The “wryneck” is quite a strange bird. It has two fingers in front and two fingers in back, according to Aristotle. It makes little high-pitched screams. it is able to stick its tongue out for a long time, like snakes. It gets its name, « wryneck », from its ability to turn its neck without the rest of its body moving. It is also capable of making women and men fall in lovei.
But more importantly, the “wryneck” is a divine « messenger », according to the Chaldaic Oraclesii.
There are, admittedly, many other divine “messengers”, such as the Platonic « intermediaries » (metaxu) and « demons » (daimon). Among them, there is the « Fire », which is a metaphor for the « soul of the world ». All souls are connected to the Fire, because they originated from it: « The human soul, spark of the original Fire, descends by an act of her will the degrees of the scale of beings, and comes down to lock herself in the jail of a body.» iii
How does this descent take place? It is an old “oriental” belief that souls, during their descent from the original Fire, clothe themselves with successive ‘veils’, representing the intermediate planes they have to cross through.
Every incarnating soul is in reality a fallen god. The soul strives to come out of the oblivion into which she has fallen. She must leave the « flock », subjected to an unbearable, heavy, somber fate, in order « to avoid the brazen wing of the fatal destiny »iv. To do this, she must succeed in uttering a certain word, in memory of her origin.
These « chaldaic » ideas have greatly influenced thinkers like Porphyry, Jamblicus, Syrianus and Proclus, inciting them to describe the « rise of the soul », ἀναγωγη, thus replacing the more static concepts of Greek philosophy, still used by Plotinus, and opening the possibility of theurgy, the possibility for the soul to act upon the divine.
Theurgy is « a religious system that brings us into contact with the gods, not only by the pure elevation of our intellect to the divine Noos, but by means of concrete rites and material objects »v.
Chaldaic theurgy is full of signs, expressing the unspeakable, in ineffable symbols. « The sacred names of the gods and other divine symbols raise to the gods.”vi Chaldaic prayer is effective, because « hieratic supplications are the symbols of the gods themselves »vii, wrote Edouard des Places.
“Angels of ascension” make souls rise towards them. They remove the souls from the « bonds that bind them », that is, from the vengeful nature of demons, and from the trials human souls suffer: « Let the immortal depth of the soul be opened, and dilate all your eyes well above! ».viii
Many challenges await those undertaking the spiritual ascension. The Divine is beyond the intelligible, entirely unthinkable and inexpressible, and better honored by silence.
It’s worth noting that, in Vedic ceremonies, silence plays a structurally equivalent role in approaching the mysteries of the Divine. Next to the priests who operate the Vedic sacrifice, there are priests who recite the divine hymns, others who chant them and yet others who sing them. Watching over the whole, there is another priest, the highest in the hierarchy, who stands still and remains silent throughout the ceremony.
Hymns, psalms, songs, must yield to silence itself, in the Chaldaic religion as in the Vedic religion.
The other common point in these two cults is the primary importance of Fire.
The two traditions, which are so far apart, transmit a light from a very old and deep night. They both refer to the power of the original Fire, and contrast it with the weakness of the flame that man has been given to live by:
« [Fire] is the force of a luminous sword that shines with spiritual sharp edges. It is therefore not necessary to conceive this Spirit with vehemence, but by the subtle flame of a subtle intellect, which measures all things, except this Intelligible Itself. » ix
iIn his 4th Pythic, Pindar sang Jason’s exploits in search of the Golden Fleece. Jason faces a thousand difficulties. Fortunately, the goddess Aphrodite decided to help him, by making Medea in love with him, through a bird, the “wryneck”. In Greek, this bird is called ἴϋγξ, transcribed as « iynge ». « Then the goddess with sharp arrows, Cyprine, having attached a wryneck with a thousand colours to the four spokes of an unshakeable wheel, brought from Olympus to mortals this bird of delirium, and taught the wise son of Eson prayers and enchantments, so that Medea might lose all respect for her family, and the love of Greece might stir this heart in fire under the whip of Pitho.» The magic works. The « bird of delirium » fills Medea with love for Jason. “Both agree to unite in the sweet bonds of marriage”.(Pindar, 4rth Pythic)
iiChaldaic Oracles, Fragment 78
iiiF. Cumont. Lux perpetua (1949)
ivChaldaic Oracles, Fragment 109
v A. Festugière. Révélation (1953)
viCf. Édouard des Places, dans son introduction à sa traduction des Oracles chaldaïques (1971). (Synésius de Cyrène (370-413) énonce un certain nombre de ces noms efficaces. Άνθος est la « fleur de l’Esprit », Βένθος est le « profond », Κολπος est le « Sein ineffable » (de Dieu), Σπινθήρ est « l’Étincelle de l’âme, formée de l’Esprit et du Vouloir divins, puis du chaste Amour » : « Je porte en moi un germe venu de Toi, une étincelle de noble intelligence, qui s’est enfoncée dans les profondeurs de la matière. » Ταναός est la « flamme de l’esprit tendué à l’extrême », et Τομή est « la coupure, la division », par laquelle se produit « l’éclat du Premier Esprit qui blesse les yeux ».Proclus s’empara de ces thèmes nouveaux pour éveiller la « fleur », la « fine pointe de l’âme ».)
viiÉdouard des Places, Introduction. Oracles chaldaïques (1971)
viiiChaldaic Oracles, fragment 112
ix Chaldaic Oracles, fragment 1.