(continuation of post above)
Looking down the line endings, there are two places in the poem totally different from the others.
All the line endings rhyme - and they all scan, except for these two places. Not only that - in these two places the last word on the line is repeated on the end of the line below.
In section 2, the word repeated at the end of two adjacent lines is 'Heart'.
In section 6, the word is 'Tears'.
'Heart' is straight forward: it has no other pronounciation or meaning possibble in the context in which it was written.
'Tears' is a different matter.
The two lines read:
'His view extends beyond this vale of Tears;
His hopes securely fixed admit no Tears;'
The second line has a meaning that is pretty much fixed in the context in which it was written, but does the first line of the two?
The 'vale of tears' was a well used phrase in the 18th century. It meant 'this world', 'this life', as in 'we spend a while in this vale of tears and then go on to a better place.' But it can have another meaning: you can tear something, to rip it. By coincidence you can tear a vale, especially if you spell it 'veil'.
Where does one find a veil you can tear?
Thats right, jb gave us the answer the other day in his link referring to the Kabbalah.
The Kabbalah, the Tree of Life, has three veils that are designed to be torn. This can only happen when the aspirant is ready, when they have reached a certain stage of spiritual advancement.
There is an article from the Journal of Biblical Literature here
with an illustration we should be familiar with. The article investigates the meaning of the tearing of the temple veil at the time of Christ's death. It ends with a reference to the Mithraic Mysteries.
The tearing of the veils of the Tree of Life is said to allow direct communication with God. The very word Kabbalah means 'receiving' or 'that which has been received'.
By coincidence, it is said that it is by knowing the name of God that one is able to communicate with him. 'Knowing the name of God' is a phrase that is the equivalent of saying "I have had direct communication with God." If this was what the Rosicrucian's 'turning base metal into gold' allowed, would they want to admit to it? Maybe not. But hidden within the lines of a poem? Maybe.
Does the second 'Tears' line now take on a new meaning?
Does 'His hopes securely fixed admit no Tears;' really say that despite being unable to admit to it, his hopes are securely fixed on this most secret of works?
(One name given to this endeavour was The Work of the Chariot - see the paintings featuring Apollo above.)
We must not forget the two lines of the poem ending in 'Heart'. Placed together in the same way as the two lines ending in 'Tears', the inference is that 'Tears' and 'Heart' must be linked. Indeed they are.
For it is only with a pure heart that the veil drops.
The one who traditionally had the purest heart is Jesus Christ himself. The moment when the veil dropped for him can be looked on as the moment of the transfiguration.
This was witnessed by Moses and Elijah.
Was the wisdom said to be contained within the Kabbalah anything to do with the transfiguration of Christ? Nowhere has this ever been suggested.
Yet, in a small, uniquely decorated Somerset church, there is just such a suggestion. Built into the chancel floor, right in front of the altar, is a Tree of Life that is said to date from the original church that was built on this site in 1485. It is made from cast glass pieces and although the ten sefirot are not all in their traditional places, the design is clearly derived from the Flower of Life.
In the centre is placed a large bluey green disc of glass which is said to represent the Earth. Looking down on the scene are Moses and Elijah, the two witnesses at the transfiguration.
The Tree of Life and Moses (with serpent) and Elijah, part of the unique decoration in the church at Hornblotton near Glastonbury.
Hornblotton church plays an important part in the geometry at Glastonbury. It has precisely the same position and alignments as Arques Chateau does in the geometry at RLC. (See detailed mapping on the Hidden Landscapes web site.)
There we have it. Something that has been described as an "impossible puzzle", something that has defeated even the codebreakers at Bletchley Park, unravelled and explained.
Can it be proved
that the interpretation given above is correct? No. Like so many things, it is impossible to prove
. But it fits into the overall puzzle of the Poussins/Teniers clues perfectly. (Bearing in mind that Sheila has now solved the meaning of the Poussins/Teniers clues.) And it takes the whole RLC mystery on to the next level: The solving of the rest of the clues that were found in the large parchment.
There is just one loose end that remains to be tidied away:
Why was it a good choice to have a c next to the S in 'Scene', the last word in the long 'Hermit' poem?