This page is for the people that searches around the themes of personal development and present you a very rare and practical western tradition embedded and hidden in the spiritual chivalry tradition of the Grail.

Everything happened because I had already been initiated in chivalry with the ancient accolade and I was studying the hidden meaning of the Grail romans.

In exploring the enigmatic world of chivalric tradition, as portrayed by Chrétien de Troyes and his successors, I stumbled upon a fascinating and obscure manuscript. This document is the second continuation by Wauchier de Denain, a piece previously scrutinized with remarkable insight by Professor Sansonetti in his work "Grail and Alchemy." 

By my point of it represents one of the best piece of literature outlining the western hidden tradition. And I feel that this text, with other ones, could have been central to the secret tradition of the templars. it gives very precise keys.

In this continuation of Wauchier de Denain's Grail, which resonates deeply with our tradition, one finds a trove of elements crucial for our personal evolution. It outlines a journey of self-discovery, where energy centers (in India chakra), symbolically represented as "castles" in the narrative, are progressively awakened. There is also the progressive access to certain "chambers". This path can be likened to an initiation, leading to what we might refer to as a Western interpretation and path to what indian tradition calls Kundalini awakening. 

However, its scope extends far beyond this, as it outlines how to "fixate" the kundalini energy and also insights into a comprehensive transformation and the attainment of what is known as "the objective state."

Under this point of view it can give to the passionate of this work even more and give a completion more suitable to the western mind to the work a person can be already be doing with the indian tradition.

The origins of this mysterious tradition have piqued the curiosity of many scholars. Among the multitude of analyses, the book "The Krater and the Grail - Hermetic Sources of the Parzifal" (available at https://archive.org/details/kratergrailherme0000kaha/page/258/mode/2up) stands out for its thorough and well-documented approach. This work delves into the entirety of Grail literature, not just the Parzifal, providing a comprehensive understanding of the subject.
A fascinating aspect of this tradition is the shared sources between Chrétien de Troyes and Wolfram von Eschenbach, two pivotal figures in Grail literature. Chrétien de Troyes has mentioned working from a book given to him, hinting at an intriguing origin story for his narratives. Similarly, Wolfram von Eschenbach in his Parzifal refers to a source authored by Kyot, a Provençal, claiming its roots in Arab translations, with traces of ancient Greek wisdom. This suggests a fascinating journey of knowledge, from a potentially lost Greek tradition, through Arab intermediaries, to the medieval European literary landscape.

Further enriching this tapestry of connections, Kyot's Provençal origins and probable links to the Cathar movement add another dimension. This association paves the way for exploring the concurrent tradition that connects the Grail narratives with the Cathars, offering a rich, multi-layered understanding of these medieval mystical and literary traditions.

Indeed, the Grail literature is a rich tapestry woven with a multitude of cultural influences. Beyond the Greek and Arab connections, there's a palpable presence of Scandinavian (Norman) and Celtic thought patterns embedded within these narratives. This amalgamation suggests that the original manuscript, regardless of its origin, was interpreted and transformed through a lens deeply steeped in these Northern European traditions.

As one delves into the texts, it's as if the runes of the Scandinavians and the lore of the Celts subtly emerge between the lines, like filigree in a finely crafted artifact. These elements are not overtly stated but can be discerned by those familiar with the symbols, myths, and ways of thinking characteristic of these ancient cultures. This blending creates a unique literary and mythological environment where the Grail stories flourish, enriched by a diverse and complex heritage that spans across various geographies and epochs. The integration of these distinct cultural elements adds depth and richness to the Grail literature, making it a fascinating study in the confluence of different traditions and their impact on medieval storytelling.

Although Wauchier de Denain was not explicitly linked to Guernsey, his work is embedded within the Norman tradition, which aligns with the broader context of my explorations and interests.

With my extensive knowledge of various esoteric traditions, some of which I'm bound not to disclose publicly, I can authoritatively speak about the objectives of the second continuation of the Grail literature. This continuation aligns with a structured system, akin to that of some secret societies, replete with specific rituals and degrees. While the intricacies of these practices are not something I can reveal here, I offer a unique opportunity for those intrigued by this path. In synthesis you will : 1 enter in yourself - 2 purify yourself on the different levels in order to get in touch with your quintessence as energy (symbolized by the white stag) - 3 - awaken kundalinic energy (the meeting with the white dame) 4 -  "Fixate" this energy  - 5 - achieve non duality.

Also the initiatic path gives you communication with your "double" and permits you to get information with him. The concept of "double" is typical  in the chivalric tradition and very associated to the templar path. In the second continuations double are the differnt "fylgyìas" and the knights that Perceval encounters

This journey of transformation transcends mere moral evolution, extending into the realm of physiological change, a phenomenon that can even be explored through the lens of neuroscience. 

At the story's outset, we encounter Perceval the Welsh who enters a desolate forest after wandering through many lands, facing countless adventures and fierce battles. "And know well," the narrator intones, "that never in his life had he seen such a desolate woodland." For two days he wanders, "not drinking nor eating...; head bowed in melancholy thought, famished and reflective" (A, 9459-73). On the third day, he arrives at a crossroad. 

In this narrative, Perceval the Welsh is more than a medieval archer; he epitomizes the archetype of the seeker, a spiritual wanderer who treks through a dark forest embodying a path of profound inner contemplation. During his quest, Perceval turns to fasting, a timeless method of purification and abstinence, as a means to diminish the dominance of the physical world over our being, thus affording us new perspectives within the subtle realm of existence.

How might we achieve a similar outcome in our personal practice?

Clearly, we can embrace fasting, but should we require rapid personal practice, we have at our disposal another method: breathing.

Perceval’s fasting period, which spans two days and mirrors a deep internal meditation, is akin to the practice of "air hunger," an indispensable yet standalone insufficient principle, as elucidated, for instance, in the teachings of Lefebure and that we can easily develop with breathing and that is at the basis of many Yoga exercises. Recognized as a slight but consistent air deficit during breathing, "air hunger" stimulates alertdness, fosters hyper-relaxation and predisposes both body and mind to the encounter of altered states of consciousness.  Think for a moment when you have a difficult problem to solve. For a moment you refrain from breathing. Why? because a very slight deprivation of oxygen incresases mental alertdness. Obviously we should not exceed 

The precarious edge between rhythmic, fulfilling breathing and the excessive deprivation of air that risks spasms disrupting relaxation echo the notion of "the Narrow Door," representing a fragile equilibrium akin to that bridging the physical and spiritual realms. To linger on one side offers only tangible effects; to pass through might invite harm. However, it is through this constrained passageway that we unlock a portal to the spiritual domain.

According to Henry Corbin's scholarship, both fasting and "air hunger" stir the Imagination, or the alchemists' Imaginatio vera, enabling us to see beyond mere physical sensation and to draw nearer to the true imaginal form with which we are endowed—an organ of knowledge that transforms sensory data into the purity of the spiritual world, rendering these experiences into symbols intrinsic to the soul.

