The cusp of Aries and Taurus is a cusp between the FIRE of Aries and the EARTH of Taurus.
We can see the RED above of the fifth emanation, that of MARS ruling Aries, with the diagonal to the seventh
Emanation to VENUS ruling Taurus (and Libra).
From the field of Sertenity, the field of Mindfulness is born. God the Most High, says, ‘They celebrate His praises night and day, nor do they even flag or intermit'(21:20).
Mindfulness involves striving and is of three kinds: being mindful of service, being mindful of the spiritual moment, and being mindful of the inner consciousness.
Being mindful of service is achieved through three things: revering God’s command, knowing the Prophetic tradition, and recognizing pretension.
And being mindful of the spiritual and metaphysical moment is achieved through three things: elimination of passion, purification of thought, and being overcome by divine love.
And being mindful of the inner-conciousness is achieved through three things: losing [attachment to] the world, becoming free from the self, and returning to God through intimacy
–The One Hundred Fields of Abdullah Ansari of Herat
The Fifth emanation is of course called Severity. This Martian war like energy is one of catharsis.
This is a cleansing, a mother spanking her child, a teacher forcing their student to rethink their actions.
This is a slap in the face to wake up through what may very well be a trial by fire.
It is not without reason that the fifth emanation also leads to DEVIL, JUTICE and DEATH.
This path between TOWER and LOVERS is of course mediated through the Harmonious sixth emanation
The TOWER is a card of destruction, lies, illusions and falsehoods are destroyed, the ivory tower.
The LOVERS is a card of EDEN. It is a card of polarity and beginnings and endings, a perfect state of being.
Occult explanations attached to this card are meagre and mostly disconcerting. It is idle to indicate that it depicts min in all its aspects, because it bears this evidence on the surface. It is said further that it contains the first allusion to a material building, but I do not conceive that the Tower is more or less material than the pillars which we have met with in three previous cases. I see nothing to warrant Papus in supposing that it is literally the fall of Adam, but there is more in favour of his alternative–that it signifies the materialization of the spiritual word. The bibliographer Christian imagines that it is the downfall of the mind, seeking to penetrate the mystery of God. I agree rather with Grand Orient that it is the ruin of the House of We, when evil has prevailed therein, and above all that it is the rending of a House of Doctrine. I understand that the reference is, however, to a House of Falsehood. It illustrates also in the most comprehensive way the old truth that “except the Lord build the house, they labour in vain that build it.”
There is a sense in which the catastrophe is a reflection from the previous card, but not on the side of the symbolism which I have tried to indicate therein. It is more correctly a question of analogy; one is concerned with the fall into the material and animal state, while the other signifies destruction on the intellectual side. The Tower has been spoken of as the chastisement of pride and the intellect overwhelmed in the attempt to penetrate the Mystery of God; but in neither case do these explanations account for the two persons who are the living sufferers. The one is the literal word made void and the other its false interpretation. In yet a deeper sense, it may signify also the end of a dispensation, but there is no possibility here for the consideration of this involved question.
I saw a lofty tower extending from earth to heaven; its golden crowned summit reached beyond the clouds. All round it black night reigned and thunder rumbled.
Suddenly the heavens opened, a thunder-clap shook the whole earth, and lightning struck the summit of the tower and felled the golden crown. A tongue of fire shot from heaven and the whole tower became filled with fire and smoke. Then I beheld the builders of the tower fall headlong to the ground.
And the voice said:–
“The building of the tower was begun by the disciples of the great Master in order to have a constant reminder of the Master’s teaching that the true tower must be built in one’s own soul, that in the tower built by hands there can be no mysteries, that no one can ascend to Heaven by treading stone steps.
“The tower should warn the people not to believe in it. It should serve as a reminder of the inner Temple and as a protection against the outer; it should be as a lighthouse, in a dangerous place where men have often been wrecked and where ships should not go.
