May 4, 2025 • 61 mins
Step into Corin's Reading Room, where books reveal the soul of a Hollywood icon. Join actor, writer, and producer Corin Nemec—known for his unforgettable roles as Parker Lewis and Jonas Quinn—as he opens the doors to his personal library and his deepest passions. With a lifelong love for art and nonfiction, Corin invites you to explore the stories that have shaped him, shared through intimate conversations and heartfelt insights. Cozy up, book lovers—this is a journey into the mind of a creative genius you won’t want to miss!
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The following program contains course language and adult themes. Listener
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It is my distinct pleasure, as the general manager of
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Speaker 2 (03:50):
Here he is, Oh boy, what's happening? How is everybody?
That music that you heard was by most Jackson And
this is this is very new to me. What my
idea here is that as I'm going to grab some
books off of my bookshelf which is out in the
(04:11):
living room, but I got this little doozy today and
it's by Paul Foster Case. It is the Masonic letter
G And you know, as I was thumbing through it
a little while ago, I realized that it's it's got
it's a pretty steep gradient. I recall when I read this, uh,
(04:35):
you know, a while back, it was you know, I
get it. I get it quite easily, but uh, it's
got some complexities to it that I sort of forgot about.
But what I do when I, when I read any books,
is I just you know, underline some of the items
in it that I find to be of interest to me.
(04:56):
So I figure that, uh, you know, I can kind
of go through that, we can talk about it a
little bit. I write some annotations in it, some ideas
that I have. I might read those. But mainly, my
my interest in in Masonic philosophy is just it's uh,
(05:16):
it's quite compelling to me to uh, to look into
to what it is that that they that that Masons
think and and what is there what is their philosophical
point of view when it comes to life and uh
living and and and who we are as individuals and uh. Obviously,
(05:39):
the the letter G is is used in their iconic symbol,
which has the square in the compass with the letter
G in the middle of it. And the letter G
stands for geometry. Uh geometry is is used as as
a symbol for the language that the Grand Architect of
(05:59):
the Universe uses in order to communicate and also to
create the living universe that we're in. And I found
this book, this particular book, very interesting. I'll just read
a little bit of the introduction here. I might read
the whole introduction, but it's pretty short. But Paul Foster Case,
(06:22):
who was born in eighteen eighty four died in nineteen
fifty four, author of this treatise, is known to students
of occultism as the outstanding authority of Tarot, Kabbalah, alchemy,
and related subjects of the Western occult tradition. His other
publications including The True and Invisible Rosie Krushian Order, Taro
(06:43):
Key to the Wisdom of the Ages, The Great Seal
of the United States, which is a fantastic book, The
Magical Language, the Book that Tokens, bear witness to his
deep insight and wonderfully readable approach to these subjects. The
present work makes it clear that his notedge including a
thorough understanding of the Masonic tradition. In it, he develops
(07:05):
the unmistakable link that exists between the Masonic degrees and
rituals and the Cabalistic tradition. He shows that masonry cannot
be fully appreciated or understood without knowledge of the Cabalistic
Tree of life and its insights into the true nature
of man and the cosmos. So I'll stop right there.
I suggest anybody's interested in this kind of subject just
(07:28):
google this particular book, Paul Foster Case the Masonic letter
G and order a copy of it. It's quite interesting.
In seventeen seventeen, the Grand Lodge was established at the
Apple Tree Tavern in London. That's argued there's another tavern.
I forget the name of it ride off hand, but
(07:49):
some people say that it was started at this other place.
But the Apple Tree Tavern was in a rather rowdy
part of town back then. And g as I said,
is the initial of geometry. The heart of freemasonry is
an esoteric doctrine founded in the science of geometry. Masonry
and geometry are one and the same. So what they
(08:11):
mean by that is that in what's called speculative masonry,
which is, there's operative masonry. So back in the day,
previous to the seventeen seventeen date, there were operative Masonic lodges,
which were kind of like workers' unions in a way,
(08:33):
you know, and the operative lodges had basically two degrees.
They had your apprentice and your master degree as a
carpenter or in this case as a stone mason. That's
the guilds that freemasonry came out of were really kind
of the stone mason's not so much some of the
(08:55):
other guilds. There were many guilds back then. But the
second degree, so you have entered apprentice, you have fellow craft,
and you have master mason. Those are the three degrees.
But in the back in the day before you got
speculative masonry, which is masons who are interested in the
philosophical side of practical building and the architectural design that
(09:21):
goes into it and all of that. Those degrees, basically
your fellow craft degree, your second degree, you achieved by
becoming a journeyman. So you would you'd apprentice underneath the
master mason for upwards of seven years or so, and
then you'd go off and you'd work on different building
(09:42):
projects all over kind of the known world. Back then,
mason's in the guilds were allowed a kind of freedom
of travel that many other people didn't have, so they
could end up working on projects not just in Great Britain,
but also over on mainland Europe and other places, even
(10:05):
into the Middle East and such. But so G as
the initial letter of geometry, the heart of free masonry
is an esoteric doctrine founded on the science of geometry.
Masonry and geometry are one and the same. G is
the symbol for the deity. So God is the English
name of the grand architect of the universe. There's some
(10:28):
interesting aspects of the word God that we might We'll
get into here in a moment. So the letters composing
the English name of deity should be the initials of
the hubrew words wisdom, strength, and beauty. The three Great
pillars the metaphorical supports of masonry. So the three pillars
are in that the Tree of Life, which is I
(10:51):
believe that there is a diagram of it in here.
If not, I probably drew on, but I'm pretty sure
there is. But the Tree of Life is a is
a geometrical pattern that has ten what's called cepherot or
you could call them ciphers, and then it has twenty
two different paths that connect that. So it looks like
(11:15):
this right here if you can see that I met
my lighting right, so it looks like that. And in
the Scottish rite tradition you have these ten sepherot and
the twenty two paths, which when combined gives you the
number thirty two ten plus twenty two and the primary
(11:36):
degrees in Scottish writer thirty two degrees with a thirty
third degree, which is it's not really a degree that
has a it's one that is bestowed upon someone who
is a high degree Scottish right formason. I don't practice.
I don't do the Scottish righte degrees myself, so I'm
not really that interested in them. But that's where the
(11:59):
thirty two degrees of Scottish write come from. And then
the thirty third is one that's bestowed upon you for
your work that's done, whether it be charitable work. Let's
say you've done a lot with the Shriners, or you've
done a lot in your local community, or you've become
a scholar of masonry, or you've done whatever whatever it
is that you've accomplished in your life. If you've had
(12:20):
a series of great accomplishments, then many times you'll be
bestowed with that thirty third degree.
Speaker 3 (12:29):
But so the.
Speaker 2 (12:33):
Letter G here, let's see we go back on page
sixteen is where I'm at. And again I'm just reading
over the parts that I that I just underline a
little bit so that we don't we're not doing like
a full book reading here. So if you are interested
in this, I suggest getting the book. But on the
letters that compose the name of God, you have the
(12:58):
Hebrew word for beauty is go man, which is the G.
Strength is oz, which is the O once the English O,
and then D is the initial of dabar, which means wisdom.
So you have gomeret oz and dabar, so strength, beauty,
and wisdom. And it's it's an interesting interpretation because the
(13:21):
the Old English or old the the I believe the
Old Germanic term which the word God comes from is goat,
which means to invoke. So it's like an invocation. So
anytime you're doing a religious ritual or a prayer, you're
you're praying, or you're meditating or doing anything like that,
(13:43):
there's an invocation that's going on internally for uh, you know,
for a connection to this higher power, this this greater
source of wisdom and and uh you know again. That's
that's where we get the idea of the G for geometry.
Some people have made the claim that the G stands
for noses, which is similar to the idea of an invocation.
(14:09):
But it doesn't stand for noss. But it is interesting.
But so Mason read, the supports of the lodge are
always named in the following order, wisdom, strength, and beauty.
These are the three pillars, not only the three pillars
on the tree of life, which are the left of
center and the right paths when you go straight up
(14:30):
the tree of life, but also you could say a
valuable interpretation of the word God in terms of it
being spelled good, which I do find interesting. But debar.
The final letter in the word God is it's true significance.
His true signification is word speech, order, or command. And
(14:54):
gomeer is the Hebrew to end or to cease to be,
and oz the Hebrew word signifying strength, so Hebrew Kabbalah
employed in combination with wisdom and beauty, and the war
is the word gibborrah. Now some of this is again,
like I said, it can get over your head. But
(15:16):
I'll try and simplify some things as I go through.
I just I just always found this particular book interesting.
The Roman letters are simply modified Greek, both Greek and
Hebrew adaptations of Semitic original alphabet, and he suggested it
was probably Phoenician. But there's some interesting theories about where
(15:41):
the Phoenicians actually came from and who they were. They
were the boat peoples who raided all of the coasts
in ancient times. I don't know how far back that was.
I can't recall right off hand. I feel like it
might have been somewhere around twelve hundred BC or earlier.
I'm lost by it. I probably could google it real
(16:02):
quick though. But also in you know, G in the
Greek is the gamma, and it's the initial of the
Greek name for the same science, and that G is
the English equivalent of the Hebrew letter gimmel. And interesting enough,
also Gimmel is called the camel in the Hebrew letter
(16:27):
represents the camel, and there's an interesting correlation with the
idea of the camel for like the Bedouin or someone
in ancient times being their beast of burden. And so
when you look at it from an as an analogy,
you could say that you know the human body itself
(16:49):
is the beast of burden for the spiritual being, meaning
that they're passing through life. It's the human form that
takes the brunt of the force of livingness, whatever injuries
or whatever pain and circumstances or whatnot, whereas the spiritual
being essentially is immune from from all of that. If
(17:10):
you believe in in in a spiritual being or not.
Some people don't. Some people just believe that they're just
this thing, this personality that lives in this meat body
and lives and dies, and there's nothing more extraordinary about it.
But the to me, I think that there is so
(17:31):
he you know, he goes on in here and talks
about how the the g the initial letter of God
G in Greek, is also equivalent to Gaya, which was
the earth mother and the eldest born of chaos, whose
name is the root of the noun geometry or geometria.
