Chapter Eleven

    ~ In the Court of the Crimson King ~

    - chapter 11 index -
    pg. 1 - Moonchild | pg. 2 - The Dream The Illusion
    pg. 3 - The Court of the Crimson King | pg. 4 - The Purple Piper
    pg. 5 - Three Lullabies | pg. 6 - Orpheus
    pg. 7 - The Keeper of the City Keys | pg. 8 - The Pilgrim's Door
    pg. 9 - The Gardener | pg. 10 - The Yellow Jester
    pg. 11 - The Dance of the Puppets | pg. 12 - Dionysus
    pg. 13 - The Fool | pg. 14 - Logos
    pg. 15 - The Magician | pg. 16 - Finis

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    As a symbol of the transformative power of music, the purple piper is the album's clearest reference to the myth of Orpheus, who travelled to the underworld in the attempt to retrieve his dead bride (his anima) from Hades (the unconscious).

    "Orpheus' journey to the underworld and back (as Virgil says, any fool can go down there, but to return--this is the labor, this is the task) is more than just a search for his lost wife Eurydice. Or rather, the search for his lost wife means the recovery of the organic connection with the rest of the universe."

    - The Inner Meaning of Poetic Form
    by Frederick Turner

    "Orpheus, the son of Calliope, the muse of epics, was a wonderful musician who sang joyful music. Euridice, his bride died of a poisonous snake bite. All joy went out of Orpheus's life. He no longer sang of happiness, but of his sorrow. His music moved animals and even rocks, so why couldn't it move the cold heart of Hades?"

    - Orpheus

    "Orpheus sang his grief to all who breathed the upper air, both gods and men, and finding it all unavailing resolved to seek his wife in the regions of the dead (Hades). He descended by a cave situated on the side of the promontory of Taenarus and arrived at the Stygian realm. He passed through crowds of ghosts and presented himself before the throne of Pluto (Hades) and Proserpine (Persephone).

        As he sang these tender strains, the
        very ghosts shed tears. Tantalus, in
        spite of his thirst, stopped for a moment
        his efforts for water, Ixion's wheel
        stood still, the vulture ceased to tear
        the giant's liver, the daughters of
        Danaus rested from their task of
        drawing water in a sieve, and Sisyphus
        sat on his rock to listen. Then for the
        first time, it is said, the cheeks of the
        Furies were wet with tears. Proserpine
        could not resist, and Pluto himself gave

    - Bullfinch's Mythology The Age of Fable

    "Perhaps the most familiar image of Orpheus to the Italian Renaissance is that of Orpheus the civilizer. ...Orpheus the first poet is the first to soften the hearts of the ‘stony and beastly people’ and set them on the path to civilization."

    "For Clement and the early apologists Orpheus prefigures the logos, which leads men to the truth and announces the coming of the New Jerusalem."

    "And there is a corresponding deepening in the concept of humanitas. It is that by which man is defined and it consists in the capacity for love...Humanity is the love that extends throughout the universe as manifested in man. Thus, the effect of Orpheus' song is to lead man to love.

    The singing of hymns can prepare man's spiritus to receive the influx of spiritus from a particular astral body. Music recovers its powers of magic, its ability to exploit and turn to advantage the forces of the phenomenal world. ‘Nothing is more effective in natural magic,’ says Pico, ‘than the hymns of Orpheus, if the proper music, mental concentration and other circumstances which the wise are aware of be applied.’

    The astral deity most frequently invoked is the sun. Plato called the sun the offspring and visible image of God; Socrates as he greeted the rising sun often experienced a state of ecstasy; the Pythagoreans sang hymns to the sun on their lyres.
    As the tabernacle of God, or the son and visible image of the highest deity, the sun in some way represents that deity within the sensible world. ‘Light is so to speak a sort of divinity in this temple of the world bearing a likeness to God.’ The invocation to the sun then is something more than an attempt to exert a magical control over the forces contained within phe-nomena; it is an attempt to lead the soul to an understanding of God.
    The singer (or artist) performs in an inspired state ‘aroused by the Muses' frenzy’. The artist under the influence of this madness is free to range beyond his normal limits, he is lifted to the height of heaven like Ganymede on the back of the divine eagle."

