The Perfect Proportions

THE PERFECT PROPORTIONS

VICTOR MANUEL GUZMAN VILLENA

Leonardo worked hard to get knowledge in all manifestations: the art, science, the technique… It was convinced that “the knowledge did not occupy place” and trusted blindly the capacity of the man to explore all horizons. After half century, his figure became a referring one for the contemporary culture. His spirit of curiosity and his thirst of knowledge continue astonishing many people who follow the same interests as him.

Just inaugurated the third millennium, the image of Leonardo invites to a reflection: In the era of the specialization of the knowledge, computer science and technology, has use a scholar, a total wise person like him. He was ahead of his time. He wanted to project without restrictions his ideas and discoveries, but his bold intelligence exceeded the limits of understanding of any human being of his time. Their dowries of visionary were amazing. For example, in the field of aviation. His studies on flying machines anticipated the effect of elevation and the one of propulsion, the stability and the balance. The wings that he outlined applied in the first airplanes. And his aerial sketches considers theoretical ancestor of the helicopter.

The man of the Vitruvio by Leonardo is a drawing by pen and ink, realised in a great leaf of paper (34 xs 24 cm.), that is conserved in the Academy of Venice, it was in its origin an illustration for a book titled Of Divine proportione (the divine proportion) of the Franciscan friar and innovating mathematician Luca Pacioli (1445 - 1517. He opened his colloquy on the divine proportion with a commentary on the proportions of the human body, observing that in the humanity.

All kinds of proportion and proportionality can be found and produced at the behest of god through the intimate mysteries of nature. Commentaries as this one makes clear why Leonardo would have found in Pacioli a mind in affection with his. For both the harmonic proportions of the human body were not more than one of the many intimate mysteries of the nature that reflected the perfection of  nature.

In his Studio (Real Academy of Venice), also known like the Vitruvio, Leonardo made a vision of the man like center of the universe, when being inside in a circle and squaring. The squared one is the base of the classic : the unit of the squared one is used in all the classic architecture, the use of the angle of ninety degrees are bases of the Latin- Greek architecture. In it an anatomical study is realized looking for the proportionality of human body, the classic or ideal canon of beauty. It follows the studies of Vituvrio"s architect (Marcus Vitruvius Pollio) Roman architect of century I AC, to whom Julio Cesar, orders the construction of military machines. In time of Augusts  he wrote ten volumes of his work “Of Architecture”, that deals with about the hydraulic construction, solar quadrants, mechanics and its applications in civil architecture and military engineering. The man of Vitruvio is a clear example of the globalizing approach of Leonardo that development very quickly during second half of the decade of 1480. He tried to tie, the architecture and the human body, an aspect of his interpretation of nature and the place of the humanity in the “global plan of  things”.

Leonardo empirically corrects the errors of the measurements of Vitruvio, obtaining the measures, surpasses the old canon and recreates an illustration of the descriptions of Vitruvio that is considered until today the most perfect. The drawing represents a man in two different positions that correspond two phrases of the text.  The one that has the legs together and open and the extended arms horizontally illustrates the sentences written under the drawing: As much apre I'omo nelle braccia quanto è sua altezza, that is to say, the width of the extended arms of a man is equivalent to its height. The other figure, with the separated legs and the raised arms, expresses a specialized vitruviana rule more: “If you open the legs as much as to diminish your weight in 1/14 and raise the extended arms until the ends of the middle fingers are at the level of the top of your head, you will find that the center of your members extended is the navel and that the space between the legs is an equilateral triangle”.

The Anatomy

In the human body the central point is, by nature, the navel. Then if we located a man lied down on his back, with the extended hands and feet and a compass centered in the navel, the fingers of their hands and their feet touch the perimeter of a circle that we draw up from that point. And as well as the human body produces a circular contour also can be formed a figure squared from him. Since if we measured the distance between the plants of the feet to the arms and the crown and applied that measurement to the extended arms we will see that the width is just as the height, as it happens to the flat surfaces that are totally square.

Part of the force of the drawing resides in the interrelation of abstract geometry and the resulting physical reality of the observation. The body of the man is schematic but their contours and muscles are perfectly drawn. The feet seem to rest on a inferior line of the squared or to press the curve of the circle. The double figure produces the sensation of movement that could be the one of a gymnast or the one of a man who raised and lowered the arms like wings of a bird. The body is drawn with the clean and austere lines of a diagram, but the face appears tried about a very different way. It is more intensely worked, more dramatically shaded; it watches to us with angry expression. The characteristics in this sense respond to an ideal or prototype.

And, nevertheless, the whole drawing seems to be a realistic representation of those abstract biometrics symmetries, so that the severe personage enrolled in the circle turns out to be, not a number, but somebody, a man of penetrating eyes deeply shaded and thickens hair and curly combing with a line in the middle. It can to say that is at least some elements of self-portrait in “Man of Vitruvio”, the figure that represents the natural harmony also symbolizes the man equipped with an extraordinary capacity to understand it, to the artist-anatomist-architect who was Leonardo da Vinci.

The recognition on the part of the Master Leonardo of the concept of the divine proportion was reflected in his diverse anatomical works. He had the idea to realize a great work with detailed reproductions of the human body including studies of compared anatomy and physiology. The depth and rigor of their investigations took him to indicate the first theories on the muscular spasms in the cardiac valves. Some wanted to see in these inclinations a morbid motivation, but the certain thing is that Leonardo stayed faithful to his destiny: to be explorer of the knowledge.

