Esoteric Christianity is the living schooling of the Risen Christ, which for us today is looking to be applied in the Resurrection not just of our physical body, but of our thinking. Dead thoughts must be awakened to life in the form of moral impulses.
During the 40 days between the Resurrection & the Ascension, Christ, living on Earth now in his etheric body, taught many things to his disciples. Some of these esoteric teachings can be found in the Gnostic Gospels, especially the ‘Pistis Sophia’- Occult views into cosmology, & many extensive dialogues between the Risen Christ & Mary-Sophia.
Rudolf Steiner reveals many levels of communication here. For instance, when the Christ spoke in parables, he used a picture language, like that of the Buddha, which everyone could understand. Then, when alone with his disciples, Christ explained these parables in a language similar to that of Socrates, appropriate for those who had developed a sufficient intellectual culture to understand it.
The Gnostic writings come out of a culture of people steeped in an atavistic clairvoyance, an instinctive wisdom, which was a gift of the gods. This ancient Pagan wisdom has grown dissolute. Then, Rudolf Steiner took the greatest Mystery of All Time, to the next level; into the Consciousness Soul, which will extend into the 43rd Century. Which means that with our willingness to work actively with Spiritual Science, the relevance of Anthroposophy will continue to grow for at least another 2,000 years.
So here we are friends, at this strange juncture in world history. Yet ever held by the cycle of the seasons with its Festival milestones; a sacred landing where we can stand upright in our true place in the universe.
So as the Easter-Tide continues, I feel a calling to be open to, & live into, the esoteric teachings of the Risen Christ – Working to digest the truth of the Resurrection into my physical body – Moving like the clouds, toward the Ascension, enlivening my etheric body. Preparing & purifying my astral body to receive the Holy Spirit; tongues of fire resting on my head, enlightening my heart to live into the great mission, & to be ever more worthy to serve AnthropoSophia, in a perpetual communal Pentecost.
Walk with me in Social Unity.
15 April 2021 – “Speaking with the Stars”: The waxing crescent Moon shines near Aldebaran and the Pleiades. This week both Mars and Bella Luna pass upward between the horntip stars of Taurus. If you have been reading the starry script, have you seen the name Parzival written in the crescent moon?
ON THIS DAY IN HISTORY
The Day of Archangel Raphael
1452 – The Birthday of Leonardo da Vinci
“What is inscribed in the Akasha Chronicle between the earth and the moon is of special importance because it is there that among other things all imperfections are recorded. It should be realized that the inscribing of these imperfections is governed by the view that every record there is of significance for the individual’s own evolution, either furthering or hindering his progress. Because it is there inscribed in the Akasha Chronicle between earth and moon, it also becomes significant for the evolution of the earth as a whole. The imperfections of really great men are also recorded in that sphere. One example of tremendous interest for clairvoyant observation is Leonardo da Vinci. He is a spirit of greatness and universality equaled by few others on earth, but compared with what he intended, his actual achievements in the external world in many respects remained incomplete. As a matter of fact, no man of similar eminence left as much uncompleted as Leonardo da Vinci. The consequence of this was that a colossal amount was inscribed by him in the Moon sphere, so much indeed that one is often bound to exclaim, “How could all that is inscribed there possibly have reached perfection on the earth!”
At this point I want to tell you of something that seemed to me quite significant when I was studying Leonardo da Vinci. I was to give a lecture about him in Berlin and a particular observation made in connection with him seemed to be extremely important. It fills one with sadness today to see on the wall of the Church of Santa Maria della Grazie in Milan the rapidly disappearing colors that now convey no more than a faint shadow of what the picture once was. If we remember that Leonardo took sixteen years to paint this picture, and think of how he painted it, we gain a definite impression. It is known that he would often go away for a long time. Then he would return to the picture, sit in front of it or many hours, make a few strokes with the brush and go off again. It is also known that many times he felt unable to express what he wished in the painting and suffered terrible fits of depression on this account. Now it happened that a new prior was appointed to the monastery at a time when Leonardo had already been working at the picture for many years. This prior was a pedantic and strict disciplinarian with little understanding of art. He asked impatiently why the painter could not finish the picture, reproached him for it and also complained to Duke Ludovico. The Duke repeated the complaint to Leonardo and he answered, “I do not know whether I shall ever be able to complete this picture. I have prototypes in life for all the figures except those of Judas and Christ. For them I have no models, although in the case of Judas, if no model turns up I can always take the prior. But for the Christ I have no prototype.” That, however, is digressing.