It is true that this is really a key. But the second continuation is a coded text. Perceval's odyssey, thus, becomes an invitation to surpass the material through practices that harmonize body and spirit.  Authentic advancement springs from an interior journey that manifests in the visible world, mirroring our pursuit of spiritual transparency.

At the Crossroad Perceval finds a hunter astride a horse, dark with white and bright bay stripes; around his neck, he boasts a precious ivory horn, large and white, leading "twenty pairs of hounds before him" (9477-85). As soon as our hero approaches him, this figure sternly rebukes Perceval for his silence at the Grail castle. Had Perceval asked the critical questions—Why does the lance bleed? What is the Grail?—a kingdom would have been restored. The hunter then advises, sounding much like an order, that he retrace his steps and follow "the tracks of a horse shod backwards" (9516), until he sees a portal with a horn hung upon it. There, a formidable trial awaits.

This narrative implies a mental state that can be explored through an exercise focusing on mental and physical balance. It can be done in various ways.

One method is the original rosecross method. While walking let your oscillation amplify a little and create like a cros with the movement of your head.

So you will be at the center of the cross. Also there is the idea that the slight oscillation will awaken all sides of your brain.

The second method is purely imaginative but also effective. Visualize a small, luminous point oscillating right-left, then front-back within your skull, at a comfortable rhythm. This point, representing your elementary thought, transforms as it moves, enhancing your focus and inner balance.

Focus on the movement and notice the point becomes clearer at the extremes and fades towards the center, marking a rest phase. This oscillation rhythm is crucial and should be respected. The direction and amplitude of the movement are secondary and should follow your instinct.

This exercise is not a rigid command but an exploration. When the oscillation blocks, take a rest, often filled with light and a sense of supra-normal strength. You'll instinctively know when to resume oscillation in a new direction. The line connecting the oscillation's extremes is not strictly determined; respect the internal forces guiding the point.

Also the symbol of the horse shod backwards suggests a specific state of mind.  It aligns with Jung's psychological functions and the biomechanics of walking, emphasizes a stance that is present and grounded, weight on the back of the feet, and leaning slightly backward. This stance metaphorically represents an inward journey, contrasting the forward-leaning posture associated with pursuing external goals. The book "2 marches pour la marche humaine" by Raymond Sohier and Michel Haye discusses the biomechanics of walking, relating it to psychological and physiological aspects. It differentiates between two types of human gait: one originating from above (with more vertical oscillations) and one from below (with more horizontal movements). Practice as discussed and you will  prepare yourself for the quest. 

The rune Ehwaz (ᛖ) and Raido (ᚱ) and the nordic way of thinking

Sansonetti's analysis is intriguing, as he put the attention on the fact that these poems also have roots in the Nordic way of thinking, where runes are a significant symbol and can be used as a way of analyzing reality. Perceval will do transformation with himself. A travel. It is to note that in runic characters and ancient norse language, "erilas" corresponds to the master of runes. The first letter, Ehwaz (ᛖ), represents the horse, and the second letter, Raido (ᚱ), means the ride or journey. Thus, if Ehwaz (ᛖ) also represents the self, Raido (ᚱ) could symbolize the initiatory process directly related to the self. This ride implies controlling the horse, a metaphor for self-control, essential for anyone seeking total mastery. 

Following the inverted path of the footprints, Perceval finds himself in front of a majestic manor, positioned alone on the moors, and such by its structure that it does not fear any attack: its walls stand tall, smooth and pure white, while it overlooks the portal is a single massive tower, the only one to guard the building at the top (9531-41).

In front of the precious ebony door, closed and without signs of life, the knight stops, enraptured by his unique beauty (9550-54). Set in the middle, a gold ring anchored an ivory horn so brilliantly white it defied lilies and snow, lavishly edged in fiery gold. Here, in front of this silent fortress, Perceval promises himself not to leave before hearing the sound from that horn (9569-70). And so, taking it in his hand, he extracts a sound so strong and clear that it fills the surrounding ecosystem. At this call, mysterious forces start moving within the castle and a voice shouts: "Have you heard? Such a powerful sound from this horn has never been heard! He who blew it must be a man of considerable valor. Bring me the my armor." And Perceval, hearing without seeing the author of those words, is surprised. Through a small crack he perceives the passage of a squire with a shining red shield with an imposing ermine lion on it (9575-98), an object with such enchanting charm that the desire to possess it ignites in him (9606-08) . The knight then blows the horn even more vigorously and for the second time the same voice exclaims: "By the mercy of God! Such a marvel had never reached my ears. He who blew this horn must be the bravest knight under the sky; today I will prove to him my worth" (9624-28).

And for the third time (significant number), the sound of the horn pierces the air. At those tones a knight in arms appears, majestic on his mount draped in red samite, whose nobility is made even more evident by the crown of gems that adorns his helmet, distinctive of his royalty, sovereign of Ireland and the men of the north (9640-46). The "knight of the horn" (9677) without hesitation rushes against Perceval. When their spears shatter, both fall to continue the fight with the use of swords. After a strenuous resistance to his opponent's fury, the Welshman seems to succumb, but a final wave of courage and skill gives him the upper hand, forcing the nobleman to plead for clemency. The defeated duelist then welcomes the winner, guaranteeing him hospitality until he fully recovers from his wounds. Thus comes the moment in which Perceval, having passed the test, is preparing to regain his strength.

In this part of the second continuation of the "Perceval" written by Wauchier de Denain, we focus our attention on an exercise inspired by a specific scene of the text: the castle with the black door. According to the story, you find yourself in front of a large tower with a black door, decorated with a small gold ring. Looking through this ring one can see inside the castle, where a knight, bearing the same heraldic crest as Perceval, represents a copy of himself - a trapped version that is freed through exercise.

The mirror

The mirror here serves as a key tool, reflecting this narrative dynamic. The exercise consists of fixing a point on your forehead reflected in the mirror, remaining concentrated. The text describes the breaking of the rims of the two combatants' helmets, an image that symbolizes the opening of vision. In fact, by observing your reflection continuously, you begin to experience expanded peripheral vision. It should be noted that in Freemasonry, in the so-called reflection cabinet that precedes the other tests, there is a mirror, thus confirming the above concept even in more recent traditions.

The three exhalations

This exercise should be accompanied and even preceded by an activation of the parasympathetic system, suggested by the strong exhalation performed when blowing a horn, as Perceval does in front of the door. This breath creates a particular state, so it is recommended to inhale and exhale deeply. The use of breathing techniques is a common element both in alchemical practices and in the Scandinavian tradition, where the concept of "ond", which represents the breath, is mentioned.

The healing from wounds

The healing from wounds seems to refer to the creation of a specific mental and time space, and also to let go.

Neuroscience between the exalation

Deep exalation are thought to develop the response of the ventral vagus in polyvagal theory. So inside this exercise is a technique that will operate neurologically

It is important to emphasize that this is an exercise, not a ritual. We are not authorized to disclose more specific practices or rituals that may have the same origin. This exercise offers a taste of these ancient traditions, respecting the limits of public disclosure.