“But by and by the disciples forgot the true covenant of the Master and what the tower symbolized, and began to believe in the tower of stone, they had built, and to teach others to so believe. They began to say that in this tower there is power, mystery and the spirit of the Master, that the tower itself is holy and that it is built for the coming Master according to His covenant and His will. And so they waited in the tower for the Master. Others did not believe this, or interpreted it differently. Then began disputes about the rights of the summit. Quarrels started, ‘Our Master, your Master,’ was said; ‘our tower, your tower.’ And the disciples ceased to understand each other. Their tongues had become confused.
“You understand the meaning here? They had begun to think that this is the tower of the Master, that He builds it through them, and that it must and, indeed, can be built right up to Heaven.
“And you see how Heaven responded?”
The sun shines in the zenith, and beneath is a great winged figure with arms extended, pouring down influences. In the foreground are two human figures, male and female, unveiled before each other, as if Adam and Eve when they first occupied the paradise of the earthly body. Behind the man is the Tree of Life, bearing twelve fruits, and the Tree of the Knowledge of Good and Evil is behind the woman; the serpent is twining round it. The figures suggest youth, virginity, innocence and love before it is contaminated by gross material desire. This is in all simplicity the card of human love, here exhibited as part of the way, the truth and the life. It replaces, by recourse to first principles, the old card of marriage, which I have described previously, and the later follies which depicted man between vice and virtue. In a very high sense, the card is a mystery of the Covenant and Sabbath.
The suggestion in respect of the woman is that she signifies that attraction towards the sensitive life which carries within it the idea of the Fall of Man, but she is rather the working of a Secret Law of Providence than a willing and conscious temptress. It is through her imputed lapse that man shall arise ultimately, and only by her can he complete himself. The card is therefore in its way another intimation concerning the great mystery of womanhood. The old meanings fall to pieces of necessity with the old pictures, but even as interpretations of the latter, some of them were of the order of commonplace and others were false in symbolism.
I saw a blooming garden in a green valley, surrounded by soft blue hills.
In the garden I saw a Man and a Woman naked and beautiful. They loved each other and their Love was their service to the Great Conception, a prayer and a sacrifice; through It they communed with God, through It they received the highest revelations; in Its light the deepest truths came to them; the magic world opened its gate; elves, undines, sylphs and gnomes came openly to them; the three kingdoms of nature, the mineral, plant and animal, and the four elements–fire, water, air and earth-served them.
Through their Love they saw the mystery of the world’s equilibrium, and that they themselves were a symbol and expression of this balance. Two triangles united in them into a six-pointed star. Two magnets melted into an ellipsis. They were two. The third was the Unknown Future. The three made One.
I saw the woman looking out upon the world as though enraptured with its beauty. And from the tree on which ripened golden fruit I saw a serpent creep.It whispered in the woman’s ear, and I saw her listening, smiling at first suspiciously, then with curiosity which merged into joy. Then I saw her speak to the man. I noticed that he seemed to admire only her and smiled with an expression of joy and sympathy at all she told him.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
“This picture you see, is a picture of temptation and fall”, said the voice. “What constitutes the Fall? Do you understand its nature”?
“Life is so good”, I said, “and the world so beautiful, and this man and woman wanted to believe in the reality of the world and of themselves. They wanted to forget service and take from the world what it can give. So they made a distinction between themselves and the world. They said, ‘We are here, the world is there’. And the world separated from them and became hostile.”
“Yes”, said the Voice, this is true. “The everlasting mistake with men is that they see the fall in love. But Love is not a fall, it is a soaring above an abyss. And the higher the flight, the more beautiful and alluring appears the earth. But that wisdom, which crawls on earth, advises belief in the earth and in the present. This is the Temptation. And the man and woman yielded to it. They dropped from the eternal realms and submitted to time and death. The balance was disturbed. The fairyland was closed upon them. The elves, undines, sylphs and gnomes became invisible.
The Face of God ceased to reveal Itself to them, and all things appeared upside down.
“This Fall, this first ‘sin of man’, repeats itself perpetually, because man continues to believe in his separateness and in the Present. And only by means of great suffering can he liberate himself from the control of time and return to Eternity–leave darkness and return to Light”.
