The Book of the Dead, or The Book for Day-Wandering (To the Other Side?)!

Throughout human history, numerous hints—such as books, signs, or symbols—have sought to reveal the truth or, at the very least, refresh our forgotten memories. However, we often appear too naive or too lazy to make the effort to understand.

Here is one: although we may be able to read and decipher it, we must also discern the underlying meaning—”reading between the lines!”—and therein lies the key!

In the upper register, Ani and his wife face the “Seven Gates of the House of Osiris.” Below are ten of the twenty-one “Mysterious Portals of the House of Osiris in the Field of Reeds.” They are all protected by fearsome guardians. (from Historicaleve)

So, let’s continue engaging and aim to gather more information. Here is Marie Grillot‘s brilliant report on this topic for its purpose!

The Book of the Dead by Kha, Architect of the Place of Truth

via égyptophile

Book of the Dead of Kha and Merit – plant fiber/papyrus, ink, pigments
New Kingdom – 18th Dynasty – reigns of Amenhotep II, Thutmose IV, Amenhotep III – circa 1425 – 1353 BC
from their tomb – TT 8 – discovered on February 15, 1906, in the necropolis of Deir el-Medina
by Ernesto Schiaparelli and Francesco Ballerini of the Italian Archaeological Mission of the Turin Museum
exhibited at the Museo Egizio in Turin – Inv. No.: Suppl. 8316/03 = Suppl.8438 – museum photo

“In use from the beginning of the New Kingdom to the Roman period, the Book of the Dead, of which a ‘canonical’ version appeared in the Saite period, could be written on leather, on the mummy’s own bandages, on pieces of funerary furniture or, particularly at Deir el-Medina, on the walls of the vault, but it was almost always on a papyrus roll, bearing the name and titles of the deceased, that the various chapters that constituted it succeeded one another. Their titles being written in red ink – the literal meaning of the term ‘rubric’ – these were written in cursive hieroglyphs, in hieratic, then in demotic, and were almost always, especially in the New Kingdom, accompanied by beautiful painted ‘vignettes’ that make the Book of the Dead the oldest illuminated book in the world” indicates Jean-Pierre Corteggiani in “Ancient Egypt and its Gods”.

The “Book of the Dead” was originally called the “Book for going out during the day”. This “recent” name is due to the Egyptologist Richard Lepsius, who, in 1842, while translating a papyrus kept in the Turin Museum, called it “Todtenbuch” (“Book of the Dead”).

Paul Barguet, who also made a translation published by Éditions du Cerf, recalls its “divine” genesis: “The god Thoth is said to be the mythical author of the magic formulas of the Book of the Dead (or “Book to go out at/the day”, a title preferred by Jean-Louis de Cénival). Each time a deceased person recites a formula, he is theoretically the author since he reactivates it at the moment of pronunciation. But the formulas of the Book of the Dead were indeed written a very first time. The Egyptian priests identified this first author. In their minds, it was a divinity, not expressly named, but originating from Hermopolis. It would then seem that it was the god Thoth. This first paternity is rarely mentioned in the Book of the Dead, but it exists in the formula sections 30B, 64, 137A and 148″…

This precious collection, intended to ensure the well-being of the deceased and to be a true guide to eternal life, was placed in the tombs of the royal sphere and in those of individuals. It contained prayers for the divinities, religious and magical texts, listed the formulas allowing one to cross the doors to access the afterlife, to be “justified”, to face dangers and threats, to benefit from offerings, to feed oneself, to go out on earth during the day after having, during the night, crossed the underground world of Osiris…

In “The Egyptians,” Françoise Dunand and Roger Lichtenberg specify that the one who knows the formulas “will go to earth among the living… He will go out every day, he wants, and return to his tomb without being arrested… Thus, while the body remains in the tomb, the soul, ba (represented as a bird with a human head), is supposed to leave it to wander at will on earth and then find it again”…

The total number of formulas stated is sometimes indicated as 150, 165, or even 194; this difference is probably due to the periods… The copies that have come down to us are not all identical; they vary in fact in the number of formulas as well as in that of the “vignettes”. Thus, Florence Maruejol, the ancient Egyptians, asked “the scribes of the Houses of Life for a choice of chapters. Or it is the scribes themselves who make the selection… The shortest measures 1 or 2 meters in length, the majority reach about fifteen meters, and the longest exceed 25 meters. The chapters are generally illustrated by vignettes drawn in line or painted by an artist who takes over from the scribe”.

The “Book of the Dead” of Kha, architect of the Place of Truth, was found in the tomb he shared with his beloved wife, Merit. Discovered on February 15, 1906, in the northern circus of the necropolis of Deir el-Medina, by Ernesto Schiaparelli and Francesco Ballerini of the Italian archaeological mission of the Turin Museum, it contained more than 500 objects that constitute highly instructive testimonies of the life of a couple of the New Kingdom who had been particularly successful in this ‘microcosm’ that was then the community of artisans.

Left, top: Statuette of the architect Kha-wood – Museo Egizio Turin, S. 8335
Funeral mask of his wife Merit – painted and gilded stucco cardboard – Museo Egizio Turin, S 8473
Left bottom: The inviolate tomb of Kha and Merit – 18th dynasty – TT 8 Deir el-Medineh – when it was discovered on February 15, 1906,
by the Italian Archaeological Mission of the Turin Museum led by Ernesto Schiaparelli and Francesco Ballerini
Right: Artifacts coming out of the tomb – photos Museo Egizio

Curiously, their “Book of the Dead” was not “rolled up” but was found folded and placed on the intermediate coffin of Kha, who died after his wife. “Composed of 38 sheets of papyrus, stuck together for almost 14 meters in total length… it lists 33 formulas arranged from left to right, often accompanied by abundantly illustrated vignettes. The introductory scene shows Kha and Merit before the god Osiris enthroned under a canopy facing a richly decorated pedestal table; this scene synthesizes the axis around which the concept of death is articulated in ancient Egypt, that is to say the encounter with the god Osiris, sovereign of the world of the dead, whose judgment determines access or not to eternal life” specifies Enrico Ferraris in the “Museo Egizio”…

The following sheets (all 35 centimeters wide) contain other formulas related to the funeral procession, the ritual of opening the mouth, protecting the deceased, amulets, etc.