(17:51):
And I find I find that interesting. I mean, the
idea that when you when you talk about Guya, the
the earth mother, so to speak, I think that's a
real oversimplification of the idea that the planet itself is
(18:12):
a living entity, you know, it is, it has a
consciousness of its own in a sense. You know, there's
there's a new trend that's happening now where people are
hooking up these little sensors and stuff to plants and
and and different organic life, and it sends out these
(18:34):
these frequencies that that are are very melodic, you know.
So there's there's a communication that's happening there. And it's
interesting too. There's a a book I read called The
Cosmic Serpent. I might I might use that book one
one time on the show too. But uh, In The
Cosmic Serpent, Uh, this anthropologist went down to live with
(18:57):
the Iowa Scairos and the Amazon and and he was
asking them how they learned how to make the ayahuasca,
which is their drink that they take that puts them
in this you know, this hyper conscious state where they're
kind of interdimensional in a sense, you know, kind of
(19:18):
like a psychedelic mushroom trip or something of that nature.
But when he asked them how they figured out the
recipe for it basically, or how they also knew what
the properties were of all of the different plants that
they use for different medicinal purposes and dietary purposes. The
Iowa Scairos basically told him that that the plants communicated
(19:40):
that to them, that they talked to the plants, you know.
And I found that very interesting because if they're you know,
if we are on this planet that is that has
a consciousness of its own on a grand scale, you
know that that we should be able to tune in
to that consciousness and tune into to what it is
(20:04):
it's trying to communicate to us. In fact, my acting
teacher for many many years, over a decade, Manutupa at
the American Repertory Company in Hollywood, he had an incredible
exercise he would have the actors do called a Communion
with Nature. And it was a Fijian fellow from the
(20:25):
royal family in Fiji. He was a prince of a
royal family. There might be a couple of royal families
in Fiji, you know, but he was a prince from
the Fijian royal family down there, and they had a
lot of ceremonies and things that they would do, and
his mother had a ritual that she would do when
she would go out and feed these sharks and the
water and stuff. And it used to really freak him out.
(20:48):
And later on in life, you know, you realize that
there's that there was a communication that he had forgotten
about when he came to the West and started teaching,
you know, becoming an actor and then teaching and living
this very westernized lifestyle that he had disconnected from that subtle,
sublime communication that we can have with nature itself. So
(21:15):
he had us go out. We'd find some place in
nature that was isolated from the material world, and we
would sit there and we try to just vibe what
our environment was communicating to us, and we would take
notes on it and everything. We'd have to come back
into class and share these and his whole point behind
it was to get us out of the mechanistic mindset
(21:38):
and reconnect us with, you know, a much more kind
of ancient way of communicating with our environment. And I
found it just really revelatory. It was fascinating, and I
did many of them, some pretty extraordinary experiences I had
doing that. So, you know, if we have this idea
that there is this this this uh so called feminine entity,
(22:05):
that that is that that is all expansive and contains
the entirety of the planet, and it emanates this life
force out of it which the whole planet is alive.
We can all agree with that, right, But if there's
a consciousness to it as well, that's quite interesting, you know.
(22:25):
And and also then you would say that the masculine
identify or the opposite of that would be the universe,
so that the heavens, the universe itself would would have
its own consciousness, and these two things would play off
of each other back and forth. So you you know,
you would as as as somebody who practices these kind
(22:47):
of uh, you know, meditative techniques. The whole idea is
to disconnect from the lower self, the lower world, and
connect up with something that's greater and more grand than
than anything that we can ever imagine. And and then
(23:07):
we realize, oh, well, we we are connected to that.
So it's it's similar to when you're out in nature
and you can kind of feel that there's a different
vibe when you're just completely isolated from from the machine
world and you're out there with just I mean, granted,
it can be dangerous out of nature too, let's not forget,
(23:28):
you know, but it's, uh, it is fascinating. There is
a different vibe. Anybody out there who's into hiking or
camping or any of that. I think that that all
of us can agree that there's that there's definitely a
different resonance that that occurs when we're out there and
I'm seeing some great some folks on here as well.
(23:49):
I just want to acknowledge that and and say hi
to everybody. I'm really glad you're tuning in, and I
hope somebody gets something out of this. Uh uh, this
was the only idea I could come up with a podcast.
What can I tell you? But uh so, also, you know,
so the idea of the of the squaring compass in
(24:09):
Freemasonry is that the the square itself that represents the
physical universe. You know, you you use the the square
to to measure the physical universe. Used in the compass
is the spiritual universe. It circumscribes, it's it's the the
round part of the square. So there's a there's an
(24:29):
analogy of the squaring of the circle, which you see
in the what's called the Vitruvian Man or the Figure
of Man by Leonardo da Vinci, where you have this
man whose whose arms are are up at two different
angles and his legs are two different angles. There's a
square in a circle around him and that's that's the
manifestation of the spiritual universe into physical reality. So when
(24:55):
you when you can take spiritual ideals and you can
you can implement them in your daily living. And that's
it's very Buddhistic. I believe, very zen. And so you know,
when it comes to understanding premasonry, the letter g and
(25:15):
all of that there, you do have to have a
some kind of rudimentary understanding of Kabbalah. Now, I did
study at at the Cabbala Institute for a short time
out in Los Angeles, but I've read quite a number
of books on it, and I'll get into those at
some point later on in the in the podcast. If
I can survive this, if I'm not scoriated by the public, all.
Speaker 1 (25:42):
Right, I don't normally drop in that much when i'm producing,
but from the feedback i'm seeing in the chat, everybody's
loving it.
Speaker 4 (25:47):
We'll just keep going.
Speaker 2 (25:48):
Okay, cool man, thank you for the accolades, my friend.
You're welcome to chime in anytime you like. So the
Tree of Life, the circles represent ten aspects or faith
of the divine emanation. So those are the ten sepharro
that that I mentioned to you. On there. You see
that right there. You can also google the Tree of
(26:12):
Life if you want to take a peek at it
and look at it. So those are called the sephirok
or numerations, and the twenty two lines are said to
represent the letters of the Hebrew alphabet and the forces
corresponding to those letters, and that makes up the whole tree,
and it represents the thirty two paths of wisdom. So
(26:33):
Kabalists say that this tree contains three pillars. That is
the pillar of mercy, and then you have on the
that's the right side. On the left side you have
the pillar of strength, and then in the center you
have the pillar of beauty. And again that's it's interesting
that that also comes out to become the word God.
(26:57):
So whether the whether the etymological derive of the word
God coming from the old Germanic gult or this being
the case, it's a grand mystery that I'm happy to
never actually find the true story on, because it's the
(27:17):
mystery is always more interesting. But let me continue on
find some stuff that's not quite as as confusing. So
all the mysteries of freemasonry or symbol are synthesized in
the three primary degrees entered apprentice, fellow craft, and the
(27:38):
master mason. And the number letter system of Cabalah is
the key that unlocks this essential mystery. The Hebrews the Greeks,
when the Bible was composed and neither nation knew anything
of the Arabic numerals, they employed the letters of their
alphabet to represent numbers. The first nine letters of the
Hebrew alphabet are the digits from one to nine, next
(28:00):
nine are the tens from ten to ninety, and the
last four letters stand for the hundreds from one hundred
to four hundred, and then there's some five special forms
for higher numerations. So you only have twenty two letters
in the Hebrew alphabet, is what I'm getting at there.
(28:20):
But the Greek alphabet contained twenty four letters, and it
had a similar I'm not going to read all of that,
but it had a similar kind of thing where each
each of those letters are representing a number, and so
you have jamatria or gomatria, depending on how you want
to pronounce it. Which is a evaluation to words that
(28:43):
people you know kind of glean higher knowledge or information on,
because some words will have the same numerical value as
other words depending on what letters are used to make
them up. And this also gets into that idea that
that the grand architect of the universe speaks through geometry,
(29:04):
which is represented essentially by numbers, you can say. And
so that the idea that even the ability to have
an alphabet is something divine. So at some point when
we go back into ancient history and and you know,
the first tribe of man out there that suddenly came
(29:26):
up with this idea like, hey man, you know all
this mumbo jumble, we can come up with symbols that
represent the sounds that we're making and combine them in
different ways. So whether that was you know, done in
some fashion that was using a mathematical equation for it
or not, you know, by by vibing whatever the thing
(29:47):
was and giving it a name so that we have
a better understanding and we could differentiate between So we
call one thing a tree, but there's how many different
kinds of trees out there, you know, So what is
each one the different trees that's in in the uh
the ruins. The ruins all represent these different trees as well.
(30:08):
So it's like the that which was the alphabet of
of the Gauls and uh and there's there's some interesting
correlations between that that kind of Gaulish alphabet or the
alphabet of the you know, the the tribes of of
ancient Europe and and the islands off the coast there.
(30:30):
So with with some of the alphabets that we find
in the Middle East, and how those were interchanged is
very interesting because there was always trade between these different peoples,
these different tribes dating way back in history. Uh I
have another interesting book about about some of those subjects.
(30:51):
And and oddly enough, in in ancient Egypt, you know
this is pre b c U psychedelic mushroom. We were
more pricey than gold back then, and uh they the
only place that you could really get those was from
the European nations. Well, I mean, you know that area
(31:13):
of land mass. Obviously he didn't call it Europe back then,
but uh so there was there was a trade that
was going on, you know, in ancient times, which I
find very interesting. But so uh so, again it says
the real the real signification of a word or phrase
(31:34):
might be discovered from the numeral value. So uh you know,
you could read one word and and and have a
numerical value then find the numerical value of another word
and figure out that there's some correlation between the two.
For instance, and this is it says just this is. Uh,
this is what occurred in the composition of many passages
(31:56):
in both the Hebrew of the Old Testament and the
Greek of the New Testament. So a lot of people
like you know, not a lot of you know, certain
individuals who are interested in that subject matter, have delved
very deeply into the the Old Testament and even the
New Testament in the Hebrew and Greek. And when you
take away in the in the Old Hebrew, when you
(32:18):
take away all of the accents and things like that,
that that that then you collapse all the letters just
into each other. Supposedly, there's like an algorithm. There's there's
this mathematical equation that goes through the entire uh, you know,
the the entire Old Testament and uh. And apparently it's
quite revelatory. I I don't know enough about it to
(32:40):
really dive too deep into it. And uh. And you know,
math is I was pretty good at it when I
was young, but I stopped using it after I graduated
twelfth grade. I mean, I stopped using higher math. You know,
when you go to the grocery store, you don't need
calculatus to figure out, you know, how much a price
of eggs is, except for recently, but it does say
(33:05):
here like, for instance, there's an interesting correlation here, says
the Roman emperor Nero. The Rabbinical Hebrew of that period
as Neuron Kaiser, added up to six hundred and sixty six.