We continue the analysis of the text by discovering another technique hidden behind the symbols and metaphors. It is the concept of "fascination" that causes us to be "captured by things".

The text says:

The sun is at noon. Continuing his journey, Perceval comes across a wide and untameable river (lines 9859-60), impassable without a boat. This place reminds him of a previous encounter with the Fisher King, and Perceval is eager to find a way through it, to no avail. After a long search along the bank, he sees a well-built castle on a hill (lines 9883-84), but the opposite bank, where the castle stands majestically (lines 9887-88), remains inaccessible. Continuing the search for a passage, he comes to a property surrounded by hedges, where he finds over three thousand statues and columns but no trace of life (lines 9899-908). Exhausted, Perceval passes the castle portal and meets a girl under an olive tree ( lines 9911-16). The girl, upon seeing Perceval, exclaims that she has found the passage she sought (lines 9921-22). She leads him onto a barge, but Perceval's horse retreats as soon as he sets foot on the vessel. On the other shore, a group led by a ferryman warns Perceval of the danger of drowning (lines 9947-49). Perceval, following the advice of the newcomers, avoids the insidious trap of the girl, described as a perverse creature whose victims belonged at the court of King Brandigan (lines 9953-54). Finally, thanks to the help of the ferryman, Perceval reaches the other shore and continues his journey towards the Fisher King.

The sun at noon recalls the starting time of the Masonic works which is traditionally stated to be at noon. This is another of the parallels with the Masonic initiation whose second continuation most likely represents the origin in the chivalric tradition.

The ritual phrase would be:

For sure in the chivalric asdembly it is asked the hour. The attention of Wauchier de Denain on the hour of the day is significative of the attention to the moment of the day.

Prior: what is the hour? 

Knight: The hour of noon, when the sun is up and the weary seeker for the Grail begins its quest.

In this narrative passage, the figure of Perceval emerges as a knight in search, not only of knightly adventures, but also of a deeper understanding of his essence and the world around him. The river crossing represents a key passage, a symbolic crossroads through which one must navigate with caution to avoid being deceived and overwhelmed by deceptive forces. The girl who appears in the text, with her hypnotic and potentially lethal seduction, recalls the concept of catalepsy in hypnotic charm, that immobility suggested by the presence of anthropomorphic statues and the readiness of a trap for the hero.

Perceval's adventures become a surprisingly apt parallel to introspective exploration. In terms of hypnotic training and fascination, Perceval's path is reflected in the progress of the operator who works with the mirror, moving from the first states of catalepsy to vision and deeper perceptions in the fluidic level, the second stage of mirror work .
It means you begin observing yourself inside the mirror (castle with the ebony doors) and you will arrive to a state where your body and your mind will be mre relaxed and where the circle of the helms (the conscious mind) get broken.  

The mirror exercise is a process of emphasis and focus, where intensive contemplation can draw pictures in our mind, reflecting them in the mirror, and even allow us to connect with distant events or people in real time. Note that in this state the communication is subtle and non-verbal, almost as if you can feel the internal vibrations of the unspoken words.

Just as Perceval resisted seduction and ease to remain focused on his mission, the individual engaged in the exercise of fascination must remain present, steadfast and unperturbed in the face of hallucinations and the increasingly subtle and complex forms that may emerge. You need to maintain your awareness and presence of mind to progress.

Remaining rooted in PRESENCE is therefore the key to consciously moving forward through this path of self-discovery and not losing oneself in the depths of the unconscious or being overwhelmed by the potential labyrinth of dreams and hallucinations that may arise, just as Perceval had to remain vigilant and determined in the face of the girl's intrigues on the riverbank and the dangers that lay before him.

So we see that the text hides a technique and a physiological reality here too. Catalepsy is a particularly fascinating and relevant physiological phenomenon in the context of non-verbal fascination and hypnosis. On a biological level, catalepsy manifests itself as a state of immobility and muscular rigidity, during which a person (or an animal) can maintain uncomfortable or unnatural postures for rather long periods of time, without showing signs of fatigue or failure.

Physiologically, catalepsy is associated with an unequivocal action of the nervous system that regulates muscle tone. During a hypnotic state, for example, following suggestion by the hypnotist or, in other forms of mental practices and deep introspection - such as the exercise of contemplation in front of the mirror - the person can enter a cataleptic state . This does not follow the conscious desire to maintain a position, but is rather a reflex that escapes the usual control of voluntary movement.

particular psychophysical diction is a testimony to the powerful influence that mental components can exert on the physical body. Indeed, mental states can induce changes in the functioning of the autonomic nervous system, including modulation of the sympathetic and parasympathetic nervous systems which, in turn, influence muscle tone and reactivity.

In the path of personal development and in the hypnotherapeutic approach, catalepsy takes on an even deeper meaning, metaphorically representing a threshold or state of transition between ordinary consciousness and a more expanded awareness, where one can come into contact with experiences and potential. higher, just as the knights of medieval narratives came into contact with challenges and initiatory tests that profoundly transformed them.

A link to Neuroscience

In this case this text even anticipate the concept of deactivation of the dirsal vagus through attention to one's body (the horse) and to other people (the people calling from the other side of the river). 

Perceval, having arrived on the other bank, soon spots a castle, undoubtedly the one previously glimpsed. Faced with this magnificent home, he decides to explore it, discovering that "the well-cut doors are open" (lines 9972-73). These open doors symbolize a path to Awakening. He continues “straight to the tower, which was worthy of admiration” (line 9980) and notices “two pine trees” in front of it with a “large shadow” (line 9983).

Dismounting from his horse, Perceval ascends the tower and finds a hall adorned with spears, javelins, dogs, collars, steel swords and spears, and a "bed of well-wrought ivory" (lines 10002-07). He is surprised to find that the room is deserted, he sits on the bed, takes off his gloves and helmet and admires the room, feeling at home in this place of honor.

Interpretation: The two pine trees symbolize a portal, similar to the columns of a temple. And since it is an initiatory journey they clearly recall Joachin and Boaz from the Masonic tradition since one must pass through them to enter. The room instead is connected to Valhalla also adorned with swords and similar Celtic traditions, evoking a sense of heroism and challenge. This environment, with its golden background, evokes the "Light of Glory", a warrior radiance that symbolizes triumph.

Obviously here too we cannot mention rituals of orders that deliberately keep them secret but we can mention an exercise that allows us to have the "feeling" of this passage. Exercises such as alternating breathing between the nostrils followed by the "hermetic caduceus" exercise, which involves the alternating focus of the eyes starting from the right and the tension of the fists coinciding with breathing, can induce a higher state of consciousness, linked to energy and the elevated position of the room in the tower. To get to this level Perceval gets off his horse and gets on which clearly means a reduction in bodily perception. The reason for alternating breathing is also to prepare for the next step.

