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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1DIALOGUES OF THE NINTH SPHERE (Continuation and end). By Wronski I. M. Ant.
2— What doubt can there be?
3Mag.
4— But if death is the end, the absolute end, why do good instead of evil?
5Ant.
6—The question is not easy to answer. Perhaps one might say that the good we do produces satisfaction in us.
7Mag.
8— But why does it produce satisfaction in us?
9Ant.
10— I do not know.
11Mag.
12— Might it perhaps be because that which we sometimes call "the voice of conscience" reproaches us with the injustices we have committed and, on the other hand, fills us with satisfaction for the good actions we have accomplished?
13Ant.
14—I do not know whether the proposition is exact; but at all events it is evident that there is in us something that tells us when we act well and when we act ill.
15Mag.
16—Well then, that something that flutters in us, that warns us of the evil we could have avoided and of the good we have left undone, is what the psychologists call the "Moral Conscience" — and it may in a certain manner also be called the memory of the human species (a memory necessarily subconscious, which surfaces at certain moments into the ordinary, or cognitive, consciousness).
17Ant.
18— It is possible.
19Mag.
20—If it is, it is equally probable that the Moral Conscience also represents something like the memory of the previous lives lived by the soul (that "something" which remains constant while everything changes around it is a particle of that principle which sustains and gives life to our universe, and which has been known by the names: Soul of the World, Planetary Logos, God, etc.).
21Each of these particles possesses an independent existence capable of incarnating distinct personalities, being always identical with itself.
22A personality — that is, a life — is nothing more than a pearl added to the necklace of its multiple existences.
23Sentient or not, cognitive or not (within the psychological acceptation of both terms), the aforesaid particle — properly speaking, the Ego — persists beyond all change; it is indestructible, immortal, though not eternal.
24And the reason by virtue of which you — and, like you, an infinity of men and women — prefer good to evil, virtue to vice, love to hatred and altruism to egoism, lies in that intuition of our true SELF: of the immortal soul that hides in our interior as in a sanctuary, to murmur in our heart the sacrosanct word of divine piety and of our exalted origin.
25All this is condensed in this inscription which, like a potent luminous beacon, bathes the world with its light: I.N.R.I., Igne Natura Renovatur Integra. [Sic: the first letter is printed as a lowercase ell.]
26The mysterious fire, called Agni by the Hindus, is the eternal spirit which, with its heat and energy, renews Nature and, with her, all men and women of goodwill.
27At that precise instant a characteristic note, provoked by some instrument of metal, vibrated powerfully in the ambience. [Sic: the Spanish prints par, for por.]
28Under the hieratic influence of that unwonted vibration, Anteo, who had remained mute until then, seemed to be reborn to a new life.
29The soul of the past grew gigantic within him and, remembering perhaps the old Christian teaching, · 20
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.