Dated 1425 – 1353 BC, from the reigns of Amenhotep II, Thutmose IV, and Amenhotep III, this “Book of the Dead” was registered in the Museo Egizio – S. 8316/03 = S.8438. In the work cited above, Enrico Ferraris notes “strong formal and sequential analogies with the copy found in the tomb of Yuya and Tuya, parents of Queen Tiye, wife of Amenhotep III, which could suggest the use of a reference model shared by the workshops that wrote these two funerary papyri…

Marie Grillot

Sources:

Kha’s Book of the Dead Egyptian Museum of Turin – S. 8316/03 = S.8438 https://collezioni.museoegizio.it/it-IT/material/S_8316_03_S_8438/?description=LIBRO+DEI+MORTI+KHA&inventoryNumber=&title=&cgt=&yearFrom=&yearTo=&materials=&provenance=&acquisition=&epoch=&dynasty=&pharaoh= The TT 8 au Museum Egyptian https://collezioni.museoegizio.it/it-IT/search/?action=s&description=&title=&inventoryNumber=&cgt=&yearFrom=&yearTo=&provenance=Deir+el-Medina+%2F+tomba+di+Kha+%28TT8%29&acquisition= Fouilles de Schiaparelli. Documentary fund Francesco Ballerini. CEFB, Come, Italy Jeanne Vandier d’Abbadie, Geneviève Jourdain, Two Tombs of Deir El Médineh, The Chapel of Khâ, The Tomb of the Royal Scribe Amenemopet (1939), MIFAO 73, IFAO, 1939 https://archive.org/details/MIFAO73/page/n5/mode/2up Bertha Porter, Rosalind L. B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings – I. The Theban Necropolis Part 1. Private Tombs, Second edition revised and augmented – Griffith Institute Ashmolean Museum Oxford, 1960 http://www.griffith.ox.ac.uk/topbib/pdf/pm1-1.pdf#page=338 Ernest Scamuzzi, Egyptian Art at the Museum de Turin, Hachette, 1966
Paul Barguet, Le Livre des Morts des anciens Égyptiens, Éditions du Cerf, Paris 1967
Le musée égyptien Turin, Federico Garolla Editore, 1988
Isabelle Franco, Dictionnaire de mythologie égyptienne, Pygmalion 1999
Egypte, le Livres des Morts, version abrégée, traduit de l’égyptien par E. A. Wallis Budge, Hazan, 2001
Nicholas Reeves, Ancient Egypt. The great discoveries, Thames & Hudson, 2002, Les Grandes découvertes de l’Egypte ancienne Editions du Rocher, 2001
Les artistes de pharaon, Deir el Medineh et la Vallée des Rois, Louvre, 2002
Françoise Dunand, Roger Lichtenberg, Les Égyptiens, Éditions du Chêne, 2004
Eleni Vassilika, Trésors d’Art du museo Egizio, Allemandi & Co, 2006
Jean-Pierre Corteggiani, L’Egypte ancienne et ses dieux, Fayard, 2007
Raffaella Bianucci, Michael E. Habicht, Stephen Buckley, Joann Fletcher, Roger Seiler, Lena M. Öhrström, Eleni Vassilika, Thomas Böni, Frank J. Rühli, Shedding New Light on the 18th Dynasty Mummies of the Royal Architect Kha and His Spouse Merit, Mark Spigelman Editor, 2015 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4511739/ Guide museo Egizio, Franco Cosimo Panini Editions, 2015
Consiglio Nazionale delle Ricerche webtv, a torino per rivivere la scoperta della tomba di kha, 2015 https://www.cnrweb.tv/10146/ Museo Egizio, Fondazione Museo delle Antichità Egizie di Torino, Franco Cosimo Panini Editore, 2016
Ève Gran-Aymarich, Les chercheurs du past 1798-1945 : Aux sources de l’archéologie, CNRS Editions via OpenEdition, 2016 https://books.google.fr/books?id=wIKlDAAAQBAJ&pg=PA1155&lpg=PA1155&dq=schiaparelli+maspero&source=bl&ots=eiKoGLOzaj&sig=Q12 Ot2EYTNn209S0gdRSiKjjG58&hl=fr&sa=X&ved=0ahUKEwi8ivmMjdbRAhWBQBQKHbB2DJoQ6AEIMzAI#v=onepage&q=schiaparelli%20maspero&f=false Florence Maruéjol, L’Egypte ancienne pour les Nuls, First Editions, 2017
Gallica, Le Livre pour sortir au jour or Livre des Morts des Anciens Egypt https://gallica.bnf.fr/accueil/fr/html/le-livre-pour-sortir-au-jour-ou-livre-des-morts-des-anciens-egyptiens

Published 4 weeks ago by Marie Grillot

Friedrich Nietzsche’s Political View; A Look at the State.

