A Magic Sword
that cuts fact from fiction!
Before we attempt to "grasp" the golden hilt of the sword to strike the first blow, let's pause for a moment and think about what we have learned so far. When you read on and something is strangely unfamiliar, you have reached this page too early and are spoiling your own adventure! Click away, or you'll be side-tracked and you'll surely get lost! Please be wise and your reward will be a return with full understanding.
Chrétien's etymological keys took us to the Counts of Barcelona and their founding father Guifré el Pilos. Like his father Sunifred of Urgel he did not venerate the "holy images", which makes him an Iconoclast and Adoptionist as promoted by Bishop Felix of Urgel, a "heresy" that influenced the Cathars and Albigenses. Guifré was born in the middle of the 9th century, which happens to coincide with the return of the phoenix, as we have demonstrated with astronomical data. This claim has the support of Hesiod's riddle, Wolfram's scenario and Johannes Kepler!
We also learned from the Greeks that this amazing bird flies from Arabia to Heliopolis where it burns to ashes and later revives. Wolfram showed us that the phoenix gets this power of rebirth from the grail. Or better said, the phoenix is a "flying allegory", an ancient omen, which announces allegedly when highly evolved individuals return in the flesh, are "reincarnated"! Is this the mysterious power of the grail we are trying to understand?
This is confusing, because Wolfram led us from the startled hare to its "ups and downs", and from one flying allegory to another, until "three drops of blood" of a wild goose melted in the snow and took us back up to the fusion of the planetary triangles, Christmas Star, and Phoenix. This could be the "fullness of time", when all planets start out again from Aries, that the sorceress Kundrie means when she proclaims Parzival's "good fortune" and call to the grail. The theme started when Chrétien used the parable of the seed to lead us to a grail of cosmic dimensions, a golden platter with precious stones, more valuable than any on Earth and in the seas, and that "shines so brightly that the candlelight in the grail castle fades like the stars when the sun or moon rise".
Consequently, we have painted ourselves into a corner or find ourselves on a "wild goose chase", because it is absurd that Guifré could belong to the Elisha-Jesus incarnations! We seem to have fallen into one of those dark dungeons of medieval superstition and are in need of some magic to get us out. It is here where our revered masters step forward: Wolfram provides the magic shield of Zeus, Pythagoras and David, and Chrétien hands us the Magic Sword to cut fact from fiction, truth from superstition:
The hilt is made of the finest gold from Arabia or Greece.
Its blade is of steel and has an inscription where it was made,
which is covered by a scabbard of fancy Venetian gold-brocade.
This means obviously that we can only "grasp" the sword if we understand the Arabian or Greek ornaments on its hilt. Does this mean that either gold can lead to our lofty goal? Yes, these are hidden allusions to the phoenix, something Wolfram had understood and verbalized, but there should be more to this. The seed opened Chrétien's poem, and the grail is it's highest purpose. Warm blood melts snow, planets fuse above, and our understanding comes from Greek and Arabian sources. From Hesiod, via Plato, Plutarch and Ptolemy to Flegetanis. All supported by Kepler, which seems to refer to the medieval concept of microcosm and macrocosm, the belief that everything that happens above is linked to what happens below. Understanding the sword's magic is just as complicated:
1. According to Chrétien, Perceval uses his own sword to restore the honor of the "girl in the tent". In a later addition to his poem, the battle is longer and the magic sword is used as soon as both men are off their horses. When it breaks, Perceval throws it away and draws his own sword. As the fight continues, the pieces of the magic sword are secretly retrieved by a knave and taken back to the grail castle.
2. When Wolfram's Parzival fights the knight he uses his own sword, but new ornaments come into play: A hundred dragons, that seem alive, are on the shield of Orilus, on his armor and on his helmet. This reminds of "sterneblic" (stargaze), a dream of Parzival's mother before his birth about a dragon in the sky. To our surprise, the hermit Trevrizent tells Parzival that he himself was that dragon! Are we to believe that Parzival won this fight against himself?
Wolfram's second opinion offers many other interesting changes, some of which are complementary. In his version, the fight explodes like a George Lucas light show in "Star Wars". Each time the swords connect, the sparks flash and fly like lightening, often streaking across the scene. Parzival cuts into the precious rubies on the armor and wounds dragons as if they were alive, spreading red blood all over. But why did Wolfram add those "evil" dragons to Chrétien's scenario? We may have to study Geoffrey of Monmouth, because of Uther Pendragon! But why would Geoffrey write this kind of heretic stuff, a Bishop elect and ordained priest? After all, the Church made the dragon a satanic symbol, derived from the snake. Could it be a confrontation of good and evil, of dualism, Manichaeism and all that? Wolfram's opens his poem with the flying allegory of a magpie, a black and white bird. Didn't the philosophers of Athens dismiss St Paul as a magpie? Was it because of some Zoroastrian ideas he mentioned? About the Prince of Darkness and Children of Light?
