This book presents an analysis of the narrative subject matter of Beelzebubs Tales in terms of astrological correspondences. It contains preliminary information relating to Gurdjieffs teaching, to astrology and to the links which connect them. The events of Gurdjieffs life/myth are given in the light of cultural and historical contexts and these are related in general to the forms he gave to his teaching and in particular to some of the literary strategies he employed in the Tales. Gurdjieffs cosmological Laws of Three and Seven are examined in relation to some of their possible origins in Christian, Western European Occult, and Theosophical ideologies. Gurdjieffs knowledge of astrology is explored and his cosmological laws are shown to be similar to those of astrological cosmology and to be largely derived from them. There is an account of zodiacal structure and terminology, and of the system of correspondences used in popular astrology of the 1920s and 1930s. The Tales four sets of twelve chapters are examined. Each set is analysed in terms of subject matter in correspondence with the twelve signs of the zodiac. The relationship between these sets of chapters is explored in terms of the symbolism of the sun, moon and mercury, the functioning of the cardinal, fixed and mutable astrological modes and in terms of Gurdjieffs Law of Three. The conclusion reached through this analysis of narrative subject matter is that the Tales is a zodiacally structured text.

This unique book offers clear definitions of Gurdjieff's teaching terms, placing him within the political, geographic and cultural context of his time. Entries look at diverse aspects of his Work, including: * possible sources in religious, Theosophical, occult, esoteric and literary traditions * the integral relationships between different aspects of the teaching * its internal contradictions and subversive aspects * the derivation of Gurdjieff's cosmological laws and Ennegram * the passive form of "New Work" teaching introduced by Jeanne de Salzmann.

This title provides a glimpse into the nature of the thought of two influential men and the origins of the spiritual path they taught. Known as esoteric teachers, Gurdjieff especially, is well-known in the West to those who follow the occult tradition.

In Gurdjieff and Music Johanna Petsche examines the large and diverse body of piano music produced by Armenian-Greek spiritual teacher G. I. Gurdjieff (c.1866-1949) in collaboration with his devoted pupil Thomas de Hartmann (1885-1956). Petsche draws on a range of unpublished materials and data from original field research to critically situate and assess this music within its socio-cultural and unique religio-spiritual context. Focusing on the tremendous role that music played in the life and teaching of Gurdjieff, Petsche chronicles the unique relationship and collaboration between Gurdjieff and de Hartmann, analyses the styles and possible sources of their music, and explores Gurdjieff’s ultimate intentions for the music in light of his esoteric teaching.

Offers information and stories about Gurdjieff, setting him within the cultural and social contexts of America between 1924 and 1935.

"This is the first analysis of all of Gurdjieff's published internal exercises, together with those taught by his students, George and Helen Adie. It includes a fresh biographical study of Gurdjieff, with ground-breaking observations on his relationships with P.D. Ouspensky and A.R. Orage (especially, why he wanted to collaborate with them, and why that broke down). It shows that Gurdjieff was, fundamentally, a mystic, and that his contemplation-like methods were probably drawn from Mt Athos and its hesychast tradition. It shows the continuity in Gurdjieff's teaching, but also development and change. His original contribution to Western Esotericism lay in his use of tasks, disciplines, and contemplation-like exercises to bring his pupils to a sense of their own presence which could, to some extent, be maintained in daily life in the social domain, and not only in the secluded conditions typical of meditation. It contends that he had initially intended not to use contemplation-like exercises, as he perceived dangers to be associated with these monastic methods, and the religious tradition to be in tension with the secular guise in which he first couched his teaching. As Gurdjieff adapted the teaching he had found in Eastern monasteries to Western urban and post-religious culture, he found it necessary to introduce contemplation. His development of the methods is demonstrated, and the importance of the three exercises in the Third Series, Life Is Real only then, when 'I Am', is shown, together with their almost certain borrowing from the exercises of the Philokalia. G.I. Gurdjieff P.D. Ouspensky A.R. Orage George Adie Mysticism Meditation Contemplation Fourth Way Hesychasm Western Esotericism"--