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In ‘Memories of Franz Bardon’, Lumir writes the following description about his father’s study:
On the wall of my father’s study to right was a portrait of a mysterious man with a penetrating gaze. When I asked who the man in the portrait was, he replied that it was Mahum Tah-ta, a wise man from the mountains. That was all he ever said about this man.
Later in the same book, Dr Milan Kumar (the Dr M. K. who was Bardon’s favourite student) tells us:
One time when I visited the Master I tried to open a bottle of beer. I was too lazy to look for the bottle opener and I tried to show off by opening the bottle in the door lock, and although the master warned me, the neck of the bottle broke and almost half the contents of the bottle spilled onto the floor. I was ashamed when that happened, but the master and the housekeeper only laughed while I wiped the beer off the floor.
It was then that the master told me what had happened to him in a previous life in Tibet, when he was a chela (a student). His guru sent him with a needle, to a friend who lived far away. When he arrived at the friend’s abode, the friend sent him back, without paying any attention to the needle. He was surprised by that attitude, shrugged his shoulders and went back. When he arrived at his master’s place, he sent him immediately back to his friend and when he arrived at the master’s friend’s place he did the same. He became very tired, and he was seized by anger, because he was to run back and forth without anyone showing any interest in the stupid needle. Only when his anger had turned to humility, perseverance, and peace was he allowed to stop, but only after he had travelled back and forth sixteen times. My master concluded the story by saying: “In this world nothing occurs without a reason”, and I was not certain if he did not orchestrate the incident with the bottle of beer in order to teach me a valuable lesson.
In Frabato, Dieter Ruggeburg goes on to explain that the picture of Mahum Tah-Ta (and of Hermes Trismegistos, Lao-tse and Shambalah) were first presented in “Das Buch vom Buddha des Westens” by Hans Albert Muller, published by Verlag des Ordens der Weltvollendung, in 1930, and not as was previously thought that these pictures were first painted by a mediumistic artist using the magic mirror of Franz Bardon.
Unfortunately, as far as I can tell (I have the Ruggeburg English version of Frabato), the English version of Frabato does not contain either the picture of Mahum Tah-Ta or of Shambalah. Paul Allen’s Franz Bardon Research site (sadly now defunct, although there are mirror sites as I mentioned in a previous post) has a list of supposed Bardon incarnations claimed by Otti Votavova, some with pictures. Mahum Tah-Ta’s year of death is listed there as 1925.
I am guessing that these are the same pictures that Dieter Ruggesburg mentions and that perhaps the picture of Shambalah is the same as the picture of Lagavana in my previous post. Can anyone with the German version of Frabato confirm this?
Although we generally take for granted that the various translations of Bardon’s work – in English, German, Czech, Hungarian, Italian, Spanish, Korean, Portuguese and Russian, to name those that I am aware of – convey generally the same information and have directly the same content, it is easy to overlook that most overlooked part of any book – the preface.
Out of those that I do know of, Otti Votavova’s preface is fairly well known in the English and German editions, and Alexandre Moryason, the French publisher, I believe, wrote the preface to the French edition.
I recently came across the Czech preface, written very fittingly everyone would agreed, by Bardon’s son, Dr Lumir Bardon. With the help of Google translate and a bit of massage from myself, I have drawn up a translation, and added some extra snippets of information in the footnotes.
In the preface, Lumir, discusses his father’s vast library of occult and esoteric books, some 2000 in number. He gives a sense of the oppression in the former Czechoslovakia where occult practices and publications were strictly banned and we hear how his father’s books could not be published in his native country and language, until this first Czech edition, some 35 years since his father dictated the original, which Otti Votavova translated to German for publication in the west. I also detect a hint of frustration that despite the universal nature and many editions of the publications, his feeling that the works should be more widely appreciated.
A few other questions spring up in my mind. Whatever happened to Hermann Bauer Verlag, the original German publisher, and how did Dieter Ruggeburg come to assume that role? I think I recall hearing elsewhere that Dieter Ruggeburg had not a personal relationship with Bardon, coming to knowledge of the works after Bardon’s death. For that matter, how come the original US publishers, the Brotherhood of Life are no longer publishing these titles? If anyone has any views, or can share any information on the prefaces and preface writers from the other languages, I’d love to hear from you.
I wish you peace and progress on your path to perfection,