So that was quite interesting when you look at the
correlation between numbers and names, and you could certainly say
(33:29):
that Nero was for his time period, could have been
considered the beast of revelations. But let's see get onto this.
So various numbers and measures mentioned in the Old Testament
(33:50):
are clues to an inner meeting. Turn the numbers into
words and phrases. Jamatria stands for the writers of both
sections of the Bible to conceal enabled I'm sorry, Gematria
enabled the writers of both sections of the Bible to
conceal geometrical formulas and measurements by means of words and phrases.
For the Hebrews, the Sanctum Saint Taorum was the actual
(34:12):
dwelling place of the divine presence or the Shechinah, which
rested on the mercy seat of the Ark of the Covenant.
As the arc was placed in the Holy of Holies,
the position of the mercy seat coincided with the interior
center of that cubicle room. Thus the place, the place
of divine presence was at the center or in the midst.
Now in uh. In freemasonry, they they they talk about
(34:37):
the building of King Solomon's temple and the the architect
of of King Solomon's temple a gentleman named Hiram Abiff.
But whether that that individual really existed in the sense
that he was the real architect or not is besides
the point. It's it's more of the allegory. But the
(35:00):
the idea is that in speculative masonry, you're using the
working tools of operative masons. So the hammer the chisel
would be used to uh you be chipping away at
what's called the rough ashlar and creating a perfected stone.
And in the same sense that you're using that to
chip away at your own deficiencies, your your your own
(35:23):
character defects and and uh and personality traits that aren't
that aren't creating a positive outcome for ourselves, you know.
And by using the metaphorical hammer and chisel. You can
recognize and reflect in a meditative state about the the
(35:44):
aspects of one's own personality that they're that they're not digging,
that isn't that isn't helping them as far as their
survival goes. And you can you can hone and and
and chip away at those and perfect them. And so uh,
like the square for instance, you want to where your
actions in life with other people, you would use the
(36:05):
uh uh the compasses to circumscribe your desires. So you
you want to you want to keep your your your
desires for things in life down to a very tight minimum.
What is what is needed most to to survive and
live a good life and be a good person, you.
Speaker 4 (36:25):
Know, So.
Speaker 2 (36:27):
The you the use of these working tools, which I
might get into a little bit more later. I actually
have a whole little section in the book that I
wrote creating a character for the stage or life.
Speaker 3 (36:37):
Uh.
Speaker 2 (36:38):
Maybe we'll get into that sometime on here. But there's
a whole section in there where I talk about, uh,
how you can apply the working tools to your life.
But uh, and the whole point behind that, when in
reading this one little section is uh, you know, the
holy of holy is the innermost part of our being,
the sanctum saying totum. That's that's this place deep within ourselves.
(37:01):
So the idea of building the temple within is what
I'm getting at. So the use of these working tools
of the operative mason, the person who actually builds churches, cathedrals, buildings,
whatever else. You can use the same tools that they use,
but internally in order to try and build the best
(37:22):
character for yourself so that you have the best outcome
for your experience in this life. And you can you
can be the best representation you can make of yourself
as an individual, you know. So the the presence was
(37:47):
at the center or in the midst, So the presence
was at the center, in the midst of this sanctum
sanctorum u. That's that's when and I studied at the
Daoist Institute of Los Angeles for a little while as well.
And in the meditation, you know, they talk about getting
getting to that that point where you're just resonating with
(38:08):
with your true self, with your being this, you know
being this doesn't have a personality, it doesn't have a complex,
uh makeup of all of the things that we've learned
in life, all of our experiences are our reactive nature
and all of that kind of stuff. It doesn't have
all of those trappings. You know. This is that this
(38:28):
is a programming that we undergo living our lives by,
you know, depending on you know, what was our family, like,
what religion were we born into, what neighborhood did we
grow up in? What schools do we go to? What
language did we learn? All of these different aspects of
life slowly start to create a sort of predetermined version
(38:52):
of ourselves, which in uh, you know, in Buddhism would
be like that would be like the great lie, this
idea that you know, you you believe you are who
you think you are, when in reality you're no thing.
And and it's uh, it's that that's somethingness of nothing
and that nothingness of something, Uh, which is which is
you know, uh, the great mystery? So how do we
(39:15):
how do we detach ourselves from this programmed, this pre
programmed way of being and perceiving ourselves? Because we say, well,
I am who I am. My name is Kornymic, I'm
an actor. I you know, I grew up you know,
primarily in Hollywood, and this is my life experience. But
(39:35):
if if it's if I'm able to stop that and
and wipe that slate clean again. In my acting class,
it was called the blank slate. My my teacher was
was very much into a Buddhistic approach to acting, which
I found very fascinating and so uh. The idea was
to was to drop everything we ever thought or thought
of ourselves or believed about ourselves in order to create
(39:58):
a blank slate. So then when we become a new
character acting wise, you know, when we're generating a character,
we have all of this room to introduce new intricacies,
new nuances, you know, new character traits that aren't organic
to our pre programmed personality. And it was very freeing
(40:20):
to get a load of that. When I first started
studying with him in my early twenties, I wasn't really
cognitive of this idea that I wasn't necessarily who I
thought I was, you know, and that was kind of
mind blowing to go, wait a minute, I don't have
to be me. And you know, it sounds a little strange,
(40:43):
but it was very true to me. You know. It's
like I can let go of all of these things
I'm hanging on to to try and prove that I
am who I am, and I don't I don't have
to do that, I can just be. And I equate
this too to like we got this great pet, you know,
theo our core are wonderful Corgian and you know what's
so special about him? My teacher used to say this
(41:04):
too about about Pet's like it's there being this. They're
just being, you know. And and we're just love this guy,
fascinated with him, and he's just he's just there, just being,
you know. And and uh, I think that there's a
state of mind that that we can also join join
forces with that is more of a being this than
(41:27):
a doing this or or like a behavioral a pattern
of behavioral uh actions that that we take because we're
taught or told or learned that that's how we react.
You know that that in this situation, this is how
I react because this is who I am and this
is what I was taught. When in reality, all of
(41:47):
that can be stopped and a whole new way of
of dealing with a situation in life can be generated
organically without being reactive. So the Sefarietzida, which is the
Book of Formation, it's a very interesting little book too.
(42:11):
It says right here well, which says that the place
of God is the interior center from which radiate the
six boundless lines, establishing space and sealed with the six
permutations of the divine name Yeho. A cube is a
solid bounded by six equal faces and twelve equal lines.
The lines form right angles, horizontals, and perpendiculars, and they
(42:35):
meet at eight external points. Thus, the numbers required to
defind a cube are six, eight, and twelve, whose sum
is twenty six. The numeral value of the ineffable name Yahweh.
So Yahweh is yol trewav, which is the tetragrammaton the
four letter name of God, which apparently you know, is
(42:58):
not really pronounced correctly. Not there's there is no the
the true name of God was lost and this was
just a kind of a placeholder for it.
Speaker 7 (43:07):
Uh.
Speaker 2 (43:08):
And what's also is interesting about the the letters of yvav.
If you stack them up on top of each other,
they they create a point. And look, there's the little guy.
He heard me talking about it. Yeah, so they if
you stack them on top of each other, it creates
this little like stick figure of a man called Adam Cabman.
(43:29):
It's like the primordial idea of man before it's manifested
in a physical form. And uh, I look at that
in the sense that you know, we we all have
this this uh this blank, this blank, slate this this,
But he's gonna steal all my thunder in the background there,
I know he is. Everybody's like, oh yeah, he's so cute.
(43:49):
Forget what this guy is saying, look at that dog.
But uh, you know, just the the idea of of
of man before it's manifest. And so you could say that, like,
you know, a higher self version of us would be
an individual who is not subjected to the reactionary state
(44:12):
of behavior, that that they can generate a new and
uh and vivid expression for themselves on a daily basis,
every morning waking up realizing that this is a new
opportunity and a new moment to be the best that
I can be. And uh and oddly enough, like when
(44:33):
you talk about like Zen Buddhism or or Taoism, that
the idea is to not in a sense not be
you know, and by not being you can you then
become just the resonance that that the resonance of the
true spiritual entity that that that you are inside and
(44:56):
with without all of the complexities of personnality again, you know,
so how all of that filters through our you know,
our behavior. You know, at a certain point we can
become so fixated on the ego self that that's that
that's what we become, and we're no longer connected to
the idea of a higher self. Right there, he wants
(45:19):
to play ball with me, No, sir, I'm in the
middle of a podcast here, man, you're stealing my thunder.
I'm just being Yes, he is being wonderful, is what
he is. And so the you know, this is a
it's it's a very unique concept. And so that it's
like basically, you know, you could say that the letter
(45:41):
G is in a way is the individual is the
true self, uh is the spiritual being. And and then
we have the you know, the our higher form, which
is the compasses, and then the lower form, which is
our our which is the square that's our actions and
our behaviors. And you know, you always, uh, you know,
(46:02):
want to try and behave the best that we can
to to all to all things. And again that's what
I was saying about with nature too. You know, it's
like how can we how can we live in in
some kind of balance with nature. Uh And and you know,
I mean I think about it often. It's not that
(46:23):
I have so much power to do anything about it,
but so often when I'm going on road trips or whatever,
and I'm going through you know, the death zones in
the middle of the woods where there's just like carcasses
just strewn left and right as you drive down the
street of all these poor animals that are just trying
to get from one side of the woods to the other.
And uh uh, there's there's a few places that I've
(46:44):
I've been passed that that will have these kind of
nature overpasses, and animals are smart enough to figure out
that that's the safe way to go, you know, they
are a little sentient creatures. But but when they're given
no option to get from one side side of the
road to the other except for the thunder is death
trap of traffic, then that that's what they got to do.
(47:07):
And and that's that's just one of those things where
I think, like, as human beings, like, can't we design
our world to be a little bit more imbalance with
with nature? And you know, uh, so that we can
vibe with guys, so to speak and and think, well,
I see what would what would the earth do in
this situation?