Recently, I saw a critical performance of Richard Wagner on German TV about his racism, presented by an Italian or Spanish artist whose name I have forgotten. However, this reminded me of Nietzsche’s distancing himself from Wagner due to his disgust towards specific individuals, even though Nietzsche was in love with his sister, Cosima. (The reason may also be that Nietzsche had a very close relationship with a man named Paul Rée, who was Jewish.)
For Nietzsche, the Tribschen period was far from idyllic. It was challenging as he constantly tested himself to meet Wagner’s expectations. He began writing his first book while regularly visiting the Wagners’ home in Tribschen, anxious about whether his work would satisfy Wagner. This era was marked by aspiration, vulnerability, and self-testing for Nietzsche. He was essentially an apprentice to a genius, experiencing a vital rite of passage in his creative journey.

Free AI Art
(On the top: Surreal Abstract Painting.)

Neither Nietzsche nor Wagner understood one another realistically. Nietzsche saw Wagner as a benevolent father but felt disappointed by his egotism. Conversely, Wagner viewed Nietzsche as a loyal son who became a rebellious thinker. Both pursued psychological needs that overshadowed their friendship and intimacy.

Anyway, I found two paragraphs I’ve translated from one of his books, Menschliches, Allzumenschliches (Human, All Too Human). I present them to you because I believe they are very relevant to our “political” society today.

From the Book “Human, All Too Human”, Volume One

(No. 458) Guiding Spirits and their Tools.

We see great statesmen and generally all those who have to use many people to carry out their plans, sometimes proceed in this way, sometimes in that way: either they select very finely and carefully the people who suit their plans and then give them relatively great freedom because they know that the nature of these chosen people will lead them to where they themselves want them to go, or they choose poorly, even take what comes to hand, but form something suitable for their purposes out of every ton. This last type is the more violent; it also requires submissive tools, its knowledge of human nature is usually much less, and its contempt for human nature is greater than that of the first-mentioned minds. Still, the machine they construct generally works better than the machine from the workshop of the former.

(No. 460) The Great Man of the Masses.

The recipe for what the masses call a great man is easy to give. Whatever the circumstances, get them something they find very pleasant, or first put it into their heads that this and that would be very pleasant, and then give it to them. But not immediately at any price: you have to fight for it with the greatest effort or seem to be fighting for it. The masses must have the impression that there is a powerful, even indomitable willpower; at least, it must seem to be there. Everyone admires a strong will because no one has it, and everyone says to themselves that if they had it, there would be no limits to them and their egoism. If it turns out that such a firm will achieve something that the masses find very pleasant, people admire it once again and wish themselves luck instead of listening to the wishes of its greed. Moreover, he has all the qualities of the masses: the less they are ashamed of him, the more popular he is. So, He is violent, jealous, exploitative, scheming, flattering, grovelling, conceited (narcissist) or anything, depending on the circumstances.

A brief update: My challenging circumstances remain the same, but I’m relieved that my boss has exited the hospital. His blood tests are standard, yet he still cannot return to work. Therefore, I must continue managing things as the acting boss!
I am always grateful for your support and companionship, and I wish you all a lovely weekend.🙏💖

We Are Free to Change the World; Hannah Arendt. The Meaning of Freedom (Democracy)!

Sorry! I can’t simply ignore this issue or stop worrying about the current situation. Perhaps it’s because I was born and raised in a dictatorship, which gives me a deeper understanding of the coming danger than many of my friends here, who have mostly been born and live in freedom.

The question is, when a nation feels disappointed with its situation and confused about its future, how easily can its patriotism be aroused and nationalism used to heal its social wounds? It is not related to a country’s political governing and social freedom, as we observe it occurring in both directories and Western democratic nations. I often wonder why people tend to embrace nationalism during moments of last-ditch pride, frequently seen in contexts like football national cups (a common occurrence in South America), historical racism (as observed in German history), or in leaning on their ancient heritage (as seen with figures like Mussolini in Italy and the Persians, which still resonates today).

Through scientific understanding, our world has become dehumanized. Man feels himself isolated in the cosmos. He is no longer involved in nature and has lost his emotional participation in natural events, which hitherto had a symbolic meaning for him… He no longer has a bush-soul identifying him with a wild animal. His immediate communication with nature is gone forever, and the emotional energy it generated has sunk into the unconscious. (C. G. Jung 1948/1980, para 585)

In today’s world, and likely in the years to come, politics will inevitably influence our lives, whether we want it to or not. I don’t intend to denigrate anyone, but when a single individual holds leadership in one of the most influential roles in the world with vast authority, it raises alarms about the potential for tyranny. And I’m sure all friends here must admit that no one will be immune to that seduction!

The word “democracy” originates from the Greek terms “demos,” meaning “people,” and “kratos,” meaning “power.” Therefore, democracy can be understood as the “power of the people”—a form of governance that relies on the people’s will.
The idea of democracy derives its moral strength – and popular appeal – from two fundamental principles: 1- Individual Autonomy: This principle asserts that no one should be subject to rules others impose. People should be able to control their own lives within reasonable limits. 2- Equality: This principle holds that everyone should have the same opportunity to influence society’s decisions. Essentially, it emphasizes the disempowerment of concentrated power held by a single individual, transforming governance into a system where leaders serve the population rather than rule over them.

Lyndsey Stonebridge explains in her book “We Are Free To Change The World” (Hannah Arendt’s Lessons of Love and Disobedience): >In Arendt’s sense, having a free mind means turning away from dogma, political certainties, theoretical comfort zones, and satisfying ideologies. It means learning instead to cultivate the art of staying true to reality’s hazards, vulnerabilities, mysteries, and perplexities because, ultimately, that is our best chance of remaining human.<
She also reflects that fundamental questions about the human condition are not beside the point in dire political times; they are the point. How can we think straight amidst cynicism and mendacity? What is there left to love, to cherish, to fight for? How can we act to secure it best? What fences and bridges do we need to build to protect freedom, and which walls do we need to destroy?

