THE TWELVE CANONS IN THE ART OF FUGUE Let us say with Novalis that all men are not equal and that the human form is not enough for a man to be a man. There are many who have this form and are not. The same with women. If He again finds his she and reintegrates her into him, inter-manning her by Magic Love, A-Mor, he has returned her eternity to her from within Himself, providing her with an ontological reality that was lacking when she broke away from the Egg of HE-SHE, receding into the distance and falling lower and lower. He rediscovered or found her within himself in the Self, the Selbst. And only now, transmuted again into Androgyne, Total-Man, is he prepared to find the Divine Woman outside his own Self, to find She, who in her turn seeks to reintegrate her he after having lost him in the sky of SHE-HE. And they then love one another with the Love without love in the Divine Comedy of A-MOR with Two Androgynes, Absolute Man and Woman. And they will be Two Stars, Two Suns, Two Vimanas, moving immobile 'beyond the stars.' Two Warriors who have triumphed. Thus Myth and Legend are understood in an antediluvian Aryan Hyperborean Genesis, unexpurgated, with the history of Eve and Lilith. The latter is the Valkyrie of Lucifer, Lucibel, his Mystic Wife, Enoia, his soror misticæ, coming from HE-SHE. Adam and Eve are he and she, in lower-case, animal-men. Lucifer and Lilith (Wotan and Freya) are He and She, in upper-case, Aesir, divine Siddhas of Asgard, Divyas. Adam and Eve are man and woman, that portion of positive and negative detached from HE-SHE and SHE-HE without ontological reality, as we sensed. Lilith is also Medea who delivered the Golden Fleece to Jason and is Repanse de Schoye, Keeper of the Gral. Lucifer is Baldur, Wotan, Quetzalcoatl, the Morning Star. A Star not demiurgic.
The Art of Fugue is performed in Time which is a 'dimension.' But on entering here the archetypic God-Notes ring a different bell, reversing their sounds as if in a mirror. Obligated to the temporal realization of their essences, they nevertheless attempt the return, turning their steps and compasses backwards towards the past with the help of the gyre of the Leftwards Swastika of Return. Thus in the Twelve Canons of the Art of Fugue, where Bach discreetly introduces his name (his signature and rubric) consisting of four strategic motifs (He, she; She, he; Re, fa; Mi, do: B-A-CH). Yes, the Art of Fugue is made in a mirror and is a cyclical idea, such as the Creed of the Mass in B Minor. It is Infinite Music with neither beginning nor end, conceived, furthermore, not to be performed with material instruments, but with the Mind and to be heard with the Mind. The entire work is a monumental effort of totalization, individuation and the sublime relation of the partition and pursuit of the recovery of lost completeness at the end of a life, a Round and an incarnation of Divinity. With the four free motifs that Bach introduces at the end everything must remain inconclusive here, because it passes through to the other side of the Mirror where things are upside-down and perhaps he goes away forever (and if it were so, then he must begin again in another Round, perhaps by someone else, perhaps by me…) These four motifs should be combined with the principle motif repeated in fugues and canons from the temporal outset. Yet Bach died at this moment leaving us with the inconclusive story of a search and divine war. And the Nostalgia of HE-SHE and SHE-HE with the Universe of Hyperborea, the Green Thunderbolt and the impossibility of recovering them ever again…
