Recommended by top scholars in the field of Gnostic studies for many years, but has been virtually impossible to find until now. One of the best books on the subject, essential for any serious researcher. Takes the reader through every facet of the Gnostic experience including sections on The Soul is Sent Forth, Glory of the Indwelling Light, The Way to the Higher Mysteries, The Final Secret of the Self, and The Soul Travels Home. Based on rare, surviving works of ancient Gnostic teachers like Pistis Sophia and the two Books of Ieu. Other sources include the Agnew Codex, Bruce Codex, Akhmim Codex, Jung Codex, Cairo Codex, the Gnostic Acts (of Peter, Andrew, John, Thomas and Philip), the Chaldean Oracles, and various Gnostic hymns, prayers, Gospels and papyri. A virtual gold mine of Gnostic material, some translated and presented here for the first time.

Christianity, according to Paul Carus, is the "grandchild of ancient paganism," its character predetermined by everything that came before it, growing naturally from preceding ages to become "the fulfilment of the times, the pleroma of the ages." Arguing that Christianity was derived not from Judaism but was the legitimate result of "the religious development of mankind," the author presents his case, in this work first published in 1909, for the "gentile character" of Christianity. While his interpretation may be provocative, his explorations into paganism, Gnostic movements, kindred sects, and the origins of Judaism make this book essential reading for anyone interested in the history of religion. American philosopher and theologian PAUL CARUS (1852-1919) also wrote The Religion of Science (1893), The Gospel of Buddha (1894), and The History of the Devil (1900).

With A Sketch Of His Work, Life, And Character By The Earl Of Carnarvon.

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

As recent domestic and geopolitical events have become increasingly dominated by intolerant forms of religious thought and action, the critical study of religion continues to find itself largely ignored in the public square. Caught between those who assert that its principal purpose is to reflect the perspectives of those who believe and those who assert that its only proper place is to expose these same worldviews as deceptive social and economic mechanisms of power, the discipline has generally failed to find a truly audible voice. Rejecting both of these conservative and liberal modes of knowing as insufficient to the radical subject that is religion, Jeffrey J. Kripal offers in this book another possibility, that of the serpent's gift. Such a gift hisses a form of "gnosis," that is, a deeply critical approach to religion that is at the same time profoundly engaged with the altered states of consciousness and energy that are naively literalized by the proponents of faith and too quickly dismissed by the proponents of pure reason. Kripal does not simply describe such a gnosis. He performs and transmits it through four meditations on the sexualities of Jesus, the mystical humanism of Ludwig Feuerbach, the gnostic potentials of the comparative method, and the American mythologies of the comic book. From the erotics of the gospels to the mutant powers of the superhero, "The Serpent's Gift" promises its readers both an intellectual exile from our present religious and sexual ignorance and a transfigured hope in the spiritual potentials of the human species.

The Codex Brucianus is a translation of an ancient Gnostic work from the sixth century and was brought to England from Upper Egypt and donated to the Bodleian Library in Oxford. Gnosis is the power of receiving and understanding direct revelation of God and the transformation of the whole man into a spiritual being by contact with Him. This book is a very beautiful Gnostic work and should be read by anyone interested in experiencing the divine Gnosis of God.

In the last twenty years or so, numerous mainstream movies have drawn from the ideas and images of ancient thought to address the collapse of appearance and reality. These films have consistently featured the Gnostic currents that emerged from Plato: not only Gnosticism itself but also Cabbala and alchemy. Despite important differences, these traditions have provided filmmakers with ready-made ruminations on the relationship between surface and depth as well as with engaging plot lines and striking scenes. In films like "The Matrix" (1999) and "The Truman Show" (1998), Gnostic myths have offered speculations on the real as well as conspiracy theories. The Cabbalistic motif of golem-making has provided such movies as "A.I." (2001) and "Blade Runner" (1982) with mediations on the human and with parables of machines yearning for life. Pictures like "Dead Man" (1996) and "Altered States" (1980) have drawn on alchemical symbols to explore the possibilities of transmutation and to feature stories of the dead rising to life. Recent commercial Gnostic films are meditations on the conundrums of the post-modern age and the timeless soul. These pictures constitute archetypal sites for sacred contemplation. They create spaces akin to the caves of Eleusis or Lascaux, chambers where habits are annihilated and the ego is shattered. Maybe this spiritual attraction is the secret reason behind the recent abundance of Gnostic films. If so, then the dream factory is betraying its purpose. It is negating its deceptions and sales in the name of a bewildering reality that cannot be found. "Secret Cinema" explores these possibilities through engaging in three related activities. One, the book establishes the theoretical foundations and implications of the genre of Gnostic cinema. It develops these theoretical elements in the contexts of Gnosticism and the esoteric traditions emerging from it, Cabbala and alchemy. Two, in undertaking this work, Wilson considers several collateral issues. The book discusses the functions of genre, the relationships between cinema and psychology, the connections between the moving image and sacred power, the role of the cinematographic apparatus, and the romance of film. Three, the book is a broad meditation on the seductions of cinema. It is attuned to material attractions of the movies, those gorgeous lights and lurid shadows, but also the film's spiritual invitations, the gaps between the pictures, the empty spaces at the heart of life.

This volume, On the Mysteries, by Iamblichus (Abamun) is a unique form or scripture out of the Ancient Egyptian religious tradition. It is written in a form that is not usual or which is not usually found in the remnants of Ancient Egyptian scriptures. It is in the form of teacher and disciple, much like the Eastern scriptures such as Bhagavad Gita or the Upanishads. This form of writing may not have been necessary in Ancient times, because the format of teaching in Egypt was different prior to the conquest period by the Persians, Assyrians, Greeks and later the Romans. The question and answer format can be found but such extensive discourses and corrections of misunderstandings within the context of a teacher - disciple relationship is not usual. It therefore provides extensive insights into the times when it was written and the state of practice of Ancient Egyptian and other mystery religions. This has important implications for our times because we are today, as in the Greco-Roman period, also besieged with varied religions and new age philosophies as well as social strife and war. How can we understand our times and also make sense of the forest of spiritual traditions? How can we cut through the cacophony of religious fanaticism, and ignorance as well as misconceptions about the mysteries on the other in order to discover the true purpose of religion and the secret teachings that open up the mysteries of life and the way to enlightenment and immortality? This book, which comes to us from so long ago, offers us transcendental wisdom that applied to the world two thousand years ago as well as our world today.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.