Hannah Arendt closely examined the regimes of Hitler and Stalin, their functionaries, the ideology of scientific racism, and the role of propaganda in creating what she described as “a curiously varying mixture of gullibility and cynicism.” This mixture is how individuals are expected to respond to their leaders’ ever-changing lies. In her 1951 work, “Origins of Totalitarianism,” she elaborated that this combination of gullibility and cynicism is prevalent across all levels of totalitarian movements:

In an ever-changing, incomprehensible world, the masses had reached the point where they would simultaneously believe everything and nothing, think that everything was possible and nothing was true… The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day and trust that if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along that the statement was a lie and would admire the leaders for their superior tactical cleverness.

It is important to recognize the significant danger of trusting someone who makes promises. Why do such individuals often resort to constant and blatant lying? One reason is that it serves as a way to control their subordinates completely. These followers may feel compelled to abandon their own integrity to echo outrageous falsehoods, subsequently becoming tied to the leader through feelings of shame and complicity. Professor Jacob T. Levy from McGill University highlights the insights of prominent thinkers like George Orwell, Hannah Arendt, and Vaclav Havel. He notes that they can help us identify a specific type of falsehood. He states that “saying something obviously untrue and forcing your subordinates to repeat it earnestly in their own words is a shocking demonstration of power over them. This practice was widespread in totalitarian regimes.”

“You can read my lips… Repeat my words as I repeat them! Doesn’t this sound familiar? Arendt and others noted— as Levy writes— that “being forced to repeat an obvious lie makes it clear that you’re powerless.” She also identified how an avalanche of lies can render a populace unable to resist, a phenomenon we now refer to as ” “gaslighting”:

The result of a consistent and total substitution of lies for factual truth is not that the lie will now be accepted as truth and truth be defamed as a lie, but that the sense by which we take our bearings in the real world—and the category of truth versus falsehood is among the mental means to this end—is being destroyed.

However, time will reveal how a people or a nation can differentiate between right and wrong and how much their practice of democracy can help them recognize truth and falsehood. Democracy is not a gift that can be simply given; it requires thorough training to achieve its ultimate goal.

Thank you!

Sources:

The marginalia Open Culture

The Way We Go!

The Dance of the Bacchants, by Charles Gleyre and Friedrich Nietzsche (Artwork: Mark Rothko)

Recently, I read a post on FB from a good friend, Scott D. Smith, about how we might have to get through Nietzsche to understand Dr. Jung better! I agree totally; though Dr. Jung’s works are not philosophical but psychological, Nietzsche has an immense influence on Jung’s doctrine work and his psychological analysis in general.

Nietzsche admired Greece and Greek mythology, often quoting Schopenhauer and using Hegelian ideas to discuss art. He connected ancient Greek tragedy with Richard Wagner’s opera. Let’s see what he meant by Dionysian.

Dionysus, the Greek god of wine and music, is associated with the Dionysian, a state of self-forgetting where individuals unite with others and nature. According to Nietzsche, the Apollonian and the Dionysian are essential to art creation. Dionysian art, particularly music, represents madness and drunkenness, appealing to primal human desires and mystical unity with nature.
In “The Birth of Tragedy” (1872), Nietzsche introduced the terms Apollonian and Dionysian to describe contrasting forces in art. The Apollonian represents a calm, rational art, while the Dionysian embodies intense emotion and ecstasy. Nietzsche believed these forces could come together to create a unique art form, as seen in the Greek tragedies of Aeschylus and Sophocles.

“The saying Yes to life even in its strangest and hardest problems; the will to life, rejoicing over its inexhaustibility even in the very sacrifice of its highest types – that is what I call Dionysian.”

Charles Gleyre La Danse des bacchantes. Wikimedia
*The Dance of the Bacchantes*, the last painting by Gleyre exhibited publicly in Paris (at the Salon of 1849)

I believe his thoughts are timeless, as humans almost permanently experience the same failures based on ignorance. Here he speaks:

“Now we see the struggle, pain, the destruction of appearances as necessary because
of the abundance of countless forms pressing into life because of the boundless
fecundity of the world will…That primal Dionysian delight experienced even in
the presence of pain is common to music and tragic myth.”
“Dionysian art wants to convince us of the eternal delight of existence… Now
struggle, pain, and destruction… are seen as necessary…Despite terror and pity
we rejoice in living not as individuals but as part of the life force with whose
procreative lust, we have become one.”
“the world is becoming and perishing, creation and destruction, without any
moral content, in eternal innocence.”
“Now, sure of united victory,
We celebrate the feast of feasts:
Friend Zarathustra has come, the guest of guests!
Now the world is full of laughter, the gruesome curtain is rent,
The wedding day has come for light and darkness.”
Nietzsche: Disciple of Dionysus

Sometimes, our strengths push us so far that we can no longer bear our weaknesses and decline from them.

Of course, we happen to predict this way out, but we can’t change anything. And then we become cruel in that which we ought to guard within ourselves, and our greatness makes us barbarous.

This experience, which we are ultimately forced to pay for with our lives, symbolizes bad people’s effect on others and their time.

With the best they possess—they have within themselves—with that which only they can accomplish, they destroy too many weak, uncertain, unformed, and hesitant beings with the best they have and thus become harmful.

And it can even happen that they do nothing but cause harm because this oldest part of themselves is suddenly emptied, so to speak, only by beings who suffocate their logic and individuality in a glass of strong drink.

And they get drunk to such a point that they can’t help but break their whole body – hands, legs – in all the ways that their drunkenness will lead them.