This makes us wonder if Geoffrey had some king of religious agenda? According to Catalan legends, there is an enchanted cave in the mountains of San Lorenzo, near Barcelona, where a fiery dragon used to live and consume people and large animals, until it "died at the hands of count Guifré of Barcelona." (2). Interesting stuff, and in all probability part of the cover-up!
|Or is the solution as simple as suggested? Is Wolfram trying to make sure we get his symbolism, that everything that happens above is mirrored below? Or is it just another dark mirror image as he suggested in his prologue? The Dominican Francisco Diago, a Spanish historian and inquisitor, not only supported the lies about Guifré's life four hundred years ago, but also provided his coat of arms on the cover of his pretentious Historia de los victorissimos antiguos Condes de Barcelona. It shows four red stripes on a shield that symbolize streaks of his blood and a baby dragon on his helmet. The close-up (right) is from Geronimo Curita's Anales de la Corona de Aragon. Did this coat of arms inspire Geoffrey of Monmouth to concoct the tales of Uther Pendragon? Yes, that's another bloody mess we'll have to check out! Good thing, Dan Brown didn't discover these blood-lines to add to the confusion!|
Back to the magic sword: According to Chrétien, a knave at the grail castle hands Perceval the Magic Sword and says: "It is a gift from your niece, the fair virgin, who is so exceptionally beautiful". When Perceval pulls it from its scabbard, he sees where it was made and that it is of the finest steel. He learns it would never break, except in one unknown danger, and that only three of these swords exist! Later, after his failure at the grail castle, he finds out that the sword has never been used in an emergency and never spilled any blood. Perceval is warned not to use it in battle, because it would break into pieces after the first blow.
Wolfram does not mention the gold of the hilt, he also features the blade as a symbol of truth, adds a shiny ruby on the hilt, but remains silent about the scabbard. Familiar with the addition to Chrétien's version, where the sword breaks, he offers a solution: The pieces can be fused in the waters of an underground spring, where the source lies in darkness, by Trebuchet, a wise man and black-smith, and the blade will become whole again, like magic, along with its inscription. Wolfram does not mention that three of these swords exist, perhaps because the number is contained in "Trebuchet". It is an odd word that is easily misunderstood today, and deserves a closer look: It is known as a formidable weapon to sling objects, which indicates that Wolfram fused the word with other meanings. With some imagination, which is more important than knowledge (Einstein), we identify the "Tre" (trois, tres) as number 3, and "buchet" (German: bücher) as books, to conclude that we should, like Master Kyot, search for three books, Latin chronicles, perhaps? And, of course, you are challenged by these flimsy arguments to come up with better ideas! Good luck!
Your gatekeeper has spent several decades on this adventure. Aside from studying ancient parchments at the Bibliothèque nationale (Paris), he has lived in Guifré's region for many years, which was once the Carolingian "Spanish March". He visited Ripoll, where Guifré is buried, and Cuixà, where his legendary vita was concocted. And it is precisely there where we found the basis for Chrétien's "meillor conte". Only when we fused the ancient chronicle, known as gesta comitum Barcinonensium, with historical facts were we able separate fact from fiction to find the truth and identify Chrétien's "meillor conte".
There is additional support for Chrétien's "Arabesques". When scholars realized that the Gesta falsified the vita of Guifré, they had to turn to Arabian scholars. According to d'Abadal, Blasi, Solsona , et al., their only reliable source is Abenhayan (Ibd Hayyan) who used the Arabian name Ancadir for Guifré, and Almondir (the Extraordinary) for his father. They were patrons of Cuixà and had Muslim alliances since "Bara", the unsung hero of Barcelona! Hence, we "used" the magic sword for the first time and "grasped" its hilt of the Arabian gold: Without having to strike a blow, we have corrected the first Latin chronicle along with Master Chrétien, to identify the "meillor conte". Because Chrétien says that the hilt is of Arabian or Greek gold, both may need to be pulled from the scabbard to expose the truth. (St. Michel de Cuixà, by the way, is also a good match for Chrétien's grail castle, which is down in a valley, and near a river where Perceval meets the Rich Fisherman).
Please remember, that you can only achieve this quest by making up your own mind! Your gatekeeper is promoting the concept that this medieval symbolism applies to both spheres, the macrocosm and the microcosm. For the macrocosm, the Greeks (Hesiod, Plato) provided the ornaments by which the sword can be "grasped", and the science of the Arabs (Flegetanis, Tables of Toledo, and Sphaere, as translated by Michael Scot) gave us the "Arabesques" Let's call it an odd coincidence, at least for now, because the search for the microcosmic "Greek connection" leads us to another Latin chronicle, and to another Benedictine monastery in the realm of the Counts of Barcelona! Based on our experience with the Gesta, and Chrétien's good advice, also its chronicle may be nothing but a cover-up of the truth.
