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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1"Martinism — as Daruty writes — which had silently provoked this congress, exercised in it a great influence; its doctrines dominated in the new rituals, and even the name of its Mother Lodge figured in the title of the new Order".
2Nevertheless, in spite of all these triumphs — which might finally have oriented Masonry toward the realisation of its true purpose, and given it a body of doctrines and a discipline that would have made disappear all the
3litigations, disorders and discussions — the Strict Observance, owing to the errors and ill will of men, who concerned themselves more with forms than with essence, more with useless and transitory things (when not with real personal profit) than with good and eternal things, went on decaying more and more, orienting its activities toward realisations on the political and social planes. [Sic: the Spanish prints fié, for fue.]
4In effect, in spite of the great stir the congress of Wilhelmsbad provoked in the masonic world of the epoch, and the great importance attributed to it then and still attributed to it, it was not, in reality — as Le Forestier very well wrote — anything but a "prime work of incoherence".
5In effect, the congress had rejected the legend of the templar filiation of Masonry, but kept degrees, names, rituals, customs, etc., of templar character; it named Ferdinand of Brunswick Grand Master General of the Order and — granting at the same time a great autonomy to the lodges — thus rendered ineffective the authority of the Grand Master and an effective central direction.
6The new spirit Willermoz had infused into it — having rituals, degrees, instructions accepted, drafted on the model of those already ratified at the congress of the Gauls — had not, then, the possibility of actualising itself in that defective organism, save sporadically and only in some lodges. [Sic: the Spanish prints E1, with a numeral.]
7But if the goodwill and effort of the martinists, and Willermoz's skill, had transitory results, their efforts served at least to give the Profession and the martinists that popularity and that aureole of mystery which permitted them to increase their prestige and influence in all the other spiritualist circles of the epoch.
8Willermoz could return to Lyon satisfied with his work and, after a short stay in Strasbourg — where he had arrived on the 22nd in the company of Gaspard de Savaron — he returned to Lyon on the 30th of the same month.
9(To be continued).
10_____________ · 6
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.