The rune Teiwaz (ᛏ)

The presence of javelins and swords in the upper room resonates with Nordic symbolism, particularly with the rune Teiwaz (ᛏ). In Nordic thought, Teiwaz, depicted as an arrow pointing upwards, signifies the warrior's spirit and victory. This connection between the rune and the armaments in the room suggests a higher, perhaps spiritual, level of combat or struggle. The upward direction of the Teiwaz rune could symbolize aspiring towards higher ideals or goals, paralleling the presence of weapons in the upper room, which might represent a readiness to engage in higher battles or challenges.

Perceval is attracted by a closed but not bolted door (line 10010), which he opens to reveal a vaulted chamber, symbol of a sacred and celestial place (line 10008), splendid, decorated with amber and containing a chessboard created with skill by the Moors and adorned with precious stones (lines 10012-22). Perceval moves one piece and another opposite piece mysteriously moves. While playing chess with an invisible opponent, Perceval loses twice (lines 10028-30), ending up irritably taking the chessmen with the intention of throwing them into the river.

At that moment, a girl of extraordinary beauty appears as if from the water and asks him not to waste the chessmen and offers him a challenge: to hunt a white deer to win his love for her (lines 10065-78 and 10123-37) . Perceval accepts the challenge, borrowing a beagle from the armory, and sets out to hunt the White Stag. Also note here a Celtic or Scandinavian influence as the white deer corresponds to vital energy (for Scandinavians the rune algiz)

INTERPRETATION 

The vault symbolizes the uranic element and gives solemnity to the room, comparable to a chapel. The chessboard resembles the checkered floor of various types of temples. The chamber represents more of an interiority, a component of Perceval's "mystical physiology".

The castle is located on a river (around 9970), and the room overlooks the water, evoking the presence of the element of water. The chessboard in the center of the chamber, with its chessboards of precious stones shining brightly (line 10022), symbolizes several subtle centers. Emerald and ruby focus, respectively, the lifeblood and the strength of the blood.

The water, under the window, represents the "free" Mercury or the Vital Force under its aspect of "radical Humidity", while the blue and gold colors of the chessboard alchemically represent Mercury and Sulphur, symbolizing the two great original components of the universe and man. This chessboard reflects both the original state and that conditioned by incarnation, indicating the phases of the transmutation of being.

The chessboard and the fact that we cannot play without an invisible force playing from the other side means we think to live in a world dualistic were we can be the first. We are never the first as there is no duality. Each action in the world and in the body trigger a counteraction. If we want to win we are in a play with a mirror where if we want to win we can only lose as the mirror will reflect back our force. Only getting an higher level of force (the head of the deer) will permit us to trascend duality (for this reason the woman tells that only if Perceval will take the head of the deer she will unite with him). 

The exercise most corresponding to this phase of the work is an internal exercise (vaulted chamber) which focuses on the consciousness of the various centers of the body in an alternating right and left manner in order to integrate them. The exercise of the charges by inhaling and exhaling and gradually becoming aware of the body corresponds perfectly to this phase. This is an ancient exercise used by Rosicrucians and also by previous traditions.

The white stag or deer is linked to the idea of the energy you will develop.

Nordic tradition and the rune Algiz ᛉ 

The same concept in the nordig tradition is expressed by the rune Algiz ᛉ that is also a double rune. This rune Algiz ᛉ, like all letters in the runic script (mythically revealed by Odin), carries a magical meaning. In the ancient runic series, this sign represents the elk, an animal that, along with the reindeer and deer, has been seen from the Neolithic era to the legend of Saint Hubert as a vehicle of supernatural power. The majestic antlers of the elk make it a bearer of the World Tree, a paradoxical image as the Tree symbolizes centrality, stability, and the immutable center of everything, while the elk or deer, known for their mobility, symbolize movement. However, this contradiction is only superficial. The deer, as an image of the Tree, identifies with alchemical Mercury (another name for the vital force) which, while being the axis of the (seven) force centers of being (symbolized by the caduceus), remains elusive to external human consciousness. This implies a hunt to capture this elusive force, a hunt that takes place not anywhere but within the being itself.

Algiz ᛉ the deer and Mercury ☿

The symbol for Mercury in alchemy and astrology is written as ☿. This symbol represents both the planet Mercury and the element mercury (also known as quicksilver) in alchemical texts and astrological contexts. It is a combination of the circle, representing spirit, the crescent, symbolizing the mind, and the cross, denoting matter. 

The human chessboard

In the image we have a "human chessboard" of irish tradition that strictly links here

Neuroscience and biology

A theory of personality see it as a game of the interplay of right and left hemysphere (Prof Herbert Spiegel).

Thanks to the dog, Perceval did not take long to find the traces of the White Deer and therefore the animal itself, which he chased so forcefully that he knocked it down "against a rock" (20311), then quickly detached its head. It is then that “an ill-omened maiden comes riding across the moor. Having taken the dog, she quickly returns to where she came from" (20318-21). The Welshman chases her and, having reached her, asks her to give him back the dog, but she replies: «No, not at all. You have taken my deer without permission, and my heart is filled with anger” (20336-38). She adds that she will never return it to him, unless he agrees to go "to a tomb where a knight is painted" and to utter, once there, the words: "Vassal, what are you doing here?" (20363). Since the request seems simple to him, Perceval accepts and rides to the tomb. and cement" (20380-81). The narrator dwells on the qualities of the tomb that this cross surmounts: "beautiful vault", "well covered from above", "as for a recluse", with a wall designed to support the vault more solidly and, "in the middle of the wall , two windows, not very large", to allow a look at those who lived there (20382-91). «And do you know what life he led there?» the narrator asks. «He was all alone day and night, with his steed as his only distraction. He had to stay there all summer and all winter" (20392-95). From there he could not leave, because he had agreed with "his friend with such a well-built body" {20400) that he would only move when he had found his lord by means of weapons. And the knight had now lived in this "so wild" area (20407) for five years. «Perceval approaches the window, calls him and exclaims: “Knight, God save me, but whoever closed you in this vault really had no other thought! Get out of there so I can see you. Then I 122 will leave, when you have told me why he confined himself here”» (20428-34). The knight immediately appears, armed from head to toe: «All black was his armor, blacker than a mature brunette» (20441-42). He addresses the hero: «Vassal, who are you? Certainly a very proud and superb man! Great pride drives you to call me!» (20449-51). Realizing that he is being challenged to a duel, Perceval places the stag's head at the foot of the cross and takes up his weapons, under the eyes of the girl who always holds the braquet. The opponents throw themselves at each other, the spears are shattered, the two roll on the ground, then, getting up, they face each other, swords in hand. And blow after blow rains down, so much so that on the helmets "the golden circles are broken" (20513). But, while the two fight, a fully armed knight approaches the deer's head and takes it away with the hunt, while the "maiden of ill omen" follows him. Seeing this, Perceval, furious, redoubles his vigor to overcome his adversary. .until, under one of the most vigorous blows, he breaks his helmet, cuts off his ear and scars it. The other retreats towards the tomb and disappears inside. The Welshman calls him, but in vain, because no response comes from the tomb. Then the hero decides to leave. But in another version he enters the tomb and accesses deep akashic (scripture) records and receives a new shield.

