Daniil Andreev. «The Rose of the World»
Book III. The Structure of Shadanakar: Worlds of Ascent

III. Chapter 3. The Middle Planes of Shadanakar

Before attempting to draw a general picture of the demonic sakwalas, which play such a colossal role in the transphysics and metahistory of Shadanakar, as well as the sakwalas of elementals, some of which are closely bound with the demonic, I consider it advisable to give the reader some notion of certain sakwalas of ascent that succeed, as it were, the zatomis sakwalas. These sakwalas are extremely diverse, but together they comprise the middle planes of Shadanakar.

It is only natural that the higher the planes, the more difficult it becomes to apprehend them, and the fewer analogies with Enrof can be found in their landscapes, in the form and appearance of the beings abiding there, and in the manner of life they lead. Nine-tenths of what is seen or otherwise perceived remains beyond our comprehension. In the majority of cases, one has no choice but to confine oneself to a straightforward presentation of the essential facts, without attempting to reveal their consistency or deeper meaning. Therefore, this chapter promises to be virtually nothing more than the dry enumeration of the names of a few sakwalas and the planes they comprise.

I seem to recall, for example, that withinJewish mysticism can be found the concept of the egregor; however, it is difficult for me to judge how closely the term corresponds to the meaning given to it here, if only because of my less than superficial knowledge of Jewish theosophy. In any case, what is meant here by egregors are variomaterial formations that take shape over large collectives from certain emanations of the human psyche. Egregors do not have monads, but they possess a volitional charge of limited duration and the equivalent of consciousness. Every state, even

Luxembourg, has its own egregor. They are essentially static, passive beings. The majority of egregors do not take part in the struggle between the demonic and Providential forces in Shadanakar. There are some, however, that side with the demonic camp.

When egregors disintegrate, their equivalent of consciousness disappears as well, dispersing into space. They do not experience any pain at such times.

To the extent that it is possible to speak of the landscape of those planes, the sakwalas of egregors are characterized by yellowish swirls of space in which the egregors themselves stand out as somewhat denser than their surroundings.

The seven planes that compose that sakwala can be listed in the following order:

Zativ is the region of the egregors of primal tribes, which die out as the tribes are assimilated by larger nations or are destroyed physically. The egregors of humanity's oldest cultural-political formations used to abide there, egregors that have by now already dissolved into space.

Zhag is the region of state egregors. In addition, egregors of certain large contemporary social-political organizations, like the Indian National Congress Party, can also be found there.

Foraun is the plane of the egregors of churches. They form from the dark-ether radiations that issue from the mass of humans belonging to some church, radiations released by every person who has not reached the level of sanctity. The radiations arise when a soul's religious feelings become tainted with mundane preoccupations, material concerns, acquisitiveness, negative emotions-in general, with what the Fathers of the Church termed worldly cares. It often happens that egregors act as serious brakes or weights on the ascending path of churches. In time there will also be in Foraun an egregor of the Rose of the World. It is unavoidable, since the interreligious church of the future will be composed not only of saints but of hundreds of millions of people at different stages of their spiritual growth.

Udgrogr is the plane of egregors of the anti-churches and the power-hungry mass parties of modern times.

One plane, whose name I do not know, is inhabited by egregors generated by the psychic activity of the shrastrs' demonic

populace. I also do not know the name of the plane of egregors that form from the psychic activities of the world of daemons- that second, brighter humankind to be briefly discussed below.

The last of the egregor planes is called Tsebrumr. It is as yet empty. In time there wit; appear there the egregor of the future Anti-Church, the church in which will be carried out the quasireligious, demonic worship of Gagtungr. This will be, at the end of the first eon, the nucleus and foundation of the future satanohumankind.

A different, higher humankind of Shadanakar abides in a sakwala of three- and four-dimensional planes with an immense number of time streams. Unfortunately, my knowledge of them is meager to say the least. A host of unanswered questions that arise in connection with them has left a large gap in the picture I have been drawing of Shadanakar. These beings are called daemons. They are proceeding along a path of development similar to ours, but they began it much earlier and have achieved greater success in their spiritual growth. It appears that the key to this is the fact that Jesus Christ's mission, which in Enrof was curtailed almost at the start through the efforts of Gagtungr and which ended in only a partial victory, was brought to a successful conclusion in the daemon world. That occurred at a much earlier time than when Christ was incarnated in the person of Jesus. His victory in the daemon world removed the burdensome obstacles Gagtungr had placed on their path of ascent, and at present these beings have left us far behind. The length of time and number of trials necessary for them to reach spiritual maturity have been reduced many times over. There have been no signs of social disharmony among them for a long time, and their energy is channeled into spiritual and moral growth and into helping other planes, particularly the humanity of Enrof.

