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1Commentaries on the First Degree of Martinism — The Hebrew Alphabet (Continuation) — Teachings of Jehel, S∴I∴ — TSADÉ: Final and terminative sign.
2It refers to all ideas of scission, of term, of solution, of goal.
3Placed at the beginning of words, it indicates the movement that carries towards the term, of which it is the sign.
4Placed at the end of the word, it marks the very term towards which it carried, and then receives a special graphic form.
5It derives from the character Theth, and from the heart of Zain, and marks equally the separation of the one and the other. (Chaos.
6The material Body and its passions.
7Matter.
8Arrival of involution.
9Ts.
1018th letter, value 90, corresponds to Aquarius).
11COPH or COF: Eminently compressive, astringent and cutting sign.
12Image of the agglomerating or repressing form.
13It is the character CAF entirely materialised, applying itself to purely physical objects.
14Here is the progression of the signs: HE: Universal life.
15HETH: Elemental existence, the effort of nature.
16CAPH: Assimilated life, bound to natural, material forms.
17COPH: Material existence, giving the medium of forms.
18This letter, simple, answers to the sign of Pisces. (The elements; nutrition, digestion; the mineral kingdom; K, Q. Letter 16 [Sic: the retype numbers Coph 16 where the sequence requires 19], value 100).
19RESCH: Sign of all self-movement, good or bad.
20Original and frequentative sign.
21Image of the renewal of things as to their movement. (Awakening of Nature under the influence of the Word). (Self-movement, determining.
22Respiration, vegetative life.
23The vegetable kingdom.
24Saturn.
25R, letter 20, value 200).
26SCHIN or SHIN: Sign of relative duration and of the movement that refers to it.
27This character derives from the vocal sound Zain passed to the consonant state, and it joins to its original expression the respective meanings of the characters Zain and Samech (which showed direct movement and circular movement, while this one shows yet · 8
Our translation, period-faithful. Citable as our translation, never as the source.
The first double number — Nºs 16-17, August–September 1943 in one wrapper: the monthly slipped a month, said nothing, and printed both numbers on the cover. The wrapper photographs continue (cover, masthead, prospectus, advertisements), and the prospectus has moved with the school — see the note at 22:005.
The masthead drifts twice: Asuri Kapila's degrees now read \"Dr. K. S. I. SDM-HABM\" — the Suddha Dharma Mandalam has entered his string, exactly as his S.D.M. work in the run has grown — and Nulo's \"(A. M., G. D. etc.)\" has become \"(A. M., P. C. etc.)\". The roster is alive; its changes track the school's life.
The 1926 photograph — a full-page photographic plate, printed sideways: Cedaior standing with the violin at the final pianissimo of Handel's Largo; Ida Hofmann of Monte Verità at the piano; Darío Vellozo seated, in the Library of his Templo das Musas at Curitiba. The three initiates were all dead by publication. The plate is extracted upright into the imagery layer; its caption is the article's own at pages 5–6. As a dated image of the Ascona–Brazil–Martinist junction it has no equal in the run.
Darío Vellozo verifies completely: the Paraná poet and educator (1869–1937), founder of the Instituto Neo-Pitagórico of Curitiba (1909) and its Templo das Musas — a documented, still-existing institution. That Papus's Supreme Council named him Sovereign General Delegate for Brazil by Letters Patent Nº 141 in 1904 is recorded in Martinist annals; the run's claim that he ceded the office to Cedaior is the family's tradition and entirely plausible in shape. \"Apolonio\" as his initiatic name fits his neo-Pythagorean devotion to Apollonius of Tyana.
Cedaior's full titulature, printed: 33°, S∴I∴ VII, Dr. Kab∴, Bishop of the Gnostic Church, Sovereign General Delegate of the Martinist Order and President of the Kabbalistic Rose-Cross for South America — the densest single statement of the offices the run's whole authority rests on. Note Ida Hofmann's line: 33°, O.T.O., R+C \"(school of Steiner-Reuss)\" — the same conflation of the two men Nº 15 made, now compressed into a parenthesis.
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Oedenkoven in Brazil, 1925 — the Monte Verità founder did leave Ascona with Hofmann for Brazil, where he died in 1935; the run has him crossing the country in a field Ford and buying lands in Goyaz. The Goiás colony that follows — hunger, unkept promises, collapse — is this text's testimony, and it reads as the bitter Brazilian coda of the Monte Verità story that European scholarship rarely follows past the Atlantic. The retype spells him \"Oedenkover\" here and \"Ocdenkóven\" in Nº 15; both stand.
Lorelair identified: the masthead's astrologer-mystic is Pastor Brepohl's eldest daughter, who married Cedaior and bore him five children — \"Woman, Initiate and Mother\". The run's roster keeps resolving into one extended family: Jehel the son, Lorelair the wife, and (per Nº 15) Lotusia the daughter-in-law. The 1932 lottery win \"bought at Lorelair's indication\" is the family's own astrological credential story.
The lost library — the \"marvellous Library\" gathered by Cedaior, Peregrina and Jehel, lost in total at Lapa: worth recording because the 800-volume GIDEE library of the 1943 prospectus is then a SECOND collection, rebuilt within a decade. Ida Hofmann's death follows in the same paragraph — at Lapa, her colony unrealised; standard references give her death as 1926, consistent with the photograph's year and the narrative's order.
