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There is no way the world knows the ............dark powers, energy and global work that is going on
ENERGEO'
Phonetic Spelling: (en-erg-eh'-o) Definition: to be at work, to work, to do Usage: I work, am operative, am at work, am made to work, accomplish; mid: I work, display activity. energéō (from 1722 /en, "engaged in," which intensifies /érgon, "work") – properly, energize, working in a situation which brings it from one stage (point) to the next, like an electrical current energizing a wire, bringing it to a shining light bulb. SEE HERE
TODAY
PART # 44 C
WHY? SO MUCH PAIN SUFFERING AND DAMAGE
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The first of the occult arts is magic, and as usual the first problem is the problem of definition. “Magic,” writes Valerie Flint in her wonderful book The Rise of Magic in Early Modern Europe (1991), “may be said to be the exercise of a preternatural control over nature by human beings, with the assistance of forces more powerful than they.” But the excellent definition of an historian can perhaps be yet improved by the excellent definition of a magician, especially one who was the closest thing to a Renaissance Rosicrucian still extant in the nineteenth century. “Magic is the science of the ancient magi; and the Christian religion, which silenced the counterfeit oracles and put a stop to the illusions of false gods, does, this notwithstanding, revere those mystic kings who came from the East, led by a star, to adore the Savior of the world in His cradle.” Here the author is Eliphas Lévi in his History of Magic Including a Clear and Precise Exposition of its Procedure, its Rites, and its Mysteries (1860). “Eliphas Lévi” was the pseudonym, created by pseudo-Hebraic anagram, of Alphonse-Louis Constant. Lévi was not merely the greatest of the academic scholars of the history of magic in his age, but also the most renowned of “practical” magicians. His influence on modern occultism was enormous and, indeed, is still lively. He was vastly learned, but the particular significance of his erudition was perhaps its tenor, which combined profundity and breadth with a rare spirit of indulgent archaism. If ever there was a master of the great library of quaint and curious volumes of forgotten lore, it was he. Born in 1810, he combined the romantic and reactionary aspects of the Catholic revival in France with the living inheritance of the late Enlightenment. His concept of magic was inclusive; his book subordinates beneath its rubric both kabbala and alchemy. But it was founded in the old Rosicrucian sense of magia, and he used the old Rosicrucian dialect fluently. Magia were the arts as practiced by the Magi (the biblical wise men of the old Latin text). Magia were thus clearly Christian and Catholic, indeterminate and yet radically legendary. The biblical story of the wise men reeks of Oriental romance. The very names of the Magi (Caspar, Melchior, Balthasar) had to be supplied from the world of romance. The Bible said practically nothing about the Magi. They came from the East. They followed a star. Each carried an obviously symbolic gift. “They are elevated by tradition to the rank of kings, because magical initiation constitutes a true royalty; because also the great art of the magi is characterized by all adepts as the Royal Art, as the Holy Kingdom—Sanctum Regnum. The star which conducted the pilgrims is the same Burning Star which is met with in all initiations. For alchemists it is the sign of the quintessence, for magicians it is the Grand Arcanum, for Kabalists the sacred pentagram.” In this taxonomy—magic, alchemy, kabbala—Lévi follows the lead of many of the eighteenth-century occultists. This chapter, too, will follow their lead, though it must be realized that many scholars, like many of the old magicians about whom they write, use the word “magic” in that most capacious sense aimed at in Flint’s definition, as any supposed “exercise of a preternatural control over nature by human beings, with the assistance of forces more powerful then they.” In such a scheme alchemy is a subdivision of magic, rather than its parallel, and kabbala more in the order of an ancillary technique. In his magisterial Religion and the Decline of Magic (1971), Keith Thomas surveyed the vast field of “magical” activity in early modern Europe, with special attention to the particularly rich scene in Britain. From the huge domains of the history of magic so broadly conceived, only those few topics most relevant to the Enlightenment period will claim our attention here. In general, however ethereal and mysterious might be the tenets of the magicians of Old Europe, their “practice” was at bottom highly material and usually even monetary in its goals. One can hardly doubt that that has been true in all ages. The desire to have knowledge of the future was the dynamic force behind the ancient oracular system. Obviously one wants to know the future with an eye to material advantage. Shall I follow this course of action? Is the proposed investment wise? Should I engage the enemy in battle or sue for peace? To take action based on magical knowledge might be seen at the moral level as a kind of supernatural cheating. “What could be more wicked,” asks Virgil when his pupil Dante seems taken aback by the harshness of the punishment of diviners, “than to coerce the divine will?” The poet Lucan praises Cato, who refused the easy opportunity of consulting the oracle Jupiter Amnon in advance of the dubious battle that awaited him. The Stoic hero said he already knew everything he needed to know, namely, the justice of his cause. The most famous line of Lucan’s poem, applied by his admirers to Robert E. Lee, is Victrix causa deis placuit sed Victa Catoni: The victorious cause was pleasing to the gods, But that of the vanquished to Cato!
Fleming, John V.. The Dark Side of the Enlightenment: Wizards, Alchemists, and Spiritual Seekers in the Age of Reason (pp. 168-171). W. W. Norton & Company. Kindle Edition.
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