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El Club Dumas The Club Dumas. Read more · The Dumas Club · Read more · Der Club Dumas. Read more Perez-Reverte, Arturo - The Club Dumas. El Club Dumas The Club Dumas Perez-Reverte, Arturo - The Club Dumas . El Club Dumas Arturo Pérez-Reverte. Índice I II III IV V VI VII VIII IX X XI Arturo .
Plot summary[ edit ] Lucas Corso is a middle-aged book dealer with a reputation of doing anything—regardless of legality—for his privileged clientele. While in Madrid attempting to authenticate a previously unknown partial draft of The Three Musketeers , he is summoned to Toledo by Varo Borja, a notoriously eccentric and wealthy collector. Borja has obtained a copy of a legendary book, Of the Nine Doors of the Kingdom of Shadows, whose author was burned at the stake by the Inquisition. The book purportedly contains instructions for summoning the Devil. Only one copy of the book is supposed to have survived, but Borja claims three exist, two of which are elaborate forgeries. He hires Corso to compare the three copies and obtain the legitimate one by any means necessary. He promises to pay handsomely and cover all expenses.
Willard suggests that these simple illustrations added verisimilitude when the anony- mously submitted manuscript was published in The printed book purported to reproduce the bulk of a manuscript that the edi- tor and annotator had seen in its entirety. In addition to fostering the story of Christian Rosencreutz, the illustrations force readers to think of related im- ages in the text — the fountain of Mercury, the crypt of Venus, and the tower of Olympus among others.
They indeed suggest that the whole story of a chemi- cal wedding in the year is a puzzle, in which C. It serves as a re- minder that the wedding is an astrological as well as alchemical event and has political as well as personal implications. The visual symbol appeared increas- ingly independent of the text or texts it had originally accompanied.
A strong representative of this trend is the Geheime Figuren der Rosenkreuzer, a com- pendium of theosophical imagery published in Altona in —, which is here discussed in relation to authentic and pseudo-Weigelian works or Wei- gelians. The following chapter by Carsten Wilke introduces readers to the mathema- tician and religious visionary Paul Yvon, lord of Laleu c.
A Calvin- ist merchant and magistrate of La Rochelle, Yvon claimed to have discovered, by a divine revelation he experienced in , the squaring of the circle and a new Judeo-Christian religion based on scientific intuition. These copper-plate engrav- ings contain short formula in Hebrew and a few figurative symbols, among which the snake, the sun, and the vagina are particularly recurrent, alluding to cosmological and Christological mysteries of which Yvon believed himself to be the prophet.
The following two chapters move forward in time to the eighteenth-century works of the Swedish scientist, philosopher and mystic Emanuel Swedenborg — This is the Dis- sertatio historico-philologico de sapientia Salomonis Uppsala, by David Lundius — , Hebraist at Uppsala University, treating of the wisdom of Solomon, in which Kabbalist ideas are discussed in broad terms.
Apparently, Swedenborg acquired it as a young student in Uppsala. In this work, which is complex from both a philosophical and a linguistic standpoint, metaphors and allegories, which draw on both classical and modern literary traditions, are combined with symbolic structures which, by contrast, have a mystical or esoteric na- ture.
As Inge Jonsson has pointed out Drama of Creation, , these images have a poetical and a literary dimension. Crasta and Follesa argue that these sym- bols play not only a heuristic role but can also be used in a pedagogical sense to explain the most distant past of both the earth and man, a past that cannot be scientifically proved, but only represented by means of topoi and the mythical forms produced by the collective imaginary of mankind.
Moreover, the compiler s of the chronicle also cited Biblical precedents, as well as Flavius Josephus and Dionysius the Areop- agite, in order to frame the work as a whole firmly within the realm of Christian providentialism.
The discov- ery of the Ethiopic Book of Enoch in the late eighteenth century by the Scottish traveller, James Bruce — , and its publication in English by Richard Laurence in rekindled the interest in the biblical forefather. In Victorian England one finds a whole range of reflections on Enoch from theological tracts, philological speculations, through literary works, to esoteric visions and occult references.