The letter-number slips: Coph is printed \"Letter 16, value 100\" where the sequence requires 19 — the English marks it on its face. The Fabre d'Olivet table concludes with Resch, Schin and Thau, and the course closes its Kabbalah unit with the ADAM analysis — four letters read as a sentence, the method demonstrated on the name it began with in Nº 14.
Signatures doctrine: the aura-vision and analogy rules for correspondences are the Paracelsian signatura in its French-occult form, and the anti-materialist inversion — you have the secretion because you have the tendency, not vice versa — is the course's clearest statement of its metaphysics of causation.
\"Neptunium\" among the metals of Neptune — the element was discovered and named in 1940, three years before this number: the course's correspondences absorb brand-new chemistry into the planetary scheme without a blink. Radium for Neptune and platinum for Uranus follow the same modernising instinct; the older seven keep their traditional metals, notes and perfumes.
The Suddha funnel, third census: 42 → 55 in July, the fourth-exercise cohort at 10, twenty more waiting for the August Full Moon — and the first geographic breakdown: Argentina 29, Brazil 6, Uruguay 21. Two printed slips stand marked: a stray \"43\" in the footline and country figures that total 56 against the printed 55. The run's bookkeeping is public and imperfect, and the notes keep both facts.
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The engine that believes it pressed its own starter — Wronsky's motor-car dialectic reaches its point: desire is the engine, the I is the driver, and the ridiculous self-starting engine is every unexamined \"I want\". The subconsciousness-as-penumbra doctrine that follows (18:004) is the essay's own coinage against both Freud and the \"classical\" psychology it has been quarrelling with since Nº 13.
\"Freud and especially his disciple Jung\" — the essay knows the psychoanalytic literature well enough to keep its terminology and to prefer Jung; \"the fringe of consciousness\" is William James's phrase, correctly absorbed. The superconsciousness turn at the close is where T. P. departs from all of them, on schedule.
Kipling's \"If—\" in the run's own Spanish — Maya's essay (dedicated to \"the old and dear teacher Celio Roda\") closes with a full prose rendering of the 1910 poem, one of the era's countless Hispanic versions. The English pane renders the Spanish back faithfully rather than restoring Kipling's text: the object on this shelf is the run's Kipling, not Kipling's.
The school moves and grows: the seat drops from the 2nd floor to the 1st floor with new hours (18–21, closed Sundays and Fridays); the Buenos Aires founding date is now printed 27 March 1943 — resolving the 1942/1943 conflict of Nºs 13–14 in favour of 1943 — and a third branch appears: GIDEE de La Plata, founded 22 August 1943, its contact \"Sr. Oscar di Montegracco\" the same Count di Montegnaco whose La Plata meeting Nº 13 reported as the seed. The prospectus plate is the network's own growth chart.
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The SUMARIO numbers the Cedaior instalment \"5th article\" — the count has caught up with itself after two \"4th\"s in a row (Nºs 14 and 15). Cite the biography by issue, never by the printed article number.
ADAM read as a sentence — primitive unity, abundance-of-division, resultant stability, collectivity: the four-letter analysis is the course's promised demonstration, and its closing flourish (EL—the—Gods: ELOHIM) knots this unit back to Sévaka's opening exposition in Nº 13. One doctrine, three authors, four numbers.
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The astrology course closes its foundation year: with the correspondence tables done, Surya declares the reader equipped \"to erect a birth chart and find all the correspondences\" — eleven instalments from Nº 3's aspects to here, one continuous worked example throughout. The interpretation phase announced next is the run's second year of teaching.
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Trikonasana, reproduced as printed, not endorsed — and \"Fig. 13\" is announced while no plate for it survives in our witness: the third missing asana figure in as many numbers (11, 12, 13). The photographic originals of the yoga plates from Nº 14 onward are a specific facsimile-hunt target.
\"Peace to all beings — U A M\": the transposed seal again, exactly as in Nº 15 — twice now, which starts to look less like a slip and more like the compositor's habit. Both stand marked.
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The Pythagorean unity-and-numbers argument deployed to dissolve the I/NOT-I boundary from above — the essay's dialectical habit: erect a distinction with an everyday example, then relativise it with a metaphysical one, and house both in the ternary equation of p. 16.
The medal, singled out from the four objects of Nº 14's desk, becomes the worked example of attention-as-abstraction: the series keeps its props across numbers the way the astrology course keeps its horoscope — continuity of apparatus as a teaching method.
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The Spanish \"If—\" preserves Kipling's architecture (the conditional cascade, Triumph and Defeat as \"two liars\", the closing \"you will be a Man, my son\") in prose paragraphs; it is close kin to the popular Hispanic versions circulating since the 1910s. The English pane translates the run's Spanish back, marked as such, so the shelf holds the artefact the run actually printed.
The advertisement plate repeats Nº 15's (Mascheville–Della Rosa lessons, Sosín Saborido's bookshop, the two Bucheli titles, Dornaleche imprint) — the back cover has settled into its long-run form.
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