A good example is the series of drawings that created in the final stage of his life under the title of “Visions of the end of the world”, where the fantasy and the reason reached an incomparable level. Leonardo felt attracted by all the natural sciences. By means of his precursory anatomical investigations he tried to understand the most recondite secrets of the body and to enter the same marrow of the creation, and in this process he arrived at a new understanding of the health and the treatment, understanding that amazingly prophesies the holistic approach of many present doctors , he wrote, and believed that to maintain a good health the harmonious integration of the elements of the body and the soul was essential.Thus, he practiced dissections in a hospital, anatomical works, observations of the flight of the birds and studies on the nature and the movement of the water. Fantasy and reason: These, indeed, were the ingredients that fed the spirit on one of the most fascinating personalities of history: Leonardo da Vinci.

The studies that did Leonardo Da Vinci, for its universality of its certainties that have served to contemporaries practitioners of the alternative medicine, among them doctor Dale Schusterman, one of the most efficient and mighty therapists of the new generation, settles down the foundation of the philosophy that underlies his work with a language extraordinarily similar to the Leonardo: "The human body and the model of energy that surrounds it is a miniature replica of a more comprehensive and universal order. This doctor express in his study that the great traditions of the knowledge, including the Jewish mysticism like cabala is based on the acceptance of which the human has been created to image of a cosmic being. Therefore, the humanity would have to be able, like Da Vinci, to see the cosmic design of our human form. Aside from which our form reflects a superior model, our human qualities like beings are the same like that the divine ones, like a drop of water contains the same properties that the ocean.

Therefore the forces that govern the cosmos in the macro level govern to the individual in the micro level. The life is one, and all forms are interrelated in enormously complicated whole, although inseparable one. The underlying unit transforms itself into a bridge between the microcosm and the macrocosms.  The Master Da Vinci tried to understand that the totality of the form and the substance of the man to deepen in what is life, what is the health. Remember that the the paradigm of healing determines the quality of life. If you cultivate an awareness of the unity of body, emotions, mind and spirit, you will discover a deeper sense of the fullness of the divine proportion

No 31 History of one of the most Famous Paintings

Emerging from Atlantis to the Sanctuary of the Spirit

Letter No. 31

HISTORY OF ONE OF THE MOST FAMOUS PAINTINGS

VÍCTOR MANUEL GUZMÁN VILLENA

The mural painted by Leonardo after a long and arduous study and three years of intense development, was so new, so original that would revolutionize the art of the West. Despite the ravages of time and the elements (for humidity and strong tempera technique used by Leonardo Da Vinci) and restored several times, there is still the traits of stupor, age, fear and character of the apostles in contrast with the white tablecloth and the colours of their garments.

The masterpiece of Leonardo Da Vinci astonished the humanity with its splendid grandeur and in recent years has been promoted to explore more in terms of symbolic and semiotic, due to the writer Dan Brown's novel entitled The Da Vinci Code and equally by the movie adaptation of the screenplay for this novel. His reading and fame has caused, like contagion, increased the interest in books related to the life and works of Leonardo Da Vinci, paintings and his esoteric school of The Priory of Sion, and the legend of St. Grail, the pentacle and the number of gold.

On any given day, thousands of people come to the old monastery of Santa Maria delle Grazie in Milan, to admire a mural, painted 509 years ago that occupies a very special place in the culture of the world. The immortal Last Supper by Leonardo da Vinci, which represents the last supper of Jesus Christ with his disciples on the occasion of the Passover, has probably inspired more books, articles, poems and dissertations than any other piece of art, with the possible exception a portrait done by the same hand of the magician: The Mona Lisa. In truth, are known for the most of us the figures of Jesus and the apostles, as they appear in the dramatic painting, that the set would have been hardly more indelibly printed on our imagination if the work of Leonardo has a true representation of that biblical event.

Leonardo was 42 years old when Ludovico Sforza, duke of Milan, then the most powerful man in Italy, commissioned in 1494 to decorate the refectory of Santa Maria delle Grazie, the Duke had chosen the church's new monastery for their devotions , often stayed to take the midday meal with the Dominican friars in a vast domed chamber measuring 35 by nearly nine meters. For more than a century it was customary to decorate the convent refectories depicting the Last Supper, to remember the sacrifice of Christ to who started bread and drank wine. But no painter had been really fortunate to try so hard topic.

Although at the time the Italian Renaissance was going through its climax stage and the arts flourished in every corner of the sunny land of Italy, for Leonardo the painting was a secondary activity. Having already achieved great fame in his hometown Toscaza for his inventor genius, had entered the service of Duke as a military engineer, an expert on hydraulics and musician. When not engaged in designing machines of war or draw channels, studying mathematics, anatomy, dynamic botany perspective and the flight of birds. Most of his contemporaries thought he was a magician.

Leonardo was the magician who, along with the painter Leonardo, faced the north wall of the refectory where he painted the monumental figure of Christ seated at the table with his disciples. The murals from the same evangelical episode that can still be admired in Italy thirteen figures show relatively rigid and disconnected from one another, they say little of the human drama of the scene.

THE SECRET OF HIS MAGIC

Leonardo spent long hours studying the peasants that he had come to his studio, and well covered sheets and sheets of paper with notes of heads, hands, clothes. Only then began to represent the scene that he wanted. Said in his book of notes: "One has to drink and turned to pose the cup in place. Another intertwined fingers and re-gazing at his neighbour. Another open hands with palms outward, increasing the shoulders up his ears and mouth expresses amazement.

Leonardo was not satisfied with mere appearances."A good painter should paint two things," wrote later in his text on the art of painting: "The first thing is easy, the second difficult, therefore, it must be expressed through gestures and movement of the members. The mural painted by Leonardo after a long and arduous study and three years of intense development, was so new, so original that would revolutionize the art of the West. The painting occupies fully eight meters and a half of the wall, and the strength of the effect is partly due to its colossal dimensions.

