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With the Peacock stage, the alchemist has entered into the inner experience of the astral world, which initially appears as ever shifting patterns of colour. This experience is often symbolised in alchemy by the appropriate image of the peacock's tail with its splendid iridescence of colour. In terms of this series of five stages, the turning point is reached with the Peacock. Up until this point the alchemist has experienced aspects of his being which he was formerly unconscious of - the etheric forces and the astral body. Essentially these experiences have happened to him, although he had to make himself open to the experiences through entering into the initial Black Crow state, however, in order to progress he must begin to work upon his inner being.
BLACK CROW - withdrawal - freeing of the from depend ence on the Physical senses
PHOENIX - freeing of the spirit from the bounds of the physical
WHITE SWAN - experience of the etheric body
PELICAN - using consciously the forces of the etheric body
PEACOCK - astral body consciousness - inward immersion - point of transformation - outward expression integration - purification - transmutation
The Peacock's Tail is the central experience to this process, the point of inner transformation, which arises from a true consciousness of the astral body. We note also that the other stages mirror each other. Thus the Black Crow and the Phoenix are related as beginning and end of the process, but in a deeper sense they are both connected with death-processes. The dying to the senses of the Black Crow stage is ultimately transformed into the triumph over the death process of the physical, that is pictured by the Phoenix. There is a further mirroring of the White Swan and Pelican stages. The White Swan is an experience of the etheric forces in one's being, and this is later transformed into a conscious mastery and outward expression of these life forces.
Originally posted by kroms33
Hello. What I have always thought of this book, is that it has the possibility to be a copy of a book from the Great Library of Alexandria. Perhaps what happened is that this book escaped the fires and destruction and someone replicated it the best way they could. It could be a replication of a prehistoric book that existed within this library.
I quote Carl Sagon:
"The True History of Mankind over the last 100,000 years once existed and was housed in the great library in Alexandria."
So, to have a well known scientist almost give note to the antiquity of civilization makes you wonder how and what transpired before our known history.
If what I think about the book is true, and it was replicated for safe keeping - we know nothing of its age. The artistic knowledge and depth of the 15 century is being portrayed - but perhaps the original was more ornate.
Just some speculation.
As for the books decryption - yes, our government can do it - and I am sure they already have. The only way to decode this book is to have very expensive software and a very powerful super computer.
Theory that it's a hoax
The fact that the text has defied all efforts at translation has led many to believe the writing is actually meaningless and that the book itself was created as a hoax.
Computer scientist Gordon Rugg has argued that a sixteenth-century hoaxer could have created the gibberish text using an encryption tool known as a cardan grille. He argues that the book was created by a sixteenth-century Englishman, Edward Kelley, in order to con Emperor Rudolph II.
Sergio Toresella has suggested the manuscript might be an "alchemical herbal" — that is, a book of nonsense writing that quack doctors used to impress clients. In 1986 Michael Barlow suggested that Voynich himself might have written the manuscript as a hoax, since as an antique book dealer he had the necessary knowledge. However, there is no compelling evidence to indicate this.
To this day the Voynich manuscript continues to resist all efforts at translation. It is thought that the horror writer H.P. Lovecraft might have used the manuscript as the model for the fictional work, The Necronomicon, which he refers to in many of his stories.