"Funerals", A Qaballistic Deconstruction

For further insights into this article, see the article "Deception and the Principle of Inverse Duplicity". The Illuminatus Observor has surpassed over 100,000 words of intense English Qaballa deconstructions that demonstrate the Art and Craft of Qaballa. You are invited to use the "Search" function in order to explore the site. As always, your comments, insights, support, and interest, is greatly appreciated.



Many, many years ago, I went on a job interview. The pre-interviewer told me over the phone that the company was looking for good marketing people, people who could weave a story and who were creative at presenting information. It sounded like something right up my alley. When I arrived, a very dour older man eased into his recruiting presentation. "Our business has no downside. It is always going strong, and will continue to grow for the foreseeable future."

His business?

Selling funeral plots for his company owned cemeteries. As part of the package, he hired a team of 3-4 people who were charged with going into the life story of the deceased and providing an audio-visual story that utilized scripts, music, and family photos and videos for anyone who bought a plot when the customer passed away.

After he explained his "opportunity", I asked him, somewhat disappointed that his company had not been forthright in bringing me out for the interview, "Why didn't you explain more clearly what it is you are seeking, rather than cloak this as a more traditional marketing job?"

He explained, "If we tell people what the job is about, we might lose some really talented people who might not give us a chance because the whole idea of funerals turns a lot of people off."

In retrospect, the guy had a good idea, but yeah, I was one of those who was "turned off" at the prospect of being a story teller of the lives of dead people who just made the transition back to the Sun.

I took the recruiting material and never returned.

A Holistic Qabballa Worldview

For those of you who have read much at the Illuminatus Observor, or have listened to my podcasts at Inside the Eye (yeah, I know, some new content would be nice!), you have figured out by now that I have a pretty holistic world view as it pertains to Qaballa. I see "the Great Work" in nearly everything, and seem to have a natural affinity towards the Craft that allows insights to flow freely.

Of course, one of the topics that had to be of some interest is that of dying, and all the words that intermingle within the contextual of what "funerals" and "dying" are all about.

In the process, as a "Master of the Craft", as it were, it would make perfect sense that one would have to be able to provide explanations and examples of numerous words within the contextual framework, and then show that their is an interconnectedness to the larger "philosophy".

At the end of the day, everything must reduce to Letters/Numbers/Sounds. This is the core of our Craft. Once this is reduced to Letters/Numbers/Sounds, we can then reduce the concept to simple explanations based on the reduced values or the words.

This process is not as simple as simply "adding the numbers of a word" and then reducing the value to a single digit, as is often taught in the Western "numerology" and "kabballah" schools. In order to capture the essence of what has been designed, and how it all interconnects to the larger Construct, you must be aware of the various tools of the Craft, such tools to include Notaricon, Temurah, to name but a couple.

For example, if one is to star in the funeral, we may presuppose that the headliner is the one that is "dead". This word can be reduced to its prefix of "de", and thus it has a "root" of "add".

One who is "dead" has been "de-added", or subtracted from the equation or web of life.

A Contemporary Insight into the DUAT

You might be asking, "What does Chrysler have to do in an article about funerals, and more specifically, that of "the Duat"?

Here is a hitherto hidden Occult symbol being brought to the light - WITH its Qaballistic interpretation.

Notice that the manner in which the Chrysler logo is designed. By viewing any two contiguous triangles, what is revealed?



A Pyramid?

Yes.

If you stop there, you are right, but you are not "wholly right", and here is perhaps a good time to provide you with an Occulted insight. As stated in the Popul Vuh,

"It is not well what our creatures, our works say; they know all, the large and the small," they said. And so the Forefathers held counsel again. "What shall we do with them now? Let their sight reach only to that which is near; let them see only a little of the face of the earth!"

Insight may be gained by placing the words from the Popul Vuh against the study of symbols and the Occult. For the masses, it is well that they remain simple and not know too much as to how the Construct has been crafted. When symbols are set before you, as say, the Letter T, it is well that you know that it is a Letter T. It is not well that you be given the keys to the Letter T.

When you view the Chrysler logo, it is well that you see a pentagon with a figure with lines emanating from the center to the points. It is "okay" if you see the hidden occulted pyramid set into the design (providing further insights as it does). If you saw the pentagon, you saw near. If you saw the pyramid, you saw a little further.

But you still had to look further.

The Chrysler symbol is a modified form of the Duat, which is shaped as follows:

Since L's are "fallen T's", we can change the word CHRYSLER to form CHRYST(er), or "Christ", and you begin to view the channels into the netherworld of archetypes, the psyche, and the Occult.

It was Christ who would replace Osiris. It was Osiris who would dwell and some say "rule" over the Duat. And, since the Isisian Code transposition is very precise, we can show the following:

D = D
U = E
A = A
T = D

There is absolutely no difference between the mathematics of the DUAT and that of the DEAD. What changes, then, is the archetypal framing as contained in the Letters that comprise the two words.

In the word DEAD, we have a seeming hidden code of DE-ADD, which makes sense, to a large degree.