Suspended over our heads, the figures are almost two meters tall. They are sturdy craftsmen and fishermen of Galilee, seated at a table long and narrow as the monks of the convent of refectories today. It is a dusk from the top of the spring. In the home of a wealthy Jerusalem has prepared a farewell dinner. Jesus Christ has just utter the words: "One of you will treason me", which has resulted in his twelve companions the effect of lightning. These, grouped in threes, are four agitated clusters, two on each side of the master. Even we believe to hear what they say. Philip, the third to the left of Jesus, seems to protest: “You know me; I am innocent”. " It is clear that the Thaddeus fifth to the left of Jesus Christ is saying to his neighbor, dug Simon: I knew it! There are a traitor among us!

Peter is tilted toward his left side to ask to his companion of the table the Lord who is the traitor; impatient, he plays on the shoulder of the personage, while his right hand holds a knife. Hence we look at the snatched whole body of the astute fisherman and whom soon betray him three times. . John, "the beloved disciple of Jesus," is the most beautiful of the group. But that character is also woman's face, it may be Mary Magdalene, her companion (here's all the magic and mystery of the play) is the youngest and most beautiful of the group sat to the right of the Master, tilted his head in silent grief , Making an eloquent contrast to the rough impetuosity of Peter. But only Leonardo could paint it that way. Study in depth the principles masculine and feminine and obtaining the balance among them. Reminds us the tantra yoga, in which male and female join together to become something divine that transcend gender.

Here we can be asked: if Leonardo had some information of the content of the Gospel of Judas. Since the first reading the Gospel of Judas is revealed as a document clearly Gnostic. The Eastern Gnosticism was a philosophy that reached its greatest strength around the century 2 and 3 of the common era, and borrowed several elements of Judaism and Christianity. The later documents in the New Testament shows the first clashes with Gnosticism, but it is up to the century two when the Gnostic begin to produce dozens of "Gospels" and that confrontation occurs in all their extension. For Gnosticism, summarized, the world is the creation of an evil god, the god of the Old Testament, and human beings are emanations of the true God, much more powerful and ancient, divine spark trapped in corruptible bodies and unimportant.

Hence the marking asceticism and denial of the body is a key aspect of Gnosticism. It is only through a secret knowledge that reaches the true liberation and reintegration into the cosmos and everything. The document is a papyrus, dating from the fourth century, but is believed to be a translation of a Greek text of the year 187. Most of the biblical gospels were written, what is believed between 50 and 80 years after the crucifixion of Christ. It is written in Coptic, the ancient language of Egyptian Christians, the document was reportedly discovered in the late 70s in Egypt, in a limestone tomb very deteriorated. . Since then it has passed through the hands of several antique shops, many of them ignorant of their true importance.

The manuscript reproduced allegedly talks between the two men and pointed clearly that by betraying Christ, Judas was in compliance with a divine mission. It has also been able to determine that according to this gospel, Christ gave instructions to Judas to betray him with the following words: "Thou shalt be the apostle cursed by all others. You, Judas, offer the sacrifice of this body of the man that I am covered. In another hugely significant part of the manuscript, Jesus tells Judas: "Thou shalt be the thirteenth, and you will be cursed by generations, and come to reign over them

Despite the turmoil prevailing, the two halves of the set are beautifully balanced. On the other aspect, the four major groups are intertwined by their hands, forming a bridge from one group to another. Those hands point to the figure of the Master, calm center of that storm. His head is framed by soft blue light of the evanescent landscape that looks through the open door behind Jesus, reflects a spiritual excels makes that figure one of the most beautiful have been painted ever.

Matteo Bandello The writer, whose stories were later inspire some dramas of Shakespeare, was a student at the convent at the time that Leonardo was painting the mural. "I watched Leonardo," he writes, "who worked from dawn to dusk, a time without leaving the brush. Then came two, three or four days when they did not do anything but sit for an hour or two looking at the painting and tried to examine their figures. Leonardo had been engaged for many years to the new science of perspective, and in this case brilliantly solved the problem of creating an illusion of depth. . Go back to the viewer, away from the wall, and you will find that the room represented in painting, with its open windows, is an integral part of the same refectory. Follow with eyes the lines leading to the heart of the mural (the beams of the roof, the edges of the table) and verify that intersect in the right temple of Jesus, strongly appeal that attracts the gaze toward the master. Thus, for the monks who took the food in that place, Jesus Christ and the apostles ate not in the wall, but with themselves.

The illusion helps the care with which Leonardo painted objects even less important: the tablecloth, gold in a style that is still in Italy, the pewter dishes, glasses, in a word the same utensils that the monks were using in their table. Glossy red wine in the glasses, the bread seems fresh, and fish, fruit and the remains of ram tell us what has been the menu. The table of the Last Supper by Leonardo Da Vinci is also one of the greatest died natures of the world.

PERENNIAL OF GREATNESS

Finished painting in 1498, the Duke rewarded Leonardo with a vast property. From the artist's death, which occurred in 1519, the famous mural has been reproduced in fresco, oil paintings, mosaic, ivory and silver. Long before photography was born, the masterpiece had been issued at all sites of encounter of people through engravings in black and white and gaudy chromium. Goethe dedicated one of his most brilliant essays, the English poet William Wordsworth sang "Grace serene, ethereal, love that splendid in the face of the savior." Ironically, to create their immortal works, Leonardo put in it the seeds of which had been destroyed. Usually, the murals painted at fresco.

This unique technique consists in mixing pigment with water to apply it directly on the cast fresh and moist, to absorb the paint, turns partly to this an integral part of the wall, and so the freshness of the color is preserved through the centuries. But the fresco painters must work quickly before the wall to dry, while Leonardo wanted to move slowly.

To that end, first applied a surface of white stucco on the plaster, then painted in tempera on dry surface, as if painted on wood or canvas. In a dry room this method might have given a good result, but the city of Milan is famous for its moisture. As the moisture condensed on the cold wall, the stucco that served as a basis for the painting began to decompose and form blisters that break up in flakes. They had not spent 20 years and visitors commented deterioration of the mural.