“‘Man is evil‘ – all the wisest have told me that to comfort me. Ah, if only it were still true today! For evil is man’s best strength. ‘Man must become better and more evil’ – thus, I teach. The most evil is necessary for the “Übermensch’s” best. It may have been good for that preacher of the little people to suffer and be burdened by man’s sin. But I rejoice in great sin as my great consolation. – But such things are not said for long ears. Neither does every word suit every mouth. These are subtle, remote things: sheep’s hooves should not reach for them!” Thus Spoke Zarathustra:

Let us think of the idea in its most terrible form: “existence as it is, without meaning or purpose, but inevitably returning, without a finale into nothingness: ‘the eternal return’. That is the extreme form of nihilism: nothingness (the ‘senseless’) eternal!”

And here, I add one of his poems, Last Will, translated from German.

Last Will

To die thus,
as I once saw him die -,
the friend who cast divine lightning and glances
into my dark youth.
Mutinous and deep,
a dancer in battle -,
the most cheerful among warriors,
the most difficult among victors,
Fate resting upon his doom, hard, thoughtful, premeditated –
trembling that he had won,
rejoicing that he had won while dying –
commanding as he died-
and he commanded that man should destroyed…
To die thus,
as I once saw him die:
Victorious, Destroying…

Thank you, as always, for your presence and stopping by. Have a peaceful weekend, everybody.🙏💖✌

Kahlil Gibran On Marriage!

Today, I want to share something familiar, maybe ordinary, yet an important issue: Marriage! Of course, we can translate it into the modern language as a partnership, friendship, bedmate or lifemate, etc.
But the main point is how much a couple should merge into each other, how close they must be and how deep.

I’ve had various experiences in the realm of relationships. I’ve had many different connections with different women, and you can imagine how much effort it took to understand the intricacies of this adorable gender. However, my current wife is the first and only one I’ve married. It took me about twenty-three years until to say “yes” and marry her and two more years to move in together. It wasn’t easy for either of us, but we’ve slowly but surely learned to respect each other’s boundaries and individualities over the years. We share one Life but have our own dreams, all while maintaining love and respect for each other.

I have spent my life trying to understand the crucial topic in psychology called individuality. I finally succeeded with the help of Dr. Jung. It is essential for discovering and proving my uniqueness.

As it turns out, Kahlil Gibran also agrees with me. Here, I share a part of his book, “The Prophet”, about Marriage. I hope you enjoy reading it. Thanks, and have a peaceful weekend.

Image on top: Wings // Sophie Black / #surreal #Photography

Sing and dance together and
be joyous, but let each one of you
be alone.
Even as the strings of a lute are alone,
though they quiver with the same music.

“Love is the only freedom in the world because it so elevates the spirit that the laws of humanity and the phenomena of nature do not alter its course_” Text and art by Kahlil Gibran

On Marriage, From the Book “The Prophet”

An illustration of Khalil Gibran. (Shutterstock)

Then Almitra spoke again and said: And what of Marriage, master?
And he answered, saying: You were born together, and together you shall be forevermore.
You shall be together when the white wings of death scatter your days.
Aye, you shall be together even in the silent memory of God.
But let there be spaces in your togetherness.
And let the winds of the heavens dance between you.
Love one another, but make not a bond of love:
Let it rather be a moving sea between the shores of your souls.
Fill each other’s cup but drink not from one cup.
Give one another of your bread but eat not from the same loaf.
Sing and dance together and be joyous, but let each one of you be alone.
Even as the strings of a lute are alone, they quiver with the same music.
Give your hearts, but not into each other’s keeping.
For only the hand of Life can contain your hearts.
And stand together, yet not too near together:
For the pillars of the temple stand apart,
And the oak tree and the cypress grow not in each other’s shadow.

Back again from Extraneous, with Kafka and a Daydream!

When my brother, Al, was in the hospital to undergo surgery to remove a tumour from his brain, one of the professors told him that we humans know almost nothing ( just ten per cent) about how our brains work – The rest is still a puzzle! Therefore, unexplained phenomena, such as strange things like seeing ghosts, daydreams, or schizophrenia, are always fascinating topics for inquisitive minds.

According to Dr Carl Jung: …in schizophrenia, the complexes have become disconnected and autonomous fragments, which either do not reintegrate back to the psychic totality, or, in the case of remission, are unexpectedly joined together again as if nothing happened” (1939).

Franz Kafka Dreams >Wrestling matches every night<

During our trip to Serbia (I will write a post about it soon), I brought along some books as I do on any trip. This time, I discovered some surprises. While renovating the apartment, I found a book I couldn’t remember owning. Upon picking it up, I found a shopping receipt in the book dating back to 1995. It was clear that the book belonged to Al. Apart from a few novels, Franz Kafka wrote thousands of letters about his thoughts, dreams, and daydreams, and I was excited to have this particular book. The book is in German, and I translated a description and one of his letters about his dreams. I often considered the similarities between Kafka and Dostoevsky, as the latter frequently had daydreams like a schizophrenic. In this dream, Dostoevsky is interestingly present! I hope you will enjoy it.

According to Jean-Paul, dreams substantially affect a poet because he is used to fantasy. In contrast, Kafka’s dreams intensified his daytime fears. Taken out of context, his dreams form an interesting “storybook” of events and changes involving real people and places from his life. Kafka’s descriptive notes allow the reader to relive each dream-like episode as if watching a film vividly. This collection also serves as a documentary, presenting the dreams chronologically and reproducing Kafka’s comments on the phenomenon of dreams and dreaming.

Gregor Samsa woke up one morning to find himself transformed into a monstrous vermin. Franz Kafka’s “The Metamorphosis” challenges readers to accept this transformation as real, denying the possibility of dismissing it as merely a dream. This may frustrate those who rely on reason to understand the world and expect literature to assist them in this endeavour. In 1916, Franz Herwig criticized the rejection of realism and its associated positive aspects in an essay about the authors of the series “The Judgement Day,” in which Kafka’s story appeared. Gregor Samsa’s story “The Metamorphosis” challenges our understanding of reality and urges us to see the world in a new light. Kafka emphasizes that incomprehensible forces are shaping our lives, which may be more influential than we can rationally explain. According to his commentary on the story “The Judgement,” which he wrote in one go from ten o’clock in the evening to six o’clock in the morning, this is the only way to write in such a context—with a complete openness of body and soul! In this type of writing, the usual censorship of the mind is primarily eliminated. Everything can be risked, and a great fire is prepared for everyone for the strangest ideas, in which they perish and rise again.