This will require some creative "fissions" of fact and fiction as well so that we can make a "fusion" to extract the historical truth. We'll see that the site fits Wolfram's descriptions and it is obvious that the German poet spent some time there. The fortress seems to be the model for the other "Wildenberg", the grail castle or Munsalwaesche, today San Salvador, after which the famous local painter Dali is named. Chrétien's other clue, the fancy scabbard, appears to combine two Venetian cover-ups: The famous "Peace of Venice" (1177), and an earlier attempt by a Doge of Venice who retired in the region to recover the lost relics. Once we solve the secrets of the second chronicle, we'll take on the magical mystery of Montserrat. Again, we'll be checking incredible legends and elaborate "cover ups" to extract the truth. The document is not fully developed in Chrétien's symbolism, but it is needed to understand the inscription on the blade that's covered up by the scabbard.
If you have read this far with interest, you understood the fancy gold of the hilt, Arabian and Greek, and are ready for the first fusion where the source lies in darkness, where the dark waters pollute everything. Just make the first fusion and help us with some experimental alchemy of the allegorical ideas! Once we have achieved it, the ups and downs continue because we'll have to behave more and more like Wolfram's "startled hare" of his prologue. This time, we are hopping all the way up to the third monastery to check out the third Latin chronicle. And again, some amazing legends need to be taken apart, measured by historical fact, and exposed as lies. Something that's fairly easy for us today, having done it twice already, and thanks to the "Information Age" we live in. We don't even risk our lives anymore when we deal with such mysteries, as long as we remain true to the spirit of the grail, which requires love, compassion and tolerance. Yes, that's necessary because we'll have to review one of the most tragic events of our quest! It's all about the rape that was implied with Perceval and Guifré, but also about a ghastly murder! The only good part is that the poor lady was miraculously revived, which is claimed in great detail by a pious monk, and supported by Antonio de Yepes, a famous historian of the Benedictine order.
This is a good place to mention another controversy, because few scholars would have read this far, having been stopped by too many challenges of the academic consensus -- and rules. You will have noticed that our researches and findings are largely based on a chronicle from the Catalan historian Jeroni Pujades. In a Baroque intrigue of epic proportions, his historical work and all documents were taken during a Catalan revolt in the 1640's to France and forgotten there for 200 years. They were first in the hands of Pierre de Marca, a protégé of Richelieu and Mazarin, and after his death in 1668 inherited by his secretary Etienne Baluze. The latter published the Marca Hispanica of de Marca posthumously, but he did not only eliminate most references to Pujades as his major informant, he even slandered him as "ignorant". He published the Gesta comitum Barcinonensium in the same work, but only the definite edition and not its original version. Furthermore, he deceived fellow scholars with a typo, giving them the choice of dating the document in the late 12th or 13th century. Among other rare documents from Pujades, he had the Manuel de Dhuoda and the testaments from Urgell that allowed du Cange to support the etymology of Chretien's graal. This is revealed in Catholic Encyclopedias that praise Baluze for having been a member of the savants of Paris that met Sundays at vespers at the Benedictine monastery of St. Germain-des-Pres, including du Cange, and by the fact that all these documents are registered today at the Bibliothèque nationale in Paris under "Baluze". This cunning scholar got caught in another web of falsified documents and spent the last part of his life in exile.
When the historical work of Pujades was finally recovered and published in the 1830's, his reputation had suffered greatly. Because the major portion of his work was written by him in Spanish, his countrymen could not forgive him for not using their own language. (See Pujades Affair for the details!) This is an important aspect of our findings, because we have learned from Pujades how the grail legend got started, and that the quest for the lost relics of Sant Pere de Rodes took centuries. All this time, these seekers did not stop thinking and finally realized that spritual ideals are more important that material things, and abandoned the search for the treasure. They sought the wisdom of all religions and philosophies, and this part of their "quest" is also reflected in the poems of Chretien and Wolfram.
If we are correct with this interpretation, the consequences are quite serious: It would mean that centuries of grail research by some of the finest scholars were wasted because they literally put the cart before the horse. From the "inspired" interpretations of A.E. Waite, Walter Johannes Stein and Emma Jung, to the "academic" evaluations by Loomis, Frappier, Lacy, and Barber, their search for the roots of grail romance in the poems, from Celtic to Zoroastrian, was in vain because they didn't realize that these were added during the quest -- and have little to do with the origins of the grail mystery!
Until this controversy is resolved, please keep checking everything out, especially the Greek connection and Robert de Boron, and very soon, after the first fusion, you should be ready for some really heavy stuff. We'll be fusing all three pieces of the Magic Sword, which is only possible because it is not a sword in the usual sense -- but even more -- the ultimate weapon of truth! Once the three pieces (Latin chronicles) of the blade (truth) are fused together, we expose the chronicles as forgeries that some monks were under orders to put down in writing 800 years ago. At last, we will "cut" fiction from fact and resolve the grail mystery, the greatest mystery of all.
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1. Geronimo Pujades, Cronica Universal del Principado de Cataluna, Vol. 4, tome V, Barcelona, 1829, Jose Torner, p. 45. (see also Vol. VI, p. 276, where Pujades identifies the monastery as "S. Miguel de Coran")
2. Ibid., Vol. VII, p.89.
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