That was how lots of details disappeared forever that appear in old copies, for example, the salt cellar that Judas knock over with the elbow. In addition, the intervention of a series of improvised restaurateurs, many of whom are charlatans who wore "secrets"remedies, hastened the destruction of the mural. Was applied oil, new paint, varnish. Completed the Second World War, was made a full and thorough restoration of the work. Took off seven superfluous layers of paint before reaching the original brushstrokes. When complete, nearly all the splendid colors of Leonardo (the red robes of Jesus and Magdalene, the blue of the meandering river in the distance) they shone with a magnificence forgotten centuries ago.

The monastery, along with the pictorial treasure, is now owned by the Italian government. Although the current visitor sees almost no more than a ghost of what was the original light of Leonardo, the image of the Last Supper is complete. As much as it beauty has faded in part, the mural retains its grandeur and, defying the time and its destructive agents, continues to exert his magic power over the generations.

Dialogue of the Platonic Love

DIALOGUE OF THE PLATONIC LOVE

VICTOR MANUEL GUZMÁN VILLENA

The other important exhibition about love, Plato made it in the dialogue called The Phaedrus. Although this is an exhibition of another character about love, the fundamental expositions of both dialogues match, although their lines of unfolding vary considerably.

Everything begins with a discussion based on a speech of Lysias on the issue of whether it is better for a young person to grant his favors to a person who does not love him rather than someone who loves him. Lysias indicates that the lovers acting under impulses that are chained by the passion produces remorse and that appear in them like disease.

In addition, these are boasted of their conquests and soon they leave them, they are jealous of any company and they only orient their love to the fleeting flower of youth. However, those that are not impelled by the love, give a lasting and independent friendship of the sexual, because they look for the company without putting the glance in the immediate and ephemeral pleasure. Their affection do not arise from a passion, but from the search of a common purpose.

Although this speech had the merit of balance, prudence is misleading to the extent that confuses many different realities by not defining the terms that the author employs. The love (Eros), is certainly not the friendship (Filia), but no one denies the other, since they are both valid expressions of nature.

The following speech of Socrates will try exactly to make conceptual precision to the debate. Socrates begins making a diligent definition of love that says to us this one is desire, but even those that do not have Eros - according to the sense attributed before by Lysias- yearn for the beautiful thing. On the base from what we will be able to differentiate them? On the base of two governing principles that Plato affirms that they exist in us.

The first it is an innate desire of pleasure and the second a capacity of judgment developed tending to the optimal. Happens that sometimes such principles coincide and other times differ, in a permanent struggle by the supremacy.

When the judgment prevails, there is in us self-control, moderation; when, desire prevails drags us to the excess (hybris) and we acted against our judgment. However, in relation to the pleasure that provides the beautiful bodies, for Socrates the excess is Eros. Such Eros is, according to the philosopher, a wild physical passion, something brutal and in opposition to the reason. This form of love is bad for the soul of the loved one, because the lover paying attention only to his own pleasure harms the soul of the loved one when maintaining the love one in a state of dependency, of inferiority and when preventing the beloved, in addition, to leave in ignorance.

This is an Eros which seeks pleasure rather than the good, which is not only bad for the soul of the beloved but also for the body to the extent that the lover, owned by the selfish Eros, makes the beloved a physically weak person when forcing him to live locked up at home, thereby depriving of giving health to the body.

All this makes immensely more reasonable than the loved one favors to not be owned by the Eros, otherwise is exposed to an affection that is like the one of the wolf by the ewe. So is the accusation of Socrates against the Eros.

Nevertheless, such Eros is not the true one. Still more, Socrates considers that he has blasphemed against the God of love and must pay with a retraction - denominated pillioned in the Greek world, because must not have given the name of Eros to a erotic madness, totally corporal, possessive and absurdly egoistic.

Of what this palinode consists? That is the platonic myth of the trip of the soul will shed light not only on the true nature of the Eros, but also on the eternal soul and ideas, indispensable principles to understand the nature of Love.

According to Socrates teaching love is fundamentally a kind of madness -mania-that comes from the Gods, is worth to say, divine. It is a mania because is an irrational emotion, although only reaches its more high expression when is united to the clarity of the reason, for example, in the philosophical love of the truth and the beauty. Still more, the Eros is the psychological origin of the search of the philosopher, since the departure point of the movement and the main source of the action reside in the soul.

Plato represents here mystically the soul like Auriga that directs a winged car, formed by two horses, one docile one and the other obstinate one. When the death happens, the soul rises until the edge of the firmament and contemplates the eternal ideas that are above. Nevertheless, the overcrowding of the souls makes lose its wings rushing back to Earth. This soul that has seen the ideas with maximum clarity turns into philosopher or lover of the beauty, in an inspired being, but not with the inspiration of the artist - that is in a lower level, but with the inspiration of the cultured man, a wise in the art of the life.

From the platonic perspective, when in life we caught visually the shining splendor of the beauty, we recalled the Idea of the Beauty that we saw with the eyes of soul in the celestial world; nevertheless, we cannot make the same perception of the wisdom nor of other worthy realities of our love. Only the beauty is refulgent insofar as it is caught by the view that, according to Plato, is acute of our senses and by this same one it is loved by all.

However, that one that is not just initiated or has been corrupted, cannot go from the sensible beauty to the intelligible one. Hes glance is cached by that one imperfect form of beauty, giving himself to the pleasure. But the just initiated that has contemplated widely the things of the superior world, when seeing a divine face, a lovely imitation of the Beauty or a body of beautiful aspect tries to venerate it like a God.

After this he have wings again in all the territory of the soul, returning to that previous state in which he owned wings in his totality. Then, the soul finds rest in the contemplation of the loved one, gathering the sweet pleasure of that moment of union.