Speaker 3 (47:26):
Right?
Speaker 2 (47:27):
But so uh, the the the Hebrew letter the Hebrew
name of of God Yahweh. The uh is is very interesting.
The the yde is is basically kind of a it
looks kind of like a hand. It's each each one
(47:49):
of the letters sort of represents a different part of
the body too. But uh, but it's it's also like
the eye, like an eye. Uh, it's you know, or
the or the head itself, and then the next or
he which is which is the upper body evolve the
internal organs that the center of the body, the torso,
and then the last uh letter uh he or uh
(48:13):
is the the legs and uh. And this would be
kind of the the the physical representation of the etheric form.
It manifests as this thing, you know, but there's there's
a driving force behind it that is uh. That's that's
far more interesting and and and fascinating and expressive then
(48:35):
the human form can be. But we have the ability
to filter that that you know, that that cosmic energy
into our actions and and that's uh, I think why
artists can be so so incredible, and it's it doesn't
mean that, you know, just because you might be an
incredible uh painter, an incredible actor, an incredible singer, and
(48:56):
incredible architect and incredible whatever the case may be, it
doesn't mean that you're a good person. And I think
that the greatest art form that we that anybody can
achieve out there is goodness, you know, humbleness and uh
and kindness to others in in the in the greatest
capacity that we can achieve. You know, that to me
(49:18):
is the ultimate art. The ultimate art is is how
do I design my you know, my expression in life
through how do I behave to people? If I'm if
I woke up and I had a really crappy day,
Do I take that crappy day to the grocery store
and treat the person who's checking me out bad, or
or the person who's blocking the aisles with their you know,
(49:40):
while they're looking for which brand of peanut butter they
want I take it out on them? Or or am
I do I get road rage and traffic or all
of these things that all of that can go away
just by the conscious you know, uh attack, the conscious
effort to not be reactive, you know, so to speak.
But but let's see, let me find some other interesting
(50:05):
parts of this, and so here we go. Sorry, here
the second Hebrew he love. The Hellenic logos with the
logos is that is the word of God, so to
speak by Philo Judaeus, the doctrine of the Pythagoreans and Platonists,
(50:27):
and it has its roots and their roots and their
mathematical philosophy. Saint Thus it is not unreasonable to suppose
that Saint John was acquainted with this number, this number philosophy,
and had it in mind when he wrote God is Love.
For since love and one are the words of the
same value thirteen, to say God is love is called
(50:48):
ballistically equivalent to the fundamental doctrine of Judaism. So Jehovah
God God is one. So that would mean that they
both have the same numerical value of the number twenty six.
For instance. It's also interesting that that the uh, the
English alphabet is has twenty six letters in it, which
is the the numerical equivalent to the word chapwe when
(51:12):
you get the number twenty six. And I was kind
of curious about that over the years too, if that
was something that was you know, that was intentional or unintentional.
But because you know, the the idea of structuring language
through the written word and all of that, there is
(51:33):
a divine origin to it. You know. That's what separates
or supposedly separates man from beast. Is this idea that
we have a level of intelligence or a level of
of sentience that that that is, that is that can
operate on a higher plane than you know, the the
(51:54):
average animal. But I don't know if anybody's ever seen
a beaver bill of damn, I got to say, those
guys are genius. But or an ant hit, I mean
the inner workings of of of ant hills and and
and if we ever look at a at a at
a beehive, my goodness, some serious geometrical form to that.
Speaker 3 (52:13):
But so.
Speaker 2 (52:18):
Let me dive into some flip the pages here.
Speaker 1 (52:20):
So uh.
Speaker 2 (52:23):
In in early speculative freemasonry, the Bible is the trestle boarder.
Trestle boarders is a board where you draw your designs
and your and and and the the shapes for the uh,
the things that you want to build on it, and
then you have the ability to match that they would
actually have these gigantic kind of like you know, well
you can call it a chalkboard, but uh, they would,
(52:46):
they would draw out like the piece that they need
to create, and then you could you could hammer and
chisel it away or cut it away, you know, with
with wood, and then you could place it on top
of what you drew and get the exact I mentioned
and make sure that you're true and correct. So as
the operative artist erects his temporal building in accordance with
(53:07):
the rules and designs laid down on the trustle board
by the master workmen, so should we erect that spiritual
being of which the material is a type, in obedience
to the rules and designs, the precepts and commands laid
down by the Grand architect of the universe in those
great books of Nature and Revelation, which constitute the spiritual
trustle board of every freemason. The trestle is a framework
(53:30):
for a table. In Scotch trust, the trestle board is
a board placed for convenience of drawing. On the frame.
The trestle board shows the plans of an architect. Such
plans are based on the principles of geometry. So again
you know, even in the blank slate of our own minds,
that the mind can become so jumbled and so filled
(53:54):
with all of these thoughts and ideas and pre programmed
belief and uh, and things that we dislike about ourselves
or things that were so hyped up about ourselves that
you know, we have this impenetrable ego about you know,
about who we think we are. You know, don't you
know who I am? You know that kind of thing.
(54:15):
And uh, it's like when when somebody from city council
gets pulled over by the cops and they're like, you're
giving me a ticket. Don't you know who I am?
You know? But uh, no, I don't know who you are. Actually,
that's that's the whole point. And uh. And the more
the less that we can know who we are, I
think is a benefit. So and again we we see
(54:41):
we we see the the the name Gimmel, which means camel.
I talked to you about that earlier. And uh, I'll
just read this whole part here. If one asks himself
what is the fundamental idea brought to mind by the
picture of a camel, he will not belong in concluding
that camels, to ancient Hebrews represented just what automobiles suggest
(55:03):
to the modern mind, namely, travel, journeying to places far
off and the light. Thus the camel is a symbol
of that mark of the master mason, the ability to
travel in foreign countries. The whole work of the craft,
in fact, maybe summed up in this one word travel,
of which the camel is a symbol. And Masons speak
of themselves as traveling east in search of light. Their
(55:24):
quest is thus indicated as being a search for origins
and causes. For the west is the place of the sunset.
Thus it represents the end of the cycle of work
or manifestation. So these these analogies are just our ideas
to be able to think with and in a Western context,
because it seems like that the Western eyed mind is
(55:48):
much more mechanistic. And when you can use these kind
of mechanistic analogies, then it can for me, I believe
that it can shift the sort of Western eyes uh,
materialistic minded you know, way of thinking into thinking and
more cosmic and spiritual principles you know, or dynamics. And
(56:12):
that's why the the idea of the working tools a
masonry are are are so great, you know, to to
be able to apply to life and uh, and again
I'll probably get into more of that if I if
I dive into this at some point. But you can
get this on lulu dot com. Just go to lulu
dot com. That's l u l u dot com and
(56:35):
search kornymic or search the title that's my selling voice.
So the idea of traveling east that this is you know,
when the where the sun rises, the sun itself is
is is used as a symbol in ancient Rome, they
called it sould in wickness, uh, which was the invincible sun.
(56:57):
And that this was not you know that it was
understood that that that the sun itself without the light
of day, without its uh, the properties of the sun,
you could not have any type of living organism on
on planet Earth without this interaction between the Sun and
the planet itself because it's heat and it's its resonance,
(57:18):
it's it's causing the the planet to react to it
and it life. Life comes of that. So obviously you
need some water to you know, I need lots of water.
But uh, but the sun itself represents this light, this
this uh, this this internal light. When you when you
(57:40):
internalize the idea of of what it means, what it represents,
is this that the light that shines from within, and
that is this this spiritual being, the the uh, the
true self, which is just a resonance. You know. In
in theoretical physics they talk about superstring theory, which is
which is this theory that that when you when you
(58:02):
get to the tiniest form of any of any molecule,
any atom, all of you know, when when you when
you get down to the smallest type form, it's just
a vibrating string of energy and depending on on its resonance,
it will become whatever it is that that you know
that you're seeing. So a rock has a certain resonance,
a tree has a certain residence, wood stone, water has
(58:25):
a certain residence. But but at its tiniest level, it's
all this this vibrating loop of energy that is just
that's that's either at a high pitch or low pitch
or whatever in between. And and I equate that like
the you know, the spilture being itself would be like this,
this resonating loop of energy that just is is in
(58:47):
is in the cosmic mind, you know that that we're
all connected to and that is is the same with
kind of the idea of the sun being this light.
So when you're when you're seeking the light. When you're
traveling east, it means that you're looking for some type
of information or revelation or or something that that will
(59:09):
help to make that transition from being far more mechanistic
in the way that we deal with life and and
relate to ourselves and then becoming you know, far more
spiritual in essence. Wow, we've already knocked out almost an
entire hour. That's crazy.
Speaker 1 (59:29):
Yeah, we're hitting your rap points. So why don't you
here we are, Why don't you remind folks what the
book is that you've been discussing and where they can
find it if they decide they want to take a look,
and you might want to let folks know where they
can go.
Speaker 2 (59:41):
Yes, well, right now, really quickly. Yes, we have reached
the west, which is the end, that is where the
sun sets, and we'll be setting right now on this
particular quest for information about the Masonic letter G And
I barely got halfway through this book. With all of that,
I can really go on go on my own stream
(01:00:02):
of thoughts here. Maybe we'll pick this up the rest
of it next time, or maybe we'll grab something new.
But again, you can look up Paul Foster case the
Masonic letter G order this. I'm sure it's available out
there somewhere. I got mine at an actual bookstore many
many many years ago, and it's a It's a great
little read, and I hope that you go out there
(01:00:26):
and find it and enjoy it yourself like I've been
enjoying it for many years. I'm Cornick. This is Korn's
reading Room.
Speaker 1 (01:00:35):
Where can folks find you? Mister Nimick.
Speaker 2 (01:00:37):
You can find me on at my name. I am
the letter I and the letter M and then my
name Koranimicks. You r I n n emec and that's
across all the platforms. I'm Koran Nimic.
Speaker 1 (01:00:50):
All right, folks, that's going to do it for the
inaugural episode of Korn's Reading Room. We hope you join
us again next week stay tuned here on KLARM Radio.
Up next, we have The Lost Wonder. After that we
have Sunday Nights with Alan Ray. Plenty more content to come.
So for those new faces we have around here, we
hope you decide to stay and check out the rest
of what we have to do. But if you're only
here for Corn, I kind of understand it's okay.