While MARS or severity is one of destructive cleansing, the fire that burns from which arises the dragon or phoenix. We see total destruction here. This is mostly thought of as a harsh encounter a place of destruction. Severity as an emanation is also catharsis. We all need to limit and reduce things in ur lives sometimes. This is constriction, reduction, a trial through fire from which new modes are created, war, yes…but not just.
Ruled by Khamiel and the Seraphim the metal of Mars is IRON.
Camael (Latin Camael), Means one who sees God. (also known as Kamuel, Chamuel, Camiel, Camniel) is an angel in Christian mythology and angelology, and is often included in lists as being one of the seven archangels. He is claimed to be the leader of the forces that expelled Adam and Eve from the Garden of Eden holding a flaming sword. Camael is not recognised by the Catholic Church due to the Vatican‘s decision to ban the veneration of angels not mentioned in the Bible
Camael is an angel who presides over beauty, joy, happiness, and contentment. Camael is the Chief of the order of powers and is one of the holy Sefiroth. Camael personifies divine justice and is listed as one of the seven truly powerful angels who have the great honour of standing in the very presence of God.
Camael’s name means ‘He who sees God.’
The angel Camael is credited with having authority over a mighty force ‘The Angels of Destruction’ and is honoured as the chief of the ruling princes of the angelic choir.
Camael is also thought to be the angel of the garden of Gethsemane who gave comfort and encouragement to Jesus in the terrible hours prior to his arrest. Some people believe that Camael is the angel of divine love and the gatekeeper of heaven.
A seraph (/ˈsɛr.əf/; pl. seraphs or seraphim /ˈsɛr.ə.fɪm/; Hebrew: שְׂרָפִים śərāfîm, singular שָׂרָף śārāf; Latin: seraphi[m], singularseraph[us]; Greek: σεραφείμ) is a type of celestial or heavenly being in the Abrahamic religions.
Literally “burning ones”, the word seraph is normally a synonym for serpents when used in the Hebrew Bible. A seminal passage in theBook of Isaiah (Isaiah 6:1-8) used the term to describe fiery six-winged beings that fly around the Throne of God crying “holy, holy, holy”. This throne scene, with its triple invocation of holiness (a formula that came to be known as the Trisagion), profoundly influenced subsequent theology, literature and art. Its influence is frequently seen in works depicting angels, heaven and apotheosis. Seraphs are mentioned as celestial beings in an influential Hellenistic work, the Book of Enoch, and the Book of Revelation. Tradition places seraphs in the fifth rank of ten in the Jewish angelic hierarchy and the highest rank in the Christian angelic hierarchy.
The word seraphim, literally “burning ones”, transliterates a Hebrew plural noun; translation yields seraphs. The word saraph/seraphim appears three times in the Torah (Numbers 21:6–8, Deuteronomy 8:15) and four times in the Book of Isaiah (6:2–6, 14:29, 30:6). In Numbers and Deuteronomy the “seraphim” are serpents—the association of serpents as “burning ones” is possibly due to the burning sensation of the poison. Isaiah also uses the word in close association with words to describe snakes (nachash, the generic word for snakes, in 14:29, and epheh, viper, in 30:6).
The Isaiah vision of seraphs in an idealised Jerusalem First Temple represents the sole instance in the Hebrew Bible of this word being used to describe celestial beings. “… I saw the Lord sitting upon a throne, high and lifted up; and His train filled the Hekhal (sanctuary). Above him stood the Seraphim; each had six wings; with two he covered his face, and with two he covered his feet, and with two he flew.” (Isaiah 6:1–3) The seraphim cry continually to each other, “Holy, holy, holy, is YHWH of hosts: the whole earth is full of His glory.” (verses 2–3) One seraph then carries out an act of purification for the prophet by touching his lips with a live coal from the altar (verses 6–7). The text uses the word “seraphim” but adds no adjectives or modifiers emphasizing snakes (nahash, etc.). The description gives the creatures both human and avian attributes. A strong association with fire, though, is maintained.