As such symbols constitute a link to this reality. One can be transformed by their use and thus they can constitute a path of spiritual devel- opment. For Evola these symbols are not man-made but part of an ancient and forgotten traditional wisdom, one with the aim of deificatio, of becoming god, a notion found in the works of figures like Meister Eckhart, with parallels in earlier treatises like the Corpus Hermeticum.
Evola learnt these ideas among others from the Italian Renaissance hermeticist Cesare della Riviera, whose main work Il mondo magico degli Heroi Evola edited and commented on. These hermetic ideas of Evola greatly influenced the Romanian philosopher and historian of religion Mircea Eliade — and found the approval of the Swiss psychiatrist Carl Gustav Jung — Colquhoun studied esoteric philosophy and joined occult sects that thrived in Great Brit- ain in the twentieth century.
Her probing of esotericism involved diverse currents, including alchemy, astrology, the Kabbalah, Gnosticism, magic, the Tarot, Rosicrucianism, Theosophy, Neoplatonism, Christian mysticism and Celtic lore. It particularly explores the notion of the conjunction of opposites in the personal artistic language formulated by Colquhoun, laying emphasis on the various manifestations of the concept in paintings and writings from the s and s.
Colquhoun experimented with the polyvalent and cryptic lexicon of alchemy but also in- vented her own iconography, relying upon the correlation between occultism and psychology in vogue at the time.
Introduction 13 In his chapter Jonathan Schorsch presents three case studies of the way in which esoteric themes appear and become revised in the work of mod- ern visual artists who make use of angels. In his paintings and sculptures, Russian painter and sculptor Grisha Bruskin b.
The Brazilian artist Stephan Doitschinoff b. These artists and their angels serve as examples of the surprising persistence of angels in modernity. A means of working through anxieties regarding the de- stabilized boundaries between human and divine, human and animal, human and machine, they have left official religious tradition behind, have become gnostic, neo-kabbalistic ciphers for and of a humanity attempting to transcend its limitations while yet reveling in them, have become totems and mentors in varying pantheons of post- modern imaginary beings such as celebrities, superheroes, creatures from fantasy novels and gaming worlds.
They stand as allusions to in-betweenness and uncertainty regarding the anti-metaphysical progressivism of scientific modernity, communist and capitalist alike.
Signs and symbols become unstable and polyphonic floating signifiers. Before the Scientific Revolution, esoteric color schemes followed the doctrine of correspondences e.
Corso agrees, but continues to research the partial Dumas draft. The widow of the draft's previous owner, Liana Taillefer, insists the draft is a fake, but offers to download it from Corso.
After several encounters, she attempts to seduce Corso to obtain the draft; when he succumbs to her charms but refuses to surrender the manuscript, she becomes his enemy. She imagines herself as Milady de Winter , and uses a male associate whom Corso nicknames " Rochefort " to follow Corso and attempt to retrieve the manuscript by force. Corso confers with the Ceniza Brothers, book restoration experts with extensive knowledge of forgery.
They give him basic knowledge to help him compare the copies of The Nine Doors. On his way to Lisbon to visit the owner of one of the copies, he encounters a beautiful blonde with striking green eyes.
She identifies herself as " Irene Adler ", and suggests that she is a fallen angel. They part company before he meets with Victor Fargas. Fargas is a renowned collector who has been selling off his extensive library to maintain his ancestral mansion. Corso compares Fargas' copy of The Nine Doors to Borja's, and finds subtle differences in the illustration plates. Most bear the initials of the book's notorious author, but some of the plates bear the initials "L.
Corso leaves her to arrange a robbery of Fargas' mansion to obtain his copy of the book. She and Corso leave for Paris. Corso confers with Replinger, an antiquarian and Dumas scholar, who authenticates the Dumas manuscript.
As they talk, Corso spies Liana. He returns to his hotel and bribes the concierge to locate her hotel.
Corso visits Baroness Ungern, whose charitable institution possesses the largest occult collection in Europe, including the third copy of The Nine Doors. They flirt and discuss the book's author before she will let him examine her copy. The Baroness translates the illustration captions while Corso compares Ungern's copy to Borja's. Later, Corso realizes that, while none of the three sets match each other, the plates bearing the initials "L.
Using the concierge's information, Corso confronts Liana and her associate, but "Rochefort" renders him unconscious. When he revives, Borja's copy and the Dumas manuscript are gone.