In the word DUAT, we have DU as TWO and AT as in 14. The number 14 represents a material existence or marking point, which is defined in many ways, but here would be hinting at Sunrise T and Sunset T, a concept that fits with the larger held archetypal design of "the Duat", for the Duat held an archetypal relevance of Sunset to Sunrise, meaning that at Sunset "the Sun died" and would be "born again" at Sunrise.

This idea of "birth" as Sunrise and "death" at Sunset, again shows absolute equivalent Qaballistic design.

D = D
E = E
A = A
T = D
H = (silent) Pi Proportion Ending

An analysis of DE AT (H) would hint that one has been removed from physical existence, or the number 14, or AT.

It could be said then "At Death, one has been removed from AT, or more simply, DE-ADed". One has been "de-added". DEAD.

Makes one wonder why it is that "Chrysler" seems to always "die", only to be "resurrected" again?

Ma'at as Pi

No treatise on "funerals" would, within a Western esoteric construction, be complete without an analysis and reflection of the importance of the Goddess Ma'at.

Ma'at was held to be supreme in that the Pharoahs were said to rule by and were bound to uphold the rules of Ma'at. Ma'at represented universal harmony and balance, and was represented by "the Scales" in much the same way that Isis would morph into a more mortal version of the same said principles.

But relative to Ancient Egypt, Ma'at's pre-eminence was unquestioned. Ma'at was the agent through which the souls were said to be judged. However, everything has its Qaballistic interpretation, and Ma'at is no different.

The word MA'AT is comprised of a very simple cipher.

M = 13
A = the Scales
' = Cipher Clarifier
A = 1
T = 4

13 (1) 14

Set against Pi, the Letter M represents the 13 digits between the two 26's, while the 9 digits to the right of the second 26 and the 5 digits to the left of the first 26 add to a value of 14, or the Letters AT. In this way, the number 13 is viewed as being in harmony with the Scales, or the two 26's (that just happen to also be the number of weeks to half a year of Earthly travel), while the 14 represents a "material existence" which is not in harmony with the Scales.

In short, 13 = the Spiritual World, while 14 = the Material World.

When a soul was "weighed against Ma'at", the philosophical theory was that if the value was 13, the soul would join the company of the Gods, while if the soul was heavier than a Feather, a digit of 1, which would be 14, then the soul would forever destined to wander in the lower realms.

In other words, the soul would not return from the first 0 in Pi and thus enter into the Mysteries (the first decimal digit of Pi), for the Tarot paths are too set against the Letters and Pi, but rather after emerging from the Egg (the 0), the soul would go on ad infinitum as are the digits of Pi.

Since one would not be in the "company of the Gods", or the Letters, such would not be considered very "fun", so to speak.

(For further insights on this element of the article, visit the article "Ordo ab Chaos, Rationalizing the Irrational")

"Catholicism and "Wakes"

We may reduce the duality of reality to two digits again.

13 is symbolic of Spiritual Existence
14 is symbolic of Material Existence

Within "Material Existence", we may break down again this existence into its dualistic components.

13 is the Dream State
14 is the Waking State

Here is where we have a philosophical (qaballistic) dilemma. If the "waking state" is to "awaken" from sleep, then why is it that "Catholics" attend a "wake" for the deceased?

After all, the soul is said to traverse the heavens in a boat, and what is left behind when a boat travels?

A Wake.

Yet we already know that when one affixes an "a" to the beginning of a word, it means "not", and yet when removed, the "a" means "is". An example of this is

A THEIST is one who does believe in "God" as represented by the word THE

AN ATHEIST, on the other hand, is one who does not believe in the God as represented by the word THE.

So now explain the rationale behind

A WAKE and
AWAKE

What we may surmise then, is that in the word WAKE, we have multiple layers of reality. The "body" of the "deceased" could be viewed as "the wake" of a ship. The ship has passed by, but the emanations from the ship have reached those within its reach and so is viewed by those who remain behind. The wake of a ship, of course, is that which remains "behind", only to dissolve back into the ocean upon which it makes its presence.

The parallels are easy to forge and see.

Yet philosophically, a "wake" too, has the "a" removed, and so equally must represent a state of "a - wakening".

What this hints at, by the way, is a qaballistic duplicity in the design of the word AWAKEN, equally, but that may be saved for another day.

"Funerals. A Qaballistic Deconstruction"

In an article entitled "Light from Ancient Egypt" by I.M. Oderberg, we find the following statement:

De Briere expresses it in astronomical terms: "The sensitive soul re-entered by the gate of the gods, or the Capricorn, into the Amenthe, the watery heavens, where it dwelt always with pleasure; until, descending by the gate of men, or the Cancer, it came to animate a new body."

This statement hints at the very root of the word "FUNERAL" as a Qaballistic design.

But let's digress to cover some of the philosophical underpinnings.

The Construct is based on the Tale of Isis and Osiris, and in particular, the work of Plutarch. The first "god" to "die" was "Osiris." It could be said that he went from being "black" to "white". The process of "changing colors" is known as "dying", and so the parallel of changing an object from one color to another shares a philosophical equivalent as a Qaballistic design.