Daemons are winged people who, though they partly resemble angels in their external appearance, are different from them. In addition to many distinguishing characteristics, daemons are divided into two sexes. The chief plane of their existence, which corresponds to our Enrof, is called Zheram. Its natural environment, which is similar to ours, has been elevated to artistic and moral excellence, while their technology is spiritualized by an inner wisdom concerning the various energies and planes of Shadanakar and by the cultivation of higher abilities within their own being. The daemons are aware of everything essential about humanity in Enrof.

Ever since the completion of Christ's mission in Zheram, the daemons have been freed from the necessity of descent into the demonic worlds of retribution after death. The multiplaned sakwala of purgatories, which the majority of us know from experience but have forgotten, has been replaced for them by a single plane, called Urm, where some of them undergo expiatory cleansing after death. Kartiala, the world of enlightened daemons, their heavenly land, parallels the zatomis of our humanity. From there a staircase opens to the sakwala of Higher Purpose, and, lastly, to the World Synclite.

The daemons' active involvement in the struggle against Witzraors and antihumankind in the shrastrs constitutes one of the many tasks undertaken by the daemons of Kartiala in relation to other worlds in Shadanakar. Their inspirational and guiding influence upon the creators of our artistic culture constitutes another. The apostrophe some poets use to address their daemon, and others their Muse, is by no means a poetic device. It is testimony to genuine transphysical facts. I do not know if the nine sisters of Apollo ever existed in the Olympus zatomis-it is entirely possible that they did-but there can be no doubt that the female daemons (muses) or the male daemons (Socratic daemons in the narrow sense of the word) have aided our artists and thinkers in plumbing their inner creative depths. Only the blindness of materialism could cause us to pass over the countless testimonies to this fact given by our poets, writers, musicians, and philosophers, beginning even before Socrates and ending with Gogol and Alexander Blok.

Once they have completed their task, the majority of daemons/ inspirers leave those they inspired. Sometimes a kind of union occurs, an extremely rare phenomenon very difficult to explain.

It is common for human shelts to weave an incarnation in the daemon world into their garlands. They are ordained such an incarnation so as to consolidate the gains their souls have made on their paths of Light.
But there is also another race that abides in the daemon sakwala, one that is less in number and has lagged behind in development. They are the wards, as it were, of the daemons. I do not have a clear notion of how they came to be in those worlds. It seems that they, too, are daemons, ones who at some time in the distant past went astray, lost their wings, and are now undoing the harm they caused themselves on a special road of atonement. These wingless beings barely differ in appearance from humans.

Here I come to a fact that will inevitably evoke scoffs and even exasperation in most readers of this book. But if it is true that a song suffers from the loss of a single word, then this book will suffer from the loss of a single thought. Those beings whom I referred to as a lower race of daemons can in part be characterized as the metaprototypes of certain heroes and heroines of global literature and art in Enrof. It sometimes happens that the intuition of artists in Enrof-albeit, an intuition of geniuses alone-penetrates to Zheram, sees one of those beings, and records its image in human art. The image becomes a kind of magic crystal that acts as a locus for radiations people emit at times of active perception. These radiations rise up to Zheram and supply the metaprototype with energy to grow. If such an image is not created, the metaprototype's growth slows and in some cases it may even have to leave the daemon sakwala and embark on a lengthy journey through Enrof.

The majority of human representations in our painting and sculpture have no metaprototypes: they are portraits of people, no more. But works of art like the Mona Lisa, for example, are, in addition to their human prototype, connected with prototypes in Zheram that have been apprehended by the intuition of the genius. This is the origin of the extraordinary eloquence and power of these masterpieces. It is regrettable that the Mona Lisa was painted by Leonardo da Vinci in such a way that the prototype ended up debased, with the portrait absorbing certain elements from Duggur-one of the worlds of demonic elementals-as a result of which the prototype fell from Zheram to Urm, for that plane serves as a purgatory for metaprototypes as well as for daemons. The proto-Mona Lisa, raised back up to Zheram and higher through the afterlife efforts of Leonardo da Vinci, now abides in one of the planes of Higher Purpose. Venus de Milo is already in the World Synclite, since it was to the daemon Kartiala that the soul of the Greek woman who posed for the sculptor rose up through Olympus after the historical demise of Greco-Roman culture. Merging in Kartiala with her metaprototype, she began to climb the staircase of ascent through the upper planes. In time, the same will happen with all the souls of such metaprototypes.