In the Hebrew Bible the seraphs do not have the status of angels. It is only in later sources (like De Coelesti Hierarchia or Summa Theologiae that they are considered to be a division of the divine messengers.
Seraphs appear in the 2nd century BC Book of Enoch where they are designated as drakones (δράκονες “serpents”), and are mentioned, in conjunction with cherubs, as the heavenly creatures standing nearest to the throne of God. Two other classes of celestial beings were equated with the seraphim – the phoenixes and the chalkydri (from Greekχαλκός “copper”, “brass” + ύδρα “hydra“, “water-snake”; lit. “brazen hydras” or “serpents”), who were both described as “flying elements of the sun”. In the late 1st century AD Book of Revelation (iv. 4–8) the seraphim are described as being forever in God’s presence and praising him: “Day and night with out ceasing they sing: ‘Holy, holy, holy is the Lord God Almighty, who was and is and is to come.'” They appear also in the Christian Gnostic text On the Origin of the World, described as “dragon-shaped angels”.
The name “Seraphim” does not come from charity only, but from the excess of charity, expressed by the word ardor or fire. Hence Dionysius (Coel. Hier. vii) expounds the name “Seraphim” according to the properties of fire, containing an excess of heat. Now in fire we may consider three things.
First, the movement which is upwards and continuous. This signifies that they are borne inflexibly towards God.
Secondly, the active force which is “heat,” which is not found in fire simply, but exists with a certain sharpness, as being of most penetrating action, and reaching even to the smallest things, and as it were, with superabundant fervor; whereby is signified the action of these angels, exercised powerfully upon those who are subject to them, rousing them to a like fervor, and cleansing them wholly by their heat.
Thirdly we consider in fire the quality of clarity, or brightness; which signifies that these angels have in themselves an inextinguishable light, and that they also perfectly enlighten others.
Of the seven metals, iron is the ‘earthy’ one, having a stronger connection with the Earth than do the others – for a start, it’s the only one that aligns with the Earth’s magnetic field, in a compass. It’s present in far larger quantities in the earth’s crust than the other ‘classical’ metals. The others – lead, tin, gold, copper, mercury and silver – total no more than 0.01%, or one part in ten thousand of the Earth’s crust. They are in a sense little more than ‘visitors to the Earth’ (the phrase is Dr Steiner’s), although we use them so much nowadays that we forget their scarcity. Iron makes up about 5% of the crust, being the only one which has built itself solidly into the substance of the earth.
Reddish-looking soil means that iron is present, and, for the same reason, Mars is red. So the symbolism of Iron-Mars is direct and obvious, with nothing subtle about it. Mars has always been associated with blood and war because of this symbolism. But, let’s not forget that that symbolism is also physiological fact: the blood is red because of the iron in it! The main ore of iron is pyrites, ‘fool’s gold.’ Have some of its marvellous cubic-crystal structures on your mantelpiece! The other common ore is haematite, which has a quite different bulbous structure, and a dark reddish hue. ‘Haem’ means blood and ‘pyr’ means fire – blood and fire! These are indeed the Mars-attributes.
Of the seven metals, iron is the one that burns. A falling star is burning iron. A meteorite burns brightly as it falls through the atmosphere. Fireworks use the burning sparkle of iron filings. Some steel wool can be ignited, then plunge it into a jar of oxygen, when it will glow fiercely. Thereby one experiences the fiery energy of Mars. … One is reminded of Vulcan and Ares by such a demonstration, the two Mars-archetypes of antiquity. One was married to Aphrodite the Goddess of Love while the other just had an affair with her. Vulcan or Haephastos was the Smith, who forged the armour and instruments of war. The fiercely-glowing iron is removed from the furnace and then hammered into shape. Haephastos was lame, symbolizing an affliction that could befall Smiths from arsenic-poisoning. As copper and iron are bound together in the Earth, with most copper ores bound up with iron, as copper and iron interact in the blood, copper helping the iron metabolism – so Mars and Venus were mutually attracted. One sees this in the principle of a dynamo, where an iron-copperinteraction takes place to produce the throbbing pulse of electrical energy.
