Septenary Macrocosm

The term is a compound of the Latin "septem" meaning seven, and the Greek "makros kosmos" meaning great world or universe. It signifies a universe organized into seven principal divisions or spheres, a concept found in various ancient cosmological systems.

As in all theogonies a goddess precedes a god, on the principle most likely that the chick can hardly precede its eg:?, in Chaldea the moon was held as older and more venerable than the Sun. because, as they said, darkness precedes light at every periodical rebirth (or "creation") of the universe. Osiris although connected with the Sun and a Solar god is, nevertheless, born on Mount Sinai, because Sin is the Chaldeo-Assyrian word for the moon ; .so was Dio-Nysos, god of Nyssi or Nisi, which latter appelation was that of Sinai in Egypt, where it was called Mount Nissa. The crescent is not — as proven by many writers — an ensign of the Turks, but was adopted by Christians for their symbol before the ]\Iahommedans. For ages the crescent was the emblem of the Ciialdean Astarte, tlie Egyptian Isis, and the Greek Diana, all of them Queens of Heaven, and finally became the emblem of Mary the Virgin. "The Greek Christian Empire of Constantinople held it as their palladium. Upon the conquest by the Turks, tiie Sultan adopted it . . . and since that, the crescent has been made to oppose the idea of the cross". (E<j. Belief). Lupercalia (Lat.). ]\Iagniticant popular festivals celebrated in ancient Kome on February loth, in honour of the God Pan, during which the Luperci, the most ancient and respectable among the sacerdotal functionaries, .sacrificed two goats and a dog. and two of the most illustrious youths were compelled to run about the city naked (except the loins) wiiipping all those whom tiiey met. Pope Gelasius abolished the Lupercalia in 496, but substituted for them on the same day the procession of lighted candles. 180 THEOSOI'HIC.M. Luxor lOcc). A compouiul word from lii.r (li};liti and tiiir (tire), thus luraiiiu}:: the "Light of (divine) Fire". Luxor, Jirodu rhood of. A ctTtaiii HrotlnilKMid of mystics. Its name liad far bettir never hctii divulj^ed, as it led to a great number of well-mianing people being deeeived, and relieved of their money by a certain bogus Mystic Society of speculators, born in Europe, only to be exposed and i\y to America. Thr luime is derived from the ancient Lookshur in Belooehistan. lying l)etwccn Bela and Kedjee. The order is very ancii-nt and the most secret of all. It is useless to repeat that its members disclaim all connection witli the *'1I.B. of L.", and the tutti qiianti of commercial mystics, whether from Glasgow or Boston. Lycanthropy i(!r.). IMiysiologically. a disease or mania, during wliich a pcisoii iina^MHt's li

The notion of a Septenary Macrocosm, as hinted at in Blavatsky's fragmented reference to ancient cosmogonies and lunar deities, speaks to a deep human impulse to find order and correspondence between the heavens and the earth, the large and the small. It is the ancient echo of the Hermetic axiom, "As above, so below," suggesting that the universe is not a random collection of phenomena but a divinely architected edifice, built upon the foundational principle of seven. This number, imbued with symbolic significance across cultures, from the seven days of creation in the Abrahamic traditions to the seven notes of a musical scale, becomes a key to unlocking the perceived structure of reality.

Mircea Eliade, in his seminal works on the history of religions, frequently explored these cosmic structures, highlighting how ancient peoples perceived the world as layered, with distinct realms inhabited by different beings and governed by different laws. The Septenary Macrocosm is such a conceptual map, allowing the seeker to chart a course through the manifest universe, understanding its various levels of density and vibration. It’s a cosmic scaffolding upon which the drama of existence unfolds, from the most material forms to the most ethereal spiritual realities.

For the modern seeker, this concept can serve as an antidote to the fragmentation of contemporary life. Instead of viewing the world as a collection of disconnected facts and experiences, the Septenary Macrocosm invites us to see a unifying principle, a cosmic blueprint that connects the seemingly disparate parts. It suggests that the same laws and principles that govern the grandest celestial spheres are also at play within our own consciousness, within the very cells of our bodies. The challenge, then, becomes one of recognizing these correspondences, of attuning ourselves to the subtle energies that bind these seven planes together, and perhaps, in doing so, finding a deeper resonance with the totality of existence. It is a call to perceive the universe not just as it appears, but as it is fundamentally structured, a symphony of seven notes played across the infinite stage of being.