The situation is even more complex and various with paintings of the mythological, psychological, historical, and folk genres. Morozova, the noblewoman in Surikov's painting, had a metaprototype in Zheram, as did some of the secondary figures on the canvas, and the metaprototype has been raised up to Kartiala thanks to the artist's work. In addition, Surikov is at present working in the Heavenly Kremlin on a dazzling variation on the picture.

Repin's depiction of Ivan the Terrible's murder of his son tied a knot that Repin has been unable to unravel to the present day. This he must do in Drokkarg-the shrastr of Russian antihumankind counterposed to the Heavenly Kremlin, where Ivan the Terrible now abides as captive and slave.

The situation is worse still for the Fallen Demon of Vrubel-a stunning, unprecedented case of a demonic infraportrait. To unravel the knot, Vrubel was forced to descend to Gashsharva, to the angels of darkness. It is a terrible thing to have to say, but it might be better, despite the brilliance of the work, if it were destroyed in Enrof.

Landscape painting, in spite of its immense cultural and psychological importance, very rarely possesses any transphysical meaning. Such meaning is present either in those cases when the artist is able to communicate to the viewer his or her feeling for the worlds of elementals visible in Enrof through nature, or to hint at the landscapes of some other plane through the use of unique combinations of lines and colors. In my personal opinion, the Russian artist who succeeded best in that was Roerich, and at times the dubious, scorned, even untalented artist Churlonis.

As for literature, in the overwhelming majority of works, there are no metaprototypes behind the characters. For example,

almost all Soviet literature, with a few exceptions, has none. As well, characters of a historical nature-for example, Pushkin's Boris Godunov or Shakespeare's Julius Caesar-cannot have a metaprototype. But Macbeth has one, because the work is not historical. Generally speaking, the presence of a metaprototype in a work entails a sharp departure from historical accuracy in attributing particular depth to the personage and a greatness of character that does not have any basis in the historical prototype. That is not to be found either in Pushkin's play orJulius Caesar, which is proof of the lack of metahistorical depth in those works.

After the death of artistic geniuses in Enrof, the metaprototypes of their works in Zheram meet and spend time with them, as the karma of artistic creation draws them together. Many great artistic geniuses have in their afterlife had to assist the prototypes of their heroes or heroines in their ascent. Dostoyevsky spent an enormous amount of time and energy to raise up his metaprototypes, for the suicides of Stavrogin and Svidrigailov, dictated by creative and mystical logic, threw proto-Stravogin and proto-Svidrigailov down into Urm. At present, all Dostoyevsky's heroes have been raised up by him: for example, Svidrigailov has been raised to Kartiala, and Ivan Karamazov and Smerdyakov to Magirna, one of the worlds of Higher Purpose. Also there are Sobakevich, Chichikov, and other heroes of Gogol, and Tolstoy's Pierre Bezukhov, Andrei Bolkonsky, Princess Maria, and Natasha Rostova, whom Tolstoy raised from Urm at the cost of tremendous exertions. Goethe's Margaret already abides on one of the upper planes of Shadanakar, while Don Quixote long ago joined the World Synclite, which Faust, too, will soon enter.

I would like to take this opportunity to say a few words about the transphysical meaning of the dramatic arts. Christianity's traditionally negative attitude toward such forms (regardless of how it has been explained by cultural historians and even religious teachers) arose because the early and medieval Christians, in a manner of speaking, sensed unconsciously with their religious intuition the close relationship between the dramatic arts and the ancient organism that is partly linked with Lilith, and partly with an even darker demonic world, called Duggur. (In a later chapter I will describe that world in more detail.) Duggur is bound up with human sexuality, and although it was not discerned clearly in the Middle Ages, its diabolical radiations evoked fear, disgust, and shame in the people of that time. Properly speaking, theater can possess, on a transphysical level, widely varying, even contradictory, meanings. Shaliapin was fully justified in fasting and praying after performing the role of Mephistopheles. The play The Life of a Man was harmful for the playwright, the cast, and the audience because it lacked what the ancients called catharsis. All drama that takes actors and the audience through catharsis-that is, spiritual elevation and enlightenment, however brief is deeply vindicated. As for metaprototypes, the effect of performances in Enrof are like that experienced by Dostoyevsky's Smerdyakov. While he was in Urm, thrown down there by the mystical-creative impulses of Dostoyevsky, the performance of his role on stage pained, burdened, and slowed him. Now it is of no consequence. The performance of morally uplifting roles or roles leading to catharsis are good for everyone, including metaprototypes.
With the daemon sakwala, my account will for a time leave the four-dimensional worlds. Fongaranda, a lone five-dimensional plane that is not a part of any sakwala, is now before us.

