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By Joscelyn Godwin

Looking to resolve many of the interpretations of Atlantis and its kindred myths of Lemuria and Mu, Professor Joscelyn Godwin exhibits how the legends of Atlantis move hand-in-hand with the concept that of cyclical historical past, corresponding to the Vedic method of the 4 Yugas, the Mayan calendar with its 2012 end-date, the theosophical approach of root races, and the precession of the equinoxes.

This learn completely stories the rationalist and occultist writings on Atlantis together with the paintings of G. I. Gurdjieff, Julius Evola, Edgar Cayce, Dion Fortune, and Rene Guenon. It additionally examines the comparable themes of reincarnation, human evolution, the origins of race, and disaster theory.

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Additional resources for Atlantis and the Cycles of Time: Prophecies, Traditions, and Occult Revelations

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They were both competent musicians and composers and believed themselves to be poets and dramatists of stature. They were sure that sacred alphabets such as Hebrew and Sanskrit concealed esoteric wisdom. While neither of them traveled beyond Europe, India and its philosophy fascinated them. Both aspired to high political influence: Fabre d’Olivet claimed to have played a key role in the French Revolution and became convinced that Napoleon nurtured a personal vendetta against him, while Saint-Yves was a friend of Earl Lytton, the Viceroy of India, and through him addressed Queen Victoria.

He makes no secret of this in the book. What his motives were, both for writing and suppressing it, are hard to fathom unless we accept that in some altered state of consciousness he saw what he describes and transcribed it as faithfully as he could. He certainly did not have sufficient sense of humor to put the whole thing over as a practical joke. ” Edouard Schuré’s Great Initiates The French occultists of the fin-de-siècle did not hesitate to follow SaintYves in adopting Fabre d’Olivet’s prehistoric scenario.

The Well-Tempered Clavier of J. S. ”118 To the Pythagorean, on the other hand, every number can be represented as a specific tone, and Plato’s numbers in particular belong to an arcane dialog concerning perfect intonation. 119 The Atlantean plain with its mountains and its network of canals is nothing but a fanciful image derived from a diagram that plots the powers of 3 along one axis (musically, intervals of a fifth; philosophically, the divine strain in the Atlanteans) and powers of 5 along another axis (musically, intervals of a major third; philosophically, the human strain).

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