January 1946; Year V opens with the wrapper's lower block reset in lighter mixed-case type — the first cover change since Nº 28.
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1rial, or form aspect (the Karanam — also called Parana Karanam, the general or Universal cause — being the factor of the Law, or Divinity), and they represent the life aspect through their interaction: that is, the resultant known as Karya, or fruition.
2The adjoining table may facilitate an easy comprehension of the six Dharmas of each group, ordered under a sixfold category: MAHAT: Nara, Narayana, Shiraz, Avatara, Adhikara, Karana, Kaivalya. MANAS: Svarupa, Maya, Sadhanatraya, Moksha, Brahma svarupa, Brahma vibuti. INDRIYA: Akshara, Prama, Hamsa, Raja vidya, Pranayama, Paryamatma, Sanyasa. AVYAKTA: Adhistana, Karana, Karanam, Kriya, Daivam, Karya. The reason explaining the particular order of these four groups will become evident on the mere reading of the table. [Editorial gloss: the table is printed with broken column alignment; the row-lists follow the type as set.]
3These Dharmas have supreme importance for the student of the Sacred Science, which the famous Gayatri of four feet and 24 syllables symbolises.
4This symbol, with the Pranava "O.M." as prefix and suffix, accords with the ultimate truth that all manifested existence lives, moves and has its being in THAT PARABRAHMAN represented by the prefix and suffix cited.
5Taking the name Gayatri in itself, we can establish its literal sound thus: "That which is intoned confers salvation".
6The real sense of this — certainly very little spread — is as follows: The Adoration of the Divinity must be in the light of the Gayatri Symbol.
7Therefore, such adoration is rendered in the first place to IT in ITS unmanifest aspect, as Principle and End of things — as the Pranava represented by the syllable OM.
8In the second place it is rendered to IT in its aspects the ONE SELF, the ONE LIFE and the One NOT-SELF, which are the three ultimate attributes, the source of all manifestation.
9In the last place, adoration is rendered to those last, immanent in the whole Cosmos.
10Such complete adoration is what the Synthetic Science of the Absolute demands, to smooth the road leading to the liberation of the devotee.
11It follows from this that the most appropriate ordering of the content we find in the Gita is that which agrees with the analogy of the Gayatri, the most perfect symbol of the Absolute of which the Scripture treats.
12For that reason, it is evident that the division into twenty-four chapters offers sufficient guarantees, as it is supported by the authority of Masters as ancient as Kumara, Gobbila, etc. Before ending this point it will not be out of place to point out that, for those who work pressed by the materialist prejudices prevailing in our time, the devotion rendered to the study and comprehension of symbols such as the Pranava and the Gayatri must seem vain labour.
13· 15
Our translation, period-faithful. Citable as our translation, never as the source.
January 1946; Year V opens with the wrapper's lower block reset in lighter mixed-case type — the first cover change since Nº 28.
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Masthead stereotype unchanged into the new year.
Seven articles; a new serial appears — Rouxel's kabbalistic theory of music, translated mid-stream (it opens at Chapter II).
Wilhelmsbad concluded: the templar legend ratified away, Willermoz's statutes taken as the model, Dittfurth's federation counter-proposal defeated, the ritual commission stacked with professed knights — and the one defeat: the "sacred mystery" of the number 3, sacrificed so the rest would pass.
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The congress's closing theatre: silhouettes cut, medals struck — "Magnus magister totius ordinis" / "tandem aurora lucessit" — and Brunswick and Hesse themselves initiated into martinism by Willermoz during the congress: the column's quiet coup de grâce.
The verdict, double: Daruty quoted for the triumph, Le Forestier for the truth — "a prime work of incoherence". The chronology's habit of letting its sources disagree in public is its scholarship.
Rouxel's kabbalistic music theory: the octave as the circle of all sounds, arithmetic means generating fifth and third, "1+1 does not give 2 in music" — Pythagorean harmonics presented as Kabbalah, with Descartes' Compendium Musicae in the footnotes.
The Descartes footnote on salt and vinegar pleasing more than fresh water — the thirds and sixths defended by seventeenth-century sensualism: the serial's learning is real and cited.
THE MOON through the twelve houses — seventh planet of the reference series, completing Saturn, Jupiter, Mars, Sun, Venus and Mercury.
The first Saint-Martin epigraph: "Spirit of man, learn to know thyself. Thou canst not die in essence…" — the review begins salting its pages with the Unknown Philosopher's own sentences, as the estate's Saint-Martin shelf does at full length.
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The four Samsaras (Kriya, Iccha, Jnana, Yoga) mapped in a footnote onto the theosophical bodies — etheric double, astral, causal — with their Sanskrit koshas: the S.D.M. serial translating itself into the vocabulary its Montevideo readers already know.
Sankhya redefined against Kapila's school: the generic term for the three paths (Jnana, Bhakti, Kriya) versus Yoga as their synthesis — the Suddha school's central terminological claim, argued from Narada's Karika.
YOGAH KARMASU KAUSALAM re-read: not "Yoga gives skill in action" but "among the Karmas, Yoga demands the most elevated ability" — the commentary's most consequential reversal of the popular reading, carried by the praxis layer.
The sixfold Dharma table arrives with its columns broken by the retype — glossed as printed, not repaired: the reader sees the type as transmitted, and the gloss says why the rows read strangely.
"Light is a modality of the astral light" — the fototherapy instalment opens by folding photobiology into the occult cosmology, then delivers competent 1940s science: wavelength bands, Finsen therapy, photosensitisation.
The photodynamism catalogue — acridine and paramecia, eosin tadpoles, haematoporphyrin mice — real experimental photobiology transmitted intact; the serial's scientific spine at its strongest.
The Dialogues conclude: the Moral Conscience as "the memory of the human species", the Ego as pearl-necklace of lives, and I.N.R.I. — Igne Natura Renovatur Integra — resolving the dialogue; Anteo's two-finger salute to the golden circle closes Wronski's serial.
Serapio's litany: "what is, is because it is" hammered through fourteen counsels against spiritual vanity — superiority as separateness, flattery as sweet poison, the Master who "wants no adhesions". La Plata's A∴M∴ voice at its most aphoristic.
The closing Saint-Martin epigraph — libraries as pharmacies, "proof of his illnesses… never to render him invulnerable" — the review ending its number by quoting the master against book-learning itself.
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GIDEE prospectus stereotype at page 23, unchanged into 1946.
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Library back cover and imprint open Year V as they closed Year IV.
"The numbers l and 2 are the beginning and end of music, its alpha and omega" — Rouxel's monochord arithmetic at its most kabbalistic; the compositor prints alta for alfa and a letter ell for the one, both mirrored.
The filter paragraph prints its two roles transposed (red passing chemical rays, blue killing thermal) — glossed as printed: the retype's physics faults are documented with the same discipline as its spelling.
The skin-action summary — hyperaemia, erythema, pigment as protection, sweat and sebum — dermatological photobiology in period vocabulary, the serial's clinical core.