A warning is in order here: we are about to deal with concepts that are far from customary. For Fongaranda is the abode of shelts of masterpieces of architecture. There they possess the ability to move and grow; they evolve in the sense of spiritual maturation. Their external appearance closely resembles that of enlightened elementals, but they are not fluid in form as those spirits are, nor are their bodies interpenetrable. The reader should bear in mind that the construction of their images in Enrof by architects of genius, whose intuition caught their gleam in Fongaranda, gives them an ether body, which forms inside the physical body of the buildings after many years of receiving radiations from thousands and millions of people. If enough time has passed for such an ether body to form, the destruction of the physical body in Enrof is no longer of any transphysical consequence. The shelt in Fongaranda dons the ether body and moves to one of the zatomis. After the turn of the eon (the global period when the zatomis will cease to exist as such) the shelts of those monads, together with their coatings, which by then will have been completely transformed, will merge with their monads on one of the planes of Higher Purpose and subsequently enter the Elite of Shadanakar.

It is primarily the shelts of churches and palaces that abide in Fongaranda. There are, for example, spectacular prototypes of an Orthodox monastery, an Egyptian pyramid, a ziggurat, a gopuram of South India, a Catholic abbey, and a Rhenish castle. But there are also shelts of some individual buildings, for instance, St. Peter's Cathedral, the Cathedral of St. Basil the Blessed, the Temple of Heaven in China, even the palaces at Versailles and Pushkin. There are also shelts such as those of the Parliament buildings in London and the Admiralty in St. Petersburg.

After a strange world like Fongaranda, the concept of a sakwala of angels will probably seem familiar and like nothing out of the ordinary. There are two such sakwalas. The first and lower of the two comprises three planes. It is called Angels of the Lower Circle. In essence they are, chronologically speaking, the first humankind of Shadanakar, who at one time lived on planes of denser materiality, though not in Enrof. Their era preceded the era of the Titans. It is beyond our capacity to fully comprehend the manner of their lives now, in their enlightened worlds. We can only apprehend that aspect of their work that has a direct bearing on us. The first of these planes is inhabited by cherubim, the guardians of people performing missions of Light. They are just that-guardians; it is the daemons who are the inspirers! We have heard of guardian angels since childhood, and it is not our fault if we thought that such an angel hovered over the right shoulder of every one of us. They have the same external appearance described in tradition, and their world is a landscape of gorgeous colors that we cannot perceive but that are vaguely reminiscent of pink and violet.

Another plane-a land of white-gold pierced everywhere by beams of light-belongs to seraphim, the guardians of certain human communities: churches, religious groups, some charitable organizations, and those very few cities whose spiritual integrity and moral purity are of particular importance in the eyes of the Providential powers. There are times when a guard of seraphim encircles a city because taking place within it is one or another metahistorical event or transphysical process that requires special assistance or protection. When the process or event is completed, and a new era begins, the guard of seraphim is withdrawn. There were guards over Kiev during the reign of St. Vladimir, over Moscow during the reigns of Prince Daniil and Ivan Kalita, and several times over Jerusalem, Rome, and many other cities. Benares,a city of tremendous metahistorical significance, is one of those rare instances when the guard of seraphim does not leave a city for several centuries. Of course, from a narrowly Christian point of view, statements like the preceding can only give rise to perplexity. In appearance seraphim resemble six-winged angels.

The sakwala concludes with the world of the so-called Thrones, whose appearance nearly matches our image of archangels, and whose abode is greenish blue, pierced by playful beams of light. The Thrones are the guardians of nations. There are many of them-the spiritual maturation of every nation is overseen by a host of those resplendent beings.

Moving on to the second sakwala-the Angels of the Upper Circle-I find I cannot even resort to such meager visual images as I used for the first sakwala to help the reader form an idea of this one. All I can say is that they are the abodes of hierarchies of Light of tremendous power, those same ones who create the materiality of the three-, four-, and five-dimensional planes in Shadanakar.