What I want to say is that when one looks today at the figure of Judas in the picture that has almost completely faded, a shadow is to be seen on this figure, a shadow that cannot be explained in any way, either by the instreaming light or by anything else. Occult investigation finds that the painting was never as Leonardo da Vinci really wanted it to be. With the exception of the figures of Judas and the Christ he wanted to portray everything through light and shadow, but Judas was to be portrayed in such a way as to give the impression that darkness dominated the countenance from within. This was not intended to be conveyed by external contrasts of light and shadows. In the figure of Christ the impression was to be that the light on His countenance was shining from within, radiating outwards from within. But at this point disharmony beset Leonardo’s inner life, and the effect he desired was never produced. This affords a clue when one is observing the many remaining inscriptions made by Leonardo in the Moon sphere. It is an example of something that could not be brought to fulfillment in the earth sphere.
When the period following that of Leonardo da Vinci is investigated, it is found that Leonardo continued to work through a number of those who lived after him. Even externally there can be found in Leonardo’s writings things that later on were demonstrated by scientists and also by artists. In fact, the whole subsequent period was under his influence. It is then discovered that the inscribed imperfections worked as inspirations into the souls of Leonardo’s successors, into the souls of men who lived after him.
The imperfections of an earlier epoch are still more important for the following epoch than its perfections. The perfections are there to be studied, but what has been elaborated to a certain degree of perfection on the earth has, as it were, reached an end, has come to a conclusion in evolution. What has not been perfected is the seed of the following divine evolutionary process. Here we come to a remarkable, magnificent paradox. The greatest blessing for a subsequent period is the fruitful imperfection, the fruitful, justifiable imperfection of an earlier period. What has been perfected in an earlier epoch is there to be enjoyed. Imperfection, however, imperfection originating in great men whose influences have remained for posterity, helps to promote creative activity in the following period. Hence, there is obviously tremendous wisdom in the fact that imperfections remain in the neighborhood of the earth, inscribed in the records of the Akasha Chronicle between earth and moon.
This brings us to the point where we can begin to understand the principle that perfection signifies for the different epochs the end of a stream of evolution, and imperfection, the beginning of an evolutionary stream. For imperfection in this sense men should actually be thankful to the gods.” ~Rudolf Steiner Life Between Death and Rebirth Man’s Journey through the Cosmic Spheres after Death
“Among the five sons of Mattathias is one who is already called Judas in the Old Testament. He was the one who at that time fought more bravely than all the others for his own people. In his whole soul he was dedicated to his people, and it was he who was successful in forming an alliance with the Romans against King Antiochus of Syria (I Maccabees, Chap. 8). This Judas (Maccabeus =The Hammer) is the same who later had to undergo the test of the betrayal, because he who was most intimately bound up with the old specifically Hebrew element, could not at once find the transition into the Christian element, needing the severe testing of the betrayal. Again, if we look at the purely artistic aspect, how wonderfully do the two figures stand out: the grand figure of the Judas in the last chapters of the Old Testament and the Judas of the New Testament. It is remarkable that in this symptomatic process, the Judas of the Old Testament concluded an alliance with the Romans, prefiguring all that happened later, namely the path that Christianity took through the Roman Empire, so that it could enter into the world. If I could add to this something that can also be known but that cannot be given in a lecture to an audience as large as this, you would see that it was precisely through a later reincarnation of Judas that the fusion of the Roman with the Christian element occurred. The reincarnated Judas was the first who, as we might say, had the great success of spreading Romanized Christianity in the world. The treaty concluded by the Judas of the Old Testament with the Romans was the prophetic foreshadowing of what was later accomplished by another man, who is recognized by occultists as the reincarnation of that Judas who had to go through the severe soul-testing of the betrayal. What through his later influence appears as Christianity within Romanism and Romanism within Christianity is like a renewal of the alliance concluded between the Old Testament Judas and the Romans, but transferred into the spiritual.” ~Rudolf Steiner, Gospel of Mark: Lecture 2
“If we let his “Last Supper” work on us, we find two things of which we can say that they do not altogether agree with Leonardo’s view of the principles of painting. One is the figure of Judas. From the reproductions and also to a certain extent from the shadowy painting in Milan, one gets the impression that Judas is quite covered in shadow — he is quite dark. Now when we study how the light falls from the different sides, and how with regard to the other eleven disciples the lighting conditions are represented in the most wonderful manner in accordance with reality, nothing really explains the darkness on the face of Judas. Art can give us no answer as to the wherefore of this darkness. This is fairly clear as regards the Judas figure. If we now turn to the Christ Figure, approaching it not according to Spiritual Science but according to the external view, it only produces, as it were, something like a suggestion. Just as little as the blackness, the darkness of the Judas figure seems justifiable, just as little does the “sunniness” of the Christ Figure, standing out as it does from the other figures, seem to be justified, in this sense. We can understand the lighting of all the other countenances but not that of Judas nor that of Christ Jesus. Then, as if of itself, the idea comes into one’s mind: surely the painter has striven to make evident that in these two opposites, Jesus and Judas, light and darkness proceed not from outside but from within. He probably wished to make us realize that the light on the face of the Christ cannot be explained by the outer conditions of light, and yet we can believe that the Soul behind this Countenance is itself a light force, so that It can shine of Itself, in spite of the lighting conditions. In the same way the impression with respect to Judas, is, that this form itself conjures up a shadow which is not explained by the shadows around it.