Plutarch says of those who worshiped Osiris,

"Just as the rainbow, according to the account of the mathematicians, is a reflection of the sun, and owes its many hues to the withdrawal of our gaze from the sun and our fixing it on the cloud, 359so the somewhat fanciful accounts here set down are but reflections of some true tale which turns back our thoughts to other matters; their sacrifices plainly suggest this, in that they have mourning and melancholy reflected in them; and so also does the structure of their temples,97 which in one portion are expanded into wings and into uncovered and unobstructed corridors..."

This drawing of Los Angeles's "City Hall" exemplifies what Plutarch is referring to in that the "expanded wings" and "uncovered and unobstructed corridors" are the "wings" that form the long "halls" within the building's structure.



Since there is a "qaballistic link", or transposition, between H's as ciphered "P's", the term HALL is a sort of "code" for PALL, and hence, as part of this melancholy over Osiris's death, the tradition is carried forth under the term PALL BEARER.

But the word FUNERAL itself is a fascinating word, at least from a Qaballistic analysis.

Within Qaballa, we know that the Construct is based on Letters/Numbers/Sound. We know that "the entry point" as hinted at by Mr. Oderberg is through "Cancer".

Now just as we have duality being represented by 13 and 14, or a "left of the decimal" and "right of the decimal", we can also represent this dualistic concept using two different Occult Matrices.

Spiritual existence may be viewed as "the Garden of Eden" as represented here:



Material existence may be represented by the "Rabbinical Tree of Life" as shown here":



When the spiritual body is fused to the material world through a body, it then assumes that which is known as "the Philosopher' Stone", or this:



Essentially, "life" dances, or revolves, around "the 6". The "6" is comprised of the following formula:

S = 3 = 1+2+3 = 6
IX = 9 (Roman Numeral)

(S)(IX) is a code for 69, or the astrological sign of Cancer, and the START POINT AND END POINT is at the SIGN OF CANCER. Although CANCER is the "4th sign" of the Zodiac, it maintains the "6th" Sephera" of the "Tree of Life".

Thus in the word FUNERAL, we must break down the word into its constituent components. Once we do this, we see that the operative philosophy within the word is that of the Letter F, which again, is the 6th Letter.

When you are buried, how deep is it said that you are buried?

SIX FEET UNDER, which is then sometimes accompanied by a "21 Gun Solute". 21 is is simply the Sum of 1:6 and represents "the World". The World is the 21st card of the Major Arcanum. What the word FUN is saying is:

NOT (UN) 6 (F).

Borrowing from the article "Principle of Inverse Duplicity",

"Setting all of this back against Continental Masonry, one may be aided by an understanding of inverse duplicity. As defined, the word duplicity has the following general definitions:

1a. Deliberate deceptiveness in behavior or speech.
1b. An instance of deliberate deceptiveness; double-dealing.
2. The quality or state of being twofold or double.

Duplicity, inferring as it does the word "duplicate", clearing hints of the twofold nature of an item, which in our case, remain words. Inverse duplicity is simply the logical inversion of the planned deception in the word. For instance, a "funeral" contains as a root the word "FUN", and yet "funerals", by their very nature, generally tend to be quite sad affairs. There is nothing fun about them. This word is a very good example of an inverse duplicity. Funerals are not fun, they are sad, so we can simply inverse the "fun" to reveal the duplicity in the word. However, still further, within the word "funeral" remain the phonetics of "funnel".

Human life may be seen as the funnel filled with fluid. The funnel holds the liquid in check but still it drains the fluids in a constricted basis. Set this concept against the current level of human life on the planet, and death is as the liquid that flows out from the funnel. The liquid (loss of human life through death) remains in a state of constriction: as we add more liquid (life) we are able to maintain fluid in the funnel, and when we do not create enough life, the funnel slowly empties.

This is the inverse duplicity of the word FUNERAL contained in the root (consonant sounds) of the word. While a FUNERAL encodes the word FUN and is yet oft a sad affair, the reason for the FUNERAL is that someone's soul has left their body (risen up and flown away), and yet the fundamental macro philosophy is encoded into a "FUNNEL" that constricts the mass and secretes the fluids in a set constricted manner.

When we view the Compass and the Square, it is necessary to understand the principle of inverse duplicity. To say "good mourning" means we are happy, and the very saying of the phrase "good mourning" adds cheer to the invoker and the receiver, and yet the word is phonetically linked to "mourning" such as to be in a state of sadness.

This is inverse duplicity, and as you become aware of it, you will find it everywhere.

That there is a level of duplicity such as to be 180 degrees opposite in meaning relative to sound implies that there is a rational cipher being set into motion by a "higher power" or force who maintain a rational understanding of the underpinnings of the language.

It is a great fraud to assume that there was no rational component to the fabrication of the language against the sounds of the Alphabet. This was part of the "Great Work", after all.

What is above is below, but it is often turned 180 degrees from original perception. 6 is to 9. G is to Pei. Mourning is to Happy. Funeral is to Sad. The mountain is reflected in the lake, inverted."

Of course, there is much more to explore within the word FUNERAL, but I hope that assuages the interest of more than few who sought a deconstruction of this rather inescapable reality.