http://rougeknights.blogspot.com/2006/10/surrealists-and-priory-de-sion-images.html

Joaquin Miller. Rougemont. Cocteaus 'Beauty and the Beast.

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"Duchamp gave a "loose" translation of L.H.O.

O.Q. as "there is fire down below" in a late interview (Schwarz 203).

Steefel points out that, when spoken in English, L.H.O.

O.Q. sounds like "LOOK" "

I noticed that my post on “The Love of Beauty and Money” contains an accidental, or, coincidental connection to Duchamp's Mona Lisa theme, were the word LOOK ( magazine) is below the fire (fire below) at the Bohemian Grove, and Beauty (Rena).

Most artists see these connections, and find them profound. Most normal people are threatened by these cosmic accidents that suggest there is a subliminal and invisble higher power at work - for just a few. They choose to believe most artists are mentally ill in some fashion, yet, they enjoy the fruits of their labour, their alleged illusion-making.

Some movie directors play with these connections, and poets always do. For this reason the Catholic church did its best to wipe out Greek Poetry and the Romantic Languages, because of its multilayered meanings that delved into the psyche and the underworld, the afterlife, where poetic wariors were want to go after meeting their death, then return to tell other of their surrealistic adventure. Normal people have no problem demostrating their Faith in the afterlife at a church, as long as the minister does not discribe it.

There is also a safety in numbers factor here, as well as at the movie house and the museum.

It is an affirmation to the concious connections I have been making, that Thomas Pynchon was influenced by the ‘White Goddess’ by the poet Robert Graves, as I have been studying this book for six years. The connections between Marcel Duchamp and Denis de Rougemont, are extremely profound for, for here alas come together most of the eliments of the Priory de Sion, that some have suggested was invented by Surrealists as some kind of hoax .

I have exchanged heated e-mails with Steve Mizrach and Paul Smith who discuss this alleged hoax from the viewpoint of scholars, who like ministers enjoy their time behind the pulpit, and do not really look forward to the return of Jesus, thus, anyone who associates too closely with THEIR subject matter, is going to be titled deluded and insane - even if they are a Surrealist Artist, and possible kin to Rougemont. No one likes to be upstaged.

My famous sister was thrilled when she upstaged me, she gleefully beginning her autobiogrpahy of this wonderous event.

However, her biographer did not include any material from this autobiography, he saying they were "the ideations of a woman who was not well when she wrote them".

What goes around, comes around, aye?

We live in a world of dull ministers who are destroying the true prophets so they can praise them, own righteous bragging rights - because this is SAFE!

No one wants to be compared to the dude who walked into a cathedral on LSD, and declared he was Jesus Christ. Most of western humanity sit in the pews fretting over our Collective Guilt Trip, nurturing it, sitting on it and keeping it warm and fresh like a hen her egg. Why not blame the Priory de Sion hoax on the Surrealists and the Bohemians, the hallucinators, for someone must be responcible for reality being askew, after God Son gave us Perfect Normality.

"Yet another theory," offers , "proposes that the Priory of Sion was an invention of the Surrealists. In his book Cosmic Trigger III, Robert Anton Wilson gives strong play to his wife Arlen’s theory that the Priory is really a pataphysical conspiracy initiated by 'grand master' Jean Cocteau. (Pataphysique, an art movement created by Alfred Jarry at the beginning of the 20th century, had strong links to Surrealism, Dadaism, and Concrete Poetry; in essence, it postulated that the main mission for art was to bullshit people.

) In essence, a massive hoax pulled off as sort of a giant work of performance art."






"Steven Mizrach claims that the Priory of Sion is ultimately linked to the 19th century Parisian artistic circles the Symbolists and the Surrealists [12] – without providing the slightest bit of historical evidence to support that theory: so where does it originate from? We know that Philippe de Chérisey was interested in surrealism, and his surrealist ideas found expression in the Priory Documents that were composed by him – but this cannot be used as ‘evidence’ that the Priory of Sion has its origins in the Surrealist Art Movements of 19th century France!

And Philippe de Chérisey was not even connected with Plantard's activities before the early 1960s. So this particular theory by Steven Mizrach is very easy to debunk."



"Among Continental conspiracy buffs, the Grand Loge Alpina has a reputation for unspecified mischief rather akin to that of the Bohemian Club in America.

