempts to read what seems rather complex and wordy and unlike most tales and folklore and 'revelations' and the like. Nor will several readings clear up the matter for most would-be readers, even when others attempt to explain or expound on the book, as I am somewhat doing here.
In the English edition of the book I am using as I go along with this blog, there is a final chapter, entitled, 'From the Author' and numbered CHAPTER XLVIII which one might think would explain some of the problems and give a better idea as to the intent of the author and so on. But it seems to me that this addition detracts from the total impressions and influences one might receive if one avoids or avoided this last chapter entirely and perhaps read it years and years later in another context and situation. It will always be an 'attraction' to those who seek to 'jump ahead' and try to find 'the villain's identity' as if reading a mystery novel and, indeed, this work is 'A COSMIC MYSTERY' that will end up with what has been also used as title of a book, WHO ARE YOU, MR. GURDJIEFF?
The Second Series of ALL AND EVERYTHING, 'MEETINGS WITH REMARKABLE MEN' is intended to answer this possible question that arises from those who attempt to read this first work but many, like myself, actually went to the second series,'jumping the gun' ahead of time, but finding that even this work, highly interesting and exciting and chock full of things to be studied and discerned, to mull over and the like, does not fully satisfy everyone nor could it, as it raises another series of questions that no biographer of MR. GURDJIEFF can answer with any assurance or certainty.
The Third Series, which I have and have read and still read, is also no answer to anything most will want to actually know and tends to leave a different taste from the other two books in the series than the ones already 'digested' which none of them actually ever are as the 'foods' they were intended to be by the' Master Chef' MR. GURDJIEFF.
Later, I shall give indication, based on my own readings, of another book, overlooked and ignored and dismissed that would, if read carefully, give more clues to all of these enigmatic considerations, depending on how one has actually worked and looked at these things, particularly on a BASIC, PRACTICAL LEVEL & SCALE AND NOT ON A THEORETICAL, ABSTRACT,INTELLECTUAL ATTEMPT.
those that are old as well as new in this quest as the more ancient definitions may apply rather than the newer, modern ones as we shall see perhaps in some instances. I shall not list the words and their meanings right now but do so when I place comments in this section.
Here are some examples of codes: THE CODE OF SILENCE
THE CODE OF THE SAMURAI
THE CODE OF CHIVALRY
THE CODE OF CONDUCT
Many, if not most of these codes, have a military connection or basis as well as cultural and religious significance(s). Codes based on 'symbolism' are also interesting to study. Most ancient writing and scripts are in languages, often assumed to be dead or extinct, and that means no longer spoken in the ancient ways. We do not know exactly what early primitive men, our ancestors actually spoke or how such sounded and the search for the 'original' language of man, that is, a group of basic sounds is still being conducted along with studies of 'soon-to-be-extinct' languages in the world.
Consequently, many things will remain unknown, hidden, 'secret', and continue to mystify everyone and provide 'fodder' for imaginative fiction writers and also scholars of some sort.
That the book, ALL AND EVERYTHING, FIRST SERIES, BEELZEBUB'S TALES TO HIS GRANDSON by G. I. GURDJIEFF is a CODE may not be apparent on the very first reading or attempts to read what seems rather complex and wordy and unlike most tales and folklore and 'revelations' and the like. Nor will several readings clear up the matter for most would-be readers, even when others attempt to explain or expound on the book, as I am somewhat doing here.
In the English edition of the book I am using as I go along with this blog, there is a final chapter, entitled, 'From the Author' and numbered CHAPTER XLVIII which one might think would explain some of the problems and give a better idea as to the intent of the author and so on. But it seems to me that this addition detracts from the total impressions and influences one might receive if one avoids or avoided this last chapter entirely and perhaps read it years and years later in another context and situation. It will always be an 'attraction' to those who seek to 'jump ahead' and try to find 'the villain's identity' as if reading a mystery novel and, indeed, this work is 'A COSMIC MYSTERY' that will end up with what has been also used as title of a book, WHO ARE YOU, MR. GURDJIEFF?
