Key to the true Kabbalah.

Different element attributes to a given letter.

 
When we study the elemental attributes of the letters in Bardon's thirth book "Key to the true Kabbalah" (First English edition, translated by Gerhard Hanswille, Mercur Publishing, 1996) we notice eventually that the elemental attributes mentioned in the second part of step I (The Mysticism of Letters from p. 73 - 79) and in step IV (Kabbalisticae Elementorum p. 98-101) don't match. These conflicting attributions may be a source of confusion for the beginning quabbalistic student.

Stejnar explains these discrepancies in the following way:
 

"We must not forget, that the letters have different elemental vibrations on different planes. Just notice what Bardon points out on p. 91: "Every letter has one, sometimes even two, element vibrations". And here he means not only the C,Ä,Ö (and the omitted R)",


Stejnar continues.
 

"The exercises in step IV refer to the prime quality of a letter on the vital-plane. On the other hand those mentioned in step 1 refer to the color of a given letter: i.e. to the astral plane."

It's very important to understand, that the letters have to be used onto different planes. ... the same prime qualities produce onto different planes diverse qualitative elemental properties. Therefore most letters have to be mastered with two different elemental attributes. BTW, the missing R on page 94 has to be practiced on the mental and astral plane with the akashic- and water-qualities but onto the material-world/plane with the quality of earth in the legs.

 
Source: Emil Stejnar: Das Buch der Meister (The Book of Masters): Fifth Book: "Das Ritual der Hermetischen Vier" (The Ritual of the Hermetic Four).

12-tone versus 10-tone scale.

 
Every musician when reading through the third step "Aqua Vitae Kabbalisticae" of Bardon's Kabbalah, which adds the tone quality to the letters, will immediately notice, that there are missing two notes of the western harmonic-tone-scale: the E and the sharp A (A#).

Stejnar outlines his opinion in this regard:
 

"Initially I thought, that Bardon had purposely chosen a 10-tone-scala, because the number 10 is of fundamental importance for his Kabbalah. But considering new findings combined with practical experiences I changed my mind and I'm now convinced that this is again an error due to transcription problems or due to a bad manuscript."


Stejnar cites then a number of sources by recent, mediaeval and antic magicians and philosophers to substantiate his opinion, e.g. Fludd, Pythagoras, Thimus, the Sephir Yetzirah: all used a 12-tone (harmonic) scale for their cosmologies.

Nevertheless Stejnars efforts to prove his point of view, some hermetic magicians reject this position.
 

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