    - Orpheus and Ficino by John Warden.

    "Orpheus' musical effects are also important as suggesting the theurgic or magic use that could be made of the Orphic Hymns. Music, in that it harmonized the dissonances in the soul produced by its conjunction with the body, could be used as a preparation for philosophic or religious contemplation... or, combined with magic rites, as a means to religious ecstasy."

    - Orpheus the Theologian by D.P. Walker

    "In the beginning was the logos' -- the word or sound scriptures worldwide express the idea that the first cosmic manifestation was vibration, whether sound, light, or breath, and that this primal vibration, differentiating into sounds, colors, or rhythmic breathing, formed the basis for all that has followed.
    Orpheus...recognized that the healing power of music was grounded in its relation to the mathematical structure of the cosmos and humanity."

    - Music and the Healing Arts By Sarah Belle Dougherty

    "For Orpheus is the wind sighing through untold acres of pine forest. "The piper is no other than the wind, and the ancients held that in the wind were the souls of the dead." To this day the English peasantry believe that they hear the wail of the spirits of unbaptized children, as the gale sweeps past their cottage doors. The Greek Hermes resulted from the fusion of two deities. He is the sun and also the wind; and in the latter capacity he bears away the souls of the dead. So the Norse Odin, who like Hermes fulfills a double function, is supposed to rush at night over the tree-tops, "accompanied by the scudding train of brave men's spirits.

    ...the piper is the classic Hermes or Orpheus... His wonderful pipe is the horn of Oberon (who, like the pied piper of Hamelin, was a rat-killer), the lyre of Apollo , the harp stolen by Jack when he climbed the bean-stalk to the ogre's castle."

    - Myths and Mythmakers

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    And the purple piper, as noted in chapter three, is also St. Thomas Aquinas, a man whose writings led Jung to an understanding of the secret language of alchemy.

    "Perhaps one of the most significant contributions along these lines was given to us by Jung's singularly insightful disciple Marie-Louise von Franz, who devoted herself to the translation and explanation of a treatise first discovered by Jung entitled Aurora Consurgens and attributed to St Thomas Aquinas. This renowned saint, so the legend states, had a vision of the Sophia of God after meditating on the Song of Songs of Solomon and, following the command received in the vision, wrote this alchemical treatise. The Aurora differs from most other alchemical works...

    ...because it represents the alchemical opus as a process whereby the feminine wisdom Sophia must be liberated. Written in seven poetic but scholarly chapters, the treatise traces the liberation of Sophia from confinement by way of the alchemical phases of transformation.

    It is thus through the agency of a brilliant woman disciple that the great project envisioned by Jung in 1912 came to a renewed emphasis. Led by the rediscovered words of the "angelic doctor" Aquinas, contemporary students of religion and psychology were confronted once again with the Gnostic task of alchemy."

    - C. G. Jung and the Alchemical Renewal

    Clearly, this "feminine wisdom that must be liberated" is represented by the Moonchild. The "Sophia of God" was an idea familiar to those who opposed the worldly aims of the Medieval papacy.

    "'Woman' symbolizes the transcendent intellect, Wisdom. Love of a woman awakens the adept from the lethargy into which the Christian world had fallen because of the spiritual unworthiness of the pope. In the writings of the Fedeli d'Amore we find allusions to a 'widow who is no widow'; this is Madonna Intelligenza, who was left a widow because her husband, the pope, died to spiritual life by devoting himself entirely to things temporal."

    - Mircea Eliade, Rites and Symbols of Initiation

In the Beginning was the Word II ~ Three Lullabies in an Ancient Tongue return to
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In the Beginning was the Word II ~ The Keeper of the City Keys

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Chapter One The Metaphysical Record In The Court Of the Crimson King In The Wake Of Poseidon Lizard The King In Yellow The Sun King Eight
The Lake Which Mirrors the Sky In the Beginning Was the Word In the Beginning was the Word...side two Eros and Strife Dark Night of the Soul...Cirkus Dark Night of the Soul...Wilderness Big Top Islands
Islands Two Footnotes in the Sand Still Still 2
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