Orphic Mysteries. Integral sound
Orphism is a metaphysical doctrine about sound. It represents the art of experiencing sound; it is the tantra of sound. The teaching was formed from a ritual passing through space, from the Orphic Mysteries. Judging by its attachment to the location, Orphism became a religious doctrine in the 6th century BC.
According to one version, Orpheus was a Thracian bard, who achieved immortality. This was the reason for the connection of the Orphism as a system of knowledge with the Thracian culture. Yet, Orphism as a doctrine should not be confused with the Orphic Mysteries. They are interconnected with the Dionysian Mysteries through the experience, where the Dionysian Mysteries are firstly wine and then music. And the Orphic Mysteries are on the first place music and then wine.
The idea of the mystery itself is the resurrection of the live energy. And since Orpheus is, first of all, a master of vibrations, there are so many references about him throughout the history that today it is possible to identify his existence from the standpoint of the Egyptian culture, as well as from the position of the Greek and even Thracian cultures.
I could argue that after having achieved immortality, he began to move in time, and thereby changed the past. That is to say, in reality, he achieved the state of immortality somewhere in the period from the 4th to the 2nd century BC. Then he went back to the past, where he explained the cult of the resurrection, let's say the resurrection of Osiris. It sounds very irrational, but according to the laws of his own teaching all turns out to be very logical. And it becomes clear why he is associated with the Eleusinian Mysteries, with the fundamental cult of experiencing the Muses!
What if we assumed that they were not existing on the physical level at all, but appeared in the people's minds with the arrival of Orpheus? In other words, Orpheus explained this astral cult physically and we began to talk about it from the perspective of a physical plan, but in reality it was on an energy plan!
Orpheus's love to Eurydice, as well as his attempt to resurrect her from the dead is nothing but a symbol of energy transformation and surely not an emotional process of a person who has reached the threshold of human existence. Here, in fact, we are faced with the problem not so much of the doctrine itself, but with the possibility of its understanding.
Orphism is a geometrical teaching about music in which the notes are geometrical figures, expressing tension. This is the expression of music tempo as breathing; it is the interconnection of rhythms similar to the interconnection of planes. It's not just excitation by sound. It is an art or, if you will, a science of generating ecstatic experience and its assimilation.
Essentially, Orphism represents a doctrine about time, eros and man. It is to these three qualities of the temporal resonance that destroy man that the doctrine of Orpheus turns and where the very concept of man is seen as something that violates the divine nature.
Orphism is a teaching about the different levels of the universe, especially in its temporal format, where man lives. It explains the nature of the rebirth. Like the rebirth of Osiris and Dionysus, who represent the laws that allow the realization of such opportunities.
Orphism gives physical qualities to the very idea and concept of harmony, leading them up to the state of resonance. The seed of the doctrine is a certain sound. The Orphic doctrine is unique and lives passively in each of us, subduing us to a particular sound, or to a particular music.
In fact, the whole mythological system is nothing but a transference of a voluminous language into a linear form, where hymns and odes were transmitting the idea of space tension in the sound by means of words. This is something very distinctive for us, when we shroud words into sounds.
It brought also the regularity of sound, inherent in the idea of the seven-stringed lyre. It is the measure of time, or a measure of temporal sound.
Where the seventh sound - the first spatial sound - shows the way beyond the nature of time. The lyre of Orpheus is a heptagon, a geometric figure representing the seven angles of sound, a temporal wave turning into atemporal one. That is to say, it is a reliance on the step, a reliance on the octave.
Seven nights have 6 days. Our temporal space has seven conditions. It is a new heaven that has come to replace the old one. This is the pyramidal structure of our world. Number seven is the last physically perceived frequency, the frequency of the purple body. This is an extraction from the law of time, from the darkness to the true light. Lower sounds are what tear the human body, but we must pass through this process in order to get to the depth, because in the body there exists the sound of the soul. And this is the seventh sound. In other words, music was classified according to its tuning - destructive, growing and filling up. This is a kind of musical cubism which was studied still by Pythagoras, who helped to correlate the limited with the infinite.
Music is the inhalation and exhalation of the universe, but it is necessary to understand its centre. Understanding the centre leads to the understanding of the harmony of spheres, where two more sounds that are not endowed with external sound are added. Internal intonation, inner sound effort or the effort of inhalation and exhalation of emptiness, where the same exhalation is considered as an incoming breath.
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22 april 2016
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