The cross

The adventure of the tomb begins from the cross. Therefore the cross position of the arms can precede the exercise. 

The mirror

The eye allusion says that this passage/exercise can also be performed in front of the mirror with fixation although the bodily attention should remain on the lower part of the body. But the most important aspect is detaching yourself from compulsions and from your false self. 

The painted knight

The fact that a knight is painted on the tomb means that this knight is not a reflection of something, but instead it is as a fixed idea. It is an "imaginary self". And in fact the black knight is convinced to be the best.

The symbol of Saturn (♄)

The symbol of the cross on the tomb, depicted as a cross atop a half-circle, corresponds exactly to the alchemical symbol of Saturn (♄). In alchemy, Saturn is often represented by a sickle or a scythe, linked to the passage of time and transformation. The addition of the cross to this symbol can be interpreted as the intersection of material reality (the half-circle or the worldly realm) with spiritual or divine aspects (the cross). 

Exercise

An interesting way to put away false compulsions is staying in front of the mirror, look at your own image and ask questions like: This person thinks they always have to do. But it's absurd. It's already perfect. What more do you want in the world? If he could have it how would he feel? Until the compulsion disappears.

After riding, Perceval arrives at a castle, also deserted but with all doors mysteriously open, allowing him to roam freely through the dwelling. We follow his discovery of the uninhabited spaces, as the description unfolds the vacant volumes of halls and corridors. Then, like in a surreal painting, a peculiar detail emerges that alone encapsulates the strangeness of the place: above a passage leading to an "entirely empty room" (line 21109), hangs "a Danish axe" (line 21103). A variant of the famed Sword of Damocles? A hieroglyph of some lingering danger threatening the reckless visitor tempted to enter the empty room? The room is empty yet opulent, "adorned with amber" (line 21108)... like that of the Beautiful Chessboard. At that moment, don't the two places seem to juxtapose through the coalescence of their golden ambiance? But what does the hero discover in this room where silence and emptiness seem concentrated? At first glance, nothing but the amber setting. Nothing, except for "fresh and new grass" scattered on the floor (lines 21110-11), undoubtedly from the beautiful meadow "enclosed by a high wall" (lines 21117-19) visible from the room's window. The presence of grass in the room and the wall surrounding the meadow suggest an interpenetration of these two spaces, as if, seen from this window, the outside is merely a projection of the room’s potential content. Recall that in the previous castle, the amber chamber, housing the Beautiful Chessboard, opened onto the element of water, and here the window overlooks a meadow or rather what lies within it, for it has "at its center a fountain with sweet and healthful water," near which "there was a tent, and never was there seen a more beautiful one. In front of the tent stood a tree [...], at the foot of which lay a strong and bold lion" (lines 21121-29). 

From corridors to staircases, Perceval reaches the meadow where, upon seeing him, the lion pounces and embeds its claws into his shield. However, Perceval swiftly splits the lion's skull with his sword, killing it before entering the tent. His arrival, with a bloodied sword in hand, elicits a scream of terror from a maiden, awakening a knight sleeping beside her. The lord of the castle, named Abrioris, outraged by his lion's death, challenges Perceval to a duel, donning his armor. Both combatants, skilled swordsmen, find a worthy opponent in each other. Perceval, momentarily dazed from a blow to his helmet, recovers and lands a similar strike on Abrioris, who collapses stunned. The maiden rushes to him with a golden cup, fetching water from the fountain to revive him. Abrioris then rises, "his heart enlightened" (line 21326). The castle, initially deserted and seemingly dead on Perceval's arrival, becomes alive with servants bustling to prepare a rich banquet for the reconciled duelists. 

Attending to emotions

The killing of the fiery lion puts also the attention on another element. Developing the capability to attend your emotions.

An exercise

An interesting exercise is massing your solar plexus. Leo is connected to the sun. Through this exercise tere is the development of a different sensitivity

Riding through the labyrinthine forest, Perceval abruptly stops around noon (line 21585) to discover a knight slain in combat at the base of an oak tree. The scene is dramatically depicted, with the adversary's weapons still embedded in the corpse—a lance piercing through and a sword splitting the helmet and lodged in the skull. Over the body hangs the knight's shield from an oak branch. Perceval solemnly observes the scene, lamenting the fate of the "handsome and noble" knight. After a prayer for the departed soul, he resumes his journey (lines 21585-601).

Entering a vast, beautiful wasteland with a crystal-clear, marble-cold fountain at its center, Perceval encounters a maiden, queen-like in her beauty, deep in thought (lines 21603-09). Her sigh in response to his greeting prompts Perceval to inquire about her sorrow. She speaks of her missing lover, last seen the previous evening. Perceval notes her heightened beauty from her grief, now resembling a flushed, more magnificent rose (lines 21631-34). Upon learning the description of her companion's shield, Perceval realizes he has seen it on the slain knight, conveying this tragic news to the devastated maiden (lines 21642-43).

This narrative, steeped in ritualistic symbolism akin to Masonic traditions, depicts the sword in the head and the lance's piercing as symbolic of mental cessation and initiation into rebirth. The blood flow represents liberation from physical constraints, desires, and passions. The maiden's presence by the frozen fountain symbolizes the impending trial for Perceval, hinting at an astral journey initiation, rooted in Rosicrucian tradition, where the heart is the gateway to new realities. The embedded lance points towards a transformative direction.

The capacity to attend emotions has changed. The shield of the three lions is no more valid

Perceval's journey involves a transition to a new self, symbolized by the subsequent Castle of Air and the reconstruction of a new body (Perceval's new steed). The exercise aligns with this narrative, focusing on body consciousness and astral projection from the heart, leading to the work of air in the new self.

We continue the narrative. I unveil here an enchanting exercise embedded within the narrative of the "castle of the air" from the second continuation of Wauchier de Denain. This mystical exercise, resonant with the Grail tradition, is designed to enhance intuitive perception and foster a state of presence.

The Narrative: In the narrative, the journey takes us to a unique castle devoid of physical barriers, symbolizing freedom and the essence of air. Within this castle, a knight named Perceval encounters a giant, embodying the oppressive force of Saturn acting upon the element of air. We can think to it as logic, analysis and other fonctions of the mind that block the access to intuition and inner energy. We see many time this state in people to rational. The castle is rich but the inhabitants are poor as thinking to much blocks the mind to have higeher intuition. Through a symbolic battle, Perceval overcomes the giant, liberating the air element and symbolically transcending earthly constraints.

The Exercise:

1. Stand erect (or on a horse), maintaining a poised posture.

2. Take a deep breath and visualize the air entering through your ears, traveling down to your lungs.

3. In your next breath, envision the air entering at your ankles and descending further.

This exercise engages the Broca area near the ears, likely blocking conventional thinking and alleviating mental unrest often manifested as minor leg tensions. By promoting a state of presence, it transcends Carl Jung's concept of "thinking" and enhances "intuition." This exercise, metaphorically depicted in the narrative, mirrors the mystical journey of Perceval, reflecting the profound narrative’s underpinning of neurolinguistic and hypnotic principles synonymous with Dr. Paret’s groundbreaking work.