Dream!
[To Milena Jesenska, August 1920; M 170-172]

Today, I think I dreamt of you for the first time since I’ve been in Prague. A dream towards morning, short and heavy, still caught up in sleep after a bad night. I know little about it. You were in Prague; we were walking along Ferdinand Street, a little opposite Vilimek, in the direction of the quay; some acquaintances of yours were walking past on the other side; we turned to look at them; you spoke of them, perhaps there was also talk of Krasa [I know he is not in Prague, I will find out his address]. You said as usual, but there was something incomprehensible, indescribable about rejection in it; I didn’t mention it but cursed myself, thereby only expressing the curse that was on me. Because we were in the coffee house, probably in the Kaffee Union (it was on the way, and it was also the coffee house from Reiner’s last evening), a man and a girl were sitting at our table, but I couldn’t remember them. Then, there was a man who looked very similar to Dostoyevsky but young, with a deep black beard and hair. Everything, for example, the eyebrows and the bulges over the eyes, were incredibly strong. Then you were there, and I. Again, nothing betrayed your aloof manner, but the rejection was there.

Your face was – I could not look away from the tormenting oddity – powdered, and it was overly obvious, clumsy, bad; it was probably hot, and so whole powder lines had formed on your cheeks; I can still see them in front of me. Again and again, I leaned forward to ask why you were powdered; when you noticed that I wanted to ask, you asked obligingly – the rejection was simply not noticeable – >What do you want?< But I could not ask, I did not dare, and yet I somehow suspected that being powdered was a test for me, a crucial test, that I should ask, and I wanted to but did not dare. And so the sad dream rolled over me. At the same time, the Dostoyevsky man tormented me. His behaviour towards me was similar to yours but still a little different. When I asked him something, he was very friendly, sympathetic, leaned over, and open-hearted. Still, when I didn’t know what to ask or say – this happened every moment – he would withdraw with a jerk, sink into a book, know nothing more about the world and especially not about me, disappear into his beard and hair. I don’t know why I found this unbearable, again and again – I couldn’t do anything else – I had to pull him over to me with a question and again and again, I lost him through my own fault! 💖🙏🤗

The Imagen at top: Youri Ivanov – Artiste Russe (Russian)

Whoever Searches Finds Nothing, but Whoever does not Search will be Found.

Franz Kafka wrote that line up there and then continued; this is how it works when searching for God, and on love, it is no different.

A writer as a pioneer: Franz Kafka’s literature established a unique style.
© picture alliance/akg/Archiv K. Wagenbach

This year is the 100th anniversary of Kafka’s death, and I thought it would be a good opportunity to write about my impressions of him and his works. Of course, I must mention that it does not have to be his specific birthday or the day he died; I never search the web to find out about an event and write about it, as some are doing on WordPress!
The main reason is that I have known him and his works since I was young and always appreciated his solitude before society. Second, I see and hear many documentaries and TV series here in Germany for his anniversary, as the Germans always welcome a genius who writes in their language into their art world. Therefore, to put it bluntly, I had to write this article first in German and translate it into English. Because these days, I hear and read his works all in that language.

Franz Kafka (1883 – 1924), a German-language Bohemian writer, was born in Prague as the son of a middle-class Jewish merchant family.

As per literary scholar Reiner Stach, who studied Franz Kafka for over two decades and published a three-volume Kafka biography with S. Fischer Verlag, Kafka himself was uncertain about his historical classification. Stach quotes Kafka’s famous saying, “I am the end or the beginning.” Kafka intended to express that he may represent the end of a long tradition of classical literature, coming from Goethe, Kleist, and perhaps Flaubert, who was already modern and is an endpoint here. Alternatively, he may start something completely new from the fragments he inherited from tradition instead of falling apart.

Max Brod once said that Kafka was more ambitious than his talent. Maybe he’s right! He helped him, believed in him, and encouraged him to write his thoughts as books.

As one of his numerous lovers, Milena Jesenská, a Czech journalist and writer who was non-Jewish and married, once said to him: I have never met a person like you, and I assume it that’s because there has never existed anyone like you.

He explained it himself:

The enormous world that I have in my head. But how to free me and free them without tearing? And I would rather tear it up a thousand times than hold it back or bury it in me. That’s why I’m here; that’s very clear to me. (Sokel, Walter H. 2001).
Man cannot live without a permanent trust in something indestructible within himself, though both that indestructible something and his own trust in it may remain permanently concealed. (Gray, Ronald 1973)

The drama (on stage) is more exhausting than the novel because we see everything that we otherwise only read about. (Source: Kafka, diaries. October 28, 1911)

The fortune that flatters you most is most likely to deceive you.

Franz Kafka was convinced that his writing was inadequate, although he had much more to say. In his short story collection, A Hunger Artist, he wrote:
“Forgive me everything,” whispered the hunger artist. Only the supervisor, pressing his ear against the cage, understood him. “Certainly,” said the supervisor, tapping his forehead with his finger to indicate to the staff the state the hunger artist was in, “we forgive you.” “I always wanted you to admire my fasting,” said the hunger artist. “But we do admire it,” said the supervisor obligingly. “But you shouldn’t admire it,” said the hunger artist. “Well then, we don’t admire it,” said the supervisor, “but why shouldn’t we admire it?” “Because I had to fast. I can’t do anything else,” said the hunger artist.

