Aphrodite, Pan and Eros

Aphrodite, Pan and Eros 860 528 V.M. Kwen Khan Khu

Dearest friends:

I am pleased to send you a few words on the topic of…


Aphrodite, Pan and Eros
Aphrodite, Pan and Eros

The official opinion says:

“Pan is depicted clutching Aphrodite’s left arm, who is undressing to take a bath and protecting her nudity with that arm, while she threatens him with a sandal. Her posture is linked to the most common depictions of Aphrodite taking off her shoes and Aphrodite in the bath. Eros protects his mother by pushing Pan’s horns so as to drive him away…”

To delve deeply into this Greek mythological theme it is necessary to know the Gnostic mysteries, because otherwise everything remains insubstantial verbiage of ambiguous talk.

Let us start by saying that Aphrodite is the representation of love linked to eroticism, so Venus is not the same as Aphrodite. Venus is the representation of the Divine Mother Kundalini, Stella Maris, as the alchemists would call her; instead, we have to approach Aphrodite as the image of conjugal love. Hence, her son becomes, precisely, Eros, because for there to be conjugal love the presence of eroticism is necessary.

It is unquestionable that there are two types of eroticism: superior and inferior. Superior eroticism springs from LOVE, devoid of animal passions which usually end up in total FORNICATION; inferior eroticism is that practiced by Tom, Dick and Harry and anybody at all, as V.M. Samael affirmed. That eroticism is the basis of the fabrication of new animal-like “I’s” that keep the human psyche trapped. That is what we call in alchemical terms ARSENICATED SULFUR or DRY MERCURY.

That is the reason why Aphrodite is ready to hit PAN ─Lucifer─ with a sandal so as not to allow the shadow of the Eternal ─Lucifer─ to interfere in an animalistic way in the topic of our sexuality. Every time PAN controls the act of love in a savage way he turns it into an orgy, and such procedures ruin our pilgrimage on the Secret Path.

The attitude that we want to adopt during chemical coitus is fundamental here. If we help EROS we need to understand first of all that sexuality IS SACRED. In this way, Eros-Cupid is able to refrain PAN and his characteristic animality by pulling him by his horns, that is, removing him from our amorous moment.

On the other hand, it is good to know that we can only remove his savagery from PAN himself by resorting to the alchemical phrase used by medieval alchemists, namely: BURN YOUR BOOKS AND WHITEN YOUR BRASS…..

To burn the books means to abandon the labyrinth of theories and to whiten the brass means to refine ourselves psychologically, in this way we march toward our own inner purification. Brass signifies in this case the blackness of our mercurial waters and the blackness of our own Lucifer, since he has turned black because of our own psychological filth.

Master Samael says: “Those who anathematize Lucifer are anathematizing Christ or Chrestos himself, for Lucifer is simply his shadow, yet he is a part of our own PROFOUND INNER BEING.” This was known in ancient Christianity, but since the Catholic Church began to disfigure the early Christian doctrine, they then confused Lucifer with Satan. Satan is the “I” constituted by his ten thousand psychological aggregates that we all have in our psychology. Lucifer is something else, he is the fire that is necessary for allowing us, through our alchemical transmutations, to be able to obtain the Sacred Fire of Devi-Kundalini.

We must note in this part of our comments that, originally, the statue of Pan that we observe in this photo of this sculptural trio had its virile member ─phallusin a state of erection. Unfortunately, today such a member has probably been mutilated by the parochial puritanism of our times.

Likewise, we now attach the second sculptural group for you ─below─, the work of Master Michelangelo Buonarroti, which shows us the God called Bacchus, whom we see very close to the God Pan. But, in this case, the presentation of the latter is surprising: he is seen stripped of his goat skin ─that is to say, whitened─ and transformed into an innocent child eating the delicious grapes of love ─the goatskin is found flayed at the feet of the child─, while Bacchus, crowned with a garland of vine leaves and grapes, raises his cup with his right hand very carefully so as not to spill it. The two characters are on a foundation that is a hard rock –allegory of sexuality─.

God Bacchus and God Pan, Michelangelo Buonarroti
God Bacchus and God Pan, Michelangelo Buonarroti

In this second sculptural group it is easy to see that the god Pan is now transformed into an innocent child because, indeed, he has been divested of animal instincts, represented by the goat skin he has at his feet.

The attitude of the god Bacchus is very interesting because, being the god of transmutatory art,he is careful not to spill a single drop of the precious liquid contained in his chalice. All this belonged to the Mysteries of Eleusis, in Greece, and of Dionysus, in Rome, and was understood only by the Initiates who belonged to the Mystery Schools.

I now give you a few sentences for your reflection:

“The true lover loves everywhere and always remembers the beloved.”
Saint Teresa

“There is only one kind of love, but there are a thousand different copies.”
La Rochefaucauld

“There is nothing stronger than true love.”

“A look, a sigh, silence, are enough to explain love.”

“Man needs to love and the basis of religion is love.”

─‘I count only the serene hours’─.