The initiate no longer will want to separate from the beloved because for him this one is the more precious treasure, a wonder that makes forget everything until the point to be willing in become a slave to be next to the love one. And this it is the state that the men call love, Plato says to us.

Next, Socrates describes in another aspect the effect of Eros on the soul , doing use again to the parabola of the soul like coachman and both horses. It happens now that the black horse jumps obstinately towards the loved one and does not obey to the orders of the coachman, jumping towards the loved one. Nevertheless, in the end it is tamed. Then, the soul of the lover, can approach the loved one surely and this one can be let venerate by a sincere lover, to who, finally accepts giving friendship to him.

Passed the time the things change, Plato states: “And once is received this treatment, the benevolence of the lover, that now sees close by, full of admiration to the loved one who understands that, even all the other together, friends and relatives, offer a small part of the friendship that finds in this friend posses by a God.

And when time passes in this deal and intimacy, over the contacts in gyms and other places of meeting, the source of that power when Zeus loved Ganymede called 'wave of desire', running in abundance towards the enamored one in part down to him and, in part, when is completely full, overflowing out, and as the breath or the echo of the objects that smooth and resistant jump back to the point where they departed, and the flow of beauty, passing through the eye turns back to the beautiful, and when, on that road, which is the road that leads naturally to the soul, has come to it and has filled, revive the holes in the feathers, giving impetus to birth of these and full of love the soul of the beloved.

“He is, then, enamored, but he does not understand of what; and nor knows what it happens to him nor he can explain it, but, he cannot allege any reason, as in a mirror, seen himself in his lover; whenever that one is present,both stop the suffering, and when is absent, in the same way they misses each other, having therefore a against-love that is the image of the love. He called it not love, but friendship, and desires, in a similar way, but more weakly, seeing, touching, to kiss to the other and sleep with.

And, certainly, is very probable that in these conditions, when they are laid down together, the undisciplined horse of the lover has something to say to charioteer and considers that, in exchange for his many difficulties, has taking little benefit; and on the other hand, the loved one does not have anything to say, but swollen of desire and not understanding the own situation, embraces the lover and kisses that person, demonstrating affection like to someone who really love, and whenever they are laid down is not able of refusing favors to the lover; their companion and charioteer resists to this with their reason and modesty.

Then, if is a ordinate life and the philosophy leads them to the victory of the best thing inside the soul, they pass this life in the happiness and the harmony, since, thanks to the dominion of themselves and moderation, they have put under which produced their virtue. And thus, when they have arrived at the aim of theirs lives, sustains by wings and light, of the three athletic fights of this truly Olympic joust, they have won in first, and neither the human wisdom nor divine madness can grant greater to the man.

If on the contrary, they take one more a cruder life, without love to the philosophy, but to the honors of this world, it is easy that in the intoxication or any other moment of negligence the undisciplined horses of both, taking to the souls off guard and liaising themselves for the same aim, they decide on the side which offers more happiness for the common people.

Once completed, they return in the future to the same, but rarely, because when they act like these they do not have the approval of all their mind. Friends, without a doubt, also are these, but less than those; they live the one for the other, as much while the love lasts as when they have left it, considering that has occurred mutually and received the one of the other the majors guarantees, to that is not allowed to lack once becoming enemies. And finally without wings, but without not to have made an effort to acquire them, they leave their bodies.

Consequently, the prize that they obtain from this loving madness is not small; because is not to the darkness nor to the underground where the law orders those who have begun the infra celestial trip, but taking a shining life, they travel happy in mutual company, and arrived the moment, they get to have wings by virtue of their love. So great and so divine the gifts that the friendship of enamoring will offer. However, the treatment of one who does not love, treatment mixed of mortal prudence and that is given to a mortal economy, producing in the friend soul a ruin that the masses praise like a merit, will make it roll nine thousand years around the Earth and underneath the Earth, in an irrational state.

“Socrates has tried here to explain the true nature of Eros that in this text begins and finishes with the loving relation between individuals. The Eros, really, maintains the eternal ideas and awakes by the vision of the masculine beauty, having as objective lead the beloved until the intellection of beauty and truth.

In synthesis, as much in the Phaedrus as in the Banquet - with different developments- we found the three same types of lovers. The lowest corresponds to those who are owned by the physical and merely egoistic passion. A little higher is the moderate lover who not being a true philosopher end up pleasing his sexual impulse, eventhough rationally. And is because his self control is defective. Is in truth, an intermediate state and that is positive if prepares for the philosophical life.

In the top of this scale of lovers is the authentic philosopher, who is beyond all servitude to the sexual. Here the lovers belong to the same sex and their goal is not other than the reciprocal inspiration in the investigation of the truth and the good. And although this love has a foundation in the sexual instinct, the lovers have had the force and the wisdom to sublimate it in a passion by the common study. This one is, also, the true meaning of the “platonic love” that so very imprecise is spoken.

From the point of view of the spiritual evolution the wisdom of Plato about the love has unquestionable merits, they are at sight. Nevertheless, his wisdom also suffers from too important errors like not considering them in this synthesis. For example, his concept of love clearly is founded on an homosexual attraction, although this has like extenuating that the platonic love is in essence a mental union. We remember, in addition, to the philosopher the highest manifestations of the love and affection they occur only between men. With this Plato simply expressed the normal feeling of his contemporaries, for those the woman was a mere physical being, without psychic qualities that made her worthy of the love of the man. By this Plato's Greece , the marriage could not be more than a union oriented to the satisfaction of the physical needs and to the procreation of the children.

Plato, in truth, does not go beyond the culture of his time when not giving any place to love, to the friendship, the companionship between men and women. Really, Plato saw in the love an irrational force and to that extent a value that is below the sphere of the reason. He did not know, therefore, this philosopher, the true Love that is beyond the irrational and of the rational.

Second Dialogue of the Platonic Love

SECOND DIALOGUE OF THE PLATONIC LOVE

For Plato any tendency to the creation is the search of the immortality of the created thing.