Metaphorical Description Integration: The text intricately describes a castle without external defenses, symbolizing a realm of free space. As Perceval ascends the tower, he enters a domain where the element of air reigns supreme. The imagery of a silver table placed before a vast window captures the imagination, reflecting the sky and symbolizing the essence of air. The battle with the giant that will be hit at the ear and at the leg symbolizes overcoming earthly constraints, with Perceval's victory liberating the essence of air from the oppressive force of Saturn, akin to the liberation of intuitive perception achieved through the exercise. Through this allegorical narrative and exercise, practitioners are invited to transcend conventional thinking, step into a realm of intuition and presence, and embark on a mystical journey akin to that of Perceval in the narrative.

At the end of the narrative Perceval will have a white horse symbolizing a different state. The white refers also to the element air and to albedo in alchemical practice 

Continuing the narrative, the receiving a new horse symbolize that now Perceval can attend differently to his body and his sensations

On a beautiful morning, with birds singing melodiously, Perceval, after riding all day, encounters a Welshman fleeing from a crested serpent he had seen that morning. The Welshman mentions a direction where Perceval might find a knight or a challenging adventure (lines 21956-76). Perceval follows the advice and arrives at a stunning glade with a beautiful river, a marble stone with golden inscriptions, and a rich pavilion across the river, guarded by a white horse, a silver-white shield, and a white lance. As Perceval ponders the pure whiteness of these objects, he decides to stay in the tent for the night. However, upon watering his horse at the ford, he is challenged to a duel by a knight. After winning the duel, Perceval learns of the "Loving Ford," a mystic site guarded by the White Knight, symbolizing a quest for love seen as glory (lines 21982-22016, 22089, 22141-45).

The narrative subtly references sexual retention and mastery over amorous impulses. Perceval's coat of arms, featuring silver, contrasts with the White Knight's entirely silver shield, symbolizing a higher, controlled self versus a personality submitted to love's allure. The White Knight's preoccupation with guarding the ford mirrors his surrender to fame and love, while Perceval's lion on his shield signifies his disciplined nature. This emblem, as described by Nicolas Flamel and interpreted by Julius Evola, symbolizes the transmutation of individual nature to a free, unbound state, thus elevating Perceval beyond the corruptive "waters." This encounter highlights the importance of mastering desires and attaining a heightened self-awareness.  The hermetic caduceus exercise could well apply here, but as well an exercise to direct up the sexual energy. In fact Perceval decides to stay awake

NARRATIVE: He who has passed numerous initiatory tests and has reached the "heart" of himself, now perceives the world in a profoundly different way, as demonstrated by the following three episodes. First, after two years, Perceval returns to the city of Blanchefleur, the place of his innermost thoughts, a center of fervent activity and commerce. Here, he temporarily leaves the symbolic world to re-enter that of men. However, the symbolism is still present: he admires the five towers of the city, four white and a taller red one (22847-48).

INTERPRETATION Why 5 towers? These towers represent the Axis of the World, connecting the earth to the sky, the visible to the invisible and the immutable. In this place, Perceval perceives a communication between the earthly and the divine, despite the temporal transformations of the city. The symbol of Agrippa with the man in the form of a pentagram transmits the same meaning. The reference to the 4 towers and the central tower is a clear reference to the number 5 and also to the pentagram or five-pointed star which will later be adopted as a symbol of the second level of initiation by many secret societies.

Exercise. Here is an exercise to develop this sensitivity. First we notice how the preliminary state of mind corresponds exactly to the state of mind that we must create within ourselves having overcome the tests represented by the previous castles.

A new discipline must be placed at the center of one's life aimed at achieving a certain balance of the soul in the face of oscillations of pleasure and displeasure, joy and pain. We must consciously substitute a balanced state of mind for any alternatives of elation and depression. It's about monitoring ourselves, so that no joy transports us too much, no pain depresses us, no experience makes us immoderately angry, no expectation fills us with hope or fear, no situation disconcertes us and makes us lose presence of mind, and so on. . And in fact, having overcome the castle of the Tomb we will no longer be transported by doing without purpose, having overcome the castle of the air we will not get lost in useless thoughts, having overcome the love ford the amorous passions will no longer prevent us from going in our direction.

Let us not fear that this exercise will make us indifferent; indeed we will soon observe how in place of what is lost through this discipline purified faculties arise in the soul. Above all, one day, by observing with subtle attention, we will be able to feel an inner calm within the body (second half). This feeling of calm is also an energy. It is no coincidence that Perceval sees tanks with fish after meeting the handsome stranger.

This feeling is poured into your body, proceeding in a similar way to the two cases already described,

making it radiate from the heart into the hands, along the legs, and finally towards the head (third time). The feeling must always be brought back to the heart and made to radiate from that center again. Naturally, this cannot be done after every single exercise, since, after all, here it is not a question of a single exercise, but of a continuous attention paid to one's inner life.

But at least once a day you need to make this inner calm present to your soul and then do the exercise of radiating it from the heart. As shown in the figure, the radiation traces the line of the pentagram.

Now entering the alchemical phase of "albedo," images of whiteness, illustrating this new hermetic phase in Perceval, begin to multiply. The hero encounters a completely white mule with "white harness of fine silver" (lines LKPTUV, 25726) or "with silver flowers" (KLMPTUV add.). Then, he meets its owner, a stunningly beautiful maiden ("never was such beauty born or seen"). Her complexion "shone so brightly she seemed to have come from Heaven; she appeared as a spiritual being. She wore an iridescent dress with golden flowers, the likes of which had never been seen coming from a treasure" (lines 25495-06). 

Recognizing the spiritual nature of this creature, we see the soul or Psyche of the hero manifested, now adorned with symbols of the White Work, yet hinting at gold. The silver flowering on the harness directly refers to the germination phase of the Work, breaking through the dark Saturnian husk, letting the flowers or "Forces" bloom. The maiden's attire symbolizes the rainbow transition between White and Red, while the golden flowers evoke the "androgynous Mercury" (alchemy speaks of red flowers) or the promise of imminent gold, which is the same, as the higher Mercury receives the influence of the Self or gold.

The albedo phase mixes here with a golden phase symbolized by the flowers. In fact symbolism says that after having awakened the quintessence (the first 5 planets) we can see the moon and the sun.

Accompanied by the maiden, Perceval enters a forest at night. After a while, "he sees from afar a glow like that of a burning candle". Fixating on this sight, he soon feels that "five candles are burning [...] with such brightness and splendor that the entire forest is aflame". "Even the clouds are aglow with bright red flames" (lines 25609-21). When he tries to ask the maiden about it, he realizes she has disappeared, so he rushes towards the unusual light. Suddenly, "a great wind rises, blowing a rain so intense and vast it seems the earth will sink and the forest collapse" (lines 25646-50). The next day, having found the maiden again, Perceval asks for an explanation of the night's events, only to receive a startling reply: "There was no wind or rain; the night was calm and serene!" (lines 25777-82). 