The Second Series of ALL AND EVERYTHING, 'MEETINGS WITH REMARKABLE MEN' is intended to answer this possible question that arises from those who attempt to read this first work but many, like myself, actually went to the second series,'jumping the gun' ahead of time, but finding that even this work, highly interesting and exciting and chock full of things to be studied and discerned, to mull over and the like, does not fully satisfy everyone nor could it, as it raises another series of questions that no biographer of MR. GURDJIEFF can answer with any assurance or certainty.
The Third Series, which I have and have read and still read, is also no answer to anything most will want to actually know and tends to leave a different taste from the other two books in the series than the ones already 'digested' which none of them actually ever are as the 'foods' they were intended to be by the' Master Chef' MR. GURDJIEFF.
Later, I shall give indication, based on my own readings, of another book, overlooked and ignored and dismissed that would, if read carefully, give more clues to all of these enigmatic considerations, depending on how one has actually worked and looked at these things, particularly on a BASIC, PRACTICAL LEVEL & SCALE AND NOT ON A THEORETICAL, ABSTRACT,INTELLECTUAL ATTEMPT.
Wednesday, June 12, 2013
'THE BEEZLEBUB WARS' and how do they relate to the BEELZEBUB CODE ?
Assuming that I am somewhat correct in attributing a code in ALL AND EVERYTHING, the FIRST SERIES entitled, THE TALES OF BEELZEBUB TO HIS GRANDSON, then we have to discuss an important article that appeared in a recent issue of PARABOLA, which image is on this blog and its implications.
The 'wars' come about over the various 'copies' and translations made of nearly all the writings of MR. GURDJIEFF and what he was actually trying to tell us in any language, of which three appear to be of utmost importance: RUSSIAN ,FRENCH, ENGLISH.
Supposedly the original manuscripts handwritten and perhaps also some dictated were in ARMENIAN and RUSSIAN. Mr. Gurdjieff was of 'Armenian and Greek descent' according to all the biographical material on his life, which was both 'enigmatic' and 'peripetetic'. The fact is that much of his 'Grecian' side has been made of and less of his 'Armenian' side. d
As for his RUSSIAN, if we are to believe Mr. Ouspensky, he spoke it 'incorrectly' and with a heavy 'Caucasus' accent. However, studied Russian in school and if we are to go by his other writings, he learned a lot of 'swear' words and 'obscenities' as well as other aspects of many dialects and tongues of Asian languages, especially Central Asia.
I suspect, though I have no proof, that he also knew GREEK, of some kind, Tibetan, German, then French, English, and 'Persian'-'Turkish'. If you drink coffee that is called 'Persian' and then drink one called 'Turkish' you will understand a bit not only about flavors and coffees but a bit about relying on 'names' and 'languages'. A good word to see this is that for 'alak', 'arec' and similar alcoholic beverages from the Near East to the Philippines,etc. where you can use this same word.
So here is what I wish to say on this matter of speaking and using languages: Sometimes you may not be able to speak or imitate much ENGLISH, RUSSIAN, SPANISH, GREEK, ARABIC, INDONESIAN, CHINESE, HINDI, ETC. ETC. or even to read it or write it legibly or fluently or at all, but you may well find yourself understanding it, perhaps bits and pieces or even all of it, what and when someone who is a native speaker of the language or reads it to you out-loud from what has been written or printed, ESPECIALLY IF YOU HAVE SPENT YEARS & YEARS IN A SPECIFIC LANGUAGE ENVIRONMENT, AN INTENSELY SOCIAL, ORAL AND RICH ONE without being able to mimic or speak it accurately or write it legibly.
THIS I THINK IS WHAT MR. GURDJIEFF WAS ABLE TO DO. He assimilated the sounds and other aspects of the language environment(s) he found himself in.
MOREOVER, MODERN LANGUAGE LEARNERS IMMERSE THEMSELVES INTO THE CULTURE AND SOCIAL SETTINGS AND 'DOINGS' BEFORE THEY EVEN TRY TO SAY ANY ACTUAL WORDS AND READ OR WRITE THEM.
The sounds are more important than the letters used to designate such. Numerous 'phonetic' alphabets and the like exist as most know. Interference with learning a new language tends to come mostly from one's 'NATIVE LANGUAGE' and also trying to find possible associations between sounds and letters in both.
We still need to have new translations of MR. GURDJIEFF'S writings from the original languages if possible rather than rely on the old ones done years and years ago. But this seems highly unlikely for many reasons too obvious and numerous to mention here.