That is, although not even the most avid critic has ever clearly demonstrated that the Grand Loge Alpina engages in criminal or even unethical behavior, it is known to include some of the richest men in Switzerland and the genera] assumption is that, like the Bohemian Club, it is some sort of "invisible government," or at least a place where the Power Elite meet to discuss their common interests. In a general sort of way, the GLA (an abbreviation for the Grand Loge Alpina which I shall use occasionally to avoid monotony) is more or less the group that English Prime Minister Harold Wilson once characterized as "the Gnomes of Zurich" - the cabal of bankers and financiers who, Wilson claimed, have more power than any rival coalition in Europe."

The Angelic Society: Three recent French books, Jules Verne: Initiate and Initiator by Michael Lamy, Arsene Lupin: Unknown Master by Patrick Ferte, and Fulcanelli and the Black Cat by Richard Khaitzine, seem to suggest that the PoS came into being as a sort of artistic society, uniting the Bohemian avant-garde artists of Montmartre (the Symbolists, the Surrealists, and the Romantics).

Apparently, these musicians, writer-poets, dramatists, and painters were interested in common themes, and in the Rabelaisian technique of using Grasset D'Orcet's "language of the birds"...

creating puns, rebuses, and riddles for the purposes of satire, social criticism, and concealing knowledge. In the works of disparate creative people such as Honore de Balzac, Maurice Leblanc, Jules Verne, Raymond Roussel, Erik Satie, Pablo Picasso, Max Jacob, Valentine Gross Hugo, Marc Chagall, Gerard de Nerval, Maurice Barres, Josephin Peladan, Claude Debussy and "Les Six," Comte Robert de Montesquiou, Victor Hugo, Jean Cocteau, Charles Nodier, Stephane Mallarme, Maurice Maeterlinck, Jean-Julian Champagne (Fulcanelli), and perhaps even Pataphysician Alfred Jarry, can be found the techniques and interests we today associate with the "Priory of Sion". Lamy says that many of these people belonged to a group he calls The Brouillards (The Clouds) or the Angelic Society, of which the PoS is a modern manifestation.

They are descended from the Gouliards, or medieval clerks and print-makers, whose mystical and heretical Cathar watermarks so fascinated Harold Bayley. Robert Anton Wilson also feels that a number of these people may have also belonged to the Hermetic Brotherhood of Luxor.

Sion: It's not clear which Sion the Priory of Sion takes its name from: Mt.

Sion in Jerusalem, or Mt. Sion in Switzerland. In 1956, the PoS registered itself at Annemasse, not too far from Sion, Switzerland.

Many of the first "prieure documents" seem to have been released through the Swiss Grand Loge Alpina (GLA). The full name of the group, according to its statutes, is the Priory of Our Lady of Zion, or "Sionis Prioratus", with the subtitle CIRCUIT, which is said to stand for Chivalry of Catholic Rules and Institutions of the Independent and Traditionalist Union. In the 19th century, Sion-Vaudemont was the site of an unusual series of events: a restoration effort of the Catholic shrines on the mountain by the Brothers Baillard was "derailed" by the Church, only to be resumed by a Norman Johannite mystic named Michel "Elias the Prophet" Vintras whose Church of Carmel preached the Joachmite dispensation and said the Magdalene would be the Mediatrix of the New Age.

In the early 1800's, Charles Nodier and Victor Hugo organize a literary salon at the Arsenal Library where Nodier worked, known as the Cenacle. Nodier and Hugo were good friends, and are listed by the "prieure documents" as successive PoS grandmasters. I believe the Cenacle represents the earliest traceable root of the 'real' or 'modern' PoS, which I think began as a 19th century society of Romantics, artists, surrealists, and Symbolists who may or may not have had any real (more likely, it was indirect) connection to the earlier OdS, and who adopted "Et in Arcadia Ego" as their properly elegiac and romantic motto.

It is possible that the librarian Nodier may have discovered a number of key texts in the Arsenal library, such as Flamel's translated texts. As for Hugo, he dabbled heavily in Spiritualism and arcana, and he is now an "ascended master" in the Vietnamese religion Cao Dai.

Of course, Holy Blood, Holy Grail includes genealogies which allege that the von Hapsburgs are descended from Jesus and Mary Magdalene.