This is, as already said, a hypothesis of Spiritual Science, but one that has developed in me in the course of many years and we may believe that the more we considered the problem the more we would find it substantiated. According to this hypothesis one can understand how Leonardo, who strove to be true to nature in all his work and study, worked with trembling brush to present a problem that could only be justified with respect to this one figure. We can then understand that he might well be bitterly disappointed, indubitably so, because it was impossible by means of the then existing art to bring this problem to expression with complete truthfulness and probability. Because he could not yet do what he wanted, he finally despaired of the possibility of its execution and had to leave a picture behind him which still did not satisfy him, and the question as to the feelings with which Leonardo left his picture can be answered in full accord with the whole figure and spiritual greatness of Leonardo. He left it with a feeling of bitterness, realizing that in his most important work he had set himself a task, the execution of which could never be satisfactory with the means available to man. If in the centuries to come no eye will see the picture Leonardo had conjured on to the wall at Milan — that, in any case, was certainly not what lived in his soul. If we picture him thus before his most important creation, we are indeed tempted to ask: What secret really lay behind this figure?”
“…We see very little of Leonardo by looking at his external creations; we get the idea that this soul has still to carry out something in a super-sensible existence and we say to ourselves: Oh! We understand! In order that this soul, in the whole course of its collective existence, which runs through many earth lives, could always reveal something to mankind, it had in its Leonardo existence to pass through a life in which it was only able to bring to expression the very smallest part of what lived within it. Such souls as Leonardo are world riddles and life riddles — world riddles incarnate… Leonardo’s greatness only becomes evident to us when we get an inkling of what he could NOT accomplish. ~RS, Leonardo da Vinci – His Spiritual and Intellectual Greatness At the Turning Point of the New Age
“When we ourselves penetrate into the spiritual worlds and come to know something about the life there, we encounter conditions altogether different from those prevailing in physical life on earth. That is why it is so very difficult to describe these conditions in terms of human words and human thoughts. Any attempt to speak concretely about them often seems paradoxical.
To take one example only, I am able to tell you of a human soul after death together with whom it was possible — because of his special knowledge — to make certain discoveries in the spiritual world about the great painter Leonardo da Vinci, particularly about his famous picture of the Last Supper, in Milan. When one investigates a spiritual fact in association with such a soul, this soul is able to indicate many things which ordinary clairvoyance might not otherwise have found in the Akasha Chronicle. The soul in the spiritual world is able to point them out, but can do so only if there is some understanding of what this soul is trying to convey. Something very noteworthy then comes to light.