The 'wars' come about over the various 'copies' and translations made of nearly all the writings of MR. GURDJIEFF and what he was actually trying to tell us in any language, of which three appear to be of utmost importance: RUSSIAN ,FRENCH, ENGLISH.
Supposedly the original manuscripts handwritten and perhaps also some dictated were in ARMENIAN and RUSSIAN. Mr. Gurdjieff was of 'Armenian and Greek descent' according to all the biographical material on his life, which was both 'enigmatic' and 'peripetetic'. The fact is that much of his 'Grecian' side has been made of and less of his 'Armenian' side. d
As for his RUSSIAN, if we are to believe Mr. Ouspensky, he spoke it 'incorrectly' and with a heavy 'Caucasus' accent. However, studied Russian in school and if we are to go by his other writings, he learned a lot of 'swear' words and 'obscenities' as well as other aspects of many dialects and tongues of Asian languages, especially Central Asia.
I suspect, though I have no proof, that he also knew GREEK, of some kind, Tibetan, German, then French, English, and 'Persian'-'Turkish'. If you drink coffee that is called 'Persian' and then drink one called 'Turkish' you will understand a bit not only about flavors and coffees but a bit about relying on 'names' and 'languages'. A good word to see this is that for 'alak', 'arec' and similar alcoholic beverages from the Near East to the Philippines,etc. where you can use this same word.
So here is what I wish to say on this matter of speaking and using languages: Sometimes you may not be able to speak or imitate much ENGLISH, RUSSIAN, SPANISH, GREEK, ARABIC, INDONESIAN, CHINESE, HINDI, ETC. ETC. or even to read it or write it legibly or fluently or at all, but you may well find yourself understanding it, perhaps bits and pieces or even all of it, what and when someone who is a native speaker of the language or reads it to you out-loud from what has been written or printed, ESPECIALLY IF YOU HAVE SPENT YEARS & YEARS IN A SPECIFIC LANGUAGE ENVIRONMENT, AN INTENSELY SOCIAL, ORAL AND RICH ONE without being able to mimic or speak it accurately or write it legibly.
THIS I THINK IS WHAT MR. GURDJIEFF WAS ABLE TO DO. He assimilated the sounds and other aspects of the language environment(s) he found himself in.
MOREOVER, MODERN LANGUAGE LEARNERS IMMERSE THEMSELVES INTO THE CULTURE AND SOCIAL SETTINGS AND 'DOINGS' BEFORE THEY EVEN TRY TO SAY ANY ACTUAL WORDS AND READ OR WRITE THEM.
The sounds are more important than the letters used to designate such. Numerous 'phonetic' alphabets and the like exist as most know. Interference with learning a new language tends to come mostly from one's 'NATIVE LANGUAGE' and also trying to find possible associations between sounds and letters in both.
We still need to have new translations of MR. GURDJIEFF'S writings from the original languages if possible rather than rely on the old ones done years and years ago. But this seems highly unlikely for many reasons too obvious and numerous to mention here.
THE BEELZEBUB 'CODE' PART II
Modern and popular fiction writers have composed some 'best' & 'better' selling novels that employ the 'eye-catching' word: "CODE".
The word 'code' goes from 'Morse ' to 'DA VINCI' with a controversial amount of 'fact' and 'fancy'.
Eager readers of all ages who delve into 'ancient secrets' & 'arcane lore' , whether or not 'on a midnight dark and dreary', will also be most pleased to learn that THE TALES OF BEELZEBUB is 'CODE' !
Before raising the usual eyebrows and rejecting this conjecture and statement, permit me to give some vague hints as to why this may well be so and also why it is not readily apparent to 'diehard'
'GURDJIEFFIANS' and all the offshoots ,including, but not limited to, 'OUSPENSKIANS'.
But this will require a series of things that will take time to post. Even then, not everyone will agree or understand why or accept these 'claims' and 'hints'.
'THE TALES' can be called 'THE BEELZEBUB CODE'.
