When we spoke of the connection vat-heart, we also noticed how the content adjusted itself to the container: wine-blood. We here refer to the ancient Norse myth about the primal man Kvasir. This being came to be as peace treatise between the Gods of the skies, the Aesir, and the Gods of the earth, the Vanir. The Gods spat in a trough and with that spittle the primal man was created. It was the wisest man of the kosmos. But at some point he passed the dwarves Fjalar and Galar who killed him. The blood was poured in two vats and a kettle, known under the names Són, Bodn and Odhrorir. They mixed the blood with honey and made mead. Afterwards the mead fell in the hands of the giant Suttung and he hid it under the Hnitbjörg, and appointed his daughter as guardian. Odhínn mananaged to rob the mead with a trick. He slept with the daughter Gunlödd for three days and in return was granted three draughts of the mead. In three draughts he emptied the three vessels and left the mountain in the appearance of an eagle. The drink of mead has been known as the drink of poets since that day, the poets who rise to the Gods by its ecstatic force. The attentive reader will have noticed that the story has similarities with the story of Christ. Christ too was sent out by God, was killed by dwarves (Jews), his lood pours into a vessel. Since then he remains three days in the Underworld (giant) and afterwards rises to heaven (Christ in the form of the eagle) During Eucharist Christ’s blood is drunken in the form of wine (mead), through which every man is saved (climed to God).
Now let us have a look at that other aspect of initiation: the happy and sad king Arthur. […] These two faces of the king, one happy, the other one sad, to me show a similarity with the two figures of Saint John from the folk tradition. Guénon already pointed to the fact that the expresssion ‘John who cries and John who laughs‘ is no longer understood by the people. Yet there is a close connection to the initiatory tradition of the West that is connected to the initiative God Janus. The two saints that the folk traditions speaks of are John (Johannes) the Baptist and John the Evangelist. We can derive the name Johannes from the Hebrew word containing ‘hanan‘. This means ‘mercy‘ as well as ‘praise‘. ‘Jahanan‘ can thus be translated with ‘mercy of God‘ and ‘praise to God‘. In Christian spirituality Saint John has frequently been associated with the esoteric tradition, a hidden doctrine. Definately there are many references to cosmic symbolism. […] Compared the the Christian calendar, the figures of John the Baptist and John the Evangelist equate with Janua Inferni and Janua Coeli from the Roman tradition. The initiative God Janus – who has two faces, one looks back the other forward – holds in his hands the keys to the gates of the solstices. He is the Janitor, he who opens and closes. The paths of Janua Inferni and Janua Coeli would etymologically and symbolically relate to the Indian Pitri-yana and DevÍ¢-yana, the path of the ancestors and the path of the Gods. One – that of the ancestors – leads from summer solstice (John the Baptist) to winter solstice (John the Evangelist), the other – that of the Gods – leads from winter solstice to summer solstice.
Koenraad Logghe in De Graal p. 235/6
In this context it may not be unimportant to point to the fact that the Knights Templar worshipped a mysterious God called Baphomet, who was depicted in the form of a devil. When the master of the order kissed the stature, he yelled: I alla. Things get even weirder when they are accused of burning their own children in offering to that God. I cannot get rid of the idea – even though we get on thin ice here – that this mysterious Bafomet is something more than just a devil. Let us not forget that the Knights Templar knew a ‘baptism by fire’, an initiative baptism specific to secret societies. The literal translation of Bafei meitós – contracted into Baphomet – is ‘baptism of wisdom‘. The devilish appearance of Baphomet reminds us of Lucifer, the fallen angel, literary ‘firecarrier‘, and in the Middle Ages there was an obvious luciferian trend under specific societies: meaning, groups that were convinced that they, as the tenth host of angels, lived here on earth, protecting the Divine fire that Lucifer carried with him during his fall.
Koenraad Logghe in De Graal p. 229
We noticed that the king cannot rule alone. He is accountable to the nobels and the druids. There is, however, no prevalence of the druids (spiritual authority) to the kings (secular authority), because each knows his place. Through the initiation that the king receives, chaired by the druids, the king outgrows the second function (secular authority) to measure somewhat of a religious dimension (which is expressed in the white colour, the colour of the ‘sacerdoces‘ of Nuada) without belonging to the first function. In a matter of speaking he overarches all three functions. In this sense the king has a pontifical function.
Koenraad Logghe in De Graal p. 188
The cosmos was divided into the underworld, the middle world and the upper world and these three worlds were dominated by three groups of Gods. Above all was the Ineffable, from which everything emanated. From the One the three came forth. Somewhat similar, in medieval Christian metaphysics we find the Trinity formed by the Father, the Son and the Holy Spirit, but who all three are separate. Jacob Böhme said that this Trinity was the same as the indivisible centre, the One, and the three distinct statures he described as follows: “ex uno” (from the One – the Father), “per unum” (through the One – the Son) and “ad unum” (to the One – the Spirit).
Koenraad Logghe in De Graal p. 173
Now we follow some brief sequential passages that are very similar. In each case this involves a fight against a snake. CaitlÍn Matthews expressed this repetition as follows: “The tripling of the snake is very confusing for the reader who get the impression that he or she is reading in circles.” Precisely such method is constantly used during the initiation of the novice: each time by a repetition of ‘similar’ situations, the newcomer is more driven into a spiral pushed up to the very core of the occurence. The spiral gives the impression that one is drawn upwards, or perhaps even more, that one sucked into some kind of whirlwind.
Koenraad Logghe in De Graal p. 148/9
The beard, as the story clearly shows, is a sign of maturity and adulthood, and of the courage of warriors. In the Raids of the cows of Cooley is told how Irish warriors refuse to fight with CÍ¹chulainn because he is beardless. […] To rob somebody of his beard was seen as a humiliation and a deprivation of the power of the warrior. Therefor the retention of the beard is articulated in several places in the legends by defeating the giant who claims the beards of knights to make a shirt thereof.
Koenraad Logghe in De Graal p. 147/8
One of the mythical aspects that are particularly important, we must recognize in the sword that is broken and put back together. It is similar to the pillar, which is hewn in half and healed. In essence, we here meet two identical symbols. The pillar represents the relationship with the gods on the macrocosmic level, the sword has the same meaning on a microcosmic level. For example, with the Scythians, the sword was equated with the world-axis, and to illustrate this, they planted it on top of a mountain.
Koenraad Logghe in De Graal p. 135