Ruled by COPPER the seventh emanation of VICTORY, VENUS is a place of the earth mysteries. Here we have the intuition, the place of the inner self as opposed to the intellect. The mysteries of Venus, the mysterious vault beneath the earth (Rosicrucianism). This is a center of the Orphic mysteries a clear path of Chthonic energies. Ruled by Uriel/Auriel and the Elohim. It is through here we find the light of the earth, a gateway beneath the earth to the stars.
Uriel (אוּרִיאֵל “El/God is my light“, Auriel/Oriel (God is my light) Standard Hebrew Uriʾel, Tiberian Hebrew ʾÛrîʾēl) is one of thearchangels of post-Exilic Rabbinic tradition, and also of certain Christian traditions.
The angels mentioned in the older books of the Hebrew Bible are without names. Indeed, rabbi Simeon ben Lakish of Tiberias (230–270), asserted that all the specific names for the angels were brought back by the Jews from Babylon, and some modern commentators would tend to agree. Of the seven Archangels in the angelology of post-Exilic Judaism, only two, Gabriel, and Michael, are mentioned by name in the Scriptures consistently recognised by both the post-Jamnia Jewish tradition and the books common to both the Catholic biblical canon and the Protestant one. Raphael (archangel) features prominently in the deuterocanonical book Tobit (initially accepted by both the Jewish and Christian canons, but removed from the Jewish canon in late antiquity and rejected by the Protestant reformers in the 17th century). The Book of Tobit is accepted as scriptural by the Catholic Church, the Eastern Orthodox Church, and the Oriental Orthodox Church.
Where a fourth archangel is added to the named three, to represent the four cardinal points, Uriel is generally the fourth. Uriel is listed as the fourth angel in Christian Gnostics(under the name Phanuel), by Gregory the Great, and in the angelology of Pseudo-Dionysius. However, the Book of Enoch clearly distinguishes the two Angels; Uriel means “the Light of God” while Phanuel means “the Face of God”. Uriel is the third angel listed in the Testament of Solomon, the fourth being Sabrael.
Uriel appears in the Second Book of Esdras found in the Biblical apocrypha (called Esdras IV in the Vulgate) in which the prophet Ezra asks God a series of questions, and Uriel is sent by God to instruct him. According to the Revelation of Esdras, the angels that will rule at the end of the world are Michael, Gabriel, Uriel, Raphael, Gabuthelon, Beburos,Zebuleon, Aker, and Arphugitonos. The last five listed only appear in this book and nowhere else in apocryphal or apocalyptic works.
In Christian apocryphal gospels Uriel plays a role, differing between sources, in the rescue of Jesus‘ cousin John the Baptist from theMassacre of the Innocents ordered by King Herod. He carries John and his mother Saint Elizabeth to join the Holy Family after their Flight into Egypt. Their reunion is depicted in Leonardo da Vinci‘s Virgin of the Rocks.
Uriel is often identified as a cherub and angel of repentance. He “stands at the Gate of Eden with a fiery sword”, or as the angel who “watches over thunder and terror”. In the Apocalypse of Peter he appears as the Angel of Repentance, who is graphically represented as being as pitiless as any demon. In the Life of Adam and Eve, Uriel is regarded as the spirit (i.e., one of the cherubs) of the third chapter of Genesis. He is also identified as one of the angels who helped bury Adam and Abel in Paradise.
Stemming from medieval Jewish mystical traditions, Uriel has also become the Angel of Sunday (Jewish Encyclopedia), the Angel of Poetry, and one of the Holy Sephiroth. Uriel is depicted as the destroyer of the hosts of Sennacherib.