A 'code', like a lock, requires a 'key', a method that allows its deciphering or 'cracking' ,somewhat analogous to 'safe-cracking' as writers, archeologists, and occultist-alchemists-etc realize as they pour over symbols and hieroglyphics to 'unlock forbidden secrets', which are apt to be 'encoded'-to be read only by those who know how and can decipher it, and so, the code must not be obvious or easy to figure out, even if 'hints' and 'clues' are given that may actually help, rather than divert attention and trick, or obviously mislead, those 'code-breakers' attempting such feats, that can be most 'mind-boggling' at their very best.
Now the question arises why should an 'obvious work of literature' require an 'encoding' in the first place? A short answer is to hide the actual author of the work, as in the long-debated notions and similar conjectures, that Sir Francis Bacon wrote Shakespeare's plays or that Christopher Marlowe did, etc.
If we look at certain 'scriptures' we encounter not only the problems of interpretation(s) but of 'authorship' or 'apostolic' succession, etc. The libraries are full of such works for the BIBLE, the KORAN, the UPANISHADS, THE BHAGAVAD GITA, THE BOOK OF MORMON, the URANTIA, and also the DEAD SEA SCROLLS. And many of these objects, parchments, records, etc have received rather intense 'scientific' scrutiny and 'research' or 'testing' of all kinds.
Still people can read all or none of the versions and translations and the special interpretations and go on living their ordinary lives( of pleasure and pain) and allow these volumes and so on to gather more dust on shelves than they now do.
Still, the writers of such 'inspirationally enlightening' works would like readers of these 'can't put down occult and sometimes supernatural thrillers' to have 'a peek' at their 'creations'.
HOWEVER, ' THE TALES OF BEELZEBUB TO HIS GRANDSON' might outweigh all of' this current literary frenzy' to reveal the various codes found in exotic and esoteric realms if taken up and read with an' awareness and intent', a 'conscious aim' if one is capable of doing this.
The word 'code' goes from 'Morse ' to 'DA VINCI' with a controversial amount of 'fact' and 'fancy'.
Eager readers of all ages who delve into 'ancient secrets' & 'arcane lore' , whether or not 'on a midnight dark and dreary', will also be most pleased to learn that THE TALES OF BEELZEBUB is 'CODE' !
Before raising the usual eyebrows and rejecting this conjecture and statement, permit me to give some vague hints as to why this may well be so and also why it is not readily apparent to 'diehard'
'GURDJIEFFIANS' and all the offshoots ,including, but not limited to, 'OUSPENSKIANS'.
But this will require a series of things that will take time to post. Even then, not everyone will agree or understand why or accept these 'claims' and 'hints'.
'THE TALES' can be called 'THE BEELZEBUB CODE'.
A 'code', like a lock, requires a 'key', a method that allows its deciphering or 'cracking' ,somewhat analogous to 'safe-cracking' as writers, archeologists, and occultist-alchemists-etc realize as they pour over symbols and hieroglyphics to 'unlock forbidden secrets', which are apt to be 'encoded'-to be read only by those who know how and can decipher it, and so, the code must not be obvious or easy to figure out, even if 'hints' and 'clues' are given that may actually help, rather than divert attention and trick, or obviously mislead, those 'code-breakers' attempting such feats, that can be most 'mind-boggling' at their very best.
Now the question arises why should an 'obvious work of literature' require an 'encoding' in the first place? A short answer is to hide the actual author of the work, as in the long-debated notions and similar conjectures, that Sir Francis Bacon wrote Shakespeare's plays or that Christopher Marlowe did, etc.
If we look at certain 'scriptures' we encounter not only the problems of interpretation(s) but of 'authorship' or 'apostolic' succession, etc. The libraries are full of such works for the BIBLE, the KORAN, the UPANISHADS, THE BHAGAVAD GITA, THE BOOK OF MORMON, the URANTIA, and also the DEAD SEA SCROLLS. And many of these objects, parchments, records, etc have received rather intense 'scientific' scrutiny and 'research' or 'testing' of all kinds.
Still people can read all or none of the versions and translations and the special interpretations and go on living their ordinary lives( of pleasure and pain) and allow these volumes and so on to gather more dust on shelves than they now do.
Still, the writers of such 'inspirationally enlightening' works would like readers of these 'can't put down occult and sometimes supernatural thrillers' to have 'a peek' at their 'creations'.