VICTOR MANUEL GUZMAN VILLENA

The Banquet is the most important dialogue of Plato around the concept of love. Their scenes develop exactly in a banquet that at Agathon's house to celebrate the success of one of its tragedies. The diners have agreed to dedicate their meeting to make speeches to the God Eros, which would never have received a consistent praise from the part of poets and sophists. The text is transformed thus into a series of speeches base on the love that go from most superficial at the most deep, standing out the final speech of Socrates that gives the thought to us of Plato on the matter.

The first speech is the one of Fedra that indicates that Eros, the God of love, is the oldest divinity. Eros, according to him, causes that the men feel shame and ambition, in addition, his influence on men is major that any other feeling, since his power impels to great actions, like when the lover dies by love. In his presence the lovers necessarily abstain from all vileness and cowardice. In sum, Eros is a inspiring force of high actions.

The second speech corresponds to Pausanias, that distinguishes between two types of Eros, each one follows a different Aphrodite: Aphrodite Pandas and Celestial Aphrodite. The Eros of Aphrodite Pandas, is the one of those men who love the corporal thing and whom they look to achieve his aims without being interested in the process. The Eros of Celestial Aphrodite is own of men who look for the moral perfection. Who is under the influence of this Eros, looks for a permanent relation for the physical education and the philosophy as well as to educate to his loved in the wisdom and courage. This distinction between the two Eros shows that this speech is delivered with a deeper discernment and with an awareness higher than the first speech

The third speech is of the Eriximaco a doctor who -accepting the distinction of Pausanias- he maintains that not only the men own a double Eros, but all the things. Based on the medicine, Eriximaco indicates that the bodies own this double Eros or desire and that is right to allow to the good desires that are identified with the denominated celestial love. According to Eriximaco is work of the medical professional to know which are these good desires.

Also, for providing a better order of things-from the human and the divine until the seasons and climates-we must stimulate the desires that lead us to piety and justice. Wherever there is harmony and rhythm can be talking about the presence of love. Such is-roughly-the interpretation that Eriximaco makes about Eros. In it the meaning of Eros is extended by identifying with a universal force of nature. Certainly the Eriximaco speech is deeper than the previous ones, although has some small degree of professional arrogance

The following speech develops a fantastic anthropological conception and it belongs to Aristophanes. This it says to us that, primitively, three types of human beings existed, who had their organs duplicates. Some were males, others females, and finally were androgynous ones. These primitive beings have conspired against the gods, and since Zeus could not destroy the human race, since this one were the one that adored of the gods, he divided in two the primitive beings in punishment for their conspiracy. Since then human beings look for their other half. Each half of a primitive man and woman is given to homosexuality in search of their other half, while, half of the androgynous is given to heterosexuality in search of their other half.

Aristophanes in his speech describes Eros as an enthusiastic desire for something by which add it is eagerness to our nature and complements it. Certainly Aristophanes here confuses love with sexual instinct. He locates in a same level the homosexual love and the heterosexual love, which, from the point of view of the spiritual evolution is an error.

The next speech is of Agathon, that criticism to the others by not to have described, according to him, the true nature of the Eros. His speech uses beautiful words, but without much control of the meaning of them. For him Eros owns endless virtues such as the beauty, the tenderness, youth, the value, the moderation, the wisdom and justice. He adds, in addition, that Eros is the greatest of the poets, because he is the one who inspires the poetry. The Love would live in the souls of the men, being unrelated to any violence and shedding all the blessings.

In synthesis, we can say that Agathon thinks that the Eros always is occupied of the beauty and lives in the souls of the mankind, which, is not little to say. Socrates, in addition, will try to base what has been said by Agathon on the speech that follows.

The speech of the personage Socrates can be considered like the true thought of Plato about the nature of the love. Which is it fundamental affirmation? The fundamental affirmation is that the love is a form of necessity that has a goal and its relation with this goal is of desire, of exigency. The love always yearns for the beautiful thing and the good thing and, therefore, is not any of these but something intermediate between beautiful and the good thing. Either the love cannot be considered a God, because if it was a God would not love, since in a perfect being it is impossible to feel yearning, desire or passion. By the same, the Love is a being between immortal and mortal, that is to say, a spirit . And to be an intermediate being he is the one who completes and maintains connected all the things. Plato clarifies: “A God cannot mix with the mankind, but through Eros caries out all relation and dialogue of the Gods with the mankind, wide awake or in dreams.

More indeed Eros has by father Pores (Wealth) and by mother Penia (Poverty). Of the first he inherits his tendency to monopolize the good and the beautiful, his bravery, his attractiveness and power his cleverness, his yearning of wisdom. Of the second, her lack of goods, her rudest, her poverty. Thus, turned out that Eros is a philosopher, because he is not ignorant nor either wise. But not only this but also the beauty, because the real goal of the love is the beauty, which, according to Plato is not different from the good. This means that the love looks for the happiness, that is to say, the possession of the good, to which tends all the human sort. Also, Eros looks for the creation in the beauty, as much in the body as in the soul. Plato clarifies it to us: Why the creation love? To give birth to something is to be so lasting and immortal as a mortal can be. We agree, then, in which Eros has wish immortality with the good thing, if he wishes to own the good for always. Immortality is, then, the object of Eros.

For Plato any tendency to the creation is the search of the immortality of the created thing. Thus, those men who are fecund in the body are loving of the women and look for their immortality in their children. But those men who are fecund in the soul, yearn for to give to light wisdom and other more elevated forms. They are the poets and the inventors. A type of man still superior in wisdom will show this one in the administration of the state. In addition, will look and strives to lead it to his maximum perfection. Here there is more friendship than Eros, being a much more stable relation in the measurement that this union has its reason in a more beautiful and immortal fruit.