Hello friends, you have a moment so that we may
discuss our Lord and Savior minarchy. No, seriously, I'm just kidding.
Speaker 2 (00:13):
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Speaker 2 (03:01):
The following program contains course language and adult themes. Listener
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Speaker 6 (03:07):
Advised, ladies and gentlemen.
Speaker 7 (03:36):
It is my distinct pleasure, as the general manager of
KLARM Radio, do welcome you to our newest offering here
on our humble little site known as Koran's Reading Room,
hosted by none other than Koran Nimick himself and without
further ado.
Speaker 2 (03:50):
Here he is, Oh boy, what's happening? How is everybody?
That music that you heard was by most Jackson And
this is this is very new to me. What my
idea here is that as I'm going to grab some
books off of my bookshelf which is out in the
(04:11):
living room, but I got this little doozy today and
it's by Paul Foster Case. It is the Masonic letter
G And you know, as I was thumbing through it
a little while ago, I realized that it's it's got
it's a pretty steep gradient. I recall when I read this, uh,
(04:35):
you know, a while back, it was you know, I
get it. I get it quite easily, but uh, it's
got some complexities to it that I sort of forgot about.
But what I do when I, when I read any books,
is I just you know, underline some of the items
in it that I find to be of interest to me.
(04:56):
So I figure that, uh, you know, I can kind
of go through that, we can talk about it a
little bit. I write some annotations in it, some ideas
that I have. I might read those. But mainly, my
my interest in in Masonic philosophy is just it's uh,
(05:16):
it's quite compelling to me to uh, to look into
to what it is that that they that that Masons
think and and what is there what is their philosophical
point of view when it comes to life and uh
living and and and who we are as individuals and uh. Obviously,
(05:39):
the the letter G is is used in their iconic symbol,
which has the square in the compass with the letter
G in the middle of it. And the letter G
stands for geometry. Uh geometry is is used as as
a symbol for the language that the Grand Architect of
(05:59):
the Universe uses in order to communicate and also to
create the living universe that we're in. And I found
this book, this particular book, very interesting. I'll just read
a little bit of the introduction here. I might read
the whole introduction, but it's pretty short. But Paul Foster Case,
(06:22):
who was born in eighteen eighty four died in nineteen
fifty four, author of this treatise, is known to students
of occultism as the outstanding authority of Tarot, Kabbalah, alchemy,
and related subjects of the Western occult tradition. His other
publications including The True and Invisible Rosie Krushian Order, Taro
(06:43):
Key to the Wisdom of the Ages, The Great Seal
of the United States, which is a fantastic book, The
Magical Language, the Book that Tokens, bear witness to his
deep insight and wonderfully readable approach to these subjects. The
present work makes it clear that his notedge including a
thorough understanding of the Masonic tradition. In it, he develops
(07:05):
the unmistakable link that exists between the Masonic degrees and
rituals and the Cabalistic tradition. He shows that masonry cannot
be fully appreciated or understood without knowledge of the Cabalistic
Tree of life and its insights into the true nature
of man and the cosmos. So I'll stop right there.
I suggest anybody's interested in this kind of subject just
(07:28):
google this particular book, Paul Foster Case the Masonic letter
G and order a copy of it. It's quite interesting.
In seventeen seventeen, the Grand Lodge was established at the
Apple Tree Tavern in London. That's argued there's another tavern.
I forget the name of it ride off hand, but
(07:49):
some people say that it was started at this other place.
But the Apple Tree Tavern was in a rather rowdy
part of town back then. And g as I said,
is the initial of geometry. The heart of freemasonry is
an esoteric doctrine founded in the science of geometry. Masonry
and geometry are one and the same. So what they
(08:11):
mean by that is that in what's called speculative masonry,
which is, there's operative masonry. So back in the day,
previous to the seventeen seventeen date, there were operative Masonic lodges,
which were kind of like workers' unions in a way,
(08:33):
you know, and the operative lodges had basically two degrees.
They had your apprentice and your master degree as a
carpenter or in this case as a stone mason. That's
the guilds that freemasonry came out of were really kind
of the stone mason's not so much some of the
(08:55):
other guilds. There were many guilds back then. But the
second degree, so you have entered apprentice, you have fellow craft,
and you have master mason. Those are the three degrees.
But in the back in the day before you got
speculative masonry, which is masons who are interested in the
philosophical side of practical building and the architectural design that
(09:21):
goes into it and all of that. Those degrees, basically
your fellow craft degree, your second degree, you achieved by
becoming a journeyman. So you would you'd apprentice underneath the
master mason for upwards of seven years or so, and
then you'd go off and you'd work on different building
(09:42):
projects all over kind of the known world. Back then,
mason's in the guilds were allowed a kind of freedom
of travel that many other people didn't have, so they
could end up working on projects not just in Great Britain,
but also over on mainland Europe and other places, even
(10:05):
into the Middle East and such. But so G as
the initial letter of geometry, the heart of free masonry
is an esoteric doctrine founded on the science of geometry.
Masonry and geometry are one and the same. G is
the symbol for the deity. So God is the English
name of the grand architect of the universe. There's some
(10:28):
interesting aspects of the word God that we might We'll
get into here in a moment. So the letters composing
the English name of deity should be the initials of
the hubrew words wisdom, strength, and beauty. The three Great
pillars the metaphorical supports of masonry. So the three pillars
are in that the Tree of Life, which is I
(10:51):
believe that there is a diagram of it in here.
If not, I probably drew on, but I'm pretty sure
there is. But the Tree of Life is a is
a geometrical pattern that has ten what's called cepherot or
you could call them ciphers, and then it has twenty
two different paths that connect that. So it looks like
(11:15):
this right here if you can see that I met
my lighting right, so it looks like that. And in
the Scottish rite tradition you have these ten sepherot and
the twenty two paths, which when combined gives you the
number thirty two ten plus twenty two and the primary
(11:36):
degrees in Scottish writer thirty two degrees with a thirty
third degree, which is it's not really a degree that
has a it's one that is bestowed upon someone who
is a high degree Scottish right formason. I don't practice.
I don't do the Scottish righte degrees myself, so I'm
not really that interested in them. But that's where the
(11:59):
thirty two degrees of Scottish write come from. And then
the thirty third is one that's bestowed upon you for
your work that's done, whether it be charitable work. Let's
say you've done a lot with the Shriners, or you've
done a lot in your local community, or you've become
a scholar of masonry, or you've done whatever whatever it
is that you've accomplished in your life. If you've had
(12:20):
a series of great accomplishments, then many times you'll be
bestowed with that thirty third degree.
Speaker 3 (12:29):
But so the.
Speaker 2 (12:33):
Letter G here, let's see we go back on page
sixteen is where I'm at. And again I'm just reading
over the parts that I that I just underline a
little bit so that we don't we're not doing like
a full book reading here. So if you are interested
in this, I suggest getting the book. But on the
letters that compose the name of God, you have the
(12:58):
Hebrew word for beauty is go man, which is the G.
Strength is oz, which is the O once the English O,
and then D is the initial of dabar, which means wisdom.
So you have gomeret oz and dabar, so strength, beauty,
and wisdom. And it's it's an interesting interpretation because the
(13:21):
the Old English or old the the I believe the
Old Germanic term which the word God comes from is goat,
which means to invoke. So it's like an invocation. So
anytime you're doing a religious ritual or a prayer, you're
you're praying, or you're meditating or doing anything like that,
(13:43):
there's an invocation that's going on internally for uh, you know,
for a connection to this higher power, this this greater
source of wisdom and and uh you know again. That's
that's where we get the idea of the G for geometry.
Some people have made the claim that the G stands
for noses, which is similar to the idea of an invocation.
(14:09):
But it doesn't stand for noss. But it is interesting.
But so Mason read, the supports of the lodge are
always named in the following order, wisdom, strength, and beauty.
These are the three pillars, not only the three pillars
on the tree of life, which are the left of
center and the right paths when you go straight up
(14:30):
the tree of life, but also you could say a
valuable interpretation of the word God in terms of it
being spelled good, which I do find interesting. But debar.
The final letter in the word God is it's true significance.
His true signification is word speech, order, or command. And
(14:54):
gomeer is the Hebrew to end or to cease to be,
and oz the Hebrew word signifying strength, so Hebrew Kabbalah
employed in combination with wisdom and beauty, and the war
is the word gibborrah. Now some of this is again,
like I said, it can get over your head. But
(15:16):
I'll try and simplify some things as I go through.
I just I just always found this particular book interesting.
The Roman letters are simply modified Greek, both Greek and
Hebrew adaptations of Semitic original alphabet, and he suggested it
was probably Phoenician. But there's some interesting theories about where
(15:41):
the Phoenicians actually came from and who they were. They
were the boat peoples who raided all of the coasts
in ancient times. I don't know how far back that was.
I can't recall right off hand. I feel like it
might have been somewhere around twelve hundred BC or earlier.
I'm lost by it. I probably could google it real
(16:02):
quick though. But also in you know, G in the
Greek is the gamma, and it's the initial of the
Greek name for the same science, and that G is
the English equivalent of the Hebrew letter gimmel. And interesting enough,
also Gimmel is called the camel in the Hebrew letter
(16:27):
represents the camel, and there's an interesting correlation with the
idea of the camel for like the Bedouin or someone
in ancient times being their beast of burden. And so
when you look at it from an as an analogy,
you could say that you know the human body itself
(16:49):
is the beast of burden for the spiritual being, meaning
that they're passing through life. It's the human form that
takes the brunt of the force of livingness, whatever injuries
or whatever pain and circumstances or whatnot, whereas the spiritual
being essentially is immune from from all of that. If
(17:10):
you believe in in in a spiritual being or not.
Some people don't. Some people just believe that they're just
this thing, this personality that lives in this meat body
and lives and dies, and there's nothing more extraordinary about it.
But the to me, I think that there is so
(17:31):
he you know, he goes on in here and talks
about how the the g the initial letter of God
G in Greek, is also equivalent to Gaya, which was
the earth mother and the eldest born of chaos, whose
name is the root of the noun geometry or geometria.