However, the connection is through Dagobert and the Merovingians, so if you would rather believe de Sede's thesis, the von Hapsburgs are actually descended from ancient Hebrews and extraterrestrials from Sirius. Whichever theory you prefer, or even if you doubt both of them, it is interesting that the von Hapsburgs have held the honorary title of Kings of Jerusalem for nearly 800 years.The current scion of the clan, Dr.

Otto von Hapsburg, is President of the League for the United States of Europe, a group which has played a large role in creating the European parliament and is steadily working toward greater unity between the European nations. He is also a member of - hold your breath – the Bilderbergers, which gives him two odd links with Bernhard of the Netherlands. Prince Bernhard was the founder and prime mover behind the Bilderberger society, and the same Prince Bernhard is, according to the Baigent-Lincoln-Leigh genealogies, descended Merovingian kings and hence from either Jesus or those ancient astronauts from Sirius.

The photograph opposite shows Winston Churchill obviously moved, with almost the tears with the eyes. It is surrounded by three men who look at it and applaud it. We are in May 1948, in The Hague.

The Congress of Europe gathers some 800 Europeans come from twenty country. These three men, around Churchill, are the French Raoul Dautry, administrator general of the Commissariat à l' Énergie Atomique, Denis de Rougemont, the Swiss convinced federalist, and a Pole, Joseph H. Retinger.

The Congress of The Hague was, according to D. of Rougemont, “the personal work of Retinger, and perhaps the crowning of its career”. This gathering opened a series of decisive stages in the history of the unit of the continent, for which Retinger was also committed: creation of the Council of Europe, of the European Foundation of the culture and the College from Europe in Bruges, implemented of the European Coal and Steel Community just as of the Treaty of Rome, which will be followed by those of Maastricht, Amsterdam and Nice.

To federate Eastern Europe
Less known are the efforts made by Retinger in order to create a federation of the countries of Eastern Europe during the Second World war. Retinger, then to advise close friend of the General Sikorski (chief of the Polish government in exile in London), initiated negotiations with Czech politicians also exiled in the British capital. It planned to initially widen this future union towards Hungary, then towards the Baltic States, Austria and Romania.

Talks were even committed with personalities resulting from Yugoslavia, of Greece, the future Benelux countries (whose D. of Rougemont says that the idea was born during one from these meetings) and of Norway. One will find thereafter politicians and intellectuals of these countries among the participants in the Congress of The Hague.

Jeffrey Mehlman calls Emigre New York a "speculative memoir:" it is an attempt to confront a past that both is and is not his own. The past is a revealing moment in the history of the French intellectual and literary culture whose charms and lures have inspired much of Mehlman's career (by now long and distinguished) as a critic. During World War II, a stellar cast of French figures (accompanied by many more lesser-known folk) lived, worked, plotted, and argued in Manhattan, leaving traces that could still be discerned in the New York where Mehlman grew up after the War.

The notable French figures on whose lives and writing he concentrates include Denis de Rougemont, Simone Weil, George Steiner (born in Vienna, but living in Paris with his family until the outbreak of the War, and a student at the Lycee Francais in New York), Louis Rougier, Antoine de Saint-Exupery, Saint-John Perse (Alexis Leger), and Claude Levi-Strauss. Others, such as Andre Breton, make smaller appearances.

Mehlman deals with each of his major subjects in separate but concise and well-focused chapters, all based on things they wrote and did while living in New York, but he places these activities in the larger context of each person's career, as well as inside the mesh of issues and debates that linked and divided the French exiles from each other.

Rougemont's critique of the moral complacency of the democracies shared some ground with what was in many ways an opposite moral stance, Simone Weil's tortuous ethical absolutism, which condemned every connection between spirit and power as a fall into total corruption.

Weil was even less sympathetic to modern democracy than de Rougemont, but her reasons were ones that made her celebrate rather than condemn spiritualist stances like Catharism. The latter stood up for the unconditional, Manichean distinction between good and evil, an opposition that the Jews were the first to confuse when they identified God with the worldly well-being of their own state and people.

It was this poisonous alloy of goodness and worldly power that the Jews had passed onto the Catholic Church, from which it had found its way into modern political ideologies.