HOWEVER, ' THE TALES OF BEELZEBUB TO HIS GRANDSON' might outweigh all of' this current literary frenzy' to reveal the various codes found in exotic and esoteric realms if taken up and read with an' awareness and intent', a 'conscious aim' if one is capable of doing this.
The Tales (Tails) of BEELZEBUB & THEIR 'CODE' PART 1
The TALES OF BEELZEBUB as compiled by G. I. GURDJIEFF can be read , at least in 2 English Versions, on several different levels, depending on several things and conditions.
Those far more familiar and experienced from years of reading, both word-for-word; page-by-page; chapter-by -chapter, are usually those who have undertaken this task as a result of some possible, even minimal 'group work'.
Actually, intensive group work, study, and exposure may impede or influence one's understanding of the work as some have found out. We see the same thing in groups and persons who have also devoted endless hours, classes, services, etc to read, if not preach, scriptures, Bibles, even novels, and the results are often on a scale from zero to ten (0-10), no matter how high or low the level of effort to do such.
When one is eager to become 'CONSCIOUS' merely reading such a work as 'BEELZEBUB' or THE FIRST SERIES of ALL AND EVERYTHING, by 'GEORGE IVANOVITCH GURDJIEFF, becomes tedious and disappointing when one has not reached higher levels of 'BEING'.
Of course, nothing is promised and, despite strenuous effort(s) initially, many abandon what has become known as 'THE FOURTH WAY', 'THE WORK', or 'THE SYSTEM', very unsatisfying terms and words used by various persons and groups to designate the ways or sources of some of their ideas, especially if they happen to write on such, as I am doing now.
'THE TALES OF BEELZEBUB TO HIS GRANDSON' have been mentioned and described in various ways from 'a grand epic', 'an ancient myth', ' a science-fiction story', 'a revelation for contemporary peoples' to 'an incomprehensible mixture o f manufactured/artificial words that 'twist the tongue' and 'create great fatigue'.
All attempts to interpret, 're-translate', 'clarify' or 'smooth-out' these TALES fail and never, of themselves, go beyond a certain barrier that everyone who reads them, these TALES, brings to the work and through which few can penetrate, which insures that ,for the most part, these unusual and somewhat intriguing TALES continue to go unread by the greater literary enthusiasts and literate peoples of today's INTERNET/ELECTRONIC world that has become 'globalized' beyond recognition for those in tribal areas and situations.
Those far more familiar and experienced from years of reading, both word-for-word; page-by-page; chapter-by -chapter, are usually those who have undertaken this task as a result of some possible, even minimal 'group work'.
Actually, intensive group work, study, and exposure may impede or influence one's understanding of the work as some have found out. We see the same thing in groups and persons who have also devoted endless hours, classes, services, etc to read, if not preach, scriptures, Bibles, even novels, and the results are often on a scale from zero to ten (0-10), no matter how high or low the level of effort to do such.
When one is eager to become 'CONSCIOUS' merely reading such a work as 'BEELZEBUB' or THE FIRST SERIES of ALL AND EVERYTHING, by 'GEORGE IVANOVITCH GURDJIEFF, becomes tedious and disappointing when one has not reached higher levels of 'BEING'.
Of course, nothing is promised and, despite strenuous effort(s) initially, many abandon what has become known as 'THE FOURTH WAY', 'THE WORK', or 'THE SYSTEM', very unsatisfying terms and words used by various persons and groups to designate the ways or sources of some of their ideas, especially if they happen to write on such, as I am doing now.
'THE TALES OF BEELZEBUB TO HIS GRANDSON' have been mentioned and described in various ways from 'a grand epic', 'an ancient myth', ' a science-fiction story', 'a revelation for contemporary peoples' to 'an incomprehensible mixture o f manufactured/artificial words that 'twist the tongue' and 'create great fatigue'.
All attempts to interpret, 're-translate', 'clarify' or 'smooth-out' these TALES fail and never, of themselves, go beyond a certain barrier that everyone who reads them, these TALES, brings to the work and through which few can penetrate, which insures that ,for the most part, these unusual and somewhat intriguing TALES continue to go unread by the greater literary enthusiasts and literate peoples of today's INTERNET/ELECTRONIC world that has become 'globalized' beyond recognition for those in tribal areas and situations.
Subscribe to:
Comments (Atom)