René Guénon
Chapter 13

LOCATION OF SPIRITUAL CENTERS

IN the preceding we have almost entirely left aside the question of the actual location of the 'supreme center', an extremely complex question that is in any case quite secondary from our chosen point of view. There seems good reason to envisage a number of successive locations corresponding to different cycles which are themselves subdivisions of another, more extensive, cycle called the Manvantara; moreover, if we were to consider the latter in its totality by placing ourselves outside of time as it were, there would be a hierarchical order to consider among these locations, corresponding to the constitution of traditional forms that are themselves really no more than adaptations of the principal and primordial tradition dominating the entire Manvantara. We should recall however that many other centers can exist simultaneously with the principal one, attached to and reflecting it like so many images, and this can easily lead to confusion, especially as these secondary centers, being more outward, are thereby more visible than the supreme center.[1] In reference to this last point we have already taken particular note of the similarity between Lhasa, the center of Lamaism, and Agarttha. We will now add that even in the West there are at least two cities, Rome and Jerusalem, whose topographical circumstances present peculiarities suggesting a comparable raison d'être (and we have already seen that the latter was in effect a visible image of the mysterious Salem of Melki-Tsedeq). As we have already pointed out, there existed in ancient times what could be called a sacred or sacerdotal geography, and the placement of cities and temples was not arbitrary but determined according to very precise laws;[2] this may give us an inkling of the bonds that unite 'sacerdotal' and 'royal' art to the art of the builders, [3] as well as of the reasons why the ancient guilds possessed an authentic initiatic tradition.[4] Moreover, between the founding of a city and the establishment of a doctrine (or of a new traditional form by adaptation to specific conditions of time and place), there was such a connection that the first was often taken to symbolize the second.[5] Naturally, the most elaborate precautions were taken when fixing the placement of a city destined in one way or another to become the capital of a whole specified part of the world; and the names of such cities would merit careful study, as would also the reported circumstances of their founding.[6] Without elaborating on questions that are only indirectly related to our present subject, we should nonetheless mention that a center of the kind just described existed in pre-Hellenic Crete,[7] and that it seems that there were several in Egypt as well (probably founded in successive epochs), such as Memphis and Thebes.[8] The name of the latter, which is also that of a Greek city, is of particular interest as a designation of a spiritual center by reason of its obvious connection with the Hebrew Thebah, that is, the Ark of the Deluge. The latter is again a representation of the supreme center, especially in the sense of assuring the preservation of the tradition in a sort of shrouded state[9] during the transitional period between two cycles marked by a cosmic cataclysm that destroys the previous state of the world in order to make place for a new one.[10] The role of the biblical Noah[11] is similar to that played in the Hindu tradition by Satyavrata, who, under the name Vaivasvata, later became the current Manu; but it should be noted that whereas this latter tradition goes back to the beginning of the present Manvantara, the biblical Deluge marks only the advent of another, more restricted cycle comprised within this same Manvantara:[12] they do not represent the same event, but two analogous ones.[13] Even more noteworthy is the association that exists between the symbolism of the Ark and that of the rainbow, an relationship suggested in the biblical text by the appearance of the latter after the Deluge as a sign of the covenant between God and earthly creatures.[14] During the cataclysm, the Ark floated on the Ocean of the lower waters; then, at the moment marking the re-establishment of order and the renewal of all things, the rainbow appeared 'in the clouds', that is to say in the region of the upper waters. It is therefore an analogical relationship in the strictest sense, the two figures being inverse and complementary to each other, the convex shape of the ark being directed downward and that of the rainbow upward, so that together they form a complete circular or cyclical figure, of which they comprise as it were the two halves.[15] At the beginning of the cycle this figure was in fact complete: it is the vertical section of a sphere the horizontal section of which is represented by the circular enclosure of the Terrestrial Paradise;[16] and the latter is divided by a cross formed by the four rivers issuing from the 'polar mountain'.[17] The reconstitution must be accomplished at the end of the same cycle, but then, in the case of the Celestial Jerusalem, the circle is replaced by a square,[18] indicating the accomplishment of what the Hermeticists designated symbolically as the 'squaring of the circle': the sphere, representing the development of possibilities through the expansion of the primordial central point, is transformed into a cube when this development is completed and the final equilibrium for the cycle under consideration is attained.[19]