Writer Franz Kafka in front of the family home; the Oppelt House on the Old Town Square in Prague. Czech Republic. Photograph. 1922.
Kafka stands in front of the Oppelt House on Old Town Square in Prague, the family’s residence, in 1922. At this time, he wrote “Research of a Dog”, among other things.
© picture alliance / IMAGNO/Votava

He died of Tuberculosis, or better to say, the cause of death seemed to be starvation: the condition of Kafka’s throat made eating too painful for him. By the way, Kafka’s mental health was a topic of debate. Marino Pérez-Álvarez suggests schizophrenia based on his diaries and “The Metamorphosis”. Alessia Coralli and Antonio Perciaccante diagnosed borderline personality disorder, worsened by Kafka’s insomnia complaints. Joan Lachkar developed a model describing Kafka’s fears of abandonment, anxiety, depression, and parasitic dependency needs in “The Metamorphosis“. Meanwhile, Manfred M. Fichter believes Kafka was anorexic.

But in my opinion, it’s all doctors prattling! Kafka had (like a few other known artists and geniuses like Dostoevsky, Mozart, Carl Jung, Van Gogh and…) a sensitive mind and soul who looked immense, broader and more profound in human society and the man itself, so deep that the artist himself cannot discern it. He was a Mozart in the matter of literature! Kafka’s writing, whether a letter or a book, had a wealth of words and topics to recount. In his book Der Process (The Trial), he doesn’t criticize only the political system; K, the main character, is a victim of not being understood by his population. He writes about the trial of his own solitude, his isolation in society and his strangeness towards others.

He even asked Dora Diamant, his faithful companion in his last days in his dying bed, and wanted her to burn all his works after his death!

He died shortly before his 41st birthday in a private sanatorium outside Vienna. A week later, on June 11, 1924, he was buried in a simple ceremony at Prague’s New Jewish Cemetery.

How profoundly Dr Jung interpret the death;

In his final days, he asked his doctor for a lethal dose of morphine. When the doctor refused, he told his doctor: if you don’t do it, you will be my murderer!

The Child Inside Us!

What matter is with you? Regina, my wife, asked me a few days ago. I looked at her with confusion and asked what she meant. She said she was referring to my lack of enthusiasm towards my work; I used to be excitedly busy with my WordPress and would run to my room every morning to write a new story, but she noticed that I had lost that passion lately. After considering this, I had to admit that she was right. I seem to be losing the drive and motivation to create new stories. As I analysed myself, like so often I do, I have noticed that I am (too much) involved in very high themes with such great individuals like Dr Jung, Nietzsche, Gibran, etc., and I feel a bit exhausted, “intermingle with the greats is not everybody’s job!”

Hercules and the Lernaean Hydra, 1875-1876, by Gustave Moreau – Art Institute of Chicago

I believe that one’s expectations are crucial in determining success. I have noticed that with each article I write, I tend to push myself to do better and aim higher, which might be good. (I must thank YOU, all my lovely friends, who inspired me so much).🙏💖🙏
But, I have also realized that sometimes I may have gone too far, just like Icarus, whose wings melted in the sun’s rays and fell. This is where the book ‘Great Expectations’ by Charles Dickens becomes relevant. We must be honest with ourselves and know where we stand.
Ultimately, happiness is not an unachievable goal but a state of inner peace and calmness.

Hence, I decided to come down and take it more easily. Although this new post is from Nietzsche, as I stumbled upon lately, it is a short text and relevant today: losing the child inside us! This child gives us the imagination to have fantasies. Nietzsche noticed it centuries ago, and it is didactic.

Artwork at the top: Farzad Golpayegani – Beautiful Bizarre artist directory

The Free Spirit, from Beyond Good and Evil, par. 31, by Friedrich Nitzsche

I had to work on translation to make Nietzsche’s complex grammar more understandable!😉

At a young age, one worships and despises without that art of nuance, which is the best gain in life, and one has to pay a fair amount of punishment for having attacked people and things with Yes and No in this way. Everything is set up so that the worst of all tastes, the taste for the unconditional, is cruelly fooled and abused until people learn to put a little art into their feelings and rather dare to try something artistic, like the right ones do Artists of Life do. The anger and awe that characterizes youth does not seem to rest until it has manipulated people and things so that it can be vented on them – youth is itself something more counterfeit and deceitful. Later, when the young soul, tormented by loud disappointments, finally turns back suspiciously on itself, still hot and wild, even in its suspicion and remorse: How angry they are now, tearing themselves apart impatiently, how taking revenge for their long self-delusion as if they had been voluntary blindness! In this transition, one punishes oneself by distrusting the feelings; one tortures one’s enthusiasm through doubt; one even feels one’s good conscience as a danger, as it were as a self-concealment and a weariness of one’s finer honesty; and above all, they take orientation, fundamentally oriented against ‘youth’. – A decade later, they realize that all of this was still -youth!

Kahlil Gibran on Laws

Our moral freedom reaches as far as our consciousness and, thus, our liberation from compulsion and captivity. ~Carl Jung, Letters Vol. II, pages 546-547 (from C.J. Depth Psychology)

These days, because of my activities in helping the Iranian people, I have been deeply involved in establishing a fair and just system based on sound laws to help the Iranian people. However, finding a suitable constitution for a young nation (in the term of democracy) is not easy. It is not only the laws that make society fair; every individual must learn how to live in a democratic society.

Understanding freedom depends on the laws and anti-laws we legislate! Kahlil Gibran has an excellent explanation. I hope you enjoy it.

From The Prophet

Painting by Kahlil Gibran 1883-1931 – Tutt’Art@

People of Orphalese, you can muffle the drum, and you can loosen the strings of the lyre, but who shall command the skylark not to sing?