First come the Astrals, known in Christian mysticism as the Principalities. They are the creators of materiality for Enrof. Next come the Powers, creators of materiality for the daemon sakwalas, and the Dominions, creators of materiality for the worlds of Enlightenment (except Olirna). The sakwala of Angels of the Upper Circle concludes with the world of the Virtues, who create materiality for the zatomis, and the Archangels, those same beings who were Sirins, Alkonosts, and Gamayuns before their transformation in Paradise, Eden, Monsalvat, Zhunfleya, and Holy Russia-all the zatomis of Christian metacultures. They create materiality for the worlds of Higher Purpose. The materiality of the angelic worlds themselves, as well as that of the upper planes of Shadanakar, is created by the hierarchies of the metabramfatura.

I realize that, despite the similarity in nomenclature, the above is not concordant with traditional Christian angelology. I am sorry that it is so. But I am not writing on the basis of my own knowledge and cannot make any alterations until that single Voice I trust with all my heart tells me otherwise.

Our survey has arrived at the sakwala of Higher Purpose. These worlds are common to people, angels, daemons, elementals, and even to enlightened animals. They soar far above those distinct segments of Shadanakar called metacultures. Naturally, my knowledge of them is scant, if not to say beggarly.

I am not even sure of the name of the first of these worlds. It sounds something like Usnorm, but I can't make it out more clearly. The spinning of the planet on its axis is evident there as it is here. It must have been nightfall at the time I was there, because I vaguely remember seeing a glowing mist of stunning majesty, as though the creative heart of our Universe had revealed itself to me in visible form for the first time. It was Astrafire, the great center of our Galaxy, which is hidden from our sight in Enrof by dark clouds of cosmic matter.

I also saw a scattering of countless stars, but not as we see them here. Indeed, they were not stars, but bramfaturas. They were not bright pinpricks in the sky but systems of concentric spheres visible through each other. When my gaze rested on one of them, it grew huge and distinct, just like a cinematic close-up. It seems to me now that they were all spinning slowly, harmoniously sounding and calling to each other with multi-toned voices. But that may only seem so now, and may be the result of preconceptions about the harmony of the celestial spheres, an idea that came to me not from experience but from human legends. In any case, those harmonies could barely be heard above the surges of an incredible choir that was sounding right there around me, rising from depths to heights that I could neither comprehend nor measure with my eyes. All this is my recollection of the plane/temple reserved for the eternal liturgy of humankind.

Oh, not only humankind! There were, I guess, millions of beings there, and-I don't know how many exactly-probably more than half of them had never been nor were destined to be human. There were enlightened souls of elementals and animals, wondrous daemons,and angels of various circles. When we read the prophecy in the Apocalypse about animals gifted with intelligence performing the liturgy around the altar in another world, it may be a symbol, but it is also a hint at reality, a reality that did not yet exist at the time the author of the Apocalypse was living. For Usnorm, the temple common to all, is the brainchild of that same great human spirit who was John the Evangelist in his last incarnation on Earth.

While there were millions worshipping, those performing the service at the church altar numbered in the thousands. Everyone who reaches the sakwala of Higher Purpose eventually performs the liturgy in Usnorm, and is then followed by the next in order.

The most uplifting and joyous services in the churches and temples of the higher religions are but dim reflections and echoes of the eternal liturgy of Usnorm. There is indeed an oral element in the liturgy, but the words are in the language of the World Synclite, which we cannot reproduce, and in which words are not simply individual sounds but chords of meaning, as it were, and some appear at the same time as flashes and waves of light. There is an element of movement in the liturgy, the heavenly prototype of sacred dance. But as Usnorm is five-dimensional, movement occurs not along a horizontal surface, as it does here, but in all five dimensions. There are elements of light and color in the liturgy, but it is impossible to convey a description of these colors outside the seven visible to us. What can I say that would do justice to the symphonies of light, beside which even the fireworks of Faer seem monotone and feeble? What can I say about the spiritual fragrances? About the incense of Usnorm, which rises from gigantic floating and swinging thuribles up to Astrafire itself

Usnorm is the first world where those who are ascending no longer absorb material radiations but rather purely spiritual ones. These issue from the very highest transcosmic spheres, which one could call the Empyrean, if that ancient word is not taken to mean a fantastic «world of motionless stars» but rather the all-embracing abode of pure Spirit-that is, the Holy Trinity.

The worlds of Higher Purpose are way stations between the zatomis, Kartiala of the daemons, and Hangvilla of enlightened animals on the one hand, and the worlds of the Higher Transmyths of the Global Religions on the other. Above Usnorm is Gridruttva, the white chamber where the great creative plan for humanity is devised. After it comes Alikanda, which resembles the heart of a flower; Tovia, which resembles foam, hoarfrost, a white garden, or falling snow; and Ro, which resembles huge singing crystals. The most beautiful works of music in Enrof, in Olirna, among the daemons, even in the zatomis are but echoes of these crystals. These three planes are the abode of human monads that have merged with their mature souls.