(17:51):
And I find I find that interesting. I mean, the
idea that when you when you talk about Guya, the
the earth mother, so to speak, I think that's a
real oversimplification of the idea that the planet itself is
(18:12):
a living entity, you know, it is, it has a
consciousness of its own in a sense. You know, there's
there's a new trend that's happening now where people are
hooking up these little sensors and stuff to plants and
and and different organic life, and it sends out these
(18:34):
these frequencies that that are are very melodic, you know.
So there's there's a communication that's happening there. And it's
interesting too. There's a a book I read called The
Cosmic Serpent. I might I might use that book one
one time on the show too. But uh, In The
Cosmic Serpent, Uh, this anthropologist went down to live with
(18:57):
the Iowa Scairos and the Amazon and and he was
asking them how they learned how to make the ayahuasca,
which is their drink that they take that puts them
in this you know, this hyper conscious state where they're
kind of interdimensional in a sense, you know, kind of
(19:18):
like a psychedelic mushroom trip or something of that nature.
But when he asked them how they figured out the
recipe for it basically, or how they also knew what
the properties were of all of the different plants that
they use for different medicinal purposes and dietary purposes. The
Iowa Scairos basically told him that that the plants communicated
(19:40):
that to them, that they talked to the plants, you know.
And I found that very interesting because if they're you know,
if we are on this planet that is that has
a consciousness of its own on a grand scale, you
know that that we should be able to tune in
to that consciousness and tune into to what it is
(20:04):
it's trying to communicate to us. In fact, my acting
teacher for many many years, over a decade, Manutupa at
the American Repertory Company in Hollywood, he had an incredible
exercise he would have the actors do called a Communion
with Nature. And it was a Fijian fellow from the
(20:25):
royal family in Fiji. He was a prince of a
royal family. There might be a couple of royal families
in Fiji, you know, but he was a prince from
the Fijian royal family down there, and they had a
lot of ceremonies and things that they would do, and
his mother had a ritual that she would do when
she would go out and feed these sharks and the
water and stuff. And it used to really freak him out.
(20:48):
And later on in life, you know, you realize that
there's that there was a communication that he had forgotten
about when he came to the West and started teaching,
you know, becoming an actor and then teaching and living
this very westernized lifestyle that he had disconnected from that subtle,
sublime communication that we can have with nature itself. So
(21:15):
he had us go out. We'd find some place in
nature that was isolated from the material world, and we
would sit there and we try to just vibe what
our environment was communicating to us, and we would take
notes on it and everything. We'd have to come back
into class and share these and his whole point behind
it was to get us out of the mechanistic mindset
(21:38):
and reconnect us with, you know, a much more kind
of ancient way of communicating with our environment. And I
found it just really revelatory. It was fascinating, and I
did many of them, some pretty extraordinary experiences I had
doing that. So, you know, if we have this idea
that there is this this this uh so called feminine entity,
(22:05):
that that is that that is all expansive and contains
the entirety of the planet, and it emanates this life
force out of it which the whole planet is alive.
We can all agree with that, right, But if there's
a consciousness to it as well, that's quite interesting, you know.
(22:25):
And and also then you would say that the masculine
identify or the opposite of that would be the universe,
so that the heavens, the universe itself would would have
its own consciousness, and these two things would play off
of each other back and forth. So you you know,
you would as as as somebody who practices these kind
(22:47):
of uh, you know, meditative techniques. The whole idea is
to disconnect from the lower self, the lower world, and
connect up with something that's greater and more grand than
than anything that we can ever imagine. And and then
(23:07):
we realize, oh, well, we we are connected to that.
So it's it's similar to when you're out in nature
and you can kind of feel that there's a different
vibe when you're just completely isolated from from the machine
world and you're out there with just I mean, granted,
it can be dangerous out of nature too, let's not forget,
(23:28):
you know, but it's, uh, it is fascinating. There is
a different vibe. Anybody out there who's into hiking or
camping or any of that. I think that that all
of us can agree that there's that there's definitely a
different resonance that that occurs when we're out there and
I'm seeing some great some folks on here as well.
(23:49):
I just want to acknowledge that and and say hi
to everybody. I'm really glad you're tuning in, and I
hope somebody gets something out of this. Uh uh, this
was the only idea I could come up with a podcast.
What can I tell you? But uh so, also, you know,
so the idea of the of the squaring compass in
(24:09):
Freemasonry is that the the square itself that represents the
physical universe. You know, you you use the the square
to to measure the physical universe. Used in the compass
is the spiritual universe. It circumscribes, it's it's the the
round part of the square. So there's a there's an
(24:29):
analogy of the squaring of the circle, which you see
in the what's called the Vitruvian Man or the Figure
of Man by Leonardo da Vinci, where you have this
man whose whose arms are are up at two different
angles and his legs are two different angles. There's a
square in a circle around him and that's that's the
manifestation of the spiritual universe into physical reality. So when
(24:55):
you when you can take spiritual ideals and you can
you can implement them in your daily living. And that's
it's very Buddhistic. I believe, very zen. And so you know,
when it comes to understanding premasonry, the letter g and
(25:15):
all of that there, you do have to have a
some kind of rudimentary understanding of Kabbalah. Now, I did
study at at the Cabbala Institute for a short time
out in Los Angeles, but I've read quite a number
of books on it, and I'll get into those at
some point later on in the in the podcast. If
I can survive this, if I'm not scoriated by the public, all.
Speaker 1 (25:42):
Right, I don't normally drop in that much when i'm producing,
but from the feedback i'm seeing in the chat, everybody's
loving it.
Speaker 4 (25:47):
We'll just keep going.
Speaker 2 (25:48):
Okay, cool man, thank you for the accolades, my friend.
You're welcome to chime in anytime you like. So the
Tree of Life, the circles represent ten aspects or faith
of the divine emanation. So those are the ten sepharro
that that I mentioned to you. On there. You see
that right there. You can also google the Tree of
(26:12):
Life if you want to take a peek at it
and look at it. So those are called the sephirok
or numerations, and the twenty two lines are said to
represent the letters of the Hebrew alphabet and the forces
corresponding to those letters, and that makes up the whole tree,
and it represents the thirty two paths of wisdom. So
(26:33):
Kabalists say that this tree contains three pillars. That is
the pillar of mercy, and then you have on the
that's the right side. On the left side you have
the pillar of strength, and then in the center you
have the pillar of beauty. And again that's it's interesting
that that also comes out to become the word God.
(26:57):
So whether the whether the etymological derive of the word
God coming from the old Germanic gult or this being
the case, it's a grand mystery that I'm happy to
never actually find the true story on, because it's the
(27:17):
mystery is always more interesting. But let me continue on
find some stuff that's not quite as as confusing. So
all the mysteries of freemasonry or symbol are synthesized in
the three primary degrees entered apprentice, fellow craft, and the
(27:38):
master mason. And the number letter system of Cabalah is
the key that unlocks this essential mystery. The Hebrews the Greeks,
when the Bible was composed and neither nation knew anything
of the Arabic numerals, they employed the letters of their
alphabet to represent numbers. The first nine letters of the
Hebrew alphabet are the digits from one to nine, next
(28:00):
nine are the tens from ten to ninety, and the
last four letters stand for the hundreds from one hundred
to four hundred, and then there's some five special forms
for higher numerations. So you only have twenty two letters
in the Hebrew alphabet, is what I'm getting at there.
(28:20):
But the Greek alphabet contained twenty four letters, and it
had a similar I'm not going to read all of that,
but it had a similar kind of thing where each
each of those letters are representing a number, and so
you have jamatria or gomatria, depending on how you want
to pronounce it. Which is a evaluation to words that
(28:43):
people you know kind of glean higher knowledge or information on,
because some words will have the same numerical value as
other words depending on what letters are used to make
them up. And this also gets into that idea that
that the grand architect of the universe speaks through geometry,
(29:04):
which is represented essentially by numbers, you can say. And
so that the idea that even the ability to have
an alphabet is something divine. So at some point when
we go back into ancient history and and you know,
the first tribe of man out there that suddenly came
(29:26):
up with this idea like, hey man, you know all
this mumbo jumble, we can come up with symbols that
represent the sounds that we're making and combine them in
different ways. So whether that was you know, done in
some fashion that was using a mathematical equation for it
or not, you know, by by vibing whatever the thing
(29:47):
was and giving it a name so that we have
a better understanding and we could differentiate between So we
call one thing a tree, but there's how many different
kinds of trees out there, you know, So what is
each one the different trees that's in in the uh
the ruins. The ruins all represent these different trees as well.
(30:08):
So it's like the that which was the alphabet of
of the Gauls and uh and there's there's some interesting
correlations between that that kind of Gaulish alphabet or the
alphabet of the you know, the the tribes of of
ancient Europe and and the islands off the coast there.
(30:30):
So with with some of the alphabets that we find
in the Middle East, and how those were interchanged is
very interesting because there was always trade between these different peoples,
these different tribes dating way back in history. Uh I
have another interesting book about about some of those subjects.
(30:51):
And and oddly enough, in in ancient Egypt, you know
this is pre b c U psychedelic mushroom. We were
more pricey than gold back then, and uh they the
only place that you could really get those was from
the European nations. Well, I mean, you know that area
(31:13):
of land mass. Obviously he didn't call it Europe back then,
but uh so there was there was a trade that
was going on, you know, in ancient times, which I
find very interesting. But so uh so, again it says
the real the real signification of a word or phrase
(31:34):
might be discovered from the numeral value. So uh you know,
you could read one word and and and have a
numerical value then find the numerical value of another word
and figure out that there's some correlation between the two.
For instance, and this is it says just this is. Uh,
this is what occurred in the composition of many passages
(31:56):
in both the Hebrew of the Old Testament and the
Greek of the New Testament. So a lot of people
like you know, not a lot of you know, certain
individuals who are interested in that subject matter, have delved
very deeply into the the Old Testament and even the
New Testament in the Hebrew and Greek. And when you
take away in the in the Old Hebrew, when you
(32:18):
take away all of the accents and things like that,
that that that then you collapse all the letters just
into each other. Supposedly, there's like an algorithm. There's there's
this mathematical equation that goes through the entire uh, you know,
the the entire Old Testament and uh. And apparently it's
quite revelatory. I I don't know enough about it to
(32:40):
really dive too deep into it. And uh. And you know,
math is I was pretty good at it when I
was young, but I stopped using it after I graduated
twelfth grade. I mean, I stopped using higher math. You know,
when you go to the grocery store, you don't need
calculatus to figure out, you know, how much a price
of eggs is, except for recently, but it does say
(33:05):
here like, for instance, there's an interesting correlation here, says
the Roman emperor Nero. The Rabbinical Hebrew of that period
as Neuron Kaiser, added up to six hundred and sixty six.