Then the lawyer said, but what of our laws, master?
And he answered:
You delight in laying down laws,
Yet you delight more in breaking them.
Like children playing by the ocean who build sand towers with constancy and then destroy them with laughter.
But while you build your sand towers, the ocean brings more sand to the shore, and when you destroy them, the ocean laughs with you.
Verily, the ocean always laughs with the innocent.

But what of those to whom life is not an ocean, and man-made laws are not sand towers,
But to whom life is a rock, and the law a chisel with which they would carve it in their own likeness?
What of the cripple who hates dancers?
What of the ox who loves his yoke and deems the elk and deer of the forest stray and vagrant thin?

What of the old serpent who cannot shed his skin
and calls all others naked and shameless?
And of him who comes early to the wedding feast and, when over-fed and tired, goes his way, saying that all feasts are violations and all feasters are lawbreakers?

What shall I say of these save that they, too, stand in the sunlight, but with their backs to the sun?
They see only their shadows, and their shadows are their laws.
And what is the sun to them but a caster of shadows?
And what is it to acknowledge the laws but to stoop down and trace their shadows upon the earth?
But you who walk facing the sun, what images drawn on the earth can hold you?
You who travel with the wind, what weather vane shall direct your course?
What man’s law shall bind you if you break your yoke but upon no man’s prison door?
What shall you fear if you dance but stumble against no man’s iron chains?
And who is he that shall bring you to judgment if you tear off your garment yet leave it in no man’s path?

People of Orphalese, you can muffle the drum and loosen the strings of the lyre, but who shall command the skylark not to sing?

Thank you! 🙏💕💥

Huxley’s or Orwell’s. The Main Concept Comes to The Same End! (P. 4)

“Whereas the truth is that the State in which the rulers are most reluctant to govern is always the best and most quietly governed, and the State in which they are most eager, the worst.” ― Plato, The Allegory of the Cave

These days, there is a huge need for us to look more profoundly into the world around us and be aware of all that is happening, even if it hurts! As I wanted to retake a look at my archive, the following of the previous articles (1, 2, 3) suddenly fell on my lap.

I believe there is no reason to be afraid of expressing critical opinions. However, some governments or regimes in the world may hold opposing views. It shows for sure that we are on the right path!

“Most people are not just comfortable in their ignorance, but hostile to anyone who points it out.” ― Plato, The Allegory of the Cave.

Or, I can provide a more straightforward example!

With thanks to Lewis Lafontaine
via carljungdepthpsychologysite.blog; Opens a new tab

Apart from what Dr. Jung said, I have shared some quotes from Plato first. I think he is a novice in this way of philosophy because, unlike Aristotle, he didn’t accept compromising arguments and tried to find a way towards the truth, even if it was bitter or unpleasant. However, my prominent persons are these two geniuses: Orwell and Huxley.

Remaining open-minded and considering all possibilities is essential, even if it may sound like a conspiracy theory. The threat of getting caught up in the minutiae of our everyday lives is increasing, and we risk becoming trapped in a cage of our own making. Therefore, we better unlock our mind potential!
I have no issue reiterating that Orwell and Huxley are among the most valuable thinkers we can learn from.

“What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for no one wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. “Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. However, it seems that the Orwell vision didn’t work out, and the Huxley vision is more beneficial.

As Orwell’s vision may partly be limited to various parts of the world, Huxley’s narrative seems to envision and capture today’s world more powerfully, as his vision is more in tune with today’s challenging problems. Global consumerist culture is prevalent, and the impact of social class stratification in many cultures is strongly felt, especially during the COVID-19 pandemic (the completely disparate experiences of the pandemic by the rich and the poor). A massive emphasis on pleasure, hedonism, and mere happiness rather than the culture of questioning and critical thinking could be observed in many societies of today’s world.

Here is a 16-minute clip to better catch his concept.

In a letter that Huxley wrote to Orwell, he refers to:

Partly because of the prevailing materialism and respectability, nineteenth-century philosophers and men of science were unwilling to investigate the odder facts of psychology for practical men, such as politicians, soldiers and policemen, to apply in the field of government. Thanks to the voluntary ignorance of our fathers, the advent of the ultimate revolution was delayed for five or six generations. Another lucky accident was Freud’s inability to hypnotize successfully and his consequent disparagement of hypnotism. This delayed the general application of hypnotism to psychiatry for at least forty years. But now psychoanalysis is combined with hypnosis; hypnosis has been made easy and indefinitely extensible through barbiturates, which induce a hypnoid and suggestible state in even the most recalcitrant subjects.

You can read Huxley’s full letter here: via Letters of Note

The Image at the top: Vladimir Moldavsky

I hope I didn’t get on your nerves by ringing the bell of awakening in this hard life! Heartfelt thanks for reading!🙏💖🥰

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The Book of the Dead by Kha, Architect of the Place of Truth

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From the Book “Human, All Too Human”, Volume One

(No. 458) Guiding Spirits and their Tools.

(No. 460) The Great Man of the Masses.

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“The saying Yes to life even in its strangest and hardest problems; the will to life, rejoicing over its inexhaustibility even in the very sacrifice of its highest types – that is what I call Dionysian.”

Last Will

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On Marriage, From the Book “The Prophet”

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Franz Kafka Dreams >Wrestling matches every night<

Dream! [To Milena Jesenska, August 1920; M 170-172]

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Franz Kafka wrote that line up there and then continued; this is how it works when searching for God, and on love, it is no different.

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The Free Spirit, from Beyond Good and Evil, par. 31, by Friedrich Nitzsche

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From The Prophet

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Dream!
[To Milena Jesenska, August 1920; M 170-172]