Footnotes

[1]According to the expression Saint-Yves borrows from the symbolism of the Tarot, the supreme center is to the other centers like the ‘closed zero of the twenty-two arcana'.
[2]Plato's Timaeus appears to contain certain veiled allusions to the science in question.
[3]Recall what was said earlier about the title Pontifex; moreover, the expression 'Royal Art' has been preserved in modern Masonry.
[4]Among the Romans, Janus was at once both the god of initiation into the Mysteries and the god of the craft guilds (Collegia fabrorum); and this double attribution is particularly significant.
[5]We will cite as an example the symbolism of Amphion building the walls of Thebes by the sounds of his lyre; we shall presently see what the name of the city Thebes indicates. The importance of the lyre in Orphism and Pythagorism is well known, but it is interesting to note that in the Chinese tradition musical instruments often play a similar role, which here again must obviously be understood symbolically.
[6]Where names are concerned, the preceding discussion has offered several examples, particularly for names connected with the idea of whiteness, and we shall point out a few more. Much could also be said regarding the sacred objects to which the power and even the preservation of the city were linked in certain cases; such were the legendary Palladium of Troy, and, in Rome, the shields of the Salii (which were said to have been fashioned from a meteor in the time of Numa; the college of the Salii was composed of twelve members); these objects were supports for 'spiritual influences', as was the Ark of the Covenant among the Hebrews.
[7]The name Minos is in itself a sufficient indication in this respect, as is Menes regarding Egypt; and this brings us back to what was just said about the name Numa in connection with Rome, and to the significance of the name Shlomoh for Jerusalem.As concerns Crete, let us in passing point to the use of the Labyrinth as a characteristic symbol by the builders of the Middle Ages; and what is curious is that walking the circuit of the labyrinth marked out by paving-stones on the floor of some churches was considered to replace pilgrimage to the Holy Land for those who could not accomplish the latter.
[8]We have already seen that Delphi played this role for Greece; the name evokes the dolphin, whose symbolism is very important.Babylon is another remarkable name, Bab-Ilu signifing 'Door of Heaven', which is one of the qualifications attributed to Luz by Jacob; moreover, it can also have the meaning 'House of God', as does Beith-El; but it becomes synonymous with 'confusion' (Babel) when the tradition is lost, being then the reversal of the symbol, Janua Inferni taking the place of Janua Coeli.
[9]This state is assimilable to that represented for the beginning of a cycle by the 'World Egg', which contains in embryo all the possibilities that will develop in the course of the cycle; the Ark likewise contains all the elements that will serve to restore the world, and that are thus the seeds of its future state.
[10]Another function of the ‘Pontificate' is to assure the passage or transmission of tradition from one cycle to the next, the construction of the Ark having here the same meaning as that of a symbolic bridge since both are equally destined to allow the ‘crossing of the waters', which, moreover, has many meanings.
[11]It is also noteworthy that Noah is said to have been the first to cultivate the vine (Gen. 9:20), a fact that should be related to what was said earlier on the symbolic meaning of wine and its role in initiatic rites in connection with the sacrifice of Melchizedek.
[12]One of the historical meanings of the biblical Deluge can be related to the cataclysm in which Atlantis disappeared.
[13]The same remark naturally applies to all the diluvian traditions to be met with among a very great number of peoples, some of which concern still more particular cycles, as is especially the case among the Greeks with the floods of Deucalion and Ogyges.
[14]Gen. 9:12-17.
[15]These two halves correspond to those of the 'World Egg', as do the 'upper waters' and the ‘lower waters' themselves; during the period of disorder the upper half became invisible, and it was in the lower half that what Fabre d'Olivet calls the 'accumulation of species' took place. Furthermore, the two complementary figures which we are discussing can, from a certain point of view, be compared to two lunar crescents turned inversely toward each other (one being as it were the reflection and symmetrical counterpart of the other with respect to the line separating the Waters), which refers to the symbolism of Janus, one of whose emblems moreover is the ship. Also worth remarking is a kind of symbolic equivalence between the crescent, the cup, and the ship, and that the word 'vessel' serves equally to designate the latter two (the 'Holy Vessel' being one of the most frequently used names for the Grail in the Middle Ages).
[16]This sphere is again the ‘World Egg', the Terrestrial Paradise being situated in the plane that separates it into its upper and lower halves, that is, at the limit between Heaven and Earth.
[17]According to the Kabbalists the four letters that form the word Pardes correspond to these four rivers; elsewhere we have pointed out their analogical correspondence to the four rivers of hell (The Esoterism of Dante, chap. 8).
[18]This corresponds to the replacement of plant symbolism by mineral symbolism, the significance of which has been pointed out elsewhere (The Esoterism of Dante, chap. 8). The twelve gates of the Celestial Jerusalem naturally correspond to the twelve signs of the zodiac, as well as to the twelve tribes of Israel; it is therefore a question of a transformation of the zodiacal circle following the arresting of the world's rotation and its fixation in a final state, that is, the restoration of the primordial state once the successive manifestation of the possibilities this latter contains will have been completed. The 'Tree of Life', which was at the center of the Terrestrial Paradise, is likewise at the center of the Celestial Jerusalem, where it bears twelve fruits; and these latter are not without a certain relation to the twelve Ādityas, just as the 'Tree of Life' itself has to Aditi, the unique and indivisible essence whence they are sprung.
[19]One could say that here the sphere and the cube correspond respectively to the dynamic and the static points of view, the six faces of the cube being oriented along the three dimensions of space, as are the six arms of the cross projecting from the center of the sphere. Where the cube is concerned, it is easy to draw a parallel with the Masonic symbol of the 'cubic stone', which likewise has to do with the notion of completion and perfection, that is, with the realization of the plenitude of possibilities implied in a certain state.