So that was quite interesting when you look at the
correlation between numbers and names, and you could certainly say
(33:29):
that Nero was for his time period, could have been
considered the beast of revelations. But let's see get onto this.
So various numbers and measures mentioned in the Old Testament
(33:50):
are clues to an inner meeting. Turn the numbers into
words and phrases. Jamatria stands for the writers of both
sections of the Bible to conceal enabled I'm sorry, Gematria
enabled the writers of both sections of the Bible to
conceal geometrical formulas and measurements by means of words and phrases.
For the Hebrews, the Sanctum Saint Taorum was the actual
(34:12):
dwelling place of the divine presence or the Shechinah, which
rested on the mercy seat of the Ark of the Covenant.
As the arc was placed in the Holy of Holies,
the position of the mercy seat coincided with the interior
center of that cubicle room. Thus the place, the place
of divine presence was at the center or in the midst.
Now in uh. In freemasonry, they they they talk about
(34:37):
the building of King Solomon's temple and the the architect
of of King Solomon's temple a gentleman named Hiram Abiff.
But whether that that individual really existed in the sense
that he was the real architect or not is besides
the point. It's it's more of the allegory. But the
(35:00):
the idea is that in speculative masonry, you're using the
working tools of operative masons. So the hammer the chisel
would be used to uh you be chipping away at
what's called the rough ashlar and creating a perfected stone.
And in the same sense that you're using that to
chip away at your own deficiencies, your your your own
(35:23):
character defects and and uh and personality traits that aren't
that aren't creating a positive outcome for ourselves, you know.
And by using the metaphorical hammer and chisel. You can
recognize and reflect in a meditative state about the the
(35:44):
aspects of one's own personality that they're that they're not digging,
that isn't that isn't helping them as far as their
survival goes. And you can you can hone and and
and chip away at those and perfect them. And so uh,
like the square for instance, you want to where your
actions in life with other people, you would use the
(36:05):
uh uh the compasses to circumscribe your desires. So you
you want to you want to keep your your your
desires for things in life down to a very tight minimum.
What is what is needed most to to survive and
live a good life and be a good person, you.
Speaker 4 (36:25):
Know, So.
Speaker 2 (36:27):
The you the use of these working tools, which I
might get into a little bit more later. I actually
have a whole little section in the book that I
wrote creating a character for the stage or life.
Speaker 3 (36:37):
Uh.
Speaker 2 (36:38):
Maybe we'll get into that sometime on here. But there's
a whole section in there where I talk about, uh,
how you can apply the working tools to your life.
But uh, and the whole point behind that, when in
reading this one little section is uh, you know, the
holy of holy is the innermost part of our being,
the sanctum saying totum. That's that's this place deep within ourselves.
(37:01):
So the idea of building the temple within is what
I'm getting at. So the use of these working tools
of the operative mason, the person who actually builds churches, cathedrals, buildings,
whatever else. You can use the same tools that they use,
but internally in order to try and build the best
(37:22):
character for yourself so that you have the best outcome
for your experience in this life. And you can you
can be the best representation you can make of yourself
as an individual, you know. So the the presence was
(37:47):
at the center or in the midst, So the presence
was at the center, in the midst of this sanctum
sanctorum u. That's that's when and I studied at the
Daoist Institute of Los Angeles for a little while as well.
And in the meditation, you know, they talk about getting
getting to that that point where you're just resonating with
(38:08):
with your true self, with your being this, you know
being this doesn't have a personality, it doesn't have a complex,
uh makeup of all of the things that we've learned
in life, all of our experiences are our reactive nature
and all of that kind of stuff. It doesn't have
all of those trappings. You know. This is that this
(38:28):
is a programming that we undergo living our lives by,
you know, depending on you know, what was our family, like,
what religion were we born into, what neighborhood did we
grow up in? What schools do we go to? What
language did we learn? All of these different aspects of
life slowly start to create a sort of predetermined version
(38:52):
of ourselves, which in uh, you know, in Buddhism would
be like that would be like the great lie, this
idea that you know, you you believe you are who
you think you are, when in reality you're no thing.
And and it's uh, it's that that's somethingness of nothing
and that nothingness of something, Uh, which is which is
you know, uh, the great mystery? So how do we
(39:15):
how do we detach ourselves from this programmed, this pre
programmed way of being and perceiving ourselves? Because we say, well,
I am who I am. My name is Kornymic, I'm
an actor. I you know, I grew up you know,
primarily in Hollywood, and this is my life experience. But
(39:35):
if if it's if I'm able to stop that and
and wipe that slate clean again. In my acting class,
it was called the blank slate. My my teacher was
was very much into a Buddhistic approach to acting, which
I found very fascinating and so uh. The idea was
to was to drop everything we ever thought or thought
of ourselves or believed about ourselves in order to create
(39:58):
a blank slate. So then when we become a new
character acting wise, you know, when we're generating a character,
we have all of this room to introduce new intricacies,
new nuances, you know, new character traits that aren't organic
to our pre programmed personality. And it was very freeing
(40:20):
to get a load of that. When I first started
studying with him in my early twenties, I wasn't really
cognitive of this idea that I wasn't necessarily who I
thought I was, you know, and that was kind of
mind blowing to go, wait a minute, I don't have
to be me. And you know, it sounds a little strange,
(40:43):
but it was very true to me. You know. It's
like I can let go of all of these things
I'm hanging on to to try and prove that I
am who I am, and I don't I don't have
to do that, I can just be. And I equate
this too to like we got this great pet, you know,
theo our core are wonderful Corgian and you know what's
so special about him? My teacher used to say this
(41:04):
too about about Pet's like it's there being this. They're
just being, you know. And and we're just love this guy,
fascinated with him, and he's just he's just there, just being,
you know. And and uh, I think that there's a
state of mind that that we can also join join
forces with that is more of a being this than
(41:27):
a doing this or or like a behavioral a pattern
of behavioral uh actions that that we take because we're
taught or told or learned that that's how we react.
You know that that in this situation, this is how
I react because this is who I am and this
is what I was taught. When in reality, all of
(41:47):
that can be stopped and a whole new way of
of dealing with a situation in life can be generated
organically without being reactive. So the Sefarietzida, which is the
Book of Formation, it's a very interesting little book too.
(42:11):
It says right here well, which says that the place
of God is the interior center from which radiate the
six boundless lines, establishing space and sealed with the six
permutations of the divine name Yeho. A cube is a
solid bounded by six equal faces and twelve equal lines.
The lines form right angles, horizontals, and perpendiculars, and they
(42:35):
meet at eight external points. Thus, the numbers required to
defind a cube are six, eight, and twelve, whose sum
is twenty six. The numeral value of the ineffable name Yahweh.
So Yahweh is yol trewav, which is the tetragrammaton the
four letter name of God, which apparently you know, is
(42:58):
not really pronounced correctly. Not there's there is no the
the true name of God was lost and this was
just a kind of a placeholder for it.
Speaker 7 (43:07):
Uh.
Speaker 2 (43:08):
And what's also is interesting about the the letters of yvav.
If you stack them up on top of each other,
they they create a point. And look, there's the little guy.
He heard me talking about it. Yeah, so they if
you stack them on top of each other, it creates
this little like stick figure of a man called Adam Cabman.
(43:29):
It's like the primordial idea of man before it's manifested
in a physical form. And uh, I look at that
in the sense that you know, we we all have
this this uh this blank, this blank, slate this this,
But he's gonna steal all my thunder in the background there,
I know he is. Everybody's like, oh yeah, he's so cute.
(43:49):
Forget what this guy is saying, look at that dog.
But uh, you know, just the the idea of of
of man before it's manifest. And so you could say that, like,
you know, a higher self version of us would be
an individual who is not subjected to the reactionary state
(44:12):
of behavior, that that they can generate a new and
uh and vivid expression for themselves on a daily basis,
every morning waking up realizing that this is a new
opportunity and a new moment to be the best that
I can be. And uh and oddly enough, like when
(44:33):
you talk about like Zen Buddhism or or Taoism, that
the idea is to not in a sense not be
you know, and by not being you can you then
become just the resonance that that the resonance of the
true spiritual entity that that that you are inside and
(44:56):
with without all of the complexities of personnality again, you know,
so how all of that filters through our you know,
our behavior. You know, at a certain point we can
become so fixated on the ego self that that's that
that's what we become, and we're no longer connected to
the idea of a higher self. Right there, he wants
(45:19):
to play ball with me, No, sir, I'm in the
middle of a podcast here, man, you're stealing my thunder.
I'm just being Yes, he is being wonderful, is what
he is. And so the you know, this is a
it's it's a very unique concept. And so that it's
like basically, you know, you could say that the letter
(45:41):
G is in a way is the individual is the
true self, uh is the spiritual being. And and then
we have the you know, the our higher form, which
is the compasses, and then the lower form, which is
our our which is the square that's our actions and
our behaviors. And you know, you always, uh, you know,
(46:02):
want to try and behave the best that we can
to to all to all things. And again that's what
I was saying about with nature too. You know, it's
like how can we how can we live in in
some kind of balance with nature. Uh And and you know,
I mean I think about it often. It's not that
(46:23):
I have so much power to do anything about it,
but so often when I'm going on road trips or whatever,
and I'm going through you know, the death zones in
the middle of the woods where there's just like carcasses
just strewn left and right as you drive down the
street of all these poor animals that are just trying
to get from one side of the woods to the other.
And uh uh, there's there's a few places that I've
(46:44):
I've been passed that that will have these kind of
nature overpasses, and animals are smart enough to figure out
that that's the safe way to go, you know, they
are a little sentient creatures. But but when they're given
no option to get from one side side of the
road to the other except for the thunder is death
trap of traffic, then that that's what they got to do.
(47:07):
And and that's that's just one of those things where
I think, like, as human beings, like, can't we design
our world to be a little bit more imbalance with
with nature? And you know, uh, so that we can
vibe with guys, so to speak and and think, well,
I see what would what would the earth do in
this situation?
Speaker 3 (47:26):
Right?