It's concluded that the storm unfolded not anywhere but within Perceval himself: the sight of that prodigious light caused a part of his being to be deeply disturbed. Storm, sinking earth, rain, and violent wind allude to a psychic emotion resulting from the collapse of the remaining layers of earthliness after the Black phase.

Exercise - the candlelight

the exercise corresponding to this phase is observing a light of a candle. In fact it is proved that such a stimulation will create a reaction in the mind that is similar to what we get in the albedo phase. The only problem is that this can only be an exercise as otherwise it will be not longlasting. But this practice can be effective prepare the following exercise that is going on the bridge of Chrystal

Regarding the vermilion illumination that Perceval fails to reach, it occurs around "midnight" (line 25601), which Apuleius refers to as a "sun that shines in the heart of the night," symbolizing the ability to transcend the sleep state inherent in matter. Perceval has not yet fully acquired this ability, as evidenced by his inability to reach the illumination. However, the maiden reveals to him that "the intense fire signified that the Grail, so beautiful and precious and which collected the pure and glorious blood of the King of kings when He was crucified" (lines 25791-96) was brought to the forest by the Fisher King that night. This revelation about the Grail "that no man can hear without shuddering, trembling, changing color, and turning pale with fear" (lines 25845-48) underlines its profound mystery.As Perceval prepares to leave her and continue his journey, the maiden entrusts him with her mule as a guide to the Fisher King's castle and gives him a ring, saying: "You shall wear this ring, whose stone is so rich, precious, and clear that as long as you wear it on your finger, for the loyalty I owe you, my white mule will surely lead you where you wish to go" (lines 26018-26). This ring, though not explicitly named by the maiden, is recognized as a stone of virtue, and manuscript K mentions a "white emerald" (K, 26076), a curious image reflecting the dual colors of the same hermetic phase. This "very holy stone" (line 26118) and its virtue, embodied by the white mule, appear as an opening of the Way or a discernment of it. Perceval frequently observes the stone, with the narrator emphasizing its significance through a ritualized insistence. This frequent attention to the ring suggests either the reflection of the gem capturing Perceval's attention or its correlation with the mule's path. The ring thus serves as a "subtle eye," distinguishing the path weaving through the world's density. It becomes an "organ-symbol" of vision, characterizing the integration into the being of the White phase, a state of "wakefulness" in opposition to the sleep of earthliness. The fine stone, by being often observed, gives Perceval a new way of seeing, organically integrating into his subtle corporeality, symbolized by his knightly equipment.The ring's observation of the third eye implies creating an ocular convergence.Exercise: After observing a light, focus on your third eye.

This technique embraces a void of thought, symbolizing a fearless and enlightened traversal from a state of wandering to a state of ecstatic realization. 

A part of the saga narrates Perceval's journey across a crystalline bridge, which shatters upon his crossing, leading him towards the burnt forest, and to an enigmatic figure, Briol. The imagery of crystal immediately evokes parallels to the "crystal palace" of Indian tradition, symbolizing the connective journey from the pineal gland (and from the eyes that are cristalline) to the crown chakra (sixth and seventh chakras). This metaphorical journey from the ajna chakra (the bridge) to the crown chakra (the burnt forest tied to the myth of Bran) represents a deeper spiritual traversal. It connects to ecstasis and to a superior state

Similar techniques in other traditions 

Further narratives introduce a sage hunter, reminiscent of a Hermes figure, guiding Perceval through a rosy scene of “Briol of the Burnt Forest,” a name echoing forest and furnace, hinting at a metaphorical transformative fire. Upon delving into this narrative, we've deciphered that this stage of the journey necessitates mastering also an internal fire technique akin to Tibetan Tummo or the alchemical fire. 

Further elements

This narrative, rich in symbolism, mirrors another Celtic legend where the hero Bràn (meaning "head") forms a bridge with his body for his men to cross a river, emphasizing the head as a sacred embodiment beyond cerebral capacities, directing towards ajna chakra, the command center in tantrism and after the crown chakra.

The translucent arch of the bridge, shimmering with possible iridescent reflections, evokes imagery of a rainbow, symbolizing a higher state of being. The “vibration” of the bridge echoes the Germanic Bi/ròst, or "trembling path," the heroic way of seven colors guarded by Heimdal. This narrative accentuates heroism, courage, and spiritual transcendence as cardinal virtues in the quest for higher understanding.

The fragments of the shattered bridge engulfed by turbulent waters below symbolize a shedding of fragmented states, a purification that the hero undergoes en route to the other shore. Through these layered metaphors, the texts illuminate a mystical pathway, intertwining heroism, spiritual transcendence, and alchemical transformation.

Having delved into these ancient texts, we have unearthed a secret technique deeply rooted in the Grail tradition. This technique, interweaving elements of fire, courage, and higher spiritual transcendence, offers a profound and hitherto unexplored pathway to achieving a state of ecstatic realization akin to the heroes of the Grail sagas. Our extensive research and deciphering of these ancient texts underscore our commitment to unearthing and revitalizing the profound wisdom encapsulated in the Grail tradition.

Continuing the dissection of the narrative fabric of the Second Continuation of the "Perceval", we extract the gist of the knight's experiences and their parallels with rituals and practices of spiritual elevation.

Perceval finds himself facing a very difficult situation near a tomb, where a majestic tree seems to preside over both the rest of the deceased and the episode of the meeting; under the slab hides a presence that he calls to liberation. Succeeding in the effort to lift the stone, Perceval frees a knight who appears, but this, by trickery, traps him in his place (27432-33). The knight then attempts to dominate the mule and the horse without success until he recognizes his mistake towards Perceval, revealing his true noble nature (27477-86). This experience brings us to a key teaching: the power of closure and stasis, symbolized by the tomb and the veils of illusions, fails to hold Perceval, symbol of the spiritual aspirant who refuses to be limited by the material.

In a symbolic parallel with the Masonic myth of Hiram and with the use of the key as a symbol linked to the figure of Venus (and a woman appears in the following episode), we see here a resonance of alchemical and initiatory principles linked to the process of spiritual transformation . Here there is a ritual that corresponds exactly but we cannot talk about it too openly because it is linked to societies that like to maintain privacy about their rituals.

Nearby, Perceval finds the beautiful girl and returns her mule and ring. She quickly leaves, mysteriously dragged elsewhere. Alone in the desert, Perceval spends the night keeping vigil, praying at dawn for guidance to the Grail and the Castles of the Chessboard. A supernatural voice from a large tree tells him to follow the beagle to the Chessboard Castle (line 27616). There Perceval is greeted by a spiritual-looking lady, to whom he presents the deer's head and shares her exploits. She shows him a room of indescribable beauty and seven maidens, each embodying wisdom and beauty (lines 28083-97). In the beautiful room Perceval and the woman unite.