According to the Greek philosopher exits an ascending path to know the true love to get contemplation of the beautiful in itself. This is an erotic ascent that contemplates the following degrees;

1._The love to the corporal beauty that owns two moments: the love to a certain beautiful body and the love to the corporeal beauty generally.

2._The love to the beauty of the souls, that is to say, the moral beauty that is pronounced in the tasks and the rules of conduct of the men.

3._The love to the knowledge, which transcend the servitude of the concrete beings.

4._The love to the beautiful thing in itself, which are the supreme level of love and which all the beautiful things participate.

We have correctly walked the previous footpaths in all stages. This goal of the love is the same Idea of the beautiful thing in all their splendor. It eternal, is uncreated, imperishable, stable, because it is eternally identical to itself. In this Beauty in itself, in addition, all the beautiful things participate.

First Diologue of the Platonic Love

VICTOR MANUEL GUZMÁN VILLENA

The friendship or love had their origin in the necessity, is natural that the weak ones are friendly and lovers of the strong ones, the poor of the rich ones, the ignorant of the wise ones.

In Plato there are two terms that relate to the field of love. The first is "subsidiary" which means love in an ample sense, which includes the love of father and sons, friendship and even sexual love. The second word is "Eros" which means more precisely the sexual love.

The first attempt of definition of the love in platonic works is in the Lysis. In this text, in general terms the love is “to wish that the loved person as happy as possible”, says the Socrates personage taking with the young Lysis, to whom stimulates to reflect within the framework in his social situation of the limits of his house and Socrates continues its explanation indicating that the parents of the young person love him, therefore wish his happiness, nevertheless, they do not give an absolute freedom to him - who must obey the slave of the house and the teacher in the school -because he has not own sufficient knowledge of the things.

This means he is allowed to do anything which he has adequate knowledge. And so it follows that knowledge is the important thing, not the age.

Another consequence is that everyone will trust us if they realize that we own the knowledge of doing. People will appreciate us if we are useful. Socrates indicates, in the end, that if we want to be loved, we must acquire the wisdom, that does not have to be understood like a theoretical knowledge, but practitioner. The utilitarian point of view of Socrates is undeniable here. The dialogue continues with the search - at Socrates style- of the definition of the term "friend”.

But the word is ambiguous, because can be used to designate to the person who love and to designating the love one. In order to clarify this, Socrates asks: who is the friend, the one who loves or the one that is loved?
The interlocutor of Socrates responds that here there is no difference, nevertheless, is clear there is one, because the love is not always corresponded and it could happen that somebody loves someone who hates him/her. In any case, there is no clarity on the matter and, therefore, Socrates raises the things in another way.

It is analyzed next, the adage that says “the similar is friend of the similar”. According to this the good ones will be friendly of the good ones, and the bad ones of the bad ones. Nevertheless, if we accepted the platonic concept of which the badness means ignorance and discord, the bad ones can not even be friend with anybody, because they never maintain a similarity with anything, not even with themselves. That is to say, the saying is only valid for good or the harmonious ones.

But from this we reach an unexpected conclusion: someone good and completely self-sufficient does not need anyone's help to be this way. Also, if the friendship is based on need, a person absolutely good could not feel it. Either, the friendship between two completely good persons would not have sense, because they do not need anybody.

From another perspective, if it is accepted that the friendship or the love has their origin in the necessity, is natural that the weak ones are friendly and love the strong ones, the poor ones to the rich ones, the ignorant ones to the wise people, etc. Thus, we see that the love occurs here between opposites; but this point of view, if we look at this well leads us to some absurd: because in this case they will be friends goods and bad ones, brave and cowards, fair with unfair ones, chaste and lustful.

Thus we get a third perspective that what is neither good nor bad will be the friend or lover of the good or what is beautiful in this context are identical. More explicitly, that which is neither good nor bad, loves what is good, because evil is latent in this being. For example, the body loves health because of the presence of the disease. Also, the lover of wisdom loves it, because is absolutely not wise nor so ignorant as to not realize their own ignorance. With this concludes in the Lysis the search, strictly speaking, a concept.

With this it concludes in the Lysis the search, in strict sense, of a concept of the love, that evidently, in this dialogue is not obtained, and which we hoped in the next one the love prevails.

No 27 Numerical Energy

Emerging from the Atlantis to the Sanctuary of the Spirit

Letter Nº 27

NUMERICAL ENERGY

VICTOR MANUEL GUZMAN VILLENA

It is a fact that everything around us can be reduced, and expressed in numbers. The expression "The Great Architect geometrization create the universe" has been confirmed at every turn by researchers whom engaging in the scientific world has to use numbers as tools. Jung was much further and said that the numbers have never been invented but that have always existed in the form inherent in the unconscious of the man, who has used it as an element of order. The numbers are, according to the same Jung, "archetypes of universal order", and thus the connection between the conscious and unconscious. The theory put forward by the famous teacher who he called the "synchronise" establishes a parallel between events taking place in a meaningful way and with its expression in the form of numbers.

It is impossible to know if they were the Greeks and Hebrews the first in developing the numerology. On the one hand, the first documents that use the Greek numeral letters are of century IV A. of E. whereas their homonyms Hebrews are of century II A. of E.

The essential difference between the Greek numerology and the Hebrew resides in which the Greeks concentrate in the paper and symbolism of the numbers, whereas the Hebrews consecrate and put in front the letters says by safer Yeysirá.

The hebraic numerology becomes an appendix of the religion, in a form to scrutinize the truths of sacred books, leaving of side the practical possibilities of adivinatory character. The methods that use are three: Guematría, Tamera and Notarikón.

Since of century I of N.E. the Christianity extends by the Roman world and are the Christians and more especially the gnostic than take control of the Hebrew knowledge and Greek and the numerology begins in which everything is translated to Greek and the association of letters and numbers, is used for everything, or to compose poetry or to demonstrate the kindness of its particular doctrine.