Magirn, a plane that resembles illumined ocean depths, is the abode of monads and metaprototypes that have merged with their shelts and transfigured astral bodies. The monads of animals merge with their mature souls in Kaermis, which could be described as a land of living sphinxes. The same happens in Deitrast to the monads of daemons and in Sibran to the monads of angels, about which I can only say that it is an unbelievable choir of rejoicing. The monads of elementals abide in Flauros, of which the words «solar flares» can give an intimation. The sakwala of the world of Higher Purpose also includes Niatos: violet heights where the monads of our former enemies-demons who have converted to Light-merge with their shelts. I have already mentioned the powerful demonic spirit, the great «dragon» of the pro/o-Mongolian culture. Cast down by Gagtungr into a plane of torment known as the Rain of Endless Misery, it was long ago rescued from there by the Providential powers and now shines in the world of violet heights as one of its most beautiful lights.

As far as I can recall, Iroln, splendid and immense, is also a part of the sakwala. It is the abode of human monads before they merge with their mature souls. Iroln is the initial destination of the individual spirit of each person when it leaves the heart of the Creator and enters Shadanakar. It resembles a multitude of suns gliding and spinning. And now I am not sure: it seems to me that Iroln is not five but six-dimensional, and my inclusion of it into the sakwala of Higher Purpose is a mistake, an aberration on my part.
Higher on the staircase of hierarchies in Shadanakar are situated, one after another, the sakwalas of cosmic emanations. What are they? Other bramfaturas have been acting on Shadanakar in a tangible manner throughout its multimillion-year history. These bramfaturas are either more powerful than ours, or more advanced, or commensurate with us in size and level of ascent, but because they are located not too far from us in space they therefore interact with our bramfatura. The materiality of the worlds of emanations is created by the forces of Light of other bramfaturas. The bramfaturas are inhabited by higher beings who can travel great cosmic distances without difficulty. These visitors from other bramfaturas are the great allies and friends of the forces of Light of Shadanakar.

Other than to list a few names, I have literally nothing to say about some sakwalas of emanations. For example, there is a sakwala of emanations from Orion. Orion is a system of bramfaturas of immense power that has freed itself completely from the demonic, and it plays a prominent role in the life of the Galaxy. Of course, listing the names of the ten planes that make up the sakwala cannot evoke in the reader anything but disappointment in its meagerness. But how do I know? Perhaps even these names will be of some use in the future: Yumaroya, Odgiana, Ramn, Vualra, Ligeya, Fianna, Eramo, Veatnor, Zaolita, and Natolis.

Despite the huge disparity between our conditions and those that reign on the physical plane of Jupiter or Neptune, we must accustom ourselves to the idea that many of the planets and their moons possess bramfaturas. Jupiter is even inhabited on our plane, in Enrof, by intelligent life forms, but they are so different from us and live under conditions so unthinkable that no contact will ever occur between us and them in Enrof. But contact does take place on the five-dimensional planes of both bramfaturas. The Elite of Jupiter and its moons have created two planes of emanations within Shadanakar, one plane has been created by Saturn and its moons, and one each by Uranus and Neptune. All of them together make up the sakwala of planetary emanations.

A special place is occupied by the three planes of Iora, Achnos, and Gebn. They form the sakwala of emanations from the transfigured planet Daiya, which no longer exists in Enrof: The planet used to be situated between Mars and Jupiter. Long ago, the efforts of its demiurgesled to the expulsion of the demonic powers to the bramfatura of Daiya's moon. Daiya entered its third eon-that is, it underwent a physical transformation and disappeared from cosmic Enrof. As for the moon, it suffered a catastrophic break-up (the asteroids are fragments of it) and the demonic hordes were scattered into outer space. When our scientific instruments become powerful enough to observe planets in other solar systems, we will sometimes witness the sudden disappearance, in the space of a few hours, of some of these planets. No doubt scientists will advance a number of clever hypotheses to explain away the phenomenon before they admit that the same thing that is happening in these cases at one time happened to the planet Daiya.

The sakwala of solar emanations numbers nine planes. Again, I can give only names: Raos, Flermos, Tramnos, Gimnos, Areya, Nigveya, Trimoya, Derayn, and Iordis.

I can also list the names of the four planes of emanations from Astrafire, the center of the Galaxy: Grezoar, Malein, Viruana, and Luvarn.