The large tree is omnipresent and symbolize this living presence

These seven maidens represent the seven planets and also the seven organs as they are inside the castle. This part of narrative connects to a technique of revitalisation of the organs.

 The connection in the room connects to the union of sky and earth and it is also a prelude to the vertical. 

Exercise

In the practice this technique can be done using the sounds. The sound of each organ will be done and also the sound connecting earth and sky 

The next day, the maiden, white in order to remembers the Albedo phase leads Perceval into a boat locked by a key hanging from a large oak tree, which symbolized the World Tree (lines 28180-88).

The Oak and the rune ᚪ in the anglo-frisian Futhork

To note that in the runes the Oak tree received a specific rune: The Anglo-Saxon futhorc split the Elder Futhark ansuz rune into three independent runes due to the development of the vowel system in Anglo-Frisian. These three runes are ōs ᚩ (transliterated o), ac "oak" ᚪ (transliterated a), and æsc ᚫ "ash" (transliterated æ).

On the other side of the river, after a full day's ride, Perceval doesn't find a key on a "large branched oak" (line 28254), but rather a knight "hanging by his feet" (line 28252). Perceval rescues him and listens to his story: he was heading to Mount Doloroso, home to an immense column, to attempt its trial — "no knight can tie a horse, palfrey, or steed to a ring on the column [...] unless he is the best in the world" (lines 28317-21). He was accosted by four Arthurian knights, including Keu the Seneschal, returning from the Mount, humbled by their arrogance. They attacked the unfortunate knight and hung him upside down from the tree.

This episode teaches that one does not ascend Mount Doloroso without consequence. Misfortune befalls the unprepared: the peak and its column intensify virtues but also flaws. This mirrors the alchemical process, where, as Evola says, "if the dross of desires, sensations, inclinations, and deep-rooted constellations in the shadows of consciousness are not removed, the result will be the immense amplification of all these elements," echoing the Hermetic maxim: "Fire increases the virtue of the Wise and the corruption of the wicked." On one side of the river, the key evokes images of opening, overcoming, and open pathways, while on the other, the hanging knight symbolizes ties and obstacles, lost spirits. The key and the knight contradict yet paradoxically balance each other in meaning.

The lost key has been found but you must not misuse: to enable the transformation of the "self" into the Self, it is essential to ensure that its contact with this free Mercury neither dissolves it entirely nor exacerbates its imperfections, as previously mentioned, or, through repulsion, further encloses it within itself. The "thinning" process occurs through the four elements — transforming earth into water, water into fire, and fire into air. It's notable that the four deranged knights symbolize these elements, with Keu representing the lowest element, earth. His actions against the unfortunate knight are a manifestation of this earthly violence.

This adventure teaches that ascending Mount Doloroso demands preparedness. Misfortune awaits the unprepared, as the mountain's peak and its column amplify virtues and flaws alike. In alchemical terms, if impurities are not removed, they will be greatly amplified. The key on one side of the river symbolizes pathways and openings, while the hanging knight represents restrictions and "lost" spirits. These contrasting symbols, however, paradoxically balance each other in their meanings.

Exercise

The suggested exercise here involves approaching verticality by feeling the rising energy within, while staying grounded. The energy has already been integrated in the previous episode with the lady of the chessboard. The mystical union with her, following the reception of the white stag's head symbolizing life force, indeed preludes the direct contact with this force within oneself.

After leaving the unfortunate knight, Perceval wanders for fifteen days before entering a forest. There, he sees a child on a high tree branch, holding an apple and dressed splendidly, appearing no older than five years old (lines 31432-43). The child refuses to come down, asserting he is not part of Perceval's trials (lines 31452-54). The child offers cryptic guidance, suggesting Perceval visit the column at Mount Doloroso for pleasant news (lines 31484-88). The child then climbs higher and vanishes into thin air (line 31501).

This segment hints at recognizing the signs of internalized strength. Sensitivity to these signs, akin to listening to one's inner child, is crucial for progression. The child, a symbol of the divine self, remains unincorporated in Perceval, explaining its high, unreachable position and brief appearance, foreshadowing Perceval's impending rebirth. Perceval, recognizing a symbolic reflection of himself in the child perched on this "very high" tree, understands it as the World Tree that prefigurates the column of the Mont douloureux. In alchemy it can connects to the "regulus"

Exercise:

Develop inner guidance and guidance from higher source. It will happen naturally if you will work on presence

The next day at noon, the shadowless hour signifying the tangent between Time and Eternity, Perceval approaches Mount Doloroso, the highest or most beautiful in the world according to manuscripts. At its base, a maiden on a palfrey warns him against the mountain's trial, describing it as "too great a folly" (line 31545), fearing for her own and Perceval's safety. Despite her pleas and the warning of her lover's madness after attempting the trial, Perceval remains undeterred and begins his ascent.Atop the mountain, Perceval marvels at a unique monument, primarily a large column made of copper, gilded and polished, reaching the height of a crossbow shot. Around it are fifteen crosses, five red, five white as snow, and five blue (lines 31583-602). Perceval enters the circle of crosses, approaches the tall, golden column, and finds a ring, its material and value indeterminate. An inscription in Latin warns that only the world's best knight should tie their horse to the column (lines 31609-21). Perceval ties his horse, places his shield and lance against the column, and then stands motionless.

This part refers to kundalini rising and at various energies coming up.

Nordic Tradition and runes Kaunan (ᚲ) and Isaz (ᛁ)

If you have practiced before everything will happen naturally. It's interesting to note that Sansonetti associates Mount Doloroso with the rune Kaunan (ᚲ), likely due to its shape and sound, and the rune Isaz for the column. These runes, Kaunan representing a torch or beacon and Isaz (ᛁ) symbolizing ice or a pillar, add a deeper layer of symbolism to the narrative, suggesting a fusion of fire (transformation, enlightenment) and ice (stasis, challenge) in Perceval's journey.

• Kaunan (ᚲ), representing a torch or beacon, symbolizes transformation and enlightenment.

• Isaz (ᛁ), representing ice or a pillar, signifies stasis and challenge.

These runes, when associated with Mount Doloroso and the column in Perceval's journey, bring an added depth of mythological and symbolic meaning to his quest.

After leaving the Mount, a symbol of verticality, Perceval heads towards the Fisher King's castle crossing a forest at night. Here, he comes across a tree-light, radiant like thousands of candles, which illuminates the forest (similar to the nocturnal apparition of the Grail). In the Grail castle, Perceval enters a chamber shining with gold (32281) with silver stars on the vault (32285) and walls of gold and silver adorned with precious stones (32294-95). Here, the Fisher King presents him with a broken sword (32409-10) which Perceval manages to put back together (32550-56), earning the King's recognition as the best of all living knights (32561-67).

Interpretation:

The final goal is true non-duality. This episode highlights the importance of attention to the present moment to achieve non-duality. The action takes place in the universe as there are silver stars on the vault. The recomposed sword symbolizes the union of what is divided, reflecting the verticality and the previous activation of the kundalini and its energies (the tree). Presence in the present leads to change.