Suppose that in company with such a soul one is investigating how Leonardo da Vinci created his famous picture. Today the picture is hardly more than a few patches of colour. But in the Akasha Chronicle one can watch Leonardo as he painted, one can see what the picture was once like — although this is not an easy thing to do. When the investigation is carried on in company with a soul who is not incarnate but has some connection with Leonardo da Vinci and his painting, one perceives that this soul is showing one certain things — for example, the faces of Christ and of Judas as they actually were in the picture. But one perceives, too, that the soul could not reveal this unless at the moment when it is being revealed there is understanding in the soul of the living investigator. This is a sine qua non. And only at the moment when the soul of the living investigator is receptive to what is being disclosed does the discarnate soul itself learn to understand what is otherwise merely vision. To speak figuratively. — After something has been experienced together with such a soul — something that can be experienced only in the way described — this soul says to one: You have brought me to the picture and I feel the urge to look at it with you. (The soul of the dead says this to the living investigator because of the latter’s desire to investigate the picture.) Numerous experiences then arise. But a moment comes when the discarnate soul is either suddenly absent or says that it must depart. In the case of which I have just told you, the discarnate soul said: Up to now the soul of Leonardo da Vinci regarded with approval what was being done, but does not now desire the investigation to continue.” ~Rudolf Steiner, Links Between the Living and the Dead
POD (Poem Of the Day)
~I make my changes in secret
Like an insect in its chrysalis
Like a lead mountain into gold
The mummy molding into ripeness
Sanity staring into madness…
My transformation is
Mind, will, purpose & desire directed by love…
I die to let the visible become invisible…
Living into the spheres of cosmic Life and cosmic Light: Easter, Ascension, Whitsun in the Calendar of the Soul with Luigi Morelli, Hazel Archer & Geoff Norris
13 May 2021 Ascension Thursday 5- 6:30pm PT / 6-7:30 pm MT / 7 pm – 8:30 pm CT / 8-9:30 pm ET / 1 am – 2:30 am GMT / 2 am – 3:30 am CET
Join Zoom Meeting: https://zoom.us/j/7052931041?pwd=TStPVnpFRzlwZ0NpRURBZDNyYnpBQT09 Meeting ID: 705 293 1041 – Passcode: Ascension
Find your local number: https://zoom.us/u/a961qZZhF
Verses & Group Speech – Geoff Norris
Ascension: The secret teachings, the Elementals, & The Etheric Christ – Hazel Archer
Calendar of the Soul – Luigi Morelli : For those who are familiar with the Calendar of the Soul we could say that during spring and summer we follow the ascent of cosmic life, cosmic light, cosmic warmth and cosmic Word as gifts bestowed upon the human being by the cosmos. By being receptive to them we strengthen our connection to cosmos and Self.
We will briefly explore the dynamics of the year, then look at what qualities of soul we need to develop as we move into spring and summer, most particularly from Easter to Ascension and Whitsun. We will look at the verses of the calendar in conjunction with the artistic renditions of Anne Stockton and Karl König, drawn for each of the verses.
We will ask ourselves: How can we live into and grow from this time of the year? How can we deepen our inner relationship to the event of Ascension? What can we receive and what can we give?
Luigi Morelli – Cultures have been a great part of my upbringing, since I’m American born, part Italian, part Peruvian, mostly grew up in Belgium, and have lived the longest in the US. I have long had a passion for social change from a cultural perspective. Professionally this has brought me to working with the developmentally disabled in the intentional, holistic, communities of Camphill International and L’Arche International, and also in the mainstream. Being a founding member of the Wavecrest L’Arche Community in Los Angeles was a memorable experience. I have lived in intentional cohousing for the last ten years; first in Ecovillage Ithaca, now at Headwaters Cohousing in Cabot, in both places actively involved in community building and process facilitation.
Since 1999 I have found a vocation in researching/writing both about American history and/or about cultural/spiritual change, which you can find at www.millenniumculmination.net. Only of late have I started writing on meditative material I have used for years, publishing an essay on the Foundation Stone Meditation (also onsite) and one upcoming on the Calendar of the Soul. I love outdoors in many forms, gardening, hiking, skiing, love singing and playing flute, and enjoy most kinds of social events.
Geoffrey Norris was born in Durban, South Africa on 07/09/1951. After extensive performing with the Rock Musical “Hair “in Southern Africa, Portugal and Spain in the early 70’s he continued his theatrical training at the London School of Speech Formation and Dramatic Art, graduating in 1978. He is an actor, storyteller and teacher of voice, movement and drama and has given courses and workshops worldwide integrating the approaches of Rudolf Steiner, Michael Chekhov, Viola Spolin (and others, his own included).and has performed extensively throughout Britain, Eire, Continental Europe, Scandinavia, Israel, Southern Africa, The United States, Canada, China, Taiwan, Japan, and New Zealand. He is a master teacher of Steiner Speech Drama and Movement, with over 46 years of experience in the field. www.speechanddramastudio.com
Norris’s “Noble Art of the Word” puts to shame our modern actors, who fear to bring colour to poetic, rhythmic language, making it monochromatic dull prose. May they learn from one of the best examples.
Theatre Critic – Olsztyn
Sangreal: A Pentecost Pilgrimage & Whitsun Festival with the Central Regional Council
After working with Karma & Reincarnation for 3 years the CRC has chossen a new Theme: ‘The Mysteries of the Holy Grail, from Arthur and Parzival to Modern Initiation’
Join us on Whitsunday 23 May 2021, at 11 am PT / 12 noon MT / 1 pm – 2:30 pm CT / 2 pm ET / 8 pm CET
Details coming soon
You are invited to get the Book & Join us for study sessions through out the year as well.