The gnostics that use the numerology and Basilius to the maximum, one of the parents of the Gnosis, affirms that the God superior reigns on 365 inferiors gods, each one of them govern on a day of the year and that of the same divinity emanates the magical power of 7 musical notes , 7 metals, 7 colors, between many more. It is for that reason that looking for a word that contained the sacred numbers 3, 5, 7 created famous abraxas, whose etymology derived from The Braxas (blessing stone) and whose numerical value is of 365, its root 5 and their line values to line contain values 1, 3, 4, 5, 7, 8, 5, added which are worth 33=6.

ABRASAS 365 (root = 5)

ABRASA 305 (root = 8)

ABRAS 304 (root = 7)

ABRA 104 (root = 5)

ABR 103 (root = 4)

AB 3 (root = 3)

A 1 (root = 1)

TOTAL = 1,085/33 = 6

Another formulates created by the Gnostic in the middle Age venerated but without understanding, was the Abracadabra, word derived from the Hebrew that its meaning is “Sends your fire until the death”.

A B R A C A D A B R A

A B R A C AD AB R

A B R A C A D A B

A B R A C A D A

A B R A C A D

A B R A C A

A B R A C

A B R A

A B R

A B

A

Magic square

Is squared full of numbers or letters that can hide all the mysteries of the magic. At first sight the numbers seem to be sent without order, but this apparent disorder is in fact from the profound order that reign this type of construction. This hidden order explains the mysterious regularities that make an adjustment of numbers a magic squared and not everyone can form it without value.

It means that the harmony is never the fact of the chance; it is necessary to know how to do it and is enough to know how to make sums and multiplications, nothing else, and while one is doing it, is discovering the subtle Pythagorean differences between magic square of even and uneven dimensions.

The enchanted world of magic arithmetic is almost without limits. Exist more than magic squares, there are rectangles, magical stars, circles and spheres magic. You can also build with the letters of the alphabet square harmonized, the most mysterious is the Sator; possibly or perhaps is the oldest. Does imagination on the first disciples of Christ?

Everything is number teaches Pythagoras, the magic squared are perfect examples of the own mysterious harmony to the number. They are excellent analogical models of the order that governs everything what exists. Their regulations are the visible sign of the invisible intelligence that has presided to its construction. Does not happen the same in the universe?

S A T O R

A R E P O

T E N E T

O P E R A

R O T A S

Letters are equivalent to the following numbers

2 9 4

7 5 3

6 1 8

The sum by anyone of its sides gives 15

THE NUMERICAL VALUE OF THE NAMES

Cangliostro studied Kabbalah and gave greater attention to the numbers. He applied its magical properties successfully. A system based on numerology created by the alchemists Ceruelo Agrippa, who in turn was inspired by the Hebrew alphabet.

Numerical values in the system of Cagliostro:

1 2 3 4 5 67

8

A B C D E U O

F

I K G M H V Z

P

Q R L T N W

J S W

Y X

Numerical values in the present system:

1 2 2 4 5 6 7

8

A B C D F G

H I

J K L M N OP

Q R

S TU V W XY

Z

In order to find the number for a person enough with taking the letters from its full name and to add the values. If a greater amount is from 9, the 2 numbers are added. The operation is due to use the original spelling. They are added this way:

Example (43) 4 + 3= 7. Another example (56) 5 + 6= 11 as well 1 + 1 = 2

Cagliostro System

VICTORMANUELGUZMAN

6 1 3 4 7 2 4 1 5 6 5 3 3 6 7 4 1 5 = 73

7+3= 10 1+0= 1

Present system

VICTORMANUELGUZMAN

9 3 2 6 9 4 1 5 3 5 3 7 3 8 4 1 5 = 82

8 + 2= 10 1+ 0 = 1

On the basis of the date of birth:

26 of February of 1956.

is added 2+6+2+1+9+5+6= 31

Here we entered to explain in synthetic form these values universal archetypes that form the tendencies that influence in the people during their life. Despite this influential factor it is the destiny, once the human being becomes conscientious by means of the knowledge superior, takes place the appearance of a force greater than it takes the control from all the life and the world that surrounds:

ONE

1

The conditions that surround to this personality are of enthusiasm and capacity to direct and to make decisions. One is a born leader and it must control using strongly that power of direction in positive form.

TWO

2

It is of the good friends, it detests the solitude and the music enchants them. They own a great capacity of verbal expression and a charismatic personality that will help them to obtain what they set out.

THREE

3

They are mysterious people, because they like to have a secret side in their lives. Good in love and easy for being related in the social world. They like all the good , the beauty and the arts.

FOUR

4

Extremely able and capable people, but due to their humility are not recognized by their great merits. They are good administrators and they perfectly handle any company or their home. Their purpose is to make happy to which they are close to them specially their family.

FIVE

5

They have great artistic abilities, although sometimes they do not realize immediately. They especially feel like extremely happy when they can help others, the destitute. They like to follow and to defend difficult causes.

SIX

6

Investigators of the hidden, the secret and the scientist. They have capacities to discuss on difficult subjects and are great politicians. Extremely disinterested in the material things, which give major pleasure to them is to discover mysterious and unknown things by the rest of people.

SEVEN

7

Great spirituality naturally acquired for his soul in many past lives. They like to live in tranquility and therefore sometimes seem not to be sociable. They are subjective beings and have the power to see things from beyond.

EIGHT

8

Good to make money. They must control the tendency to become interested in the lucrative things. That is the lesson that came to learn, knowing that the things of the spirit are more important. Good spouses and parents.

NINE

9

Great benevolence towards the world and love freedom above all else. They have come to pass the test to become more accountable to those commitments they have established. His character is extreme sensitivity and foremost need to be loved and recognized. Intelligent to the point of being brilliant.