In a few cases in the Greek Septuagint (LXX), Hebrew elohim with a plural verb, or with implied plural context, was rendered either angeloi (“angels”) or pros to kriterion tou Theou(“before the judgement of God”). These passages then entered first the Latin Vulgate, then the English King James Version (KJV) as “angels” and “judges”, respectively. From this came the result that James Strong, for example, listed “angels” and “judges” as possible meanings for elohim with a plural verb in his Strong’s Concordance, and the same is true of many other 17th-20th century reference works. Both Gesenius’ Hebrew Lexicon and the Brown-Driver-Briggs Lexicon list both angels and judges as possible alternative meanings of elohim with plural verbs and adjectives.
The reliability of the Septuagint translation in this matter has been questioned by Gesenius and Ernst Wilhelm Hengstenberg. In the case of Gesenius, he lists the meaning without agreeing with it. Hengstenberg stated that the Hebrew Bible text never uses elohim to refer to “angels”, but that the Septuagint translators refused the references to “gods” in the verses they amended to “angels.”
The Greek New Testament (NT) quotes Psalm 8:4-6 in Hebrews 2:6b-8a, where the Greek NT has “ἀγγέλους” (angelos) in vs. 7, quoting Ps. 8:5 (8:6 in the LXX), which also has “ἀγγέλους” in a version of the Greek Septuagint. In the KJV, elohim (Strong’s number H430) is translated as “angels” only in Psalm 8:5.
The KJV has elohim translated as “judges” in Exodus 21:6; Exodus 22:8; and twice in Exodus 22:9.
Copper in women’s blood serum has a monthly cycle in tune with their menstrual period, peaking a week or so before the period arrives. This is because their serum copper exists chiefly as the protein, ‘ceruloplasmin’, whose metabolism is closely linked to the female sex hormone oestrogen. The Pill works by emulating conditions of pregnancy where oestrogen is high, and this has a drastic effect upon serum copper levels. During pregnancy, copper serum in the mother climbs up to double its normal level, reaching 1.9 parts per million. Conversely, iron in foetal blood also increases as the time of birth approaches, so a copper-iron polarity develops between mother and child. Insomnia, depression and changeable moods towards the end of pregnancy have been related to the raised copper levels. A woman taking the Pill has blocked off her monthly rhythm of serum copper, and instead retains a permanently high level corresponding to the ninth month of pregnancy. Evidence suggests that copper has a dynamic role in the reproductive process, rather than just being a by-product of the raised oestrogen.
In the early 1970s it was discovered that coil contraceptives using copper were much more successful than previous coil designs. The ‘copper-7’ coil became the most popular design and was marketed world-wide, used chiefly by women who have already had one child. Despite intensive research however, no-one had any idea as to the mechanism whereby copper in the coil helped prevent conception. Copper ions have a biological action on the inside of the uterus, preventing implantation of the fertilised ovum. Its modus operandi is thus quite unconnected with that of the Pill, where overall blood serum levels are raised. The sole connection is that in both situations a striking Venus-quality is shown by copper’s behavior.
Having compared copper and iron in the blood, let’s compare them in other aspects – as their two planets are nearest to us, one within Earth’s orbit and the other outside it. Pure copper is a metal of reddish-pink hue, and has a warm, beneficial glow which contrasts with the cold glint of steel. With something made out of iron one may feel ‘how strong’ or ‘how useful’, whereas with something made out of copper, the first impression is more aesthetic. Whether it is a copper bowl, a trumpet, or a green-domed copper roof, it is the visual appearance rather than the utility of the metal which first strikes one. It is such a soft and pliable metal that it needs to be alloyed with other metals, into brass or bronze, before it can be used for a structural purpose.
In an exhibition of mineral ores those of copper first attract the attention, providing a joy to the eye as do those of no other metal. Look at the delicate green-blue hues of malachite or azurite- how different from the massive, solid forms of the iron ores, pyrites or haematite! The pyrite crystals form perfect cubes, expressing Martial power and strength. A contrast to this is the copper ore malachite, often cut and polished for decoration, to disclose its swirling patterns and sea-green hues. The names of the ores of copper point to gentle Venus qualities: azurite, malachite, turquoise, chalcopyrite and peacock ore.