One particular system is in part connected with the sakwalas of emanations. It would be more correct to call this system a bramfatura, though at present it is part of Shadanakar, being encompassed within its five- and six-dimensional planes. It is the Lunar Bramfatura.

I do not know when exactly the development of lunar humankind-Selenites-came to an end in Enrof. In any case, it was in the very distant past, almost a million years ago. But evolution there proceeded at a much slower pace, though the time required between the appearance of organic life on the surface of the Moon and the emergence of intelligent life forms was far less than for the corresponding process on Earth. Generally speaking, the idea that physically smaller worlds should in every case evolve more quickly is not always true of individual periods of development of organic life, let alone of the tempo of the evolution of intelligent life. But H. G. Wells's intuition of the external appearance of these beings, which he describes in his fascinating book, is amazing, especially if one considers the rationalist complexion and scientific-like superficiality of his thinking. He correctly envisioned their overall insect-like appearance: the soft, elastic consistency of their physical tissue, their bodies' ability to metamorphose in accordance with the task at hand, the advanced state of their technology, and even the fact that toward the end of their civilization they had begun partly to exploit the interior of the Moon.

The Selenites' tragic end resulted from the victory of Voglea, the female lunar demon. One might well wonder how it was that the activities of a female demon found an outlet in their rationalistic society. But there exists a particular variety of rationality, one that can be denoted as female, and not everywhere is its expression so weak as among our humanity. It took root among the Selenites with special resiliency, and its effects could particularly be seen in the fact that their technology was based far more than ours on the principles of magic.

The stages of the Selenites' spiritual and cultural decline went from satanohumankind to degeneration to death under the weight of their technology. Their deepening spiritual bankruptcy caused the Selenite society to descend into anarchy, lose the ability to run their own machines, and finally die of cold and hunger. But to this day, the world of Voglea remains a part of the Lunar Bramfatura. For an extremely long time it maintained a singular kind of neutrality, at times warring with both the powers of Light and Gagtungr. But in the last while the planetary demons of Shadanakar and Voglea have been moving toward a truce and, in fact, an alliance to join forces and drive the powers of Light out of Shadanakar. One demonic plane in Shadanakar, Duggur, is closely linked with the emanations of Voglea. At present, the bewitching, vampire-like, bluegray female demon is rebuilding a special plane-the lunar hell. There, with Gagtungr's consent, the victims of Duggur will descend. Until now, some of those victims have met with an even worse fate: ejection from Shadanakar into the emptiness of the Galaxy.

The three other planes of the Lunar sakwala counterpose Voglea's world. Soldbis can be seen on the surface of the Moon from the zatomis; it is the abode of a great many of those enlightened ones whose spiritual growth was too slow and who therefore met with tragedy. Their last incarnation in Enrof occurred during the period of the lunar satanahumankind and degeneration, and since then they have spent a vast length of time on rehabilitation and gradual enlightenment in Soldbis. Another world, Laal, is for the Lunar Elite. A great many Selenites have already risen even higher, to the Elite of Shadanakar. Finally, there is Tanit, the abode of the lunar goddess and the third and brightest of the lunar worlds.

If through careful observation we unravel into separate strands what we feel at nights when the moon is full, we will awaken to certain threads of feeling. First is a sense of harmony, which is the effect Soldbis and Laal have on us. Second is a subtle nostalgia for the heavens, which is Tanit calling to us. Third is the lure of sexual transgression, which is Voglea haunting and tempting us. She fears the Sun, always retreating from its light to the dark side of the Moon. During a full moon, only diminished emanations from Voglea-those that pass through the Moon's crust-reach us. But when the Moon is waning, Voglea moves together with the darkness to the side facing the Earth. That is why the waning of the Moon and a new moon have for many such a sickening, sinister, and depressing effect on the subconscious.

Our survey of the structure of Shadanakar has at last arrived at the grandiose sakwala that I am forced to refer to by the painfully cumbersome title of the Worlds of the Highest Aspects of the Global Religions. It is the world of their purest transmyths.

Many years ago, long before the Second World War, when I was still quite young, a mysterious, beautiful, and persistent vision began appearing to me. Seen from an endless distance away, it looked like a bluish crystal pyramid with the sun shining through it. I sensed the magnitude of its significance, the waves of grace, power, and beauty pouring forth from that shining center, but I had no idea what the vision could mean. Later I even thought that it was a glimmer of the World Salvaterra refracted by my limited human mind. How naive! Those whose souls are illumined by a glimmer of the World Salvaterra become saints and prophets. And, of course, its glimmer can in no way be likened to anything earthly.

