GOD OF WAR ASCENSION FURNACE PUZZLE FULL
GOD OF WAR ASCENSION FURNACE PUZZLE SERIES

GOD OF WAR ASCENSION FURNACE PUZZLE SERIES

Is an experience of such an apocalyptic world possible? This is the question that all of us would ask perhaps, and the question upon which everything in this series depends.

GOD OF WAR ASCENSION FURNACE PUZZLE FULL

These are crucial concepts for this series, so that the teacher might profit from reiterating them in this more complete context, where their full meaning is more evident. It is also closely related to the discussion of interpenetration and metaphors of particularization discussed in program 6 as implications of the principle of the royal metaphor. Because this imagery as a total structure makes up the apocalyptic or revealed world, the first part of this program is closely related to the more historical and typological discussion of apocalypse as a phase of revelation in programs 28 and 29. Frye put on the blackboard in the video lecture. 166 of The Great Code and to the slightly modified version of it given above, which reproduces what Prof. With this program we finish building up a picture of the structure of Biblical imagery on the apocalyptic side and once again, the teacher may refer both to the chart on p. Job 29:18.-The phoenix, disguised as 'sand' by the AV. Revelation 21:19-20.-The 12 gates of Jerusalem, each a precious stone. I Kings 10:21.-Silver for building temples: 'it was nothing accounted of'. John 3:8.-'The wind bloweth where it listeth'. I Peter 2:5.-'Ye also, as lively stones'.Īcts 1:9.-'a cloud received him out of their sight'.

Revelation 15:6.-Angels in white 'linen'-or lithon, stone. Revelation 2:17.-'To him that overcometh will I give… a white stone'.

Psalm 118:22.-'The stone which the builders refused'. The jewels and gold of the apocalyptic Jerusalem glow with this living fire. One of the implications of this chart is that all four elements become alive or identified with life: there are 'lively stones', 'living waters' and a fire which burns without burning up.All spirits are metaphorically one Spirit, later identified as the Holy Spirit, to whom is attached the imagery both of wind and birds and of tongues of fire.Two kinds of angels are derived from the two levels of the sky: the lower or air level, from which comes imagery of wind and birds, particularly the dove, bird of love and the upper or fire level.Angels are identified with the sky because the imagery of the Bible's revealed world is derived from the ordinary categories of existence as experienced by the human body, with its built-in sense of up and down.The world between God and man is the spiritual world, whose group form is the angels.Also, the individual and group forms of each category are united by the royal metaphor, which combines identity-as and identity-with.Christ, for example, is identified with the bridegroom figure, with bread and wine, with the sacrificial lamb, with the stone that the builders rejected. All categories of this Biblical table of imagery are metaphorically identical with one another.But all angels are metaphorically united as one Spirit, sometimes identified as the Holy Spirit, to whom both categories of imagery attach.įire level (tongues of flame) air level (wind, birds: dove) There are two bodies of imagery associated with angels, those of fire and of air (including wind and birds): from these are derived two major orders of angels. There remains, in the Bible's mythological universe, the category that bridges the human and divine, that of the spiritual or angelic. All of these categories are metaphorically identical, and the individual and group forms of each category are united by the royal metaphor. These programs have now indicated the following categories of Biblical imagery, together with their particular images: mineral (urban imagery), vegetable (agricultural), animal (pastoral), human (sexual) and paradisal (garden, trees and water). Copyright © 1982, 2013, Victoria University

God of war ascension furnace puzzle