Speaker 2 (47:27):
But so uh, the the the Hebrew letter the Hebrew
name of of God Yahweh. The uh is is very interesting.
The the yde is is basically kind of a it
looks kind of like a hand. It's each each one
(47:49):
of the letters sort of represents a different part of
the body too. But uh, but it's it's also like
the eye, like an eye. Uh, it's you know, or
the or the head itself, and then the next or
he which is which is the upper body evolve the
internal organs that the center of the body, the torso,
and then the last uh letter uh he or uh
(48:13):
is the the legs and uh. And this would be
kind of the the the physical representation of the etheric form.
It manifests as this thing, you know, but there's there's
a driving force behind it that is uh. That's that's
far more interesting and and and fascinating and expressive then
(48:35):
the human form can be. But we have the ability
to filter that that you know, that that cosmic energy
into our actions and and that's uh, I think why
artists can be so so incredible, and it's it doesn't
mean that, you know, just because you might be an
incredible uh painter, an incredible actor, an incredible singer, and
(48:56):
incredible architect and incredible whatever the case may be, it
doesn't mean that you're a good person. And I think
that the greatest art form that we that anybody can
achieve out there is goodness, you know, humbleness and uh
and kindness to others in in the in the greatest
capacity that we can achieve. You know, that to me
(49:18):
is the ultimate art. The ultimate art is is how
do I design my you know, my expression in life
through how do I behave to people? If I'm if
I woke up and I had a really crappy day,
Do I take that crappy day to the grocery store
and treat the person who's checking me out bad, or
or the person who's blocking the aisles with their you know,
(49:40):
while they're looking for which brand of peanut butter they
want I take it out on them? Or or am
I do I get road rage and traffic or all
of these things that all of that can go away
just by the conscious you know, uh attack, the conscious
effort to not be reactive, you know, so to speak.
But but let's see, let me find some other interesting
(50:05):
parts of this, and so here we go. Sorry, here
the second Hebrew he love. The Hellenic logos with the
logos is that is the word of God, so to
speak by Philo Judaeus, the doctrine of the Pythagoreans and Platonists,
(50:27):
and it has its roots and their roots and their
mathematical philosophy. Saint Thus it is not unreasonable to suppose
that Saint John was acquainted with this number, this number philosophy,
and had it in mind when he wrote God is Love.
For since love and one are the words of the
same value thirteen, to say God is love is called
(50:48):
ballistically equivalent to the fundamental doctrine of Judaism. So Jehovah
God God is one. So that would mean that they
both have the same numerical value of the number twenty six.
For instance. It's also interesting that that the uh, the
English alphabet is has twenty six letters in it, which
is the the numerical equivalent to the word chapwe when
(51:12):
you get the number twenty six. And I was kind
of curious about that over the years too, if that
was something that was you know, that was intentional or unintentional.
But because you know, the the idea of structuring language
through the written word and all of that, there is
(51:33):
a divine origin to it. You know. That's what separates
or supposedly separates man from beast. Is this idea that
we have a level of intelligence or a level of
of sentience that that that is, that is that can
operate on a higher plane than you know, the the
(51:54):
average animal. But I don't know if anybody's ever seen
a beaver bill of damn, I got to say, those
guys are genius. But or an ant hit, I mean
the inner workings of of of ant hills and and
and if we ever look at a at a at
a beehive, my goodness, some serious geometrical form to that.
Speaker 3 (52:13):
But so.
Speaker 2 (52:18):
Let me dive into some flip the pages here.
Speaker 1 (52:20):
So uh.
Speaker 2 (52:23):
In in early speculative freemasonry, the Bible is the trestle boarder.
Trestle boarders is a board where you draw your designs
and your and and and the the shapes for the uh,
the things that you want to build on it, and
then you have the ability to match that they would
actually have these gigantic kind of like you know, well
you can call it a chalkboard, but uh, they would,
(52:46):
they would draw out like the piece that they need
to create, and then you could you could hammer and
chisel it away or cut it away, you know, with
with wood, and then you could place it on top
of what you drew and get the exact I mentioned
and make sure that you're true and correct. So as
the operative artist erects his temporal building in accordance with
(53:07):
the rules and designs laid down on the trustle board
by the master workmen, so should we erect that spiritual
being of which the material is a type, in obedience
to the rules and designs, the precepts and commands laid
down by the Grand architect of the universe in those
great books of Nature and Revelation, which constitute the spiritual
trustle board of every freemason. The trestle is a framework
(53:30):
for a table. In Scotch trust, the trestle board is
a board placed for convenience of drawing. On the frame.
The trestle board shows the plans of an architect. Such
plans are based on the principles of geometry. So again
you know, even in the blank slate of our own minds,
that the mind can become so jumbled and so filled
(53:54):
with all of these thoughts and ideas and pre programmed
belief and uh, and things that we dislike about ourselves
or things that were so hyped up about ourselves that
you know, we have this impenetrable ego about you know,
about who we think we are. You know, don't you
know who I am? You know that kind of thing.
(54:15):
And uh, it's like when when somebody from city council
gets pulled over by the cops and they're like, you're
giving me a ticket. Don't you know who I am?
You know? But uh, no, I don't know who you are. Actually,
that's that's the whole point. And uh. And the more
the less that we can know who we are, I
think is a benefit. So and again we we see
(54:41):
we we see the the the name Gimmel, which means camel.
I talked to you about that earlier. And uh, I'll
just read this whole part here. If one asks himself
what is the fundamental idea brought to mind by the
picture of a camel, he will not belong in concluding
that camels, to ancient Hebrews represented just what automobiles suggest
(55:03):
to the modern mind, namely, travel, journeying to places far
off and the light. Thus the camel is a symbol
of that mark of the master mason, the ability to
travel in foreign countries. The whole work of the craft,
in fact, maybe summed up in this one word travel,
of which the camel is a symbol. And Masons speak
of themselves as traveling east in search of light. Their
(55:24):
quest is thus indicated as being a search for origins
and causes. For the west is the place of the sunset.
Thus it represents the end of the cycle of work
or manifestation. So these these analogies are just our ideas
to be able to think with and in a Western context,
because it seems like that the Western eyed mind is
(55:48):
much more mechanistic. And when you can use these kind
of mechanistic analogies, then it can for me, I believe
that it can shift the sort of Western eyes uh,
materialistic minded you know, way of thinking into thinking and
more cosmic and spiritual principles you know, or dynamics. And
(56:12):
that's why the the idea of the working tools a
masonry are are are so great, you know, to to
be able to apply to life and uh, and again
I'll probably get into more of that if I if
I dive into this at some point. But you can
get this on lulu dot com. Just go to lulu
dot com. That's l u l u dot com and
(56:35):
search kornymic or search the title that's my selling voice.
So the idea of traveling east that this is you know,
when the where the sun rises, the sun itself is
is is used as a symbol in ancient Rome, they
called it sould in wickness, uh, which was the invincible sun.
(56:57):
And that this was not you know that it was
understood that that that the sun itself without the light
of day, without its uh, the properties of the sun,
you could not have any type of living organism on
on planet Earth without this interaction between the Sun and
the planet itself because it's heat and it's its resonance,
(57:18):
it's it's causing the the planet to react to it
and it life. Life comes of that. So obviously you
need some water to you know, I need lots of water.
But uh, but the sun itself represents this light, this
this uh, this this internal light. When you when you
(57:40):
internalize the idea of of what it means, what it represents,
is this that the light that shines from within, and
that is this this spiritual being, the the uh, the
true self, which is just a resonance. You know. In
in theoretical physics they talk about superstring theory, which is
which is this theory that that when you when you
(58:02):
get to the tiniest form of any of any molecule,
any atom, all of you know, when when you when
you get down to the smallest type form, it's just
a vibrating string of energy and depending on on its resonance,
it will become whatever it is that that you know
that you're seeing. So a rock has a certain resonance,
a tree has a certain residence, wood stone, water has
(58:25):
a certain residence. But but at its tiniest level, it's
all this this vibrating loop of energy that is just
that's that's either at a high pitch or low pitch
or whatever in between. And and I equate that like
the you know, the spilture being itself would be like this,
this resonating loop of energy that just is is in
(58:47):
is in the cosmic mind, you know that that we're
all connected to and that is is the same with
kind of the idea of the sun being this light.
So when you're when you're seeking the light. When you're
traveling east, it means that you're looking for some type
of information or revelation or or something that that will
(59:09):
help to make that transition from being far more mechanistic
in the way that we deal with life and and
relate to ourselves and then becoming you know, far more
spiritual in essence. Wow, we've already knocked out almost an
entire hour. That's crazy.
Speaker 1 (59:29):
Yeah, we're hitting your rap points. So why don't you
here we are, Why don't you remind folks what the
book is that you've been discussing and where they can
find it if they decide they want to take a look,
and you might want to let folks know where they
can go.
Speaker 2 (59:41):
Yes, well, right now, really quickly. Yes, we have reached
the west, which is the end, that is where the
sun sets, and we'll be setting right now on this
particular quest for information about the Masonic letter G And
I barely got halfway through this book. With all of that,
I can really go on go on my own stream
(01:00:02):
of thoughts here. Maybe we'll pick this up the rest
of it next time, or maybe we'll grab something new.
But again, you can look up Paul Foster case the
Masonic letter G order this. I'm sure it's available out
there somewhere. I got mine at an actual bookstore many
many many years ago, and it's a It's a great
little read, and I hope that you go out there
(01:00:26):
and find it and enjoy it yourself like I've been
enjoying it for many years. I'm Cornick. This is Korn's
reading Room.
Speaker 1 (01:00:35):
Where can folks find you? Mister Nimick.
Speaker 2 (01:00:37):
You can find me on at my name. I am
the letter I and the letter M and then my
name Koranimicks. You r I n n emec and that's
across all the platforms. I'm Koran Nimic.
Speaker 1 (01:00:50):
All right, folks, that's going to do it for the
inaugural episode of Korn's Reading Room. We hope you join
us again next week stay tuned here on KLARM Radio.
Up next, we have The Lost Wonder. After that we
have Sunday Nights with Alan Ray. Plenty more content to come.
So for those new faces we have around here, we
hope you decide to stay and check out the rest
of what we have to do. But if you're only
here for Corn, I kind of understand it's okay.
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