It was only many years later, quite recently in fact, that I learned that the pyramid is not alone, that there are others in tandem, as it were, with it, five in all, and there will never be a sixth in Shadanakar. But there is only one blue pyramid. The rest are other colors, and it is impossible to say which is the most beautiful. Of course, for us, transmyths are in themselves transcendental. It may very well be that «in themselves» they bear no resemblance to any geometric forms. But it was in the form of those gigantic crystal pyramids that they imprinted themselves on my mind, and the adoption of just those images must contain some deeper meaning.

Later I was struck by something else. One of the pyramids, smaller in size but of a wondrous, unearthly white, is the higher transmyth of a religion that I personally would never have thought to include among the global or higher religions: the transmyth of Zoroastrianism. My puzzlement has yet to be dispelled. To this day I have been unable to learn how that local religion, which left the historical scene a long time ago and, it seems to me, is not, mythologically speaking, all that rich, could prove to be a reflection of an immense reality professed by it alone. My puzzlement notwithstanding, its world is called Azur.

Another pyramid, which I better understand, is also comparatively small in size, but it is gold in color. It is the highest aspect of Judaism, the aspect that has left far below the anti-Christian intransigence of its lackluster and turbid earthly twin. It is the golden world of heavenly glory, whose light penetrated into the visions of the great mystics of the Kabbala and the prophets, and for which the winding thread of the Talmud is as the dust of valleys is for a lord of mountain heights. The name of the golden pyramid is Ae.

The highest aspect of the Hindu transmyth is a huge pyramid whose color is reminiscent of our violet. That complex world is layered, the outermost of its layers being the ultimate goals of Vedanta and yoga, and the highest layer being the ultimate goal of the Synclite of India, an intimation of which we might find in Indian philosophy under the name of Nirukta. Concerning another layer, Eroya, and yet another, whose name I do not have the right to pronounce, I can only say that, though they who were once humans also abide in those worlds, they are more like guests there. Shatrittva, the last layer of the violet pyramid, is the abode of many hierarchies of the Hindu pantheon. But one can speak of the exact correspondence of the pantheon images to the hierarchies of the transmyth only in part, in certain individual cases. For example, hierarchies of entirely different heights, powers, and cosmic levels-from «the National Aphrodite» of India to the Virgin Mother of the Universe-are worshiped in Enrof under one and the same name, Kali-Durga.

No less huge is the green pyramid, the world of the higher aspect of Buddhism, which comprises two layers. There is a popular misconception that Buddhism, or at least its southern variety, is atheistic. In reality, there is of course no atheism to be found at the highest levels of Hinayana or Jainism. But beginning with Gautama and Mahavira, thinkers and disseminators have judged that it is in the best interests of the masses to emphasize the immateriality of the question of God in one's spiritual salvation, so that the efforts people themselves have to make are not shunted onto God. And how could they not believe in God, they whose Nirvana is the first of the two layers of the great green pyramid? The second layer belongs to the Dhyani Bodhisattvas, the hierarchies that guide the peoples of Buddhist metacultures. We should treat with caution the claim made by the spiritual shepherds of Tibet that the majority of Dalai Lamas are reincarnations of the Dhyani Bodhisattva Avalokitesvara. To take that claim literally would show that the clarity of our thinking has not yet risen above the clarity that is attainable within definite religious limits. But we will not be far from the truth if we regard the proposition that Avalokitesvara is reincarnated in a successive series of Dalai Lamas as a sort of intimation that most Dalai Lamas are inspired by that great hierarchy, an intimation designed to accord with the level of mass understanding. The second to last of the Tibetan spiritual leaders was not wholly inspired, while the one ruling at present (1957) is nothing other than an impostor, which accounts for his behavior.

As for the blue pyramid that has been beckoning to me for the last twenty years-it is Heavenly Jerusalem, the higher transmyth of Christianity. It is what lies behind the Christian creeds shared by Catholics, Orthodox believers, Protestants, Ethiopians, and the future followers of the Rose of the World. I said «creeds,» but that is not precise, because it is almost impossible to express that single, common truth in words. Heavenly Jerusalem is the highest plane of the Synclites of Christian metacultures, and yet it is still not the Church. The Church is the highest plane of Shadanakar. And before undertaking to describe it, we must do an about-face and go down, far down into fire and darkness. For without a notion of the frightful and dread demonic sakwalas, we will also be unable to gain a proper notion of the higher planes of Shadanakar.

to the next part: 4.1. The Demonic Base
to the previous part: 3.2. The Zatomis
